I recently noted an LP record titled “The Best of Jean Shepard.”
So I thought, why not a “Best of Jean Shepherd.”
This proves to be a difficult task to compile, in part because there are so many audios of his broadcasts and so many published stories and other works. My memory is deteriorating and I can’t listen to and reread all his published work. I’d appreciate suggestions about what to add to my list, including sources/dates and reasons for the choices.
As a representative selection for possible inclusion with my EYF! (which never happened–it was nixed by the publisher as too expensive) and for eventual distribution as a premium for WBAI, I compiled a CD-worth of excerpts from Shep programs.
Assume that, as a given, I choose the broadcasts below because I feel or assume they are well-told besides having the particular attributes that especially gab me.
I, Libertine,.First comments and suggestion of a hoax. (4 ?/??/1956) One of the great “Holy Grail” Shepherd broadcasts. I have not heard it but I have thought about it and read little bits about it so often that it is a permanent part of my “memory,” and it must be one of the great moments in literary and shepherdian history.
March on Washington. Narrative told the day after the March. (8/29/1963) Shepherd describes his trip, not as a reporter, but as just another American. This conforms to his attitude as an informed and enthusiastic American patriot.
JFK Assassination. First day back on the air. (11/26/1963) Shepherd, from time to time, had described his feelings about psychological issues in America, and he takes this opportunity to reiterate some of them and link them to the assassination.
“Blues I Love to Sing.” Program I describe and partly transcribe in EYF! (6/16/1957) Shepherd interacts with the singer on the record and expresses his joy in the narrative situation he depicts. This but a ten minute portion of the four-hour program. He uses what is a familiar image from his earlier days of the “figure tattered and torn.”
“Why I am Such a Sorehead.” Discusses Mark Twain and Morse code–I describe in EYF! (1/6/1965) He integrates into his narration, Twain, one of his favorite predecessors. He develops the metaphor of the Mississippi as a dangerous path in life, and relates it to one of his favorite activities, Morse code, suggesting that we all have some activity that, in reality, we are not as good at as we think and hope we are.
“Shermy the Wormy.” My transcription in Shep’s Army. (9/4/1964)
“Fourth of July in the Army.” My transcription in Shep’s Army. (7/3/1963)
“Lister Bag Attack.” My transcription in Shep’s Army. (6/17/1966)
“Boredom Erupts.” My transcription in Shep’s Army. (9/18/1969)
“Private Sanderson.” My transcription in Shep’s Army. (1/13/1971)
“Naked Baseball in the Army.” Told on the air, published in Playboy.
“Troop Train Ernie.” Told on the air, published in Shep’s A Fistful of Fig Newtons as
“The Marathon Run Of Lonesome Ernie, The Arkansas Traveler”
“Og and Charlie.” He told stories several times about these two cave-man-type-near-humans. They were a good metaphor for how Shep felt that humanity still was–not quite the mentally/emotionally advanced race we think we are.
Peru–The whole group of programs focusing on his trip, from how it came about to when he got home to contemplate the experience. At the time, he felt it was the best travel experience he’d ever had.
In addition to all of the above, one must add some of the innumerable bits and pieces of his delightful and cuckoo musical interludes on his silly little instruments–including on his sometimes silly head.
I made my own classical guitar. I’m fascinated by how the shape/formation of objects combine form with function. (It’s my design training still influencing me after all these years.) How does the form of a guitar contribute to its sound? Encountering a two-semester, adult evening class in constructing (not from a “kit”) a classical guitar from the raw materials one buys in a shop that supplies such to professionals, I took the course.
I kept notes and I took photos. Two parts of the classical guitar that might vary are the shape of the head and the luthier’s (guitar-maker’s) choice of how to configure the inside structural supports for the top of the body. I designed a simple, classical head, and chose internal struts for the body’s top that I thought would enforce high notes on the higher strings, and lower tones for the lower strings. I redrew all the instruction pages for the instructor’s future use–the upper left of the head is one of my pages.
An eb element of the rosette
around the sound hole.
I also designed and made the wooden rosette with my eb initials, and designed and installed my label.
While I was peacefully working on my guitar construction, my then-wife, from Granada, Spain, threatened me with a kitchen carving knife and I grabbed and rolled up for protection, my Sunday New York Times Arts Section (Yes, the Arts Section–it was the closest at hand), and that’s as far as I’ll take that true story. Except that I did incorporate the episode into my fact/fiction unpublished novel, The Pomegranate Conspiracy.
I completed my guitar at the end of the course, and practiced playing, struggling
for several unsuccessful years. Now my guitar is hung on a wall.
I love classical guitars and guitar music. I also like looking at Picasso’s guitar collages. So much so that I played around with one of his collage reproductions. First, with a color copier that scans one color at a time, I let it scan the first colors, then slightly shifted the original for the scanning of the black. Then I printed it and applied black-and-white photo prints of the underneath side of my guitar top, half on each side, with, in the middle, a photo of myself playing my newly completed guitar. One might title it:
“The Picasso/Bergmann Guitar Collage.”
I’m Conflicted About This Artsy Of Mine.
Is it a witty, clever, personal homage to an artist I greatly admire,
done by manipulating one of his works
(that he had first made by manipulating and reconstructing stuff),
or is it a fartsy, esthetic travesty for which I should be ashamed?
→ It is a unique collaged collage ←
Would Picasso have liked it? *