Transcript : "Parting Ways With Henry Miller in Egypt" story and Interview with Brian Upton
Brian Upton: My stress just was on a huge upward trajectory about that book and who may find it or how I can get rid of it before somebody nails me for violating Egypt anti-pornography laws.
Marc Moss: Welcome to the Tell Us Something podcast, I’m Marc Moss.
This week on the podcast, I sit down with Brian Upton to talk about his story “Parting Ways with Henry Miller in Egypt”, which he told live onstage at The Top Hat Lounge in Missoula, MT in June 2015.
Brian Upton: one thing I’m appreciating about this conversation is that I can also set the record straight because that was, that was definitely kind of traumatic for me. , but really the defining, , Aspect of that trip was getting to meet my wife’s family and the relatives.
The theme that night was “Oops! I Changed my Mind!”.
We also talk about his extended family in Egypt, about Henry Miller and separating the art from the artist, and about the atmosphere at a Tell Us Something live in-person event.
Thank you for joining me as I take you behind the scenes at Tell Us Something — to meet the storytellers behind the stories. In each episode, I sit down with a Tell Us Something storyteller alumni. We chat about what they’ve been up to lately and about their experience sharing their story live on stage. Sometimes we get extra details about their story, and we always get to know them a little better.
Before we get to Brian’s story and our subsequent conversation…
I am so excited to tell you that the next in-person Tell Us Something storytelling event will be March 30 at The Wilma.
The theme is “Stone Soup”. 7 storytellers will share their true personal story without notes on the theme “Stone Soup”.
We are running at 75% capacity, which allows for listeners to really spread out at The Wilma. Learn more and get your tickets at logjampresents.com
Brian Upton shared his story in front of a live audience at the Top Hat Lounge in Missoula, MT in June of 2015. The theme was “Oops! I Changed my Mind!”. Brian Upton buys Henry Miller’s Tropic of Capricorn at Shakespeare and Company in Paris, France. He begins reading the book in Alexandria, Egypt and discovers that the book is considered pornography in Egypt. Thanks for listening.
Brian Upton: It started out in Arab spring 2011 and the Tahrir square revolution in Egypt, my wife, Dina, and I decided that it would be a good time to take our kids are eight and 10 year old kids to Egypt to see the country and to see their family and relatives. My wife’s parents had come over from Egypt and she was born here, but her mom actually brought her to Alexandria, Egypt to go to an American school.
So she has dual citizenship and she actually had an Egyptian passport at the time. She’d met her relatives and family, but I’ve never been to Egypt. Our kids had never been there and they’d never met the family. So it was a really exciting. When Deena booked the tickets over there, she got lucky and she was able to get a three-day layover in Paris on the way to Egypt.
So how great was that? I was excited because there’s a spectacular bookstore there called Shakespeare and company that I’d never been to. I don’t know how many of, you know, Shakespeare and company, but for those that don’t, it’s a hundred year old bookstore. That was a favorite haunt of the lost generation and all sorts of cool characters.
And I wanted to check that place out. So we take our trip, we get to Shakespeare and company. It’s fantastic bookstore. I wanted to find it a cool book, a great souvenir of that bookstore to take with me something I can’t just find anywhere I was coming up dry. So I thought, well, I’ll just come up with a book by somebody that had a connection there.
And I thought Henry Miller, I’ve never read any Henry Miller and Tropic of cancer is supposed to be a big deal. So I’ll get that. I go to the Henry Miller section. Of course there’s no Tropic of cancer. So, I don’t know any other Henry Miller books. I just look at the shelf and I see a book called Tropic of Capricorn.
So good enough. It’s a Tropic. So I picked up Tropic of Capricorn. That’s my souvenir of Shakespeare and company stuff. It in the suitcase, we finish up Paris, go to Egypt, go to Cairo, go to Alexandria, fantastic trip meeting my wife’s relatives, my relatives now. And, uh, it was just super, I started reading Henry Miller for the first time in Alexandria on our last night there.
Our next stop was flying up to upper Egypt in Luxor where the valley of the Kings are in a number of temples. Luxor in the nineties was the site of a terrorist attack on tourists at one of the temples there. And as a result of that, Egypt has co-opted the military to be security for the tourist infrastructure down in Luxor.
