From Gothic Thriller to Art Film

The Burning Court was directed by Julien Duvivier

Another fun website that reviews and analyzes genre films is Braineater, created and maintained by Will Laughlin. In this installment he reviews the French film La Chambre ardente (1962), “a movie that sits somewhere between an art film and a Gothic thriller,” directed by Julien Duvivier, based on a classic novel by the American author John Dickson Carr. 

Here’s an excerpt from Laughlin’s review:

Carr, after a slow start in the late 1920’s, came into his own in the early 1930’s. He was soon recognized as one of the finest mystery writers of the so-called Golden Age. In 1937, he published what many consider his greatest novel, The Burning Court. However, his work — while always professional — was sometimes uneven; and after the Second World War, his career began to falter. A new generation had come to maturity, and they considered Carr and the writers of the Golden Age too old fashioned, too academic… a remnant of the old order that had been destroyed by the war. Nevertheless, Carr continued to write Golden Age-style detective stories well into the late 60’s and early 70’s. Though there have been periodic revivals of his work, and though he has always had supporters in fellow writers like Kingsley Amis and Anthony Boucher, Carr has never recaptured the recognition his admirers consider he deserves. If you think about it, there’s an obvious reason Duvivier chose to turn The Burning Court into La Chambre ardente

John Dickson Carr

Author John Dickson Carr

Julien Duvivier

Director Julien Duvivier







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LaVilla: Whetstonian’s Last Days? / The Mural of Walter Whetstone’s Life

Here’s another great article about Walter and Dorothy Whetstone, written by my friend Tim Gilmore on 11/18/2016:

Walter Whetstone doesn’t remember me. He’s had two strokes since our last substantial conversation. I first wrote about Walter and his masterpiece of Outsider Art called …

Source: LaVilla: Whetstonian’s Last Days? / The Mural of Walter Whetstone’s Life

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Blackburn House

golden ratio

NOTE: This was written by Tim Gilmore, not me. I like it and wanted to share it.

by Tim Gilmore, 10/2/2016 In 1941, the house stood square, wooden, and “in true,” as its carpenters proclaimed their work. Two bedrooms, one bathroom, 1100 square feet, and the reticulated longleaf…

Source: Blackburn House

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I’ll be sharing a reading venue with Grant Kittrell on November 12, 2016 at The Mazer, in the Park & King Street area! Come out and hear us! We each will do three readings, taking turns, from 3:00 PM to 6:00, which give you time to have drinks, food, and walk around to some of the other venues.



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Contemporary Reviews of Bram Stoker’s Dracula

Dracula first edition

(First Edition – Archibald Constable and Company, 1897)

I’ve been perusing and enjoying The Bela Lugosi Blog all afternoon. I just discovered it today and highly recommend it to anyone interested in Bela Lugosi, Dracula, horror films, or film and television in general. 

Here are some reviews written about Bram Stoker’s novel, Dracula, when it was first published in the UK in 1897 and in the US in 1899. Fun reading, and interesting.

The Daily Mail, June 1, 1897


It is said of Mrs. Radcliffe that when writing her now almost forgotten romances she shut herself up in absolute seclusion, and fed upon raw beef, in order to give her work the desired atmosphere of gloom, tragedy and terror. If one had no assurance to the contrary one might well suppose that a similar method and regimen had been adopted by Mr. Bram Stoker while writing his new novel “Dracula.” In seeking for a parallel to this weird, powerful, and horrorful story our mind reverts to such tales as “The Mysteries of Udolpho,” “Frankenstein,” “Wuthering Heights,” “The Fall of the House of Usher,” and “Marjery of Quether.” But “Dracula” is even more appalling in its gloomy fascination than any one of these.

We started reading it early in the evening, and followed Jonathan Harker on his mission to the Carpathians with no definite conjecture as to what waited us in the castle of Dracula. When we came to the night journey over the mountain road and were chased by the wolves, which the driver, with apparently miraculous power, repelled by a mere gesture, we began to scent mystery, but we were not perturbed. The first thrill of horrible sensation came with the discovery that the driver and the Count Dracula were one and the same person, that the count was the only human inhabitant of the castle, and that the rats, the bats, the ghosts, and the howling wolves were his familiars.

