Roger Camp's guest appearances

Roger Camp

Vicariously

The A-List Podcast

Painted Bride Quarterly’s Slush Pile

Talking to Ourselves

Tiffany Rolfe

Greg Hahn

Chris Beresford-Hill

Justin Gignac

Rob Reilly

Anselmo Ramos

Gerry Graf

Rob Schwartz

Ari Weiss

Nick Law

Truman Capote

David Angelo

Stevie Bear

Merrill Lynch

Caitlyn Jenner

OwlTail

Roger Camp is co-founder and Chief Creative Officer of Camp+King, the agency he created in 2011 with partner Jamie King that combines brand storytelling with expertise in digital, social and content development, built on a simple philosophy to make brands quote Conversationworthy. Over the past decade, Camp+King has won the Ad Age Small Agency of the Year Award four times. They were selected as one of Outside Magazine’s "Best Places to Work in America" in 2018. In Fall of 2020, Camp+King was acquired by Havas.Roger has had a storied career. In 1996, he joined Cliff Freeman as an art director. In 2000, he founded Camp/Arbues in San Francisco. The following year he was lured to Wieden+Kennedy to work as a creative director. In 2006, he became CCO at Publicis &amp; Hal Riney.In his 20+ years in the business, Roger has won every major creative award numerous times. He is one of the most-awarded art directors in the history of the D&amp;AD Awards and was voted top art director in the country. He was also elected to the One Club’s Board of Directors, has had work featured on The Greatest Commercials of All Time list, and Adweek chose his Holiday Inn campaign as one of the Top Ten Funniest Commercials ever.

Roger Camp is co-founder and Chief Creative Officer of Camp+King, the agency he created in 2011 with partner Jamie King that combines brand storytelling with expertise in digital, social and content development, built on a simple philosophy to make brands quote Conversationworthy. Over the past decade, Camp+King has won the Ad Age Small Agency of the Year Award four times. They were selected as one of Outside Magazine’s "Best Places to Work in America" in 2018. In Fall of 2020, Camp+King was acquired by Havas. Roger has had a storied career. In 1996, he joined Cliff Freeman as an art director. In 2000, he founded Camp/Arbues in San Francisco. The following year he was lured to Wieden+Kennedy to work as a creative director. In 2006, he became CCO at Publicis &amp; Hal Riney. In his 20+ years in the business, Roger has won every major creative award numerous times. He is one of the most-awarded art directors in the history of the D&amp;AD Awards and was voted top art director in the country. He was also elected to the One Club’s Board of Directors, has had work featured on The Greatest Commercials of All Time list, and Adweek chose his Holiday Inn campaign as one of the Top Ten Funniest Commercials ever.

In the latest episode of “The A-List” podcast, host and DiMassimo Goldstein CCO Tom Christmann is joined by the hilarious Roger Camp, Partner and Chief Creative Officer of San Francisco based Camp+King. During his 20+ years in advertising, Camp has been awarded every major creative award under the sun and has worked on some of the world’s biggest brands, such as Amazon, Nike, Virgin Atlantic, Coca-Cola, and Adidas. He’s about as A-list as they come.Tune in to hear all about how Camp likes to get naked with his dad, the three-fail rule, how to make brands and businesses conversation worthy, and much much more. Full episode and show notes below!Show Notes:[0:00 – 1:36] Intro[1:37 – 7:08] Roger talks about growing up in Jersey, getting naked with his salt of the earth father, and his childhood aspirations of becoming an artist[7:09 – 10:24] Attending SVA and falling in love with advertising[10:25 – 19:30] The importance of being able to make mistakes, Roger’s first ads, and working on Comedy Central[19:31 – 22:48] Heroes in the industry, getting fired, and the power of remaining optimistic[22:49 – 27:53] Roger discusses his short stint at BBDO and finally getting a gig at Cliff Freeman &amp; Partners[27:54 – 31:28] The culture at Camp + King and the importance of working with people you like[31:29 – 35:54] The importance of a brand voice and more advice for young writers[35:55 – 37:44] Brand behaviors[37:45 – 41:59] Cliff Freeman’s “Cliffisms”[42:00 – 49:00] Working at Wieden+Kennedy, the actors strike, and the value of a planner[49:01 – 51:49] The Camp+King positioning and being conversation worthy[51:50 – 52:41] Outro“The A-List” is a podcast produced by DiMassimo Goldstein, recorded at the Gramercy Post, and sponsored by the Adhouse Advertising School, New York’s newest, smallest, and hippest ad school. You can subscribe and rate the show on iTunes or listen along on SoundCloud. For updates on upcoming episodes and guests, be sure to like the A-List Podcast on Facebook and follow host Tom Christmann on Twitter.