So what that means is when we get to our hotel in Luxe, We go through a metal screener and there’s military people acting as security in the hotel lobby, which is kind of unusual, really nice lobby, very comfortable lobby. So actually that night after we’d gone out in the town and we got back to the hotel room, everybody was ready to go to sleep except me because I’m still jet lagged.
So the kids in Dina want the lights out and going to sleep. I told Dean and I’ll just read down in the lobby. And so I get my Henry Miller book out and I say, I’m going to go down the lobby. And Dina says you can’t do that. I said, why can’t I do that? I’m just going to go down to the lobby to read. And she looks at the book and she says, that’s pornography.
And my face is all wrinkled up. I look at the book and oh, and the cover of the book, which I didn’t really think about when I grabbed it in Paris was a very tastefully done, black and white photo of a woman. From the knees up to the neck, which was all Henry Miller cared about. If any of you have read Henry Miller, it all makes sense.
But did I say it was tastefully done because it was tastefully done very skimpy panties, no top. So in Egypt, absolutely. That qualifies as pornography. So I put the book away and got another book, went down to the lobby, read that and everything. I watched the military men go up and down the lobby hallway while I’m sitting on my comfortable couch.
I go back up to the room to get to sleep. And you know how nighttime is the time when all the great worries come out? Well, I I’m trying to get to sleep in, uh, the gravity of this situation has impressed upon me that I am sitting here in Egypt with pornography, with contraband and. I was dialed right back to high school.
When I was in high school, I was in model UN and I remember reading a whole bunch of accounts of primarily Westerners that were caught in developing world countries with contraband, usually drugs and the things that happened to them in prison. And it terrified me. And I remember vividly thinking, I will never go to a country where I could even conceivably be caught with contraband and have something like that happen to me.
So I’m on my family vacation with my children in a country like that, carrying contraband, and now I’m stressed. And I’m also remembering by the way, for anyone that remembers midnight express the movie, not midnight run the Robert DeNiro movie, but midnight express about the American that got caught with contraband and Turkey and sentenced to life in prison and a Turkish prison, not an uplifting movie.
And I remember when I saw that in college. It reinforced. I will never go to a country like that and be caught with contraband. It’s not going to happen. I will avoid those. So that was my thinking for the night. And the next morning when we got up, I was concerned at that book is sitting in the room and whoever’s going to clean the room.
I’d come across this pornography, be alarmed, contact the military, my pipeline to prison. So I wasn’t sure what to do. I couldn’t throw it away. I would, I didn’t feel like I could stuff it under a mattress. Cause I thought. Maybe I might look under the mattress for things like this and B if they’re just making the bed, they might come across it.
So I did the only thing I could do, which was just wrap it up in a shirt, stick it in a bag, wrap up the bag and some more clothes and put it in the middle of my suitcase and hope my suitcase doesn’t get ransacked by. And it worked. We went out, saw valley of the Kings, had a great day, put it out in my mind, all was well.
And same day or next day, same thing. It was pretty much out of my mind for the most part at night, I was still worried about midnight express, but where everything amped up was our next leg of the trip. And our final leg of the whole Egypt vacation was to go to Sharmel shake on the Sinai. The red sea. So we have to fly from Luxor to Cairo and then back over to Sharmel shake.
And I’ve got the book in my suitcase because I don’t have a good place to dispose of it. And there’s military patrolling in the lobby. So I’m nervous and all of my high school model, UN torture accounts and midnight express recollections are just forefront of my head. There’s nothing to be done. So we checked the suitcase and I just hoped.
Nobody was going to be looking in the suitcase. And all I could think of was, I don’t know if the airline personnel rifle through suitcases here. I don’t know if airport security rifles through suitcases, if they do random checks. But when we went to Egypt, there were far less tourists because of the economy and the political situation than there typically are.
So the odds of my suitcase being ransacked in my pornography, contraband found were much higher than they otherwise would be. And I was thinking about. But when we finally get to the airport at Shama shake, we go to the baggage carousel. I am not panicking, but I’m nervous and I’m waiting for the bag to come out.
And, you know, I don’t know if you guys have the same experience. I do my bags always the last one out, regardless of the airport. So I had that in mind and I was prepared, but we waited for a long time for the bags to come out. And finally my son suitcase comes out. Okay, good. That means our suitcases are here.
That’s good. And then after a while my daughter, Alex, his suitcase comes out. Good. We wait still no suitcase for me. We wait, my wife’s suitcase comes out. Okay. That’s good. Three to four. Where is my suitcase. So I’m waiting and waiting. And finally the baggage carousel stops and my suitcase isn’t there.
