Giving Thanks for Great Spirits

In general, our culture has very limited notions of what a hero is. We celebrate those who fight, who put themselves in harm’s way (and rightly so), but we too often stop there.

Even when we do broaden the scope of our appreciation, it rarely involves artists, but living a life of creativity is heroic in many, many ways—including, sometimes, harm’s way. So, in honor of Thanksgiving, let me say, “Thank you” to those among us who valiantly and consistently make the world a place worth fighting by the art they create.

Thank you, artists and entertainers, who tell the truth—the truth of the story, the moment, the experience, who refuse to look away when others cover their eyes, who express honest emotion and human experience, instead of overly contrived, sentimental, cheap escapism.

Thank you, unsung heroes, unknown artists, for laboring away in obscurity, the burden of your vision your only boss, creating because you have to, persevering against all odds in hopes one day you, too, will have an audience.

Thank you, writers and filmmakers, painters and musicians, actors and producers, who fight not to fall into the lazy shortcuts of clichés, who continually try to approach their work with a fresh perspective, with an integrity that insists on a new way of “seeing,” “hearing,” “touching,” “describing,” “expressing,” human experiences.

Thank you for all that you risk—for baring your heart and mind and soul, for disrobing in such a public manner, for making yourself an easy target for potshots from the defensive and the simple. Thank you for enduring the negativity and nay saying from the overly critical, the closed-hearted, the jealous, the haters.

Thank you for your fidelity to your vision, for being true to your art, to your truth, to your muse, to what you’re hearing and seeing and feeling, regardless of the masses who misunderstand, in spite of the criticism, and no matter the mean and hurtful things said and done by the fearful, the narrow-minded, the repressed.

Thank you for not going along with the crowd, for not giving into the beige, for not melting into the masses, for being strong enough to be different. You have been subjected to ridicule and even violence for being true to who you are and to your art. You have suffered for your art in ways no one but you knows, and the pain you’ve been subjected to gives your work the poignancy and power that we who eat your words and drink your paintings so need to truly sustain us.

Thank you for entertaining us, but more for challenging us—for making us think and feel and question. You instruct us in the ways of empathy and humility—the heights of humanity. You chip away at the fissures of the facade of our culture, you kick at the false foundation of our assumptions—all while making us laugh and cry and hurt and feel and think.

Thank you, brave women and men, who explore the dark side of existence, allowing us to vicariously experience the shadows in the safety of our reading chair or theater seat. You are unafraid to take long day’s journeys into nightmarish nights, expertly guiding us through the underworld. Thank you for shining your piercing light onto the things in our minds and on our streets that we try to pretend aren’t there.

I end with the words of Albert Einstein, one of the most talented artists to ever live, with love and gratitude. “Great spirits have always encountered violent opposition from mediocre minds.” Thank you, artists and outsiders, original thinkers and visionaries, for daily enduring this most of all.

Jason Hedden Brings “Double Exposure” to the Stage

There comes a time in every parent’s life when he must entrust the care of his child to another. Babysitter, daycare worker, school teacher—eventually, we give up control.

If you’re like me—more maternal than anything else—this is a frightening proposition. No one will care for my baby the way I do.

As with most things, when looking for someone to share my most treasured treasure with, I use intuition. Sure, I observe character revealed in unguarded moments, but how I feel about the person—what I know without knowing anything is how I make my final decision.

Recently, I entrusted my novel, “Double Exposure,” to Jason Hedden, an actor, producer, director, and a professor at Gulf Coast Community College. This fruit of my loins (and other parts of me) that had gestated inside of me for so long, that I had carried and labored over and had given birth to, this truly beloved child of mine, I gave to Jason.

Jason took “Double Exposure,” a novel, and turned it into “Double Exposure,” an extraordinary theatrical experience. I was right to give Jason my book, and I couldn’t be happier with what he’s done with it.

Jason Hedden is a theatrical genius.

With an amazing vision from the very beginning, Jason carefully, thoughtfully, magnificently adapted a book into a play—a play that honors the book as much as another art form can, one that uses the strengths of theater to lift the story off the pages and set the characters and events twirling across the stage.


I’ve had the wonderful opportunity to watch Jason work, to witness firsthand his enormous effort, his respect for the book, his dedication and determination.

Each night I’ve attended rehearsals, I’ve had the experience of encountering people and places and events from my dreams. It’s a singular, surreal phenomenon.

“Double Exposure,” the theatrical experience, presents the book in a way that combines the best of the original text with the best of staged drama. Characters speak narration as well as dialog, bringing a literary quality to the play unlike any I’ve ever seen. The use of minimalist sets encourages, even forces, the audience to use its imagination in a way not unlike the book.

In the book, I mention that a prominent voice inside the main character’s head is that of his dead father’s. Genius Jason took that and used it to dramatize the experience—for the characters and the audience—by having the deceased father on stage talking to his son.