In the latest episode of “The A-List” podcast, host and DiMassimo Goldstein CCO Tom Christmann is joined by the hilarious Roger Camp, Partner and Chief Creative Officer of San Francisco based Camp+King. During his 20+ years in advertising, Camp has been awarded every major creative award under the sun and has worked on some of the world’s biggest brands, such as Amazon, Nike, Virgin Atlantic, Coca-Cola, and Adidas. He’s about as A-list as they come. Tune in to hear all about how Camp likes to get naked with his dad, the three-fail rule, how to make brands and businesses conversation worthy, and much much more. Full episode and show notes below! Show Notes: [0:00 – 1:36] Intro [1:37 – 7:08] Roger talks about growing up in Jersey, getting naked with his salt of the earth father, and his childhood aspirations of becoming an artist [7:09 – 10:24] Attending SVA and falling in love with advertising [10:25 – 19:30] The importance of being able to make mistakes, Roger’s first ads, and working on Comedy Central [19:31 – 22:48] Heroes in the industry, getting fired, and the power of remaining optimistic [22:49 – 27:53] Roger discusses his short stint at BBDO and finally getting a gig at Cliff Freeman &amp; Partners [27:54 – 31:28] The culture at Camp + King and the importance of working with people you like [31:29 – 35:54] The importance of a brand voice and more advice for young writers [35:55 – 37:44] Brand behaviors [37:45 – 41:59] Cliff Freeman’s “Cliffisms” [42:00 – 49:00] Working at Wieden+Kennedy, the actors strike, and the value of a planner [49:01 – 51:49] The Camp+King positioning and being conversation worthy [51:50 – 52:41] Outro “The A-List” is a podcast produced by DiMassimo Goldstein, recorded at the Gramercy Post, and sponsored by the Adhouse Advertising School, New York’s newest, smallest, and hippest ad school. You can subscribe and rate the show on iTunes or listen along on SoundCloud. For updates on upcoming episodes and guests, be sure to like the A-List Podcast on Facebook and follow host Tom Christmann on Twitter.

The A-List Podcast: Roger Camp

Have you seen Tom Brady and Jeff Bridges in the UGG Boots "Do Nothing" commercials? Maybe the Super Bowl ad for Outpost.com when gerbils were shot from a cannon?  How about the long running Little Cesar's "Pizza Pizza"? If not, you've been living under a rock. Regardless, Roger Camp has helped produce each of those commercials along with a wide array of print media, TV commercials and social media campaigns for over 25 years now.This week we sit with Roger to understand how he fell in love with this profession, where his creative juices flourish from and how he has managed to form is own, extremely successful agency.Check out more, including videos of our interviews at VicariouslyPodcast.com

Have you seen Tom Brady and Jeff Bridges in the UGG Boots "Do Nothing" commercials? Maybe the Super Bowl ad for <a href="http://Outpost.com" rel="nofollow" target="_blank">Outpost.com</a> when gerbils were shot from a cannon? How about the long running Little Cesar's "Pizza Pizza"? If not, you've been living under a rock. Regardless, Roger Camp has helped produce each of those commercials along with a wide array of print media, TV commercials and social media campaigns for over 25 years now. This week we sit with Roger to understand how he fell in love with this profession, where his creative juices flourish from and how he has managed to form is own, extremely successful agency. Check out more, including videos of our interviews at <a href="http://VicariouslyPodcast.com" rel="nofollow" target="_blank">VicariouslyPodcast.com</a>