What are the odds that only my suitcase is not showing up? I mean, that’s, what’s screaming in my head amongst all the visuals of midnight express. So there weren’t a whole lot of English speakers there, but Dina speaks Arabic and she was able to find one of the airline staffers who’s assured her that there were no other suitcases.
So my suitcase was gone. He said, he’d make some calls. So we waited for 20 minutes and I’m sweating. He comes back and assures us that the suitcase is in Cairo. It got held up. He doesn’t know why he will look into it and give us a call at the hotel. So rather than spontaneously combust, Tried to clamp everything down for the sake of the children.
And we all went to the hotel and I was getting panicky at this point. I was a little panicky because this was way too close to midnight express in the prison pipeline than I ever wanted to be. And I was legitimately nervous. So we go there and then Deena and I are trying to have the conversation with.
Explaining to the kids. Exactly. What’s going on, how daddy brought contraband at Egypt. And we were trying to have the conversation about who’s going to go back to the airport when we get this call. And what’s that call going to sound like? So we’re talking about that and I say, look, this is my bag. So I should go there because it’s not your problem.
You shouldn’t have to go there. And if something happens with it, then I should be the one to be there. Dina is much more logical smart and everything else than I am. And she pointed out the fact that I can’t communicate with anybody at the airport valid point. And she also, which I found out later, she was putting on a good face.
Cause she was as panicked as I was. But at the time I didn’t know that. And she said, I’m sure this is just a mix up. And it’s just like a random mistake. So let me go to the airport and clear it up. Oh, We got a call after we sweated all afternoon. And all I can think about was what I’ve already told you.
And we waited all afternoon for that call and I’m trying to figure out how do we react when one of us is arrested in a foreign country and the other has to take care of the kids and get them back. What’s the number of the consulate. We finally get a call and they said our suitcases here, so we can go pick it up.
And that’s all they told us. So at least there’s no bad news over the phone. There was no military guy knocking on our door, but Dina goes off to the airport. And so I’m left with the kids and I’m just realizing, you know, she is not only in Egypt’s eyes and Egyptian citizen, but I’m also realizing that the bag that I use for this.
Was her suitcase and had her identification on it. So if they rifled through and found our pornography in our suitcase, it would have her name on it. And she’s an Egyptian citizen. And that could make things a lot more difficult if we’re trying to extricate ourselves out of criminal charges in Egypt. So that’s how I managed to ramp up the stress level in my head while she was gone.
And it was kind of a fever pitch. She comes back finally after about 45 minutes and she’s got. And my suitcase is unmolested and Henry Miller is in the middle of it all wrapped up, just like it wasn’t Luxor. So that was a huge relief. And then my whole crescendo of panic and stress and midnight express was receding, but it left a heavy residue of paranoia because now I see this book, this Henry Miller book that I don’t want to see again, that’s ruined my vacation, caused me more stress.
In years, I’m getting rid of this book. How do I get rid of the book? Because the wastebasket, the mattress thing, it’s the same as the hotel in Luxor. I don’t have a good choice here. So I just decided I’m, I’m destroying the book. I’m going outside. That’s our wastebaskets in the hallways. I’m going to destroy it.
I told Dina that and she said, all you have to do is rip up the cover. The rest is fine, and I’d read enough of the Henry Miller book already to realize it. If somebody were to see me throw out the book, fish it out and leave. The text is much more pornographic than the tastefully done, black and white photo on the cover.
So I didn’t want to risk it because I was completely paranoid at this point. So paranoid that rather than use the wastebasket on our hallway, I went up to slights of stairs. I told Dean and the kids I’m going to meet you in the restaurant go. So they left. I went up two flights of stairs. I ripped up the.
And I didn’t want to just throw the book in the wastebasket because you all realize that somebody could just walk around the corner out of the elevator and see me fish out the book and then pipeline to prison. So I figured if I had defaced that nobody would fish it out of the wastebasket. So I’m just frantically tearing up the pages, stuffing them in the waistband.
I bought a quarter of the book, go down a flight of stairs, repeat, go down a flight, skip my floor because I’m not going to have the incriminating evidence on my floor. I’m a smart criminal, right? Go down one more floor, shred everything while I’m looking around madly stuffed it in the waste basket. And then I’ve just got a little bit left.
