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Spring 2012 : Here

Oregon Humanities: Spring 2012
Almost every summer, seven of us load into my wife’s minivan and make the trip from Oregon to Seattle when the Boston Red Sox play the Seattle Mariners. I grew up in Massachusetts, and our regular crew includes my thirty-five-year-old son, Corey; my longtime New England–born friends Bruce and Kevin; Kevin’s son, Mark; native Oregonian Steve, who married a Massachusetts-born woman and lived in Vermont for a spell; and his son Denton. Sometimes, something comes up and somebody can’t make the trip, so we find someone to fill the spot: maybe a grandson being initiated into our realm or maybe a generic (that is, non–Red Sox) baseball fan. The former is always a delight; the latter, though we are all easygoing and open people in most aspects of our lives, doesn’t work so well.
We have minor rituals. I make a playlist that always begins with the Dropkick Murphys’ punked-up Irish pub version of “For Boston.” We sorta sing along. We talk baseball and, especially, Red Sox: how the season’s going, prospects for the games we’re about to see, memories of great moments in the past. We park at the same free spot, a funky lot next to a closed trucking company, and walk the dozen or so blocks to the Mariner’s Safeco Field, with our hats or sweatshirts or jackets clearly showing where our loyalties lie. There are lots of others in similar garb. Our kin.
In a 2005 Gallup poll, 63 percent of Americans admitted to being sports fans. To put that in some context, a 2008 survey conducted for the National Endowment for the Arts revealed that 54.3 percent of Americans admitted to having read a book for pleasure in the previous year. I had great experiences with both sports and books as a kid. My father and I bonded, mostly, over sports. With my mother and me, it was more about books. I can’t imagine my life without either pastime. But obviously, lots of people can. Reading books is work, or at least it seems that way to people who think of books only in connection to school assignments. Being a sports fan, at its simplest level, is a passive experience. You affiliate yourself with the exploits of others. Lots of sports fans think book readers are dull. Many book lovers think sports fans are silly.
There are things about being a sports fan generally and a passionate follower of one team in particular that are silly. These are games, after all, that we are getting so excited about—games involving grown men (mostly) being paid lots of money to throw or hit or kick balls, to run around and get dirty in pursuit of victories that ultimately mean nothing. But how is that so different from art, where grown-ups play with ideas or instruments or materials to create things that most humans can—and many do—live just fine without? The rules and the tools are different, and the scores and the standings are the subjective judgments of critics and audiences and not the hard objective truth of a final score. And in the distinct worlds of art or sports, you affiliate with different sorts of people: silly or dull, fun or thoughtful, engaged or wise. I live in both worlds, so appreciate the absurdity and joy of each and find myself, depending on what I happen to be doing at any given time, mocking or glorifying one or the other—and sometimes both.
Like books or art or politics, I think, sports either get into your blood or they don’t. Who knows exactly why? You play games in neighborhood backyards. Your dad takes you to some live competition. You start looking forward to the Saturday afternoon games on TV. You find something in the newspaper that you really care about (baseball, with its storytelling box scores and illuminating statistics, was made for newspapers). You get to know the players, the announcers, the rituals. You have something to talk about with your friends and grown-up relatives and strangers, too, and you can know as much about it as them—or more. And at some point, it starts to matter what happens to your team, and you feel a kinship with those to whom it also matters.
Baseball was the national pastime when I was growing up, but it isn’t anymore. A game consisting of long stretches of anticipation building toward rare but frequently stunning payoffs, with no clocks or time limits, it doesn’t fit well into the fully calendared twenty-first century. But that’s okay, because I’m not sure I do, either. A 2006 poll put the number of Americans who list baseball as their favorite sport to watch at only 11 percent. But I don’t fault those who shun it for football’s play-by-play war for territory (43 percent) or the frantic activity of basketball (12 percent). I understand, I really do, why some people find baseball tedious. You need to grasp the game on some instinctual level to really get it. I am a big fan of college football and will watch and enjoy an occasional game of basketball or, even, a track meet, but I love baseball. “Baseball is fathers and sons playing catch,” wrote the poet and essayist Donald Hall, “lazy and murderous, wild and controlled, the profound archaic song of birth, growing, age, and death. The diamond encloses what we are.” I don’t doubt that others have comparable connections to other sports, but baseball got deep into my blood—and the Red Sox were the home team.