#002 Camp + King Advertising Agency: Roger Camp, founder & CCO

We discussed three poems by Clara Changxin Fang and two poems by Roger Camp. While we walked away with an impressive box score, we were more than impressed by the quality of poems we’ve received for our Locals issue! Just like our Monsters, Locals was broadly interpreted by submitters and we were not left disappointed...  In this episode of Painted Bride Quarterly’s Slush Pile, we discussed three poems by Clara Changxin Fang, and two poems by Roger Camp. While we walked away with an impressive box score, we were more than impressed by the quality of poems we’ve received for our Locals issue! Just like our Monsters, Locals was broadly interpreted by submitters and we were not left disappointed. Sigh. We love our job.    Clara Changxin Fang’s poems draw heavily on the theme of the foreigner in a strange land. The poems we discussed, “Lost Colony”, “Don’t Go Away,” and “The Other Side of Night,” though so different in format and execution, centered around the theme of getting lost (figuratively and literally) in a new reality, and conveyed a sense of longing and homesickness. One of our editors pulled this batch right to the top of the slush pile, and we are so grateful, When we realized we were just going to gush, we decided to go ahead and vote! Clara channels her thoughtful observations of the world around her into her poetry, as well as her blog Residence on Earth, which delves into her thoughts on ecology, climate change, sustainable living, education, social justice, and love. Read more about her work on planet earth here: earthdeeds.org    Roger Camp is no stranger to Painted Bride Quarterly’s slush pile. In fact, we published his poem “Motion Assignnment, La Plaza de Toros de Las Ventas, Madrid” in Issue 90! While we ultimately decided to pass on the poems he sent us for Locals, “Riding Your Aura” and “Cape Cod”, one can’t deny that Roger Camp’s poetry evokes strong imagery of beautiful moments in ordinary surroundings. I have to admit I’m still thinking about that bank guard… He lives in Seal Beach, CA where he tends several hundred plants, walks the streets of his beloved Paris yearly, is apprenticed to a master mason, naps in a hammock under an avocado tree, plays blues piano evenings and kayak fishes, weather permitting. He is an identical twin whose twin does none of these things. (I’m not sure what to believe…)   Thank you for your patience as we’re learning as we go here in the podcast world, we’d love to know what you think - let us know on our Facebook page! Sign up for our email list if you’re in the area and even if you’re not! Follow us on Twitter @PaintedBrideQ and Instagram @paintedbridequarterly. Read on! -KVM   Present at the Editorial Table: Kathleen Volk Miller Marion Wrenn Jason Schneiderman Miriam Haier Tim Fitts Lauren Patterson   Production Engineer: Joe Zang   PBQ Box Score: 3=2  ------------------------Clara Changxin FangLost Colony Settled in the Spring of 1584, Roanoke was the first English colony in North America.  We built two story houses with stone walls on dry mud, the island a crumbling sandbar pummeled by wind and waves. We erected fences and fence posts, laid claim to a patch of wilderness like Ptolemy mapping the heavens, giving titles to congregations of stars.   We found a bay with oysters more numerous than pebbles and a seashore bright with starfish and sand dollars. What we didn't find was gold to fill our ships or rain to coax our harvest.   For three years no sails appeared on the horizon. (The way I waited for you, love, absent on the horizon.)   Only the blinding clarity of a cloudless sky ushering us towards winter.   Disaster is the absence of events.   The sun wheeled the heavens like a flour mill, everlasting waves lashed at the shore; no boats in sight, the sea rolled back our memories of home— The reek of urine in the streets of London, the towers of Parliament spearing the sky like a row of bayonets above a river of blood. The hulls of abandoned vessels lurking beyond sight.   2.   CRO – Letters carved into a tree stump at Roanoke before the colony’s disappearance in 1590.   Nothing remained of what we owned. No pottery, no tools, not even our own bones.   What we brought with us was filched by the fingers of the ocean and the shadow of the moon.   Not even a dream in which you appear, a shadow behind a wall of water.   Beloved, did I imagine us walking hand in hand in the city of cathedrals, your hands   smelling of baked bread, the afternoon sun glazing rooftops and sidewalks with gold.   I hold on to evidence— a pebble plucked from the Rue Monge, a sprig of lavender from the apothecary, the dress I wore the last night.   On the island, the letters CRO, a bird with a golden beak and black wings, all that’s left to tell of our departure.   No violence had been done. We simply gave up waiting for salvation to appear   like a chalice falling out of the heavens or the waters parting to reveal a road.   I gave birth to a child. Even without news of you, we are happy.   How bright the moon shines without city lights! I remain ever your loving,   Eleanor   3.   500—The number of mountains destroyed by mountaintop removal coal mining in Appalachia, including Virginia, West Virginia, Kentucky, and Tennessee.   We named her Virginia— land of blue ridged mountains, fish chocked rivers and timber stands vast enough to build all the battleships of Europe.   After centuries we are still after what brought us here: timber, fur, coal, the exhumed remains of ancient forests we burn to light our homes.   Today asphalt cuts through this valley like a ribbon of steel and explosions shave the scalp off of tree covered mountains. Rocks shatter like fragments of a skull.   