So I go to the restaurant, there’s a bathroom off the restaurant. I walk in casually with the book under my shirt. I look in the bathroom. There’s nobody in there. So I shred the rest of the book, stuffed it in the waste basket, grabbed some paper towels stuff and over those pages. And then only then after Henry Miller is safely stuffed in the wastebasket of the restaurant bathroom.
I went over at dinner with Dean and the kids we snorkeled, we scoop it up. We had a great vacation. I was free and it was a fantastic feeling. We ended our vacation and two months later, it’s my birthday. Dina gave me a copy of Tropic of cancer by Henry Miller. So I was finally able to read Tropic of cancer and I didn’t like it very much. .
Brian is originally from the Great Lakes country and came to Missoula from Indonesia in the mid-90’s to go to the University of Montana. He has since discovered that Butte is the more interesting place, but is settling for Missoula anyway.
I caught up with Brian in August of 2020.
Brian Upton: Hey Brian, can you hear me okay? Yeah. Can you hear me?
Marc Moss: you listened to your story since he told it?
Brian Upton: You know, I think I listened to it once. Just stay here. It and that was probably, uh, two, three years ago. It’s hard doing it yourself. It
Marc Moss: is hard to listen to yourself, but I ended up having to do it a lot. So I’ve gotten used to it.
I listened to it again today. The first time since. Um, at the time I wasn’t the one producing the podcast. So I think the only time I really heard it was when you did it on stage. And I listened to it again today. How much did you practice that?
Brian Upton: Well, it doesn’t show, but I’ve practiced it quite a few times.
Your workshop was a huge help and kind of getting some response and figuring out how to refine it. But because I was having a hard time keeping to the time limit with. I didn’t keep too. I, I ran over it. I dunno how many times? Probably at least six to eight, if not over a dozen times. Just mostly to try to get it to 10 minutes.
Marc Moss: The first time you were in the motel. I forgot about you putting in the suitcase.
Brian Upton: I should have destroyed the book. Initially saved myself a lot of.
Marc Moss: All right.
Brian Upton: That wasn’t me trying to build the suspense. It was. That’s how it went. My stress just was on a huge upward trajectory about that book and who may find it or how I can get rid of it before somebody nails me for violating Egypt anti-pornography laws.
Marc Moss: So they actually have laws on the books.
Brian Upton: Yeah. I have not seen them, but my wife who used to live there assured me that it’s illegal. You know, it’s, it’s not Saudi Arabia, but it’s still a Muslim country. And I I’m sure I believe it.
Marc Moss: Yeah, I believe it too. And I’ve not even after you told the story, I thought, man, I really had to see midnight express and I never got a chance to see it yet, but I can imagine it.
Wasn’t very pleasant.
Brian Upton: Midnight express is I haven’t seen it in probably a couple of decades, but I did see it twice at different times. One when I was probably just out of high school and the second probably when I was around 30. And it’s a good movie. It’s a, it’s a compelling story. It’s a very good movie, but also it hits you probably particularly if you’re male, it’s in a pretty visceral way.
And that that’s kind of why it was in my frame of reference while I was there in Egypt and feeling like I was susceptible to the criminal justice system. Yeah.
Marc Moss: Well, one of the things that I appreciated so much about your story is many people want to tell a story about traveling and it’s such a difficult thing to do, right?
Because you know, you’ve been traveling. Potentially weeks or months. And how are you going to pick the one thing, the one event that epitomizes the trip, you can’t include everything. So what are you going to do?
Brian Upton: You know, market and a lot of ways. That’s true. But one thing I’m appreciating about this conversation is that I can also set the record straight because that was, that was definitely kind of traumatic for me. , but really the defining, , Aspect of that trip was getting to meet my wife’s family and the relatives.
I mean, now my relatives over in Egypt, in Cairo and Alexandria, and they were so gracious and friendly and warm, all of them and her father’s side was a very big family and they actually, so it was. , so lots of aunts and uncles and cousins, and that experience was just so fantastic. And that’s how I remember the trip.
That’s the first thing I think of. I don’t think of my trauma over Henry Miller’s book. That’s not the first thing that I remember thankfully.
Marc Moss: Right. And that’s what I’m, I guess one of the points I’m making is because. That’s a completely different story. The story of meeting your wife’s family in a foreign country who has a completely different culture.