“Sox fans are a special breed,” wrote ’70s-era left-handed pitcher Bill Lee, who was such a perfect Red Sox that he says he would have gone to Japan to play ball if a rumored trade that would have sent him to the Yankees had gone through: “Having grown up hating their cold, corporate image and their strutting glorification of elitism, there was no way I would have put on the pinstripes.” Amen, brother.
Red Sox baseball was a shining clear spot in an often chaotic and confusing childhood for me. I went to my first game at Fenway Park when I was seven years old, and by the time I was ten, I was going to twenty or twenty-five games a year with my dad or the _Standard-Times _paperboys or my Little League team. There was no place I’d rather be in those years than in Fenway when the Red Sox took to the holy green field, feeling that extraordinary bond with the instant neighborhood of fans around me. There are few places I’d rather be now, in fact, though I don’t get there often. Red Sox fans raised hell a few years back when some new owners started seriously planning to build a new stadium (I had a “Save Fenway Park” bumper sticker on my car for years). It didn’t happen. Our connection to Fenway goes far beyond the seemingly simple game played there.
I feel that connection whenever I see that elegant Red Sox “B,” which, with its supple serifs and symmetrical swirls, evokes a sudden solidarity. Though the team’s recent success and the proliferation of sports brands as fashion have diluted its effect ever so slightly, I still feel camaraderie with anyone wearing that “B.” They are my brothers and sisters, inhabitants of a place we carry with us, living in a transcendent time in which we share a common story of defeat and triumph, gossip and heroes, and deep connections to the everyman players that everybody else has forgotten. Don Buddin. Ike Delock. Joe Foy.
People who study the psychology of sports fans have figured out that most fans refer to the team in the first-person plural (we, us) when they win and the third-person plural when they lose (they, them). For Red Sox fans like me, it’s always we. And we share a common and perfect enemy. The Yankees. Rivalries spice up sports (one way, perhaps, that sports differ from the arts). Rivalries give us a well-defined other that helps remind us of exactly who we are. And there is no spicier rivalry than the Red Sox vs. the Yankees, and this was true long before ESPN and 24-hour sports talk radio made a cliché of it. Hating the Yankees has always been a core value among Red Sox fans. While the Red Sox of my childhood struggled to win more games than they lost and finish in the upper half of the eight-team American League, the Yankees were piling on championships and keeping their well-heeled spikes to the throats of every other team. On July 13, 1959, I was at Fenway with my dad when the Red Sox beat the Yankees 13–3, their fifth straight win over five days against the defending world champions. The Red Sox were still in seventh place, but we couldn’t have been more joyful. After the game, I joined a throng around the Yankees’ bus to taunt and jeer them, a rare opportunity to gloat. Somehow I was right by the door when the Yankees’ legendary manager Casey Stengel approached, so I asked him for an autograph. He pushed me aside. “Look out, kid,” he said, words I cherish to this day. I was congratulated by the other fans around me as if I’d just hit the game-winning homer.
But, as it is with most sports teams and, well, life for that matter, the days of glory are well hidden in Red Sox history amid the seasons of frustration. In his fine book The Summer of ’49, David Halberstam wrote the following of Bart Giammatti, a renowned professor of comparative literature who went on to be president of Yale University and, later, commissioner of baseball: “He never lost his love for the Boston Red Sox. It was as a Red Sox fan, he later realized, that he first learned that man is fallen, and that life is filled with disappointment. The path to comprehending Calvinism in modern America, he decided, begins at Fenway Park.”
As the title of Halberstam’s book demonstrates, you just need to name a year to evoke pain from a Red Sox fan. In 1949, the Red Sox lost the American League pennant on the last day of the season to the Yankees. Then 1946, 1967, 1975: they lost World Series in seven games after unimaginable heroics to get to that point. In 1978, they lost a fourteen-and-a-half-game lead over the Yankees but came back to force a one-game playoff for the pennant that the Red Sox lost after leading 2–0 into the seventh inning. The Yankee comeback was started by a home run by a light-hitting mediocre shortstop, who will forever be known to the Red Sox breed as Bucky Fucking Dent.
The year 1986 is synonymous with agony for us. One strike away from our first World Series championship in the lifetimes of more than four generations of fans, the team blew a two-run lead in the tenth inning when a seemingly routine ground ball went through the legs of first baseman Billy Buckner. Mets win. Sox lose. The gods must hate us.
