David Boles

Welcome to KDVS 90.3 FM in Davis. My name is Dr. Andy and this is Dr. Andy's

poetry and technology hour. Thanks very much for tuning into your local campus

and community radio station on a Wednesday afternoon or whenever you're listening.

Many of you at home are saying sure Dr. Andy but where's the theme music? We

need theme music. If it's going to be a public affairs radio show, we need some

John Scofield. Here he comes.

So smooth. John Scofield on a summer afternoon. Oh, did I say summer? Look at the

calendar. It's the 18th of March. Technically, it's still winter but not here in

Davis. High of 88 degrees today. Traffic and weather at the top of the hour.

Traffic very pleasant walk on the way to the radio station from South Davis

today. Welcome to Dr. Andy's poetry and technology hour. Here on this radio

show, we feature interviews with interesting people, creative professionals,

people who have made a commitment to the arts, often the literary arts.

Typically poets but also pundits, prognosticators, people who care about

literacy, about artistry, about creativity, about acts of synthesis. Sometimes we

have publishers on the show. Sometimes actors, directors, choreographers, musical

directors, contact jugglers. If it's something unexpected, surprising, if you're

yoking together, two ideas as different as poetry and technology, well then this

is the radio show for me. You are welcome. My name is Dr. Andy and I've been

hosting this radio show for the last 25 years. Yes, it's true. A quarter century.

My radio show is older than just about all of the students that I teach here at

UC Davis. How long have I been teaching here 36 years? That's too many years

Dr. Andy. You don't sound old enough to have been teaching for 36 years at the

same university. How many presidents is that? It would take me a while to count and

you don't want to hear it. So let's move on to poetry and technology. Dave

Bowles will be my first guest on the radio show. Dave Bowles has worked as a

publisher, a writer and a designer. He's got a new book of poetry just published

at the end of last year titled fourth floor paranoia depression and other

states of mind. He'll be the featured reader tomorrow evening at Poetry Night

Reading Series. That happens every first and third Thursday at the John

Netsulis Gallery. 521 First Street here in the city of Davis details at Poetry

and Davis.com. You can see a picture of Dave Bowles. His beard is longer than

mine. He's wearing an excellent top hat. Let's bring back the top hat, shall we?

We'll hear more about Dave in a moment. In the second half of the show, I'll be

sharing an original essay titled What the Dead Wanted for in the Morning.

Recently published on Eager Mondays. It's the name of my substack. You can find it

at AndyJones.substack.com. That's a free service. We'll also have some recorded

poetry in the second half of the program. Both my son and daughter are picking me

up at six o'clock. We're heading over to our favorite Second Street restaurant to

enjoy an outdoor meal together. High eighties in mid-March. Welcome to climate

change. My name is Dr. Andy. We'll be back in a moment with the poetry and some

conversation with Dave Bowles here on Dr. Andy's poetry and technology hour.

Stick around.

Welcome back, everyone. To Dr. Andy's poetry and technology hour on KDVS 90.3FM,

Davis. Dave Bowles is my first guest on the radio show and we're happy to have him back.

Dave Bowles has worked as a publisher, a writer and a designer since 1982. He has

founded the Alternative Literary and Visual Magazine Primal Urge. He created Cold River Press

in the early 1990s to promote regional writers and artists. He's published, designed, edited,

and written numerous books, magazines, articles, and periodicals, including the successful yearly

anthology voices. One of my favorites. We have a number of copies from over the years

in my home. His publications, editorials, writing, graphic design, and artwork of one numerous

awards. And he has published such writers as D.R. Wagner, A.D. Winons, Charles Plymail,

S.A. Griffin, Ben Hyatt, Allegra Silverstein, Tim Call, Susan Kelly-Tewitt, and many others.