And that, that story, I think, would be a fascinating one to develop as well, but it would be a completely different trajectory.
Brian Upton: Right. And, and I love that story and that memory, it was, that was my first time to Egypt. That was my first time meeting any of these relatives. So yeah, that was. It was pretty amazing.
It was pretty amazing. And it’s a total counterpoint in the total opposite side of the coin to that terrible few hours. When I was waiting for my luggage to arrive, to see whether somebody had taken that book out of it
Marc Moss: has, has your, um, extended family. Dina side of the family. Have they listened to your story at all? Do you know?
Brian Upton: I, I highly doubt it. I, I’m not even sure how many of them really speak English. There were just a few that, that were very fluent in English that kind of served as our translator, Dina speaks Arabic, but I don’t.
So I, I highly doubt any. Would have caused to have Googled and found it. We certainly didn’t bring it to anyone’s attention. Right.
Marc Moss: languages does Dina speak?
Brian Upton: She speaks three Indonesian, English and Arabic. I think she would tell you her Arabic is a little rusty conversationally and she knows some French. She took French for a number of years in college or high school.
Marc Moss: Actually makes a lot of sense, knowing what she does at the university, with all the international students that come through.
Brian Upton: Yeah. That’s definitely her passion and she’s so good at interacting with all sorts of people from anywhere on the planet. It’s always a pleasure to, to see that and to see the relationship she builds.
It’s pretty amazing.
Marc Moss: Well, it sounds like your experience meeting her family. You can see where she gets it.
Brian Upton: Yes. And her parents both, you know, both of her parents immigrated to the United States from Egypt in the sixties, her father to go to school. So her father didn’t come from wealth or anything. And he really.
He really built up a solid foundation for his family in the United States. He came to the university of Minnesota to get his bachelor’s and he went or excuse me to get his master’s. And he got a doctorate at Oxford, Mississippi, um, after Dina was born. So she was born in Iowa where her father was teaching at Simpson college, which is the same college that.
George Washington, Carver after Iowa state university rejected him for being black. Um, Dina grew up in Iowa until she was five and then went to university of Mississippi at Oxford for her father to get a doctorate. And when he finished that he taught at university of Wyoming. So they moved there, but her father just kind of his educational pursuit.
And his Intrepid newness, uh, coming to the United States alone and teaching in rural Iowa and going to the south and getting a doctorate and living in Wyoming. He was definitely, I unfortunately never got to meet him because he passed away when Dina was 10, but, um, his fortitude and Intrepid, nearness and ability.
To obviously navigate a whole lot of human landscapes. Definitely, definitely lives on through Dina. Yeah.
Marc Moss: And what a different upbringing than you coming from Butte, America.
Brian Upton: Oh yeah. I actually grew up in rural, mid Michigan and. Lived there till I was 18. And then I met Dina our freshman year of college at American university in Washington, DC.
Um, but yeah, very different. I mean, Dina, Dina is very interesting because she knows she grew up in Iowa, Mississippi and Wyoming, but also grew up in Alexandra Egypt because after her father passed away, her mother, um, Moved to Alexandria, Egypt and Dena went to high school there at an American school and they would go back to Wyoming during the summers, but that was part of her growing up too.
So to counterbalance the deep south, the rural Midwest and Rocky mountain west with urban Alexandria, Egypt is a lot of experience growing up that I certainly didn’t have.
Marc Moss: Right. And I don’t know for whatever reason. I always imagine that you’re from BU even though I know you’re not right. I always forget that right away, but
Brian Upton: no, I love Butte so much.
Marc Moss: Did you get any sort of feedback from people who were there or heard it later after.
Brian Upton: Yeah. I heard from a few people, um, that night afterwards when we were leaving, um, and, and a few people that have heard it, um, on the Telus something website, you know, and months or years later, um, and you know, the people that, that want to say something to you about it are the ones that are being gracious and want to say something nice.
That was nice to hear. Um, but yeah, that’s about all I’ve I’ve heard.
Marc Moss: Well, before you decided to tell a story, um, your history will tell us something initially you had never heard of it. Right. And, and I think I put up tickets for, uh, like a premium for the KBG, a fundraiser, the local college readiness.
Fundraiser and you and Dina got those tickets. And then I think they were like season tickets or something. Right.