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The David Roberts Interview

Crawfish of Love Septober Octember

No one knew what to think when we first saw a band called the “Crawfish of Love.” The stage was strewn with surreal artwork, a manikin head, several TV sets turned on to random channels or static, guitar amplifiers, drums, and five musicians that looked like they were conspiring mischief among themselves.

Andy King on bass and Scott Sisson on drums were such a formidable rhythm section that they were, and still are, often sought out to work as side-men for other bands and recording artists. Pat Ogilvie was lead guitarist extraordinaire. I remember after one fiery, tone-perfect, feedback-fueled guitar solo, Dave Roberts proclaimed from the stage, “Pat’s been listening to Blue Cheer!” Pat, too, has been sought by area band leaders who need a professional guitarist. The Crawfish line-up varied from time to time. I remember some impressive acoustic guitar fretwork by Steve Pruett at some of the Applejack’s gigs. I’m told that Michael Pearson played some swirling, spiraling electric guitar at some shows I didn’t get to see.  Brian Barr spiced the music with bongos, chimes, maracas, and other percussion. In his tie-dyed shirts and long blond hair, Brian looked like a surfer bohemian straight from 1967 San Francisco.

David Roberts

David Roberts – late 1980s or early 1990s

David Roberts

David Roberts circa 2012

The band was always evolving and full of surprises. On one hand, they were top-notch musicians. Their musical bag included rock, jazz, reggae, and folk. But they also did weird stuff. How can I describe it? Between covers of Minor Swing by Django Reinhardt or I’ll Sleep When I”m Dead by Warren Zevon, the the Crawfish sprang songs on us about a living inside of a green bell pepper, or the Creature From the Black Lagoon looming toward you on Little Talbot Island, or “singing through bread” with actual slices of bread on stage to sing through. Some people I brought to see their shows didn’t like it. They didn’t get it. Among those of us who liked it, there was no need to explain. And there were a lot of us who loved it. At a Crawfish of Love concert, people from all around who had never met each other could share their taste for, not only good music, but a bizarre experiences. Sometimes they headlined shows, other times they became the back-up band for some big-name performers. We’ll talk more about that later in the following interview I did with the Crawfish of Love band leader David Roberts::::

Bill: I remember you telling me that one of your influences was the “cut-up” writing technique used by William S. Burroughs and Brion Gysin.

Dave: What I liked most about the Burroughs Cut Up stuff was the absurdity and nonsense of the word flow. I know Burroughs, Bowles, and the others thought eventually the cut ups lead to profound mystical messages but I never had that experience. I’ve just always been tickled by human voices speaking in normal voice tones saying things that violate all rules of syntax. Actually, more than the Burroughs cut ups I was highly influenced by the speech patterns of schizophrenics, particularly undifferentiated schizophrenics, to which I was exposed during viewing training films and doing my internship to earn my master’s degree in psychological counseling from the University of North Florida in 1978. I interned at the old University Hospital Mental Health unit on 8th street and we saw a daily flow of fresh schizophrenics. They speak in a pattern called “word salad,” which really is almost impossible to ad-lib. I was also influenced by the old party game called “Bloopers” where you would fill in a story full of blank spaces with words you had chosen prior to seeing the story. They came printed on pads and there were several series of them. The pre-chosen words sometimes led to hilarious sentences. This goes way back to the late ‘60s and early ‘70s. I’ve also always been able to hear the taste of food in words since I was about 5 years old. For example, the word “example” tastes like the meat filling from Chef Boyardee’s canned ravioli. The word “work” tastes like oatmeal cookies and coffee to me. The word “tape” tastes like butterscotch. Not all words make me taste tastes in my mind. The word “computer,” for example, doesn’t taste like anything but there is a certain “orange” smell to it. I was thinking these thoughts long before I knew who Burroughs was. But I guess the streak of urban discomfort and darkness in my stuff is most greatly influenced by Burroughs sidekick junkie raconteur Herbert Huncke. His book The Evening Sun Turned Crimson from 1975 is the ultimate account of the underbelly of the beast. Look for that one on E-Bay if you can find it. It’s the book Jim Carroll wished he could’ve written. Huncke led the life Carroll tries to capture in his vanilla trust-funded accounts of addiction.

Bill: Your CD, Septober Octember, seems to mythologize North Florida the way Faulkner did with Mississippi, Tennessee Williams with New Orleans, or Jack London and Robert Service did with the Yukon. It’s also got some very funny moments.