His brand new book of poetry, published late last year, is titled Fourth Floor, Paranoia

Depression, and Other States of Mind. He'll be our featured poet tomorrow evening, the 19th

of March at the Poetry Night Reading Series, 521 First Street. That is the Jonathan Zulus Gallery

here in the City of Davis. All are welcome to this event. Dave Bowles, welcome back to Dr. Andy's

Poetry and Technology Hour. Thank you, Dr. Andy. Great to have you here. And congratulations on your

new book, Fourth Floor, Paranoia Depression, and Other States of Mind. One would immediately wonder,

are there other books referring to the first, second, and third floor, or did this title emerge

perhaps from a line from one of the poems found therein? No, actually the title emerged of,

it's crazy as it is, when I worked at Napa State as a psychiatric nurse, I wrote most of these

poems during that time frame in the early to mid 80s. It wasn't until I moved to Sacramento,

and then I went with my then wife to a custody hearing with her ex-husband in the old Sacramento

courthouse downtown. And of course, you know, with custody hearings and family court, it's a very,

very nasty place to be. Right. And it was on the Fourth Floor. And so the imagery, the trauma,

the unpleasant experiences, and perhaps the echoes of your time working as a psychiatric nurse.

They all came together in your latest book, Fourth Floor Paranoia Depression and Other States of Mind.

Yeah, I had collected all the writing, and I just could not come up with any type of a title until

I hit that fourth floor. And it was, it was a jolt. I mean, really, it was a jolt. I got into the

elevator and said, what floor? And everybody says fourth. And just boom, clicked.

There you go. So, interesting that you were able to like reach into the archive,

to publish this new book, I wonder if you could characterize the differences in your writing habits

and your writing output of when you compare the mid and early 80s to the, let's say, mid 2020s.

Well, I did. It was, most of this book is reflecting on patients I worked with. It's mixed in

with some of my own experiences here and there. As I went further into writing, I got more into

spiritual writing, researching the advanced religions or extinct religions. And then I tied that

in with political writing. And that was my biggest jump right there, where I went from documenting

the, literally, the insanity of psychiatric hospitals with the political insanity that is still

with us today. And so, and with regard to your own writing habits, do you set aside time

in the morning? Do you wait for inspiration? Do you continue to work like as a professional

wood or you're seeking to have a certain number of hours every day behind the desk? How does that

creativity manifest itself for you these days? Well, I've tried all the different ways you just

mentioned. They all have equal pluses and minuses to it. I am not a tremendously structured

individual. So, if you tell me I have to sit somewhere, the first thing I'm going to do is stand.

And that, that's just me. So, I have found something enters into my brain. It could be a word.

It could be an image. It could be a scent that I smell in the air. And it just triggers.

Go right. And as I'm writing the poem, then I refine it. That's grown from that stage to just

get it out and worry about editing later. And that's that's served pretty well for me.

That's great. And so, and from our previous conversations, I know that you're always reading as well,

reading submissions, reading favorite authors, keeping abreast of what's going on in the political

world. And I'm sure that all that input probably shapes your process or offers

inadvertent influences as well in what you produce.

It does. In the 80s, I discovered Jung and Synchronicity and causality and zeitgeist and all that

wonderful stuff. And I really went in depth and exploring that. That's why I started primal

urge. Primal urge had no theme. I just let it happen. In some ways, I still do that with voices.

There are no real strict rules with voices. I do throw out a theme each year. This year's

theme is, I forgot what it is already. This year's theme is skyscrapers, dolphins, and evolution.

But, you know, if somebody sends me a really good poem or a piece of fiction, I'm not going to

turn it down. That has sustained me in my life with whatever I'm doing. And I just look for clues

at the University saying, read this book or reread this book. Look at this author. It's really kind

of fascinating to me. Absolutely. Dave Bolz is my guest today on Dr. Andy's poetry and technology

hour. He is the founder of primal urge and cold river press. At some point, Dave, you said, well,

I'm enjoying doing all of this writing that I'm doing, including for other people's magazines,

books, anthologies, et cetera. When did you know that you wanted to found your own press,

which became Cold River Press? My first press was actually Neural Impulse Publications.