Brian Upton: Okay. Yeah. You have a really good memory. Cause I I’m trying to remember. I think that would have been in 2014 or maybe 2013 and yeah, we, I had donated to K BGA cause I think that’s a fantastic station.
Always appreciate that. And part of the premium. Yeah, years’ worth of tickets to tell us something. And I believe that’s the first time I’d heard of probably wasn’t the first time I heard of it, but the first time it really resonated with me. And then I was like, oh, wish I could go to this. Um, so we went and yeah, that was when it was at the top hat.
And the very first one, we went to it just bowled me over at great stories. You know, you have a great. Presentation of the whole thing and the way you make it an event and a community was very obvious right then and there just made a huge impression on me and it just looked fun. So I remember stalking you after the end of it, to just tell you what a good job you’re doing.
I can’t remember if I asked to do a story or if you said, do you want to do one? But I, I thought that was amazing that I could have an opportunity to do that. And I remember you writing my name down in your black book. Yeah. I
Marc Moss: have a little book that I can carry around in my back pocket for those reasons, because anybody that ever says that was great.
I always say you could do this too, because that, I mean, that’s part of the point of it, right? I can do this. Everybody has a story to tell and I want it to feel inclusive for everybody. And so when you said this was awesome and I had a good time, I immediately invited you didn’t think you would follow up at all.
Most people don’t, you know, um, and you gave me your number and then yeah.
Brian Upton: So,
Marc Moss: um, I can’t remember how long after your first time. At the show you decided that you wanted to tell a story, but, um, how did you decide that was the story that you wanted to tell?
Brian Upton: I knew that was the story I wanted to tell, because I’d already told it to, you know, groups of friends and family, because that, that was a pretty.
Scarring experience for me, but it was also, it seems to me pretty funny in retrospect, but at the time it was pretty scary. Um, so I just kind of enjoyed telling it, cause it was kind of cathartic and I always got a kick out of seeing people’s reactions to various parts of the story. So I knew that would be the story to tell.
And I don’t think I have another one that, that, uh, That is equivalent,
Marc Moss: maybe not equivalent, but I bet you have another one,
Brian Upton: maybe.
Marc Moss: So did you ever, I know that Dana for your birthday gave you a Tropic of cancer and you read it and you weren’t really that impressed by it. Did you ever get around to
Brian Upton: reading Tropic
Marc Moss: of cancer Capricorn?
Brian Upton: I did not. I. My recollection is I thought that was a little more interesting as far as I got through it in Egypt. Um, because Henry Miller was talking about growing up pretty poor and working class, New York city. I forget which borough, but he painted a pretty evocative picture of that. And it’s so different.
Um, from the New York city of today, that it’s, I found it really interesting. Um, I, I never finished Tropic of Capricorn, but when I read Tropic of cancer, it was certainly interesting in its own way. And he was pretty evocative about how living in Paris was, um, at that time around the turn of the century, I think, uh, and that also was so different than how.
Most people experience Paris now. I mean, when he writes about cold drafty flats with lots of vermin and lights and it just didn’t sound at all, like the place, most of us kind of envisioned our experience there, but the book was also, um, super massage monistic and I don’t know something about it. Really enjoy all that much, but it’s scratched the itch.
You know, he was one of the guys that Shakespeare and company in Paris, uh, that bookstore, um, he knew Paris. So it was, uh, it was a good thing to pick up in Paris. It served that purpose.
Marc Moss: He was, uh, revered enough that they created a library for him in big Sur, California, the Henry Miller library. And I had the occasion to go there and I think it was 2003 or 2004. Um, I had a job that put me on the road and it just turned out that I was on the road. In that part of the country when jello Biafra was on a spoken word tour.
Oh, wow. You know, Jello Biafra is
Marc Moss: do. Yeah. The dead Kennedys lead singer. And if
Brian Upton: you’ve ever, you heard him speak at the Henry Miller library. Yeah.
Marc Moss: And if, if you’ve ever heard him do a spoken word show, I mean, it is like Henry Rollins. On steroids. I mean, he is in your face. He is super political and the people who come to events at the Henry Miller library, some of them, it seems like maybe never have read Henry Miller.
Brian Upton: Absolutely I, yeah, you’re right about that. And I bet that you’d also be. And that Henry Miller is probably surprised a whole lot of people. I didn’t know anything about him when I picked up his books. And I can imagine if other people think they’re going to pick up some kind of quaint, uh, 19th century, early 20th century author, who, who wrote in Paris, they probably didn’t know necessarily what they’re getting into when they started reading things like Tropic of cancer.