Men excavate hillsides, blast through rock, bringing down avalanches of boulders, mud, and branches, bodies tumble down like logs, the women buried them in their coal stained clothes with the children they miscarried.   Some abandoned this place, let mud and rain pull their houses back into the earth. Most stayed, subsisting from the mountains they helped to destroy.   This gutted Appalachia is a war zone, but one we still call home.   4.   Arlington, Virginia June 1992   Dear Chen Ying,   Virginia is a beautiful. I walk to the Potomac River with mother every evening, and we watch the sun go down over the mountains, orange slices on the water, geese gliding over the surface like the airplanes landing at Reagan airport. Everything here is bigger and faster, we ride in dragons shaped like cars. Here we play with Barbie dolls instead of silk worms, and in the autumn the leaves turn red like the lanterns during the Spring Festival, and we light candles inside pumpkins carved with hideous faces; unlike our friendly family ghosts, they have no names and confer no blessings. I am learning new words: crow, cloud, kite. You must speak here in order to survive. In social studies, we learned about a group of English people who sailed here in a tiny ship, built a settlement on an island, and disappeared a few years later. Eleanor’s father came back to look for them, but he never found his daughter or his grandchild. I am thinking of her today, the family she abandoned, or who abandoned her, the beach extinguished of stars, the country’s interior so vast and full of terrors, the night rustling with strange sounds. Sometimes you don’t know enough to be afraid. You only know: the air is clean here, it smells like daffodils. The children have yellow hair like the tassels of corn, and like scarecrows, it’s hard to tell if they are real, but when they fall they cry like we do. While I still remember how to form these characters, tell your mother thank you for taking care of me before I came. Maybe I’ll send you the flowers I’m growing, heliotrope and nasturtiums, pressed into dictionaries we should study but use as weights. Until then I subsist on the memory of your smiles, the sticky buns we ate together on festival days.   I miss you, Chang Xin Don’t Go Away The night shakes its wings and the sky hasn't folded its whitewashed lawn chairs.   Hyacinths in the garden gleam like pale fire, the forests are crammed with shadowy fish.   I heard you say: I don’t know when I’m coming back.   Once, I lost my car in a strange city while we circled the streets searching   for a way home. All was dark except where we glimpsed ballroom dancers   flickering like moths through a window. At dinner, we spoke to each other   one or two words only. Yet here we are, alone in your car while I cast my net   for something to say. Stay. Take me with you.   If you go, I will see your eyes looking back in every corner.   I won’t have to listen to hear you call my name.   If you go, you must come back quickly. Or else clouds will sweep the rooms with rain.   The Other Side of Night The Buddhist monk instructs us to pay attention to our breathing but all I can think of is the way you touched me before I left for Utah, like oil splattered on the wrist, like snow falling on bare shoulders. For the next two years the great bowl of the Salt Lake valley was cleft by a chasm I could not close. The mountains are taller than I imagined. The Great Plains is vast like the Pacific Ocean. The distance between one who loves and one who doesn't. Not able to turn back, the people who lost everything built a city praising God on the snow white shores of that inland sea, and all who came to it admired its ship like tabernacle, its broad avenues, and its temples without windows. At the bottom of my suffering there is a door. The latch opened and I sank. I breathed in water and breathed out love. So much of it that it filled the oceans and the air, the fish grew wings and the birds grew gills, the eyes of the people were opened and no one killed or hurt one another because they saw the wound they carried in themselves in each other.  Roger CampRiding Your Aura In front of the Bank of America, a bank protection officer lays hands on the newspaper stand like a man who knows his way around an altar. There’s no mistaking him for the bank guard of my youth, the greying, pot-bellied, retired cop well laundered in blue dozing inside the doorway. A New Age version, this man is outside, swathed in black like SWAT, protective vest and automatic in hand. Shooting your way out of a bank is one thing, but shooting your way in? Seeing Isaac, patriarch of the sidewalk, would turn my tail if I were a robber of banks. Friendly, he has earned Main Street’s affection, every pedestrian watching his back. When I wear a lid he likes I get a fist bump. Hidden in his casual demeanor is no slouch. Behind those shades, a warrior, Iraq or maybe Afghanistan. At peace with himself he is adept at reading others. Greeting him after returning from six sunny days in Alaska he said to me that was you, riding your aura.  Cape Cod The Cape itself is like a snake at its serpentine end. Beyond a place the charts call Long Point is an echo of the Cape, a final coil within a coil. Walking in Beech Forest, I saw two snakes their chocolate colored bellies and tri-lateral yellow stripes entwined, age and youth combined. The older, larger one sensing me, held still while his younger, slimmer companion slid its body along side, contour unfolding contour. In my effort to follow I lost focus, lost the snakes, unable to define a coil within a coil, unable to tell beginning from end, lost my way as well, wending tail to tail.