And that's what I developed in 1982. And I kind of did it. I hate to use the word hottie press,

but I mean, that's kind of what it was. I was going to school, working on two different

advanced degrees. And just I didn't have time to focus on it. When I got into the late 80s,

89 and 90, I changed Neural Impulse Publications to cold river press. I bought a house out in

Rancho Cordova right on the river. And I don't know if you ever know, it ends the American river.

I have many times. And that's a cold river. Very cold river. And it kind of reminded me of when I

first moved up here from LA in 72, I jumped off the rainbow bridge in Folsom. That's what all the

high school kids did. Right. And the first time I hit that water, as I hold my God, that's a cold

river. It always stuck with me. So from that point on, I had corporate clients. I was working for

higher. You know, I had long ago given up awards and certificates. I needed money so I could

feed my family. Right. And that was cold river press because nobody understood what Neural Impulse

Publications meant. And cold river, it's an homage to the part of Northern California,

where we live. And then the bracing images as well, that we find in many of the poems in

the publishing. It's more than that, though. And Andy, I don't need to interrupt you, but I want to

get this out. Sure. So I started with the Macintosh Revolution in 84. I worked very, very diligently

with electronic publishing. I helped create a lot of things back in the day and was really looking

forward to moving into the electronic age. So cold river press also is the electronic format.

And long before we have what we have now, there was nothing. You know, my first magazine primal

urge was done on an Osborne computer and transformed through word star into Apple Plus.

And that's how I printed out my type setting. So it was the cold river of electronic data

that I was getting into. And then I got heavily into illustrating with Photoshop and all the other

wonderful things that are out there. And this was all back in the early 90s when it was still

basically just a baby. Absolutely. Dave Bulls is my guest. I think people at home, Dave, are hoping

to hear some examples of your work. Perhaps a poem from fourth floor Paranoia Depression and

other states of mind. Do you have something there you can share with listeners? Sure. This is an

older poem. This is kind of fun. This will give you a date of it. The title of the poem is called

Pop Tarts in Reagan. So Ronnie was in power at the time. Pop Tarts in Reagan. I dropped the

Pop Tart right on top of the cat. Dog didn't seem to mind. Grabbed a corner and fled. Cat chased

after him wanting the whole Pop Tart, the whole in Chalada, so to speak. Reagan speaks to me from

the grave. Reminds me there are eight Pop Tarts to a box. Enough for the dog, the cat, and Ronnie too.

I pour myself another cup of coffee. It's going to be a long day.

There you go. I'm wondering as you reread these poems out loud that you wrote so many decades ago,

what are your feelings about the voice? Do you ever miss the place that you were? Do you feel

that you had wisdom then that you don't have now or vice versa? What are your thoughts about

the voice that emerges in which was guiding these poems more than 40 years ago?

That's a great question. I used to be egotistical enough back then to think that I had a voice,

which of course I don't. In rereading this, it was very difficult to not edit completely.

That was rough. I would have rewritten quite a bit of this now, but that's not when I wrote them.

I wrote them then. With all my publishing, I'm documenting history. So change something down the

road. Again, I don't want the zeitgeist in the time to influence what I wrote back in the 80s

by rewriting it now. So I would say in looking through it, I can visualize the people that I write

about. I can visualize the times that I was going through. That to me is very magical.

It holds true like poppots and Reagan. It's such a silly poem, but if you dissect it,

there's a lot going on there. That's really what I'm after is getting that out there.

That's all the people I publish, that's why I do it. So they can look back in time and look at

this book and say, I did this back then. Absolutely. Well, let's talk a little bit about all the people

that you've published. I mentioned some of the names earlier on. I'm wondering with regard to

Cold River Press, how do you decide which poets, which manuscripts are ready for you to shepherd

into print? Well, no manuscript is ready to tell you the truth, my experience. Even working

with long, long time authors, and they change as it goes along, the flow of the book changes,

and that to me is wonderful. It's a great experience where we're actually putting something out

that it's going to be stored in the Library of Congress. All the work that I publish is cataloged

and stored. So now we're going to do it. We're at the final stage. And that really clarifies

in a lot of people's mind. What I've seen over the years, and it's a little under the

stressing side, to me, tell you the truth, from a small publisher, is people have gone from,

well, for instance, in the 80s, we would print 500 copies because that's what you get

in paper. I don't need paper. I mean, maybe if you used half of that, 250. But most of you were putting

Dave, your sound is cutting out a little bit. I'm not sure if it's your cell or your phone,

but last sentence or two was car blows. Can you hear me now? Now I can hear you.