Marc Moss: Right. And I like put Charles Bukowski in that same sort of thing, but people said about this great American poet and all of a sudden they’re in this misogynistic bullshit. Um,
Brian Upton: yeah. You know,
Marc Moss: it’s and it’s, uh, then, then we have the question. How much of that was the person and how much of that was the art and how much of that is forgivable?
If. You know, and like, I don’t have answers to any of those questions, but it’s interesting to read some of those pieces of literature. And now with the knowledge that we have go on that guide and sort of cringe.
Brian Upton: Yeah. I would say Henry Miller is pretty cringe-worthy and I certainly don’t know the answers to your questions either.
I would assert that, um, my sense of traffic, of cancers, that we were seeing a pretty unvarnished look at the man. Um, that was my sense of it. Yeah.
Marc Moss: Is there anything that we haven’t talked about that you want people to know about your story or your experience?
Brian Upton: Um, I think the only thing I would add is that, you know, the experience of telling it can be as you know, intimidating, a lot of people, you know, public speaking is a pretty common phobia. Um, and it can be kind of nerve wracking to kind of prepare for that and know you’re going to go up in front of a stage of people.
I would just reinforce for anybody listening that the environment you create is very, uh, friendly, nurturing. It’s, uh, it’s an environment where you don’t really feel as nervous as you might think you would. And that’s in part because of. The workshops you do, and kind of getting people used to who they’re going to be on stage with and getting used to telling their story.
But it’s also, I think, a real tribute to the community that you have built and encouraged with with that audience. I think most of the time, those audiences certainly now are, are kind of regulars. Um, and I, I can’t say enough about how you’ve cultivated a good diversity from Missoula. Of speakers. And, um, the experience is just a really good one.
And when I was on stage at the top hat, which granted is not as imposing as the wilderness stage, that that tell us something has evolved into, um, but still that was a lot of people you packed into the top hat and it wasn’t, it felt, it felt good. And, and that’s, I think attribute to you. And I’ll also add that I’d never even heard when I was up on the stage, the little gentle gong that tells me I exceeded the time limit.
So, so you’re gentle to your participants in many ways.
Marc Moss: Well, the gong is as much for the storyteller as it is for the audience to key them in to know that we’re about to wrap. But
Brian Upton: also I’ve been here when I was the storyteller.
Marc Moss: Yeah. And I think at the time I think I might’ve been the one with the gone.
Now I’ve got a governor who is a loud enough timekeeper, , Marissa Crerar. So if you’ve ever listened to or ever been in the audience, you can recognize her laugh. She has this very distinct laugh.
It’s interesting to see, uh, Events are evolving during this time.
COVID and, , the, , live streaming events in particular. , the April show that we did the storytellers knocked it out of the park. I saw it and they didn’t have any interaction with the audience at all. Um, and I asked one of them, I had the opportunity to talk to her pretty in depth about that experience.
And she said it was all. Oh, the green room. , , I had a little breakout rooms, , for the storytellers to go quote unquote backstage. And they were just building each other up, back there. You know, they weren’t even listening to the stories as they were being told, because they’d heard them enough and we practiced them and us.
They were just like backstage having fun off my.
They all bonded and they’d never met each other in person.
Brian Upton: Well, that’s, I didn’t know you had done that. Um, that’s great. I, I really appreciate that. Tell us something is doing the virtual events during the pandemic, because a that’s really about the only way you can do it. And it’s just a great way to introduce, I think a lot of other people. The whole, tell us something, um, kind of event, but that’s, I can see some of the storytellers maybe being glad they’re not in front of hundreds of people on a stage with lights shining in their eyes.
Um, and maybe having it be an easier experience, but I can also see it being perhaps a little more difficult because you’re just trying to stare into a camera to make eye contact with the audience. And as being a little kind of empty with no feedback. So I guess it would depend on the person. I could see it going both ways, being maybe easier and a better experience, or maybe a more difficult or experience without all the people, but I’m sure, glad you’re doing it because yeah, we were part of that audience and, and again, I mean, those, those stories are great.
And I guess one of the other things that would be, uh, I’d like to comment on, especially for anybody that hasn’t been to a tell us something event is one of the things I’ve always appreciated too, is that in a number of the events, there’ll be a side splitting, hilarious story. The same night as there can be a really, really moving emotional, sometimes traumatic.
