The devolution of American culture takes another great step forward

I have a good memory for words, and when I come upon a word I don't know, I remember it, or try to - it's almost like a tic.

I don't care what is written," Meyer Landsman says. "I don't care what supposedly got promised to some sandal-wearing idiot whose claim to fame is that he was ready to cut his own son's throat for the sake of a hare-brained idea. I don't care about red heifers and patriarchs and locusts. A bunch of old bones in the sand. My homeland is in my hat. It's in my ex-wife's tote bag.

See you in the funny papers," he said. Jaunty, he reminded himself; always jaunty. In my panache is their hope for salvation.

I smoked and looked down at the bottom of Pittsburgh for a little while, watching the kids playing tiny baseball, the distant figures of dogs snatching at a little passing car, a miniature housewife on her back porch shaking out a snippet of red rug, and I made a sudden, frightened vow never to become that small, and to devote myself to getting bigger and bigger and bigger.

When I first decided I wanted to be a writer, when I was 10, 11 years old, the books that I loved obviously and openly fit that description: They came with maps and glossaries and timelines - books like Lord Of The Rings, Dune, The Chronicles Of Narnia. I imagined that's what being a writer was: You invented a world, and you did it in a very detailed way, and you told stories that were set in that world.

There were so many Pittsburgh poets in my hallway that if, at that instant, a meteorite had come smashing through my roof, there would never have been another stanza written about rusting fathers and impotent steelworkers and the Bessemer convertor of love.