Yeah. I happen to move. I live up here in the hills. We have terrible reception.

Most of what I see now is people wanting 20 or 30 copies of something. And, you know,

I try to accommodate people for a long time by doing that. And I just simply don't do it anymore.

You know, you either print 100 copies or more, or you do the book with somebody else.

Is it that people are insufficiently ambitious with regard to their own work, marketing their work,

or valuing their work? Very much so. The older poets, people have been around for a while. No,

you've got to go out and sell. I just got through releasing Chris O'lander's book. Chris is a

wonderful poet. Been around for a long, long time. Work with California poets in the school.

Very well known. And he knows that, you know, if you go out here on Facebook and Instagram,

and you say, hey, I got a book by it. Nobody's going to buy it. You need to go out and read. And

then people buy the book. Right. And it's always been that way. Nothing new. You know,

Zoom readings came up, especially during the time of COVID. And that's wonderful stuff for

technology. But, you know, nobody buys books because it's Zoom. And, you know, to me, as a publisher,

I want to sell books to get it out there. Because, you never know when you're looking at your book

shelves and you see a title, I haven't visited that in a while, and you pull it out. I guess you

could do the same thing on a computer. But I'd rather just see it and feel it and open up that book

and say, oh, this is a very fine book, you know, glad I re-read it again. I just don't get that

with computers. Yeah, I think you're right. And I think part of it, as you were suggesting before,

is the idea of the experience of spending time with the poet, hearing the context, hearing

and remembering the poet's words, like supporting the poet, supporting the press, but also really

valuing the rare experience of the poetry reading. And to kind of embrace that opportunity to

commodify the experience and the memories. And then, as you say, to return to it on your own time,

I've read a number of books that have come out of Cold River Press, and I agree with you that

they reward re-reading. And often we need that kind of physical reminder on the shelf to return to

books that were worth our time, the first time around, and continue to be so. As Rapun said that

poetry is news that stays news. And part of what he meant is that you can be rewarded over and

over again from returning to great poems. Absolutely. You know, to me with the internet and with,

well, I see what a lot of people do with the 20 or 30 books. You know, they're looking for the

thing. I got it. I published it. I did this. Well, okay, I get that. But, you know, what's going to go

after the 20 or 30 books? Where's it go? Right. No, it's gone. And so, you know, we have a little

faith in yourself and go out there and hustle and sell. And the next thing, of course, with people

say, well, no, it's money. I always chuckle at that because, you know, somebody asked me once in

an interview, you know, how much money have I spent on publishing since I started? And I chuckle

because I never, I'm not that dumb. I would never take the time to figure out how much money I've

absolutely thrown out the window of the published poets. Right. That's not what I did it.

If you're doing this for money, well, you're in the wrong gig.

All right. So, Dave Balls, tell us about voices. And this is something that others can participate in.

Oh, yeah. Yeah. Voices, voices came across with a sacrament of voices. That's the history of it.

A dear friend, Philip LaRia, had a series at Sack poetry center called sacrament of Voices.

He had come to me after I started my reading series down in Sacramento, 2011, I believe it was,

called poetry with legs. This came at a time where I would return to Sacramento back in 2010.

I was disabled in an accident. And so I had to come back here to recuperate my life back

together. And I decided, well, I might as well publish again locally. Philip had a great concept going

with sacrament of poetry center. And he came to me and said, I want to do an anthology.

At the time, I was doing a magazine called Primalurge still. And I was really looking to do an anthology

myself. So we hooked it up. He said, I'll bring you the people. I don't know how to do anthologies.