We discussed three poems by Clara Changxin Fang and two poems by Roger Camp. While we walked away with an impressive box score, we were more than impressed by the quality of poems we’ve received for our Locals issue! Just like our Monsters, Locals was broadly interpreted by submitters and we were not left disappointed... In this episode of Painted Bride Quarterly’s Slush Pile, we discussed three poems by Clara Changxin Fang, and two poems by Roger Camp. While we walked away with an impressive box score, we were more than impressed by the quality of poems we’ve received for our Locals issue! Just like our Monsters, Locals was broadly interpreted by submitters and we were not left disappointed. Sigh. We love our job. <a href="http://pbqmag.org/wp-content/uploads/2016/03/clara-changxin-fang.jpg" rel="nofollow" target="_blank"></a> Clara Changxin Fang’s poems draw heavily on the theme of the foreigner in a strange land. The poems we discussed, “<a href="#lost" rel="nofollow" target="_blank">Lost Colony”,</a> “<a href="#away" rel="nofollow" target="_blank">Don’t Go Away,</a>” and “<a href="#night" rel="nofollow" target="_blank">The Other Side of Night,</a>” though so different in format and execution, centered around the theme of getting lost (figuratively and literally) in a new reality, and conveyed a sense of longing and homesickness. One of our editors pulled this batch right to the top of the slush pile, and we are so grateful, When we realized we were just going to gush, we decided to go ahead and vote! Clara channels her thoughtful observations of the world around her into her poetry, as well as her blog <a href="http://residenceonearth.net/" rel="nofollow" target="_blank">Residence on Earth</a>, which delves into her thoughts on ecology, climate change, sustainable living, education, social justice, and love. Read more about her work on planet earth here: <a href="http://earthdeeds.org/" rel="nofollow" target="_blank">earthdeeds.org</a> <a href="http://pbqmag.org/wp-content/uploads/2016/03/roger-camp.jpg" rel="nofollow" target="_blank"></a> Roger Camp is no stranger to Painted Bride Quarterly’s slush pile. In fact, we published his poem “<a href="http://pbqmag.org/roger-camp-motion-assignment-la-plaza-de-toros-de-las-ventas-madrid/" rel="nofollow" target="_blank">Motion Assignnment, La Plaza de Toros de Las Ventas, Madrid</a>” in Issue 90! While we ultimately decided to pass on the poems he sent us for Locals, “<a href="#aura" rel="nofollow" target="_blank">Riding Your Aura</a>” and “<a href="#cod" rel="nofollow" target="_blank">Cape Cod</a>”, one can’t deny that Roger Camp’s poetry evokes strong imagery of beautiful moments in ordinary surroundings. I have to admit I’m still thinking about that bank guard… He lives in Seal Beach, CA where he tends several hundred plants, walks the streets of his beloved Paris yearly, is apprenticed to a master mason, naps in a hammock under an avocado tree, plays blues piano evenings and kayak fishes, weather permitting. He is an identical twin whose twin does none of these things. (I’m not sure what to believe…) Thank you for your patience as we’re learning as we go here in the podcast world, we’d love to know what you think - let us know on our <a href="https://www.facebook.com/painted.quarterly" rel="nofollow" target="_blank">Facebook page</a>! Sign up for our email list if you’re in the area and even if you’re not! Follow us on Twitter <a href="https://twitter.com/PaintedBrideQ" rel="nofollow" target="_blank">@PaintedBrideQ</a> and Instagram <a href="https://www.instagram.com/paintedbridequarterly/" rel="nofollow" target="_blank">@paintedbridequarterly</a>. Read on! -KVM Present at the Editorial Table: Kathleen Volk Miller Marion Wrenn Jason Schneiderman Miriam Haier Tim Fitts Lauren Patterson Production Engineer: Joe Zang PBQ Box Score: 3=2  ------------------------Clara Changxin Fang Lost Colony Settled in the Spring of 1584, Roanoke was the first English colony in North America. We built two story houses with stone walls on dry mud, the island a crumbling sandbar pummeled by wind and waves. We