Story that just in some ways they just don’t go together at all. And in other ways it’s a great way to, um, really appreciate the, either emotional depth of one story or the humor in another story, because you get to compare them to each other. Okay. It kind of lets you kind of travel a whole human gamut in one night and I’ve always appreciated that, especially when, and I think this is how you usually structure it when sometimes there’s a traumatic event that somebody recounting is followed by something that has a lot more levity and it is funny and, and that’s always a nicer way to, to travel that emotional path.
Marc Moss: I think of it, like you would think of making a mix tape or, uh, if you’re a musician creating the structure of an album, what songs you want to include, it’s one thing. But then the order of the songs is just as important. And I learned that the hard way, because one night there were, I think, five. Pretty heavy stories.
And I stack them pretty close to each other without any levity in between. And I had people walking out because they could not handle it. And I had people talk to me later and say, man, those stories were good, but I just couldn’t, I couldn’t take it anymore. And I had to leave and that taught me a lot. Um, those conversations were important to hear.
And when I started thinking about it in the way that you would think about. What do you want to include in a mix tape or if you’re an author or like what short stories do you want to include and in what order, or if you’re a poet, you know, how do you want to order the poems you have in a collection? I think the order is just as important as the stories themselves.
And that’s my job as a curator is to try to determine how are these stories going to land most effectively for the list. So that the storyteller and their experience can be the most effectively honored.
Brian Upton: And sometimes I think you do a great job really easy.
Marc Moss: Well, thanks. I appreciate that. Um, but it took years to figure that out.
Brian Upton: love the mixed tape analogy. I think that’s perfect. And, and, uh, I’m a little concerned if you had people that had walked out after four or five. Stories of levity who wants to, who can’t take five grade funny stories? No, no. They were the heavy stories. Oh, they were heavy. I misunderstood. They were
Marc Moss: five, five stories of heaviness was sort of lined up one against each other.
Um, and that was a big mistake on my part to do that, to do it that way. And, um, People let me know. And I’m really glad they did because I probably would have made that mistake multiple times, but I only had to make it once. And that might be the only time in my life where I’ve only had to make a mistake once before I’ve learned the lesson.
Brian. Thank you so much for spending time with me today. Um, I appreciate you and all your support of telecommuting over the years, and I’m glad that you were able to participate. Okay.
Brian Upton: It’s always great to talk to you, mark, and, um, thanks for the opportunity and thanks for everything you’re doing for the community that you enjoy.
So have given us a lot and we appreciate it.
Marc Moss: Well, I appreciate. , acknowledging Joyce. She doesn’t often get credit and she’s just as important as me in this work that we’re doing. So I appreciate it. I appreciate you. And I hope you have a story worthy weekend.
Brian Upton: You too, Marc . Thank you. All right. Thanks, Brian.
All right, we’ll see you.
Marc Moss: Okay.
Thanks, Brian. And thank *you* for listening today.
Next week, I catch up with Laura King.
Laura King: Yeah, so actually I’m super excited about the project itself and gathering these stories. My cousin and I have two great uncles who are pretty interesting historical figures and lots of glass, both lawyers, and I’m a lawyer.
So that’s kinda fun. , one of them was very conservative and the other one was very liberal. So we’ve got a guy who is an FBI and involved in propaganda, supporting Japanese internment, on the one hand. And then we’ve got, the other guy who was, a criminal defense attorney and, very active in, you know, abolition of criminal punishment and, the efforts early, early efforts to legalize marijuana.
Marc Moss: Tune in for her story, and our conversation, on the next Tell Us Something podcast.
Thanks to Cash for Junkers, who provided the music for the podcast. Find them at cashforjunkersband.com
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Joyce Gibbs: Hi, it’s Joyce from Joyce of tile. If you need tile work done. Give me a shout. I specialize in custom tile installations. Learn more and see some examples of my [email protected]
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Marc Moss: was a little broadcasting company. Learn more at missoulabroadcasting.com. Float Missoula. Learn more at floatmsladotcomandmissoulaevents.net podcast production by me, Marc Moss. Remember to get your tickets for the next in-person tell us something storytelling.
Marc Moss: I live at the Willma on March 30th, tickets and more information at log jam, presents.com. To learn more about tell us something, please visit tell us something.org.