Well, I do. Right. So let's join me together. And we did Sacramento voices for a few years before

Philip decided, well, I'm going to retire. And sadly, since he retired, he passed on in a very

tragic accident. And that left me, what do I do with sacrament of Voices? So at the time,

I was reaching out overseas back east. I was being contacted by a number of poets around the world.

And I thought, let's just get rid of sacrament of Voices and colored Voices. And that's what I did.

That's now, yeah, that's, that's, and I get from all over, people send me stuff. It's really kind of cool.

So you've been discovered by a local regional national poets and also poets outside the United

States. So you get to hear many more voices than you then you did before. And I'm sure that

this has helped you think about how to revision Voices because originally, a Sacramento Voices,

you were kind of offering a microphone to the poetry community. But now it seems like you've

got an even more ambitious project that you're shepherding. Yeah, it's really changed over the

years. It's been a very wild ride. I would never have thought this was going to happen, but it did.

For instance, I had a couple of very highly noted Chinese mystical poets. And I published them

in Voices. I gave them a lot of room, especially one in particular. And then they told me I would

send them 10 or 20 copies of Voices. And then China wouldn't allow that anymore. Oh, really?

I, yeah, I'd done. That was the end of that. And so about three years ago, I guess that started

when it was right after, I'm sorry, a little bit more four years. And then no more. They would not

allow it. They got sent back to me. I lost contact. They had last message from one who taught it

one of the universities was I cannot communicate anymore. And that was that was it. And then with

the price of shipping, the hard copies, which were just extraordinarily expensive, ridiculously so.

There's parts of Canada where to ship one of my apologies, it costs 45 dollars. It's ridiculous.

So I developed PDFs and I send out the PDFs for free. I encourage people, please send this to as

many people as you possibly can. I unlock the thing. They can print it. They can read it. They can

share it. And then I still offer hard copies as well if people can purchase. So that's kept

going internationally. But it really is kind of interesting to see the ups and downs that we've

all gone through. Especially since COVID. Absolutely. So am I could you remind folks by when should they

submit some pieces for consideration for the 2026 voices and what what genres I think primarily

of poetry with your work. But I know that one year my wife wrote a series of travel essays

that you published in voices. And so there are times when you diverge from strictly poetry.

Yeah, I do that quite a bit. Those were excellent. That was excellent thing that she did. How

could you not publish it? And I go back to when I was in the Sac City reading things in a poetry class

that wasn't deemed good enough to go into the local little literally thing they were doing at

Sac City. And I was floored. You know, I mean, my God, this is this is really good writing. This is

beautiful. And I still get that today. I get photographs. I get art. I just got I just was sent

a six photos that a lady took that are beautiful of skyscrapers. I would never have thought to do

that. And she did it while they were in different stages of construction. These things are gorgeous.

Right. Yeah, I got to publish that. How can I not? You know, I'm sure other people would enjoy it.

And so that's, you know, I have a loose theme every year. This year's theme is skyscrapers, dolphins

and evolution. People ask me, you know, what does that mean? Well, think about it. You know,

man has come out of caves to build skyscrapers. Right. We've evolved.

You know, and on the cover, I've got, you know, dolphins flying through the air that are all multi-colored.

Well, how does a dolphin fly in clouds? Well, why can't they evolve as well?

Yeah. Maybe they do. We just that we don't know. Those are the things I want people to get out of the box.

Think about what's going on. Especially dolphins. Holy cow, man, this guys are way smarter and we are.

Right. Well, there you go. Dave Bulls is my guest today on Dr. Andy's poetry and technology hour.

He's also the featured poet tomorrow evening at the John Netzulis gallery. I think people would

love to hear one more poem before I let you go, Dave. What's a second work that you'd like to share

with us today? Can I share you a recent one? Sure. Whatever you like. Okay. This is a recent one.

And, you know, I, in fact, it was that one of your readings years ago that I had said,

I'm done with political writing. I'm going to focus on philosophical and religious and stuff and all that.

Well, that got tossed on the wayside a little while ago because there's so much going on in the world

politically and with the wars and everything. So this, this is a current one. I wrote this on March 6th.