Dave: I wanted the CD to reflect the geography of North Florida more than mythologize the region or it’s people. I wanted the slow syrupy water from the swamp-water runoff mud trail. I wanted the heat from a moonless 2 a.m. August moment staring across Trout River at Jackie’s Seafood. I wanted the decayed horseshoe crab shell placed on my head like a helmet while standing in the dunes at Talbot Island…not up to anything in the dunes…just standing. And yeah, sure, there’s Winn Dixie stuff on it too but it relies on the things one might see out of the corner of your eye around here while looking at something else. Like you’re looking ahead at a carousel in the forest but you find yourself noticing the bandannas lying along the edge of the soccer practice field next to the forest…really more interested in the bandannas than the carousel. Septober Octember is not meant to be a comedy CD at all. It’s meant to help you smell the beauty in the vapor coming from a small pot of macaroni as the ice cold wind blows and mixes the vapor into your nostrils blowing across a highly-polished wood floor in a Riverside apartment. It calls to those times in my life when I could pay attention more to the edge of tape grass on a February swamp bank than to a trailer full of lawn mowers following me constantly draining what’s left of my zeitgeist like little gas-powered Draculas. Septober Octember was my celebration of stuffing and gravy, new green onions in the spring, and the weird Gideon’s Bible Dr. John holds on the cover of his seminal 1969 album, Babylon. Recording it was an absolute joy.

Bill: Didn’t you follow the Grateful Dead on tour one summer?

Dave: No. I have a bunch of friends who did, though. Indeed, I was and to a small degree still am a Dead fan, but no, I couldn’t stand to do something like that. The Dead could be disappointing sometimes in concert, particularly toward the end when Garcia was consumed for the umpteenth time with drugs. I also resented the “rules” of the Deadhead world, a supposed “free thinking” group of folks who have very strict rules for behavior, appearance and comportment. But, to be sure, between the years of 1968 to 1995 I was a major appreciator of the Gratefule Dead’s improvisational excursions on their “space” instrumental passages. I was actually consumed by their music from 1973’s Wake of the Flood album up through the last days of the performing Crawfish. I would go running in those days with 90 minutes of Dead on my Walkman and Crawfish shows started to get very Dead-like due to that subconscious influence. Andy King complained about it back then. I disagreed with him then but now I think he was right. When I listen to Crawfish tapes circa 1988 up to the end in 1998 it does sound too Deadish. It kind of ruined the originality thing we debuted with in 86 and 87, probably the heyday of the Crawfish. I remember you up on stage with us at Applejack’s in 1987 singing Let’s Cook the Dog, which I think was your tune. Those were the early days when I had a clearer vision for the band.

Bill: Dave, you’re a teacher. What’s the deal with algebra? I mean, who uses that stuff except people going into science or engineering? Why can’t it be an elective?

Dave: Algebra requires 3rd-level intellectual thinking because it utilizes the problem-solving areas of your brain. Humans hate algebra for the same reasons that humans hate physical exercise…it’s hard, not fun, requires dedication and actually calls for increased challenge. Also, third level operation increases the likelihood for failure and humans fear failure. But the fact is, utilizing this third level of the brain ( called “application” by the way ) forces the brain to function in ways, problem-solving ways, that “pave the way” for future problem solving, and not just in mathematics. You need experience in third-level cognition in everything from changing a flat tire to performing a delicate surgery. It’s like a mental workout for future needed performance the same way that physical exercise prepares one for future needed performance. Algebra is good.

Bill: Well, fine, then. Now that you put it like that…okay. Let’s get back to music. You guys have managed to play with some legendary performers. Tell me about working with those big-time collaborations.

