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The Long Drive
published in 2008
141 pages, hard cover

The Defining Moment cover

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Kidnapped, alone, and locked in a deep-dark torture chamber on a waterfront somewhere in southwest Jersey, surrounded by instruments of death and destruction, Slim McCall, thousands of miles from home, has come face to face with the possibility of his own last end and must, once again, hold himself in and tight.

The tall, thin Mississippian reflects not only on the long, torturous journey that brought him to such an evil place but also on the deeper meaning of life, freedom, and dignity in the face of impending death, inhumanity, and dishonor.
Slim McCall must become existential. He must reach deep inside his soul and summon up the strength to be truly free or die well.

For Slim McCall, there can be no middle ground.

• • • • • • • • •

Five of Miro’s six paintings showed the bridge over the mountain chasm with powerful tidal waves moving into the canyon and exploding upward and outward with fury. The gray-white rushing inflows, one after and on top of the other, leaping, lurching, grasping against the rocks below, and spiraling up the support pillars.

Each wave carried its own riffs, its own tonality, and like a jazz composition, each represented something more than itself, some greater theme, some grander expression.

Each of the five frames mirrored an inner torment — a powerful disturbance.
The sixth frame was different. It showed a quietening — a profound settling of Miro’s traumatic emotional state. It depicted an obvious resolution. The painter, at last, had experienced a catharsis . . . and found peace.

an excerpt from
The Long Drive

 


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