It's very current. It's called milk and honey.

Or bombing Iran, destroying their military, annihilating their fleet. Orangeman now says he will

choose their new leader and they all better get in line. Meanwhile, back home in the farm, gas

prices are rising, unemployment too. Several Democrats plot against, well, everything and our

nation's debt rises. Movie stars run their mouths, telling us they're moving overseas and then

they quietly return. Nobody cares. The media tells us Iran's hate us for killing their supreme

leader, leader, yet on the streets of America, there is dancing and celebration. Survivor is airing

season 50, while state lawmakers argue menstrual equity. Homelessness remains an issue, though you

would be hard pressed to find any solutions. DHS has been defended. I still wonder if the

illegals who kill our citizens should at least be made to dig their graves if we're not going

to deport them. We have members of Congress who openly state they hate our country.

It's just another day here in this land of milk and honey.

A poem by Dave Bowles, he'll be our featured poet tomorrow evening at the John Nitsulis Gallery,

521 First Street in the city of Davis. Dave, thanks so much for joining me today on the radio show

and I look forward to introducing you tomorrow evening. Oh, thank you so much. Take care.

Take care. You're listening to KDVS 90.3 FM in Davis. Here's an important message about

donating blood. Keep it right here. We'll be right back with more content and more poetry in a moment.

This is Dr. Andy and we are back. You know what I used to play a lot of, oh, maybe five years ago,

with Scott Joplin. The Maple Leaf Rag from 1899 is a song that you can play without triggering

anyone's concerns about copyright. It's in the public domain. That we'd hear some Scott Joplin.

Well, I read to you from an essay that I wrote today. It's titled What the Dead Want at Four in the

Morning. All right, Scott Joplin, what do you have for us?

What the Dead Want at Four in the Morning by Dr. Andy Jones.

Once when I was going through a difficult time, my dad visited me with great concern on his face.

He asked me why I hadn't turned to him for advice and counsel. I told him that he had died

14 years previously and thus was unavailable. I thought he'd be taken aback by this news,

but he just nodded sagely holding on to my shoulder the way he always did when I was a youth.

When he did that, I couldn't always tell if he was trying to communicate something telepathically,

he was a magician, or if he was just holding me up. My dad directed plays, so he was practiced

at solving problems. He's brought that same attitude to our conversations and my dreams.

My mom has visited a few times since she passed away, but mostly just to check up on me.

Mom loved the company of her sons and she supported us unreservedly, but rarely did she advise us

on solving problems or tell us what to do unless it was to ask for another slits from the refrigerator.

We miss her kindness, her humor, and her irreverence.

Most of these visits take place around 4 a.m. Sometimes living people visit me,

but more often, the dead. My best friend Tito was always 26 when he visits me.

When he first started visiting my dreams in 1993, I kept telling him that I would miss him so much.

Even asleep, I could not fathom the loss. During our reunions these days, Tito just smiles.

Sometimes the discoveries are startlingly wonderful. My son Juki sometimes talks to me in my dreams,

as he did back at about age 2 by age 3, he was done with words.

You see what stirs my 4 a.m. mind, visitation, memory, and whatever inward unrest keeps summoning both.

Such visitations make a favorite Emily Dickinson poem feel like not only metaphorical,

but also diagnostic. The first couple stances of Dickinson's poem, one need not be a chamber,

to be haunted, anticipate ideas that subsequent philosophers, psychologists, and neurologists discuss

with clients, anxiety, intrusive thoughts, memory loops, and psychological fragmentation.

One need not be a chamber to be haunted. One need not be a house. The brain has corridors

surpassing material place, far safer of a midnight meeting external ghost than an interior

confronting that cooler host. Dickinson suggests that interior spectres frighten us more than

external ones that we all carry around ghosts in our heads or in our hearts.

Dana Joy's poem, unsaid, also feels haunted to me, especially for those of us who have unfinished

manuscripts. His poem concludes with these lines. What we conceal is always more than what we dare

confide. Think of the letters that we write are dead. I have often heard Dana Joy tell the story

behind this six-line poem before reciting it and its message continues to resonate with me.