Red Sox fans “keep waiting for the other shoe to drop,” Bill Lee wrote, “knowing that it usually lands on their heads. … They realize death is lurking in the background of every celebration. It can’t be avoided.”
But in that shared sense of foreboding, that hard-earned knowledge that glory is fleeting, loyalty and faith endure. Sox fans share a bond that sports fans who root only for the score will never know. Cubs fans know what I’m talking about, too. Their loyalty is undeniable, but they’ve had precious little glory to watch fade in recent memory. Few others have experienced the peaks and valleys that Red Sox fans have known.
Of course, it all changed in 2004, when the Red Sox won their first World Series championship in eighty-six years. And they did so in perfect redemptive fashion, coming back in the American League championship series against the Yankees, after being down 3–0 in games and trailing by a run in the ninth inning of game four with auto-robot closer Mariano Rivera on the mound. It was impossible, and therefore, like so many of their defeats over the years, bordering on the miraculous. Then a sweep of the St. Louis Cardinals, who had twice beaten the Sox in a previous seven-game World Series. “Can you believe it?” shouted Red Sox announcer Joe Castiglione as the final out was made.
No. But my phone wouldn’t stop ringing: the callers were fellow Sox fans, mostly repeating Castiglione’s exclamatory question, and people from throughout my life for whom my being a Red Sox fan is among my most prominent attributes. One was a university professor of women’s studies, a serious woman who lived up the street and must have noticed my Red Sox bumper sticker. “Are you, like, freaking out?” she asked me. Yes.
On our trips to Seattle in recent years, we usually sit in the left-field bleachers. Red Sox fans are all over the place, in big clumps or small islands among the Mariner fans. We nod and smile at each other, that special kind of smile that strangers use when they know they are in on something together. We might not like each other if we talked politics or music or how we raise our kids, but here we share camaraderie and stories with those nearest us: where we’re from now, where our Sox connection comes from. And at some key point in the game, one person will start; it might even be one of us: “Let’s go Red Sox,” clap, clap, clapclapclap. Then the seven of us are shouting together, sitting upright, our hands cupped to our mouths: “Let’s go Red Sox,” clap, clap, clapclapclap. Then the others around us join in, and I hear New England accents, and Northwest non-accents, and little kids maybe at their first Red Sox game ever, looking up to their mother or father wide-eyed and grinning, their little voices strong, their hands meeting in perfect synchronicity: “Let’s go Red Sox,” clap, clap, clapclapclap. Then people in the next section—and soon, all around the stadium, Red Sox fans are clapping and chanting, “Let’s go Red Sox.” It goes on.
For the two days we take for our pilgrimage to Seattle, we want to immerse ourselves in that world, to be fully and wholly Red Sox fans, to be with our own kind, which is why it always ends up feeling a little awkward when a non–Red Sox fan, no matter how good a friend, joins us. True-believer fans of any team, I think, would know exactly what I am talking about. Sports are entertainment, but like literature, like music, like so many seemingly unessential endeavors we humans have created, they become something more than a simple diversion when they link people together in a constellation of places and stories and rituals to those who came before and those who will follow.
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Eric Gold is a freelance writer in Portland and regular contributor to Oregon Humanities.
Kristy Athens’ nonfiction and short fiction have been published in a number of magazines, newspapers, and literary journals, most recently High Desert Journal, Eclectic Flash, Diverse Voices Quarterly, and Five Fishes Journal.
Rich Wandschneider was the founding director of Fishtrap, a literary nonprofit in eastern Oregon, and is now building the Alvin Josephy Library of Western History and Culture at Fishtrap. He writes a regular newspaper column and has written for the Oregonian, High Desert Journal, High Country News, and others. He is on the editorial advisory board of this magazine and on the board of directors for Oregon Humanities.
Ellen Santasiero is a freelance writer whose work has appeared in Northwest Review, The Sun, Marlboro Review, Oregon Humanities, and in a recent anthology from the University of Oklahoma Press. She is at work on a memoir.
Caroline Cummins is the managing editor of Culinate.com.
Jedidiah Chavez is a visual artist and writer based in Portland. His work has been showcased in a variety of venues nationally and in the Pacific Northwest. Chavez was awarded a 2010 project grant by the Regional Arts and Culture Council.