erected fences and fence posts, laid claim to a patch of wilderness like Ptolemy mapping the heavens, giving titles to congregations of stars. We found a bay with oysters more numerous than pebbles and a seashore bright with starfish and sand dollars. What we didn't find was gold to fill our ships or rain to coax our harvest. For three years no sails appeared on the horizon. (The way I waited for you, love, absent on the horizon.) Only the blinding clarity of a cloudless sky ushering us towards winter. Disaster is the absence of events. The sun wheeled the heavens like a flour mill, everlasting waves lashed at the shore; no boats in sight, the sea rolled back our memories of home— The reek of urine in the streets of London, the towers of Parliament spearing the sky like a row of bayonets above a river of blood. The hulls of abandoned vessels lurking beyond sight. 2. CRO – Letters carved into a tree stump at Roanoke before the colony’s disappearance in 1590. Nothing remained of what we owned. No pottery, no tools, not even our own bones. What we brought with us was filched by the fingers of the ocean and the shadow of the moon. Not even a dream in which you appear, a shadow behind a wall of water. Beloved, did I imagine us walking hand in hand in the city of cathedrals, your hands smelling of baked bread, the afternoon sun glazing rooftops and sidewalks with gold. I hold on to evidence— a pebble plucked from the Rue Monge, a sprig of lavender from the apothecary, the dress I wore the last night. On the island, the letters CRO, a bird with a golden beak and black wings, all that’s left to tell of our departure. No violence had been done. We simply gave up waiting for salvation to appear like a chalice falling out of the heavens or the waters parting to reveal a road. I gave birth to a child. Even without news of you, we are happy. How bright the moon shines without city lights! I remain ever your loving, Eleanor 3. 500—The number of mountains destroyed by mountaintop removal coal mining in Appalachia, including Virginia, West Virginia, Kentucky, and Tennessee. We named her Virginia— land of blue ridged mountains, fish chocked rivers and timber stands vast enough to build all the battleships of Europe. After centuries we are still after what brought us here: timber, fur, coal, the exhumed remains of ancient forests we burn to light our homes. Today asphalt cuts through this valley like a ribbon of steel and explosions shave the scalp off of tree covered mountains. Rocks shatter like fragments of a skull. Men excavate hillsides, blast through rock, bringing down avalanches of boulders, mud, and branches, bodies tumble down like logs, the women buried them in their coal stained clothes with the children they miscarried. Some abandoned this place, let mud and rain pull their houses back into the earth. Most stayed, subsisting from the mountains they helped to destroy. This gutted Appalachia is a war zone, but one we still call home. 4. Arlington, Virginia June 1992 Dear Chen Ying, Virginia is a beautiful. I walk to the Potomac River with mother every evening, and we watch the sun go down over the mountains, orange slices on the water, geese gliding over the surface like the airplanes landing at Reagan airport. Everything here is bigger and faster, we ride in dragons shaped like cars. Here we play with Barbie dolls instead of silk worms, and in the autumn the leaves turn red like the lanterns during the Spring Festival, and we light candles inside pumpkins carved with hideous faces; unlike our friendly family ghosts, they have no names and confer no blessings. I am learning new words: crow, cloud, kite. You must speak here in order to survive. In social studies, we learned about a group of English people who sailed here in a tiny ship, built a settlement on an island, and disappeared a few years later. Eleanor’s father came back to look for them, but he never found his daughter or his grandchild. I am thinking of her today, the family she abandoned, or who abandoned her, the beach extinguished of stars, the country’s interior so vast and full of