Dave: By “big-time collaborations” I guess you mean the seven shows the Crawfish of Love did between 1996 and 1998 with three of the San Francisco psychedelic Haight-Ashbury luminaries: Gary Duncan from Quicksilver Messenger Service, David LaFlamme from It’s A Beautiful Day, and Sam Andrew from Big Brother and the Holding Company. They were all wonderful and they were all horrible and every shade in between. The Crawfish burned with such intensity of devotion and discipleship in learning and performing the repertoires of all three bands that I’m afraid it burned us up. I did all the financing and lost a small fortune, so that ultimately is the strongest stamp it all placed upon me. Yeah, it was great to play with those guys on a certain level, but what I went through to do it was enough to cloud over the fun. Now, if someone else was paying for it all I could’ve enjoyed it more. My mood and level of crap I was willing to take steadily disintegrated from the first gig with Duncan up to the point where when Sam Andrew showed up to do his shows with us in 1998 I wanted absolutely none of his shit and before long he and I were not really on speaking terms, although technically the Sam Andrew shows were the best of all. He was real hard to deal with and I was real hard to deal with too. I had had it at that point with egos and temperaments and I could tell people had it with mine. We all felt relief when those gigs were over and it really was the end of the Crawfish. Pat (Ogilvie) didn’t even play the Sam Andrew show anyway and if Pat isn’t there it can’t really be a Crawfish gig to me. At that point, in 1998, we were invited twice a year to play Beth and Randy Judy’s Magnolia Fest and Spring Fest on the Suwannee River and Pat and I decided to scrap the group and play acoustic tunes from our 1973 repertoires. It was a period of great cleansing and refreshment to both of us and we formally stopped playing any gigs except the festivals. We developed quite a little following using the Crawfish of Love name but not doing Crawfish material. We turned our backs on it. We recorded what we felt was as perfect a CD as we could record in Septober Octember. It was just what we wanted. No need to do it again. We also hated playing music in bars late into the morning hours so we just went with the festival gigs. We were invited to play the festival up to 2002 and then we stopped getting invited. So our course had been run and now we exist only on the most special occasions. We did reunite the original band last August at Brenda Walker’s Chinacat Festival and played a set of the original 1987 Applejack’s repertoires. It went over well with the hippies old and young and it was great fun but it was enough to keep me satisfied for a long time.

Bill: Would you ever consider more Crawfish of Love concerts?

Dave: The only gigs I really miss are the Magnoliafest and Suwannee Springfest gigs. I loved playing under those mossy oaks lining the Suwannee River. I would gladly reconvene the Crawfish under any format to play on the Suwannee again. But basically, I dislike playing music in bars late at night hanging around a bunch of drunks and drug users and cheaters and club owners and managers and band members who can’t make it tonight and all the absolute shit that goes with trying to play music on this very low rung in which I abide. To me the biggest names I’ve played with are Scott Sisson, Steve Pruett, Andy King, Pat Ogilvie, and a couple more.

Bill: I need to get a petition started. “Bring the Crawfish back to Magnolia!” Seriously.

Some of his former students from Terry Parker High School with David Roberts (front & center with black shirt)

Some of his former students from Terry Parker High School with David Roberts (front & center with black shirt)

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An Interview with Sohrab Fracis

Sohrab Homi Fracis

This interview first appeared on Literary Kicks, September 8, 2011

“Imagine you have a friend named Rob,” says our instructor at the University of North Florida Writer’s Conference. “If you want to ask your friend a question, you might begin by saying, ‘So, Rob…’ and that is how to pronounce my first name.”

Sohrab Homi Fracis (“Fray-sis”) is the first Asian writer to win the prestigious Iowa Short Fiction Award. He received it in 2001 for his collection of short stories, Ticket to Minto: Stories of India and America, published by University of Iowa Press. He resisted advice from publishers to combine the thematically related stories into a single novel, which they thought would be easier to sell. Fracis believed passionately that the stories stood strong and worked best as they were.

“And I was proven correct,” he says.

India Magazine calls the book, “Stunning in its breadth and scope of language and description … a fresh voice in South Asian fiction,” and adds, “One can grow tired of Rushdie wannabes, mother-in-law stereotypes, and village parodies. Fracis’s writing is brutally honest, exposing sinew and nerves and getting at the heart of the matter.”

Lenore Hart, author of Waterwoman, says Ticket To Minto “evokes the snaky path to adulthood, exposing all those hitchhiking demons at the intersections. From Caulfieldesque schooldays in Bombay, to assimilation amid the seductive consumerism and residual racism of American culture, a powerful, serio-comic look at two worlds, inside and out.”

Sohrab is currently writing a novel called Go Home, which he says he has been pitching to publishers as “Jhumpa Lahiri’s The Namesake meets Kerouac’s On the Road”. An excerpt from the novel, published in Slice Magazine, was nominated for a 2010 Pushcart Prize. Another excerpt appeared in South Asian Review.

