A Common Pornography Part 12

This is a photo of our family home on Washington Street. I think the pillars on the front porch make it look more fancy that it really was.

Both of these photos are of Elinda, first as a little girl (probably around 1950) and the other when she was thirty-six

Matt towing me along in something that looks kind of dangerous. I'm always a little surprised when I see photos of me at this age because I look really chubby.

Dad when he was younger. I always thought he looked a little bit like Woody Allen. (Photo partially burned in fire.)

Me with my friend Todd playing air guitar with crutches.

Matt with the big teenage 'fro.

Two photos of Mom, first as a beautiful young woman in the '40s and the other reading TV Guide TV Guide in the '90s. You can see why we called her "Fuzz." in the '90s. You can see why we called her "Fuzz."

When I was home for Dad's funeral, I found a couple of photos of our house on fire. It was so odd to find these. They almost look fake. Notice the early-'70s ambulance and the gawkers.

My dog Scooter at ten months old. Note the Cardinals sticker on the door.

Matt with his awesome green Kawasaki bike. He was the envy of the neighborhood.

A photo of the ceiling as we began installing it. This would become my favorite hiding place for p.o.r.n.

This is one of those photos you find twenty years later and say, Oh my G.o.d! Oh my G.o.d! I believe this portrait of some of the Tri-Cities New Wave crowd (circa '86) was taken at a dance somewhere. I'm in the back row, with the dangly earrings. I believe this portrait of some of the Tri-Cities New Wave crowd (circa '86) was taken at a dance somewhere. I'm in the back row, with the dangly earrings.

These are liner notes from a Neon Vomit ca.s.sette. I still have the tape if anyone wants to hear it.

Random note I found in one of Dad's boxes after the funeral. It reads: I am a Catholic. In case of accident please call a priest. Thank you. I am a Catholic. In case of accident please call a priest. Thank you.

Me (left), Stephen (middle), and Vince (right) on the Oregon coast. A pit stop on our drive to Arkansas.

Read on Future Tense Books A Timeline of My Micropress

1990: I make my first chapbook of poetry at the age of twenty-three while living in Spokane, Washington. I t.i.tle it I make my first chapbook of poetry at the age of twenty-three while living in Spokane, Washington. I t.i.tle it Words of Eternal Chaos Words of Eternal Chaos and use the image of an old-fashioned telephone for the cover art. On the back, I decide to put and use the image of an old-fashioned telephone for the cover art. On the back, I decide to put Future Tense Press. Future Tense Press. Not knowing much about small-press publishing or zines at that time, I am more inspired by independent record labels such as Sub Pop and K Records. Not knowing much about small-press publishing or zines at that time, I am more inspired by independent record labels such as Sub Pop and K Records.

1991: Using a friend's employee discount at Kinko's (and an electric typewriter), I produce three more chapbooks of my poetry (mostly sold at open mics at Auntie's Bookstore) before moving to Fort Smith, Arkansas. Using a friend's employee discount at Kinko's (and an electric typewriter), I produce three more chapbooks of my poetry (mostly sold at open mics at Auntie's Bookstore) before moving to Fort Smith, Arkansas.

1992: I decide to return to the Northwest and choose Portland, Oregon, as my new home. I start reading around town at open mics (Cafe Lena, Jiffy Squid) and meet other writers to publish. I buy an espresso cart business with my Arkansas girlfriend, and we call it Espresso Happening in tribute to my favorite band, Beat Happening. I decide to return to the Northwest and choose Portland, Oregon, as my new home. I start reading around town at open mics (Cafe Lena, Jiffy Squid) and meet other writers to publish. I buy an espresso cart business with my Arkansas girlfriend, and we call it Espresso Happening in tribute to my favorite band, Beat Happening.

"Using a friend's employee discount at Kinko's (and an electric typewriter), I produce three more chapbooks of my poetry.

1993: After the death of River Phoenix, a few friends and I write some poems to celebrate the young actor's life. We turn it into a small zine called After the death of River Phoenix, a few friends and I write some poems to celebrate the young actor's life. We turn it into a small zine called Dead Star. Dead Star. For the next couple of years we make issues for John Candy, Charles Bukowski, John Wayne Gacy, and Elizabeth Montgomery. It's the thing I get the most mail about during this time. For the next couple of years we make issues for John Candy, Charles Bukowski, John Wayne Gacy, and Elizabeth Montgomery. It's the thing I get the most mail about during this time.

I also get my first computer and P.O. box.

1994: I self-publish my first paperback, I self-publish my first paperback, How to Lose Your Mind with the Lights On, How to Lose Your Mind with the Lights On, a collection of poems, collages, and stories-128 pages, 500 copies. It is dedicated to my son, Zach, who is born in July. a collection of poems, collages, and stories-128 pages, 500 copies. It is dedicated to my son, Zach, who is born in July.

Another paperback release, by performance artist Drew Pisarra, comes out a few months later.

1995: At a local cafe called Umbra Penumbra, I start the Future Tense reading series for writers I publish and other friends. At a local cafe called Umbra Penumbra, I start the Future Tense reading series for writers I publish and other friends.

1996: My first stab at a themed collection, My first stab at a themed collection, The Diner Anthology, The Diner Anthology, is released as a chapbook and includes an array of '90s small-press stars. is released as a chapbook and includes an array of '90s small-press stars.

1997: I publish a collection of poems, I publish a collection of poems, Jesus Christ: Live and In the Flesh, Jesus Christ: Live and In the Flesh, by "queen of the small press," Lyn Lifshin. by "queen of the small press," Lyn Lifshin.