terrors, the night rustling with strange sounds. Sometimes you don’t know enough to be afraid. You only know: the air is clean here, it smells like daffodils. The children have yellow hair like the tassels of corn, and like scarecrows, it’s hard to tell if they are real, but when they fall they cry like we do. While I still remember how to form these characters, tell your mother thank you for taking care of me before I came. Maybe I’ll send you the flowers I’m growing, heliotrope and nasturtiums, pressed into dictionaries we should study but use as weights. Until then I subsist on the memory of your smiles, the sticky buns we ate together on festival days. I miss you, Chang Xin Don’t Go Away The night shakes its wings and the sky hasn't folded its whitewashed lawn chairs. Hyacinths in the garden gleam like pale fire, the forests are crammed with shadowy fish. I heard you say: I don’t know when I’m coming back. Once, I lost my car in a strange city while we circled the streets searching for a way home. All was dark except where we glimpsed ballroom dancers flickering like moths through a window. At dinner, we spoke to each other one or two words only. Yet here we are, alone in your car while I cast my net for something to say. Stay. Take me with you. If you go, I will see your eyes looking back in every corner. I won’t have to listen to hear you call my name. If you go, you must come back quickly. Or else clouds will sweep the rooms with rain. The Other Side of Night The Buddhist monk instructs us to pay attention to our breathing but all I can think of is the way you touched me before I left for Utah, like oil splattered on the wrist, like snow falling on bare shoulders. For the next two years the great bowl of the Salt Lake valley was cleft by a chasm I could not close. The mountains are taller than I imagined. The Great Plains is vast like the Pacific Ocean. The distance between one who loves and one who doesn't. Not able to turn back, the people who lost everything built a city praising God on the snow white shores of that inland sea, and all who came to it admired its ship like tabernacle, its broad avenues, and its temples without windows. At the bottom of my suffering there is a door. The latch opened and I sank. I breathed in water and breathed out love. So much of it that it filled the oceans and the air, the fish grew wings and the birds grew gills, the eyes of the people were opened and no one killed or hurt one another because they saw the wound they carried in themselves in each other.  Roger Camp Riding Your Aura In front of the Bank of America, a bank protection officer lays hands on the newspaper stand like a man who knows his way around an altar. There’s no mistaking him for the bank guard of my youth, the greying, pot-bellied, retired cop well laundered in blue dozing inside the doorway. A New Age version, this man is outside, swathed in black like SWAT, protective vest and automatic in hand. Shooting your way out of a bank is one thing, but shooting your way in? Seeing Isaac, patriarch of the sidewalk, would turn my tail if I were a robber of banks. Friendly, he has earned Main Street’s affection, every pedestrian watching his back. When I wear a lid he likes I get a fist bump. Hidden in his casual demeanor is no slouch. Behind those shades, a warrior, Iraq or maybe Afghanistan. At peace with himself he is adept at reading others. Greeting him after returning from six sunny days in Alaska he said to me that was you, riding your aura. Cape Cod The Cape itself is like a snake at its serpentine end. Beyond a place the charts call Long Point is an echo of the Cape, a final coil within a coil. Walking in Beech Forest, I saw two snakes their chocolate colored bellies and tri-lateral yellow stripes entwined, age and youth combined. The older, larger one sensing me, held still while his younger, slimmer companion slid its body along side, contour unfolding contour. In my effort to follow I lost focus, lost the snakes, unable to define a coil within a coil, unable to tell beginning from end, lost my way as well, wending tail to tail.