Kristin Kaye is a Portland-based writer. Her book, Iron Maidens, was an Oregon Book Awards finalist. She has recently completed her novel To Catch What Falls.
Lucy Burningham is an independent writer and journalist who lives in Portland. She holds a master’s degree in nonfiction writing from Portland State University.
Eric Gold is a freelance writer in Portland and former communications assistant at Oregon Humanities.
Sarah Gilbert is writing a book about mothers looking for emotional healing in food. In February, she decided to begin homeschooling her eldest son.
Courtney S. Campbell is the Hundere Professor of Religion and Culture at Oregon State University. You can try friending him through his Facebook page.
Barry Johnson has written about the arts since 1978 when he started writing about dance for the now-defunct Seattle Sun. He has edited arts sections at Willamette Week and The Oregonian, where he recently finished a twenty-six-year stint. You can find his up-to-the-minute thoughts on the arts at http://artsdispatch.blogspot.com.
Dionisia Morales is a freelance writer and teaches writing at Linn-Benton Community College. Her essays have recently appeared or are forthcoming in CAYLX, Brevity, Cream City Review, and Silk Road.
Wendy Willis is a poet, Conversation Project leader, and the executive director of the Policy Consensus Initiative and the deputy director for Research and Development at the National Policy Consensus Center at Portland State University. Her book of poems, Blood Sisters of the Republic, is forthcoming from Press 53 in fall 2012.
Carl Abbott is professor of urban studies and planning at Portland State University. A specialist on the history of cities, his recent books include Frontiers Past and Future: Science Fiction and the American West and Portland in Three Centuries: The Place and the People.
Monica Drake is the author of Clown Girl (Hawthorne Books),which was optioned for film by Kristen Wiig. Her next novel, The Stud Book, is forthcoming from Hogarth Press in February 2013.
Tara Rae Miner is a writer and freelance writer and editor, former managing editor of Orion magazine, and author of Your Green Abode: A Practical Guide to a Sustainable Home. She lives with her family in Portland.
John Holloran lives in Portland and teaches at Oregon Episcopal School. His last essay for Oregon Humanities was “After the Fall” (Spring 2011).
Rebecca Hartman is an associate professor of history at Eastern Oregon University. She received her PhD in history from Rutgers University in 2004. Her current research is focused on twentieth-century U.S. rural history.
Dmae Roberts is an award-winning independent radio producer and writer based in Portland.
Jennifer Ruth is a professor of English literature at Portland State University and the author of Novel Professions, a book of literary criticism.
Richard J. Ellis is the Mark O. Hatfield Professor of Politics at Willamette University. In 2008 he was named Oregon Professor of the Year by the Carnegie Foundation for the Advancement of Teaching and in 2007 he was chosen as Oregon Scientist of the Year by
the Oregon Academy of Science. His book The Development of the American Presidency is forthcoming from Routledge in January 2012.
After ten years in Oregon, Leigh van der Werff now lives in central California, where she runs a record store with her husband and their dog, Edgar. When she’s not at the shop, she’s writing essays and music criticism.
Joanne Mulcahy teaches creative nonfiction and humanities classes at the Northwest Writing Institute at Lewis & Clark College in Portland, where she is codirector of the Documentary Studies Certificate Program. Her writing combines memoir and personal essay with ethnographic exploration. Her book Remedios: The Healing Life of Eva Castellanoz was published by Trinity University Press in 2010.
Marion Goldman has passed through the social worlds of Rajneeshees, Jesus People, and Nevada prostitutes. In her latest book, The American Soul Rush (forthcoming in December 2011), she describes how a small group of 1960s seekers at California’s Esalen Institute cultivated and spread spiritual alternatives ranging from transpersonal psychology to yoga to Zen golf. She is professor of sociology and religious studies at the University of Oregon.
Oregon Humanities editorial advisory board member Guy Maynard is the editor of Oregon Quarterly, the magazine of the University of Oregon, and the author of The Risk of Being Ridiculous, a historical novel of love and revolution set in Boston in the the late 1960s, into which he managed to slip several Red Sox references. He lives in Eugene.
Kambiz GhaneaBassiri is an associate professor of religion and humanities at Reed College in Portland. He is the author of A History of Islam in America (from which this selection is excerpted) and Competing Visions of Islam in the United States. He was also a faculty member at the Oregon Humanities Teacher Institute in July 2011.