Sohrab Homi Fracis was born in Mumbai (then called Bombay), India. He first studied engineering, then computer programming, then became a systems analyst, which brought him to the United States. He went back to school for an M.A. in English and creative writing at the University of North Florida in Jacksonville. He taught literature and creative writing at this college from 1993 to 2003, and is now retired from teaching except for his participation as an Instructor for the annual University of North Florida Writers Conference. A few months ago, I went to an open-mic prose and poetry reading at one of Jacksonville’s most popular independent bookstores, Chamblin’s Uptown. At that time, I knew nothing of Sohrab and his awards, but his reading of a selection from Ticket To Minto motivated me to buy the book. I enjoyed every story, and a couple of months later attended the UNF Writer’s Conference.
Sohrab’s Critique Workshop was, for me, the educational highlight of the experience. The man is serious about the craft of writing, somehow amiable and intense at the same time, and reads aloud with an agreeably expressive resonance. One student said, “He reads like Paul McCartney sings.”

I didn’t want to wait another year to ask him questions, so I arranged to interview Sohrab for Literary Kicks.

Bill: The ending of your book’s title story, “Ticket to Minto”, left me unsure as to how I felt about the aggressive actions of the Mintoan students. The uncertainty was a not altogether unpleasant, but rather felt akin to the enthusiasm I felt as a teenager for movie anti-heroes like motorcycle gangs and western gunfighters. Did you intend to elicit this feeling?

Sohrab: I didn’t mean to portray the Mintoans as anti-heroes (though I’m fine with your reading/experiencing/enjoying them that way), so much as almost ridiculously complex men: excessively polite and generous under certain circumstances, but crude and murderously violent under others. As a result, the story’s narrator is ambivalent about them, and in conveying the story through his perceptions, I do intentionally impart that ambivalence to the reader and a strong sense of their complexity. At roughly midpoint of the story, the reminiscing narrator says of the Mintoans, “Something in me has always said that if I could understand them, I could understand myself; if I could understand them, I could understand our country in all its callow bombast and hoary wisdom; if I could understand them, I could understand the world.” He’s getting at that wide-ranging complexity in the central clause, and extending  it to all of us. Underneath our socially constructed veneers, we’re genetically and biochemically complex creatures, capable of a wide range of characteristics in response to the relevant stimuli (short-term and long-term). I used to say to my lit students at University of North Florida: “Show me someone you think is ‘a simple man,’ and I’ll show you that still waters run deep. Show me someone who thinks of himself as a simple man, and I’ll show you someone who’s deluding himself.” That goes for women too, of course; I was just bouncing off the commonly used phrase.

Bill: What are some projects you worked on as a computer programmer?

Sohrab: Let’s see, I first programmed in Bombay, India, for an overseas Swiss project, before Bombay was renamed Mumbai and outsourcing was even a word. Next, I was contracted to HON, a Fortune 100 office-furniture manufacturer in Muscatine, Iowa, which would later become the setting for my story, “The Mark Twain Overlook.” The name of that scenic point overlooking the Mississippi stuck in my head long before I became a writer. Then I was contracted to Ford, in Detroit, coding for the Plymouth
Assembly Plant. That later gave me the settings for a couple of stories in Detroit. And finally, I developed systems here in Jacksonville, Florida, including an online system for the School Board. Soon thereafter, like the aspiring writer in “The Mark Twain Overlook,” I “left the writing of code to go write my own stories.”

Bill: Does India have any fiction genres not found in America, or conversely, are there genres in America that you rarely or never find in India?

Sohrab: Well, there are the ancient Indian epics, in particular the Mahabharata and the Ramayana, but others as well, from an oral storytelling tradition, originally, and transcribed first in Sanskrit, I think. That’s a fiction genre not to be found here (and one that can no longer be created), unless there are American Indian epics (not just the briefer, separate legends) that I’m not aware of. Even if there are, the difference would be that almost every Indian knew those culture-molding stories, so they were common
fiction ground easily referenced in any conversation or story, as in my story “Matters of Balance,” which plays off the Mahabharata. Also, there’s Indian fiction in various indigenous languages: Hindi, Bengali, Gujarati, Tamil, etc.

In Campion School we read some Hindi stories as well as English, though mostly the latter. I believe that early multilingual experience helped my writing ear. There again, most of America reads and writes in only one language, English. I think experimental fiction, where form takes priority over content, may be a genre as yet unexplored in Indian fiction. But it seems to be a dead or dying genre, now.