One more example of genius: In the book, the main character, a photographer, thinks about the greatest photographs ever taken, in an attempt to calm himself in a severely stressful situation. It would have been easy to project the iconic images onto a screen on the stage, but Jason staged them with actors—bringing them to life and preserving the poetic descriptions of them from the book.

Jason Hedden’s play, “Double Exposure,” has my highest recommendation. I hope you’ll see it. Of course, I hope you’ll read the book first, but if you decide not to, it wouldn’t bother me nearly as much as usual because of how much like reading a book Jason’s remarkable production really is.

(Play pictures by Jordan Marking)

Paper and Fire

Charlyne Yi doesn’t believe in love. Or so she says. Though she never says it explicitly, it’s probably more accurate to say that she doesn't believe in fairy-tale, romantic “love.”

“Paper Heart” follows Charlyne as she embarks on a quest across America to make a documentary about this subject she doesn’t understand. As she and her good friend (and director) Nick search for answers and advice about love, Charlyne talks with friends and strangers, scientists, bikers, romance novelists, and children. They each offer diverse views on modern romance, as well as various answers to the age-old question: does true love really exist?

Then, shortly after filming begins, Charlyne meets a boy after her own heart: Michael Cera (the actor from “Juno” and “Nick and Nora’s Infinite Playlist”). Combining elements of documentary and traditional storytelling, reality and fantasy, “Paper Heart” brings a unique perspective to romantic comedies; however, I suspect there’s far more fiction in this film than there appears to be.

“Paper Heart” so combines reality and fantasy, so blurs the lines between the two, it’s best not to take anything in it too seriously. Still, it is, nonetheless, thought-provoking.

I found watching “Paper Heart” odd and interesting because Charlyne Yi doesn’t believe in love, and there’s nothing I believe in more.

Of course, that’s not exactly what I mean. Belief is cheap. Easy. Shallow. Practice is the thing. As a philosophy, a religion, a way of being in the world, I attempt to practice love. I’m committed to it.

There’s nothing more central to my existence than love, and there I was sitting in the old AMC theater in the Panama City Mall, where back in the day, I went on my first movie date, watching a film about a person who claims not to believe in love.

Throughout the film, on a road trip of sorts, Charlyne asks people what love is, and it’s interesting to see people grapple to define love—and to hear how different their definitions are from one another.

I sympathize. Love is difficult to define. But this is how it should be. Defining something limits it (which is why it’s best not to do it, or when we do, leave an opening). Love can’t be limited. It must be free. Love and freedom are inseparable. How can we define something that is bigger than, and, in many ways, beyond us and must be free?

The longer I watched the movie, the more I realized that Charlyne, the girl who doesn’t believe in love, and me, the boy who believes in it more than anything, are actually much more closely aligned than it would first appear.

When Charlyne claims not to believe in love, she actually means romantic, lightning-bolt, head-over-heels infatuation where the object of our desire and affection becomes the god of our idolatry and that this is true love. But this isn’t love at all. Sure, it’s been known to lead to love, but more often than not it leads to disillusionment. Why? Because it’s an illusion—a projection onto a person of what we want and need. It’s a fantasy. Love is a reality.

Don’t get me wrong, I fall in infatuation all the time. It’s a heady and happy experience, and I even refer to it in the popular parlance as “falling in love,” but I know enough to know it ain’t love. It’s like. It’s desire. It’s attraction. It’s fire. It’s not love.

What is love then? I’ll happily give you one of my definitions if you promise to leave it open so it can be free.

Love is the uncoerced and unconditional commitment to continually accept and extend as a response to Love itself.

God is love. Love is God. Love flows to us, then through us. We are responding to love by loving God back, genuinely and without ego loving ourselves, and loving all others as ourselves.

Is my definition wanting? Of course. Any and all definitions of love are. It’s the same with God (a coincidence? I think not).

Love is universal. It can’t be limited to one person, one family, one tribe, one race, one nationality, or only to those who love us. Sure, people do it, and even call it love, but it’s not. If I “love” only “my” children, it’s not love. If I “love” only “my” parents, it’s not love. Who are my children, my parents, my brothers, my sisters, my wives, my husbands, my neighbors? Everyone. Or no one.

Does Charlyne find love? Does she discover what it really is? You’ll have to pay your dollar to see “Paper Heart” at the mall or wait until it comes out on DVD December 1st to find out. But you don’t have to wait any time at all to be loved and to love. You, like Charlyne and me, are loved. We just are—nothing we can do about it—and what we do with that unconditional acceptance determines the quality of our lives and the good we do in the world more than anything else. By far.

Whether we have a paper heart or an organ of fire, we are loved and meant to love—not in word only, but in deed. After all, love is not a condition, but an action—a verb, not a noun.

If you, like Charlyne, are not sure you believe in love—or even know what it is, just try this. Open yourself up to it, to how accepted, valued, cherished you are, and then commit to love as a way of life, begin to accept others (no longer judging or condemning), extend yourself for them, do, to the best of your ability, what is best for them, and see what happens.