Tim DuRoche is a writer, jazz musician, artist, and cultural advocate. He works as the director of programs for the World Affairs Council of Oregon. Tim hosts the The New Thing, a weekly jazz program on KMHD-89.1 FM in Portland, is currently developing a program on jazz and community values for Oregon Humanities’ Conversation Project, and is the author of the recently published collection of essays, Occasional Jazz Conjectures.
Walidah Imarisha is a founding editor of AWOL, a national political hip hop magazine and has toured nationally and internationally as part of the poetry duo Good Sista/Bad Sista. She has taught in Portland State University’s Black studies department and leads three Conversation Project programs for Oregon Humanities on hip hop, the history of race in Oregon, and reenvisioning the prison system.
Kim Stafford is the founding director of the Northwest Writing Institute at Lewis & Clark College and author of a dozen books of poetry and prose, including The Muses Among Us: Elegant Listening and Other Pleasures of the Writer’s Craft. This essay is a section from his book-in-progress, 100 Tricks Every Boy Can Do.
Debra Gwartney is the author of the 2009 memoir Live Through This, which was a finalist for the National Book Critics Circle Award, the Oregon Book Award, and the PNBA award. She is currently working on a memoir about growing up in the West and the heritage of Narcissa Whitman, a project for which she received a research grant from the American Antiquarian Society. Debra lives on the McKenzie River with her husband, Barry Lopez, and is on the nonfiction faculty at Pacific University.
After growing up selling corndogs and cotton candy at carnivals up and down the West Coast, Susan Meyers extended her gypsy lifestyle by spending several years in Latin American before coming home to the Pacific Northwest. Her work has recently appeared in CALYX, Dogwood, Terra Incognita, and The Minnesota Review, and it has been the recipient of several awards, including a Fulbright Fellowship. She teaches writing at Oregon State University.
Matthew Stadler is a writer and editor in Portland. He writes about cities and urbanism for journals including Volume, Netherlands Architecture Bulletin, Domus, and Camerawork. His book about urbanism, Deventer, is forthcoming from 010 Uitgevrij, in Rotterdam. In 2009 he cofounded Publication Studio (http://www.publicationstudio.biz) in Portland.
Amanda Waldroupe is a freelance journalist living in Portland. Whenever she fails, she buckles down and tries, tries again.
John Holloran lives in Portland and teaches at Oregon Episcopal School, where he is the chair of the history department. His last essay for Oregon Humanities was “Under a Spell” (Summer 2009).
Todd Schwartz is in reality a very serious and reserved person who divides his time between being a Calvinist minister and a funeral home director. Wait…wait! A funeral home director and a Calvinist minister walk into a bar…
Scott Nadelson’s most recent book is The Cantor’s Daughter. A new collection of his short fiction, Aftermath, is forthcoming from Hawthorne Books in Fall 2011. He teachers creative writing at Willamette University. His latest essay for Oregon Humanities was “Go Ahead and Look” (Spring 2010)
Courtenay Hameister is the host and head writer of LiveWire Radio, the co-creator of “Road House: The Play!,” a screenwriter and filmmaker. In her spare time, she likes to imagine what it would be like to have more spare time.
Ariel Gore is the author of seven books including Bluebird: Women and the New Psychology of Happiness (Farrar, Straus and Giroux, 2010), from which this selection is excerpted. She is also the founding editor of Hip Mama, and editor of the Lambda-award-winning anthology Portland Queer. She teaches creating writing online at the University of New Mexico and The Attic in Portland.
Jamie Passaro lives in Eugene, where she is a freelance writer and an editor for Northwest Book Lovers, a blog produced by the Pacific Northwest Booksellers Association. Her last essay for Oregon Humanities was “Driving Mrs. Spacely” (Summer 2008).
Andrew Guest is an associate professor of psychology at the University of Portland. When not watching, playing, coaching or writing about soccer, he does research on youth developmental and educational experiences through sports, arts, and service activities.
David Bragdon served on the Portland regional Metro Council for nearly twelve years and was elected president in 2002. The major accomplishment of his service was an expansion of the regional parks and natural areas network known as the Intertwine. He resigned from the Metro Council in September 2010 in order to accept New York City Mayor Michael Bloomberg’s appointment as director of the Office of Long-Term Planning and Sustainability.