Bill: How do you see the role of literature in bridging gaps between different cultures?

Sohrab: It’s hard to tell the degree to which it does that, without a study through surveys, etc. Clearly, it has done so to some degree, and continues to do so, but I think the way it does that has been undergoing a change. Used to be that, wherever we were from, we’d come to know about, say, the Russian or French cultures through reading their respective stories, often in translation, about Russians interacting with other Russians in Russia or the French interacting with other French men and women in France. And they in turn would read stories about us interacting with our fellow Americans or Indians or Englishmen, as the case may be, and they’d learn about our cultures that way. So the literature wasn’t about characters bridging cultures, just about characters immersed in separate cultures. Whereas now, more and more, we have international or global or, as I like to call it, cross-national stories about, say, Jamaicans and Pakistanis interacting with Englishmen in England, as in Zadie Smith’s White Teeth. And the multinational characters are themselves in the process of trying to bridge the cultural gaps between one another.

Take that a step further and we have such stories taking place in more than one national setting, even across the continents. I discussed this as visiting writer in residence at Augsburg College, Minneapolis, in a 2004 craft lecture on “Multiple Sense of Place in Contemporary Fiction,” as opposed to the traditional strong single sense of place exhibited by, say, William Faulkner. The more our lives play out globally in this age of globalization, the more our literature will reflect that global setting. So the subtitle of my
collection is “Stories of India and America,” reflecting an alternation between the two countries all the way. The novel I’ve been working on, Go Home, which gets its name from a phrase yelled at foreigners in the aftermath of the Iran hostage crisis, features an Indian character of Persian origin in America searching for his place in the world.

It would be interesting to track the roots of this expansive international literature: colonial literature, such as E. M. Forster’s work, expat writing, such as Hemingway’s, and postcolonial lit, such as V. S. Naipaul’s and Jamaica Kincaid’s, all come to mind. Of course, war stories, inherently cross-national, go back all the way to the ancient epics: Greek, Persian, Indian, Irish, British. But they weren’t exactly bridging cultures.

Bill: How did you receive the “Most Beautiful Books” award?

Sohrab: When my book’s German translation, Fahrschein bis Minto, was released at the Frankfurt Book Fair in 2006, it was selected to a list of fifty “Most Beautiful Books” of the year. As far as I know, that was quite literally meant as an award for the artwork and design of the German edition at Mitteldeutscher Press, not anything to do with the book’s content. Funny story, though: the cover design etc. at first had been quite different, more humorous than artistic, to go with a new title they’d envisioned: Minto Hostel.
Apparently, that was meant to ride the wave of popularity of a movie called Hostel. But when I explained to my translator-editor Thomas Loschner at Mitteldeutscher that Ticket to Minto functioned as a metaphor for the reader’s passage to a destination straddling East and West, they went back to the original title and redesigned the cover.

Bill: What was it like reading at the Zoroastrian Association in Houston, Texas? What year was that?

Sohrab: It was a great event! The year was 2003. The ZAH had recently built and opened its lovely new cultural center, and the event was part of an inaugural series. I reunited with old friends, who put me up for the weekend. There was a nice buildup, with a reading at the River Oaks Bookstore the evening before and an interview on an Indian radio show, “Music Masala,” in the morning. As a result, the center’s reading room was packed. I read “Holy Cow,” a story about Parsi characters in Detroit, then fielded some
great questions and signed a bunch of copies. All of that, and I got to see a great new city too.

Bill: You write about tennis players — do you still play? Have you won any tennis championships?

Sohrab: I had to stop playing tennis years ago and turn to table tennis, because of chronic tendonitis in my playing arm. Though I played inter-collegiate tennis briefly in India, it came second to inter-varsity badminton, where I captained my college team. The only tennis tournament I remember winning was the inter-hall tournament at IIT. My sporting accomplishments were modest, all at a college or city level. But I came from a sporting family, as I describe in a piece about my late father, “Flicker Fracis is Alive,” for
FEZANA (Federation of Zoroastrian Associations of North America) Journal. As I wrote in there, “it enriched my life,” and “my stories would reflect [my father’s] love for sports, a love he passed on to me.” Though only peripheral to a few stories, sport was a rich field to mine for metaphors about the game of life.

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