This past Monday morning at 4am, I traced these thoughts that you are reading now,

imagining metaphors picking out poems by Dickinson and Joya. Sometimes I worry,

relive regrettable narratives, revisit open loops, remember rejections, and ponder people who

have ghosted me. Sometimes I think I hear actual ghosts, the ones Dickinson calls external ghosts,

different ones from the arguably interior conversational spectres that want to get caught up.

Am I being rude to these visitors when I insist on going back to sleep?

They know when I start counting my own deep breaths that the time has come for them to pack up

and see themselves out. As a meditator, I have learned to slow my unhelpful obsessions and instead

practice calm and composed, noticing. I also engage in cognitive shuffling or what psychologist

Luke Bodan calls serial diverse imagining. Are you familiar with this practice? I'm grateful to

have found it instead of chatting with my departed childhood friend or wondering why a friend

whom I supported steadfastly and explicably ghosted me. I hope she's happy wherever she is.

I start listing neutral nouns that start with the letters found in a random word.

For the word table, I think of taxi cabs, hardvarks, banisters, lighthouses, and elbows.

Then I start over with the word elbow. I recognize the cold, necessary cruelty of cognitive

shuffling. To get back to sleep, I choose a banister over my father. I prioritize the mental

image of a neutral hardvark over the memory of Tito's smile. This ghost eviction exercise

fills Dickinson's corridors with so much clutter, lighthouses, taxi cabs, elbows.

That my mind leaves no room for the dead to stand.

During the day, we might be reminded of the famous St. Augustine quotation,

the dead are not absent, they are only invisible. Dreams manifest the invisible.

At night, we may welcome visits from the dead, or necessarily, we may bless them and send them on their way.

You've been listening to what the dead want at 4 in the morning. It's by me, Dr. Andy.

If you'd like to see the essays that I publish every week, typically on Wednesdays, not long before

I host this radio show, then I invite you, if you're so inclined, to visit Eager Mondays.

That's the name of my sub-stack at Andy Jones. That's me.substack.com.

My name is Dr. Andy, and you're listening to Dr. Andy's poetry and technology hour.

I'd like to thank you for tuning in to my radio show. We're going to conclude with some John Coltrane

to finish up the program. Before I'd like to thank Dave Bowles, who joined me to talk about poetry

and to share some of his poetry. He'll be the featured reader tomorrow,

evening at 7 o'clock. If you were to visit poetryanddavis.com, you would see that we haven't expanded

open mic tomorrow. You know, not everyone who comes to read gets their name on the list.

Many people arrive and they're disappointed. Many people arrive and they're crestfallen.

Many people arrive, hoping to share their voice, and their voice remain silent.

It's poetry night. It starts at 7 o'clock on first and third Thursdays, but if you want to get on

the open mic, if you want to be one of the few, you'll have to come early. People come early,

they set up chairs. People come early. They say, where's Dr. Andy and his clipboard? I didn't get

on the list last time. There are so few spots. The open mic. The open mic. How do I get my name

on the list? I want my voice to be heard. I want to be surrounded by art. I want to hear a

legrosilberstein make a sound like this. Oh, what she means is, oh, that was a fine poem. Oh,

I want to hear that again. Oh, your poetic career is launched here at poetry night first and third

Thursdays at the John Netsulis Gallery only in the city of Davis. Poetry in Davis is the website.

Poetry in Davis. Poetry in Davis. I hope you'll check it out. I hope you'll join us. It's free.

In fact, it's better than free. You'll leave richer than when you came. Poetry night. First and

third Thursdays at the John Netsulis Gallery. You are invited. You're also invited. You don't have

to accept the invitation, but you are invited to stick around because KVS always has great music,

original music, authentic music to share with you. We're going to close out today's show with

John Coltrane. This song is Dear Lord. Thanks for listening today. My name is Dr. Andy.

I'll see you next Wednesday and every Wednesday for another edition of Dr. Andy's poetry and

technology hour. Bye-bye.