M. Allen Cunningham is the author of Lost Son, a novel about the life of Rainer Maria Rilke. His first novel, The Green Age of Asher Witherow was a #1 Booksense Pick and was shortlisted for the Booksense Book of the Year. He’s the recipient of an artist fellowship from the Oregon Arts Commission and a Yaddo residency. His third novel, set partly in the Pacific Northwest, is forthcoming.
Bette Lynch Husted lives and writes in Pendleton. She is the author of Above the Clearwater: Living on Stolen Land (OSU Press, 2004) and At This Distance: Poems (Wordcraft of Oregon, 2010). Lessons from the Borderlands, her collection of memoir essays about teaching, class, gender, and race, is forthcoming from Plain View Press. She is a 2004 Oregon Book Award and WILLA finalist and was awarded a 2007 Oregon Arts Commission fellowship.
Bob Bussel is associate professor of history and director of the Labor Education and Research Center at the University of Oregon. He has published numerous articles on labor history and contemporary labor issues, including a history of the Oregon Bureau of Labor and Industries. He is currently working on a book about working-class citizens.
Dave Weich is the president of Sheepscot Creative. The Portland-based company fosters engaging and profitable communication among businesses, consumers, colleagues, and fans. Weich is on the editorial advisory board of Oregon Humanities magazine.
Camela Raymond is a Portland-based writer whose work has appeared in Modern Painters, Plazm, the Oregonian, and elsewhere. She was previously an editor at Portland Monthly magazine and the founding editor/publisher of the Organ. She serves on the editorial advisory board of Oregon Humanities magazine.
Scott Nadelson’s most recent book is The Cantor’s Daughter. He teaches creative writing at Willamette University.
Karen Karbo‘s three novels, as well as her Oregon Book Award–winning memoir, The Stuff of Life, have all been named New York Times Notable Books of the Year. Her most recent book is The Gospel According to Coco Chanel: Life Lessons from the World’s Most Elegant Woman.
Lisa Radon has written about art and design for Portland Spaces (as associate editor), Portland Monthly, Surface Design Journal, SHIFT (Japan), FLAUNT, Hyperallergic, and ultra (ultrapdx.com). She’s written a handful of catalog essays and is working on her first book.
R. Gregory Nokes has worked as a reporter and editor for the Associated Press and the Oregonian. His reporting about this incident has resulted in a formal designation of the massacre site as Chinese Massacre Cove. He lives in West Linn.
Christine Dupres is the former director of the Office of Sustainability and Community Engagement at the Native American Youth and Family Center in Portland. She is a freelance writer and an Oregon Humanities board member.
Apricot Irving is a writer and radio producer whose most recent project, Boise Voices Neighborhood Oral History Project , brought together elders and youth in Northeast Portland. She has lived in Haiti, Indonesia, and the United Kingdom, but currently calls Portland home.
Lucy Burningham is an independent writer and journalist who lives in Portland. During the past decade, she has traveled on assignment for a variety of newspapers, magazines, and Lonely Planet guidebooks. She holds a master’s in nonfiction writing from Portland State University.
Vicente Martinez lives in Portland and works at a fast food restaurant.
Susan W. Hardwick is a professor of geography at the University of Oregon. Her research and teaching focus on the geography of immigration, identity, and place in the Pacific Northwest. She is the author or co-author of nine books, including Russian Refuge: Religion, Migration, and Settlement on the North American Pacific Rim (University of Chicago Press, 1993). This article is adapted from Hardwick’s Commonplace Lecture that she delivered for Oregon Humanities in 2007.
Sarah Gilbert is a writer and photographer who lives in Portland with her husband and three little boys. She writes about food and finance for several web sites, including DailyFinance, WalletPop and Culinate, is cofounder of the Portland parenting resource urbanMamas.com, and keeps a blog, cafemama.com.
Kevin Nute is a professor of architecture at the University of Oregon. He is the author of the American Institute of Architects award-winning monograph, Frank Lloyd Wright and Japan (1993) and Place, Time and Being in Japanese Architecture (2004).
Brian Doyle is the editor of Portland Magazine at the University of Portland, and the author most recently of Thirsty for the Joy: Australian & American Voices, from One Day Hill Press in Melbourne, Australia.
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