Creative Work

Kent State

On May 4, 1970, I was 11 years old and in 7th grade in Chapel Hill, North Carolina. The previous fall, I’d been suspended for a week for selling the Protean Radish, the local underground newspaper, on the junior high school campus.

The massacre was a pivotal event in my childhood because it crystallized what I already knew: The adults that were in charge of me were not going to protect me and did not mean well for me. To the contrary, if I dared to tell the truths I knew, adults might respond with annihilating violence.

More to the point, people on “our side” were not going to stand up in the face this violence. Far from it. Caught between students’ revolutionary demand to overturn the racist and imperialist system on the one hand, and their children being shot down in front of them in the other, white liberals (and especially journalists, pundits, and philosophers) were going to equivocate.

This is the lesson of Kent State. White liberals, when they see their own children shot down, respond by crafting and repeating a narrative which equivocates between the killers and their own dead. The only faith white liberals have is to their own self-image as “reasonable people” who follow social norms, to their ongoing membership in the club of whiteness. This faith supersedes any commitment to truth.

I don’t need to detail the through-line from this state of affairs, in 1970, through the repeated stepping back in the face of each fascist advance 1980-2024, to the present fate of the United States. I saw the tragedy of liberalism then, and I’ve seen it play out since, over my lifetime.

The following is excerpted from my forthcoming memoir, “The Scapegoat’s Dilemma.”


I was feeling weak and sick sometimes. I’d get this burning in the pit of my stomach and then my chest and arms would feel like jello. When that happened I just wanted to go lie down. I started going to the refrigerator when the pain got bad. I’d pour myself a glass of milk and drink it down. Then I’d go back an hour or two later and drink another glass. It helped with the burning feeling, but not much and not for long. My mom got mad about me taking too much milk. I had to stop.

I was still distributing the Radish at school. I’d take a few of last week’s issue, or the week before, and pass them around. There was a lot to read and discuss. H. Rap Brown. Rioting and a bank bombing at UC-Santa Barbara. GIs assembling and documenting evidence of US atrocities in Vietnam. On International Women’s Day, the Radish’s center spread featured a joint statement “by six female liberation groups in Chapel Hill and Durham.”

Nixon had secretly ordered US troops to invade Cambodia, widening the ground war after a year of intensive bombing.

One Thursday afternoon my North Carolina History class was letting out, and I was the last to file out of the room. The last except for Mark Sloan. Mark’s dad owned Sloan’s Drugs down on Franklin Street. Something sharp hit me in the right kidney. “Communist,” Mark said. I bent over a desk in pain while Mark went around me, headed out of the room. I whirled around, took two steps, gave him a shove from behind. He lost his balance and crashed into a school desk. But he was bigger than me, and quicker, and soon had me in a headlock, smashing his fist into my right eye over and over. By the time he’d left, and I got to the classroom door, I couldn’t see out of it.

A teacher saw me staggering around the hallway and escorted me to the school office. My mom came, picked me up and drove me to the hospital. The X-rays came back negative—no fracture in the orbital—but I had blood in my eye for the next week. I stayed out of school until Monday. I went downtown and hawked the Radish.

You could feel the tension at UNC, the anger. Years of anti-war protests had amounted to nothing. In fact, every demand—for equality, for freedom, for peace, for human rights—had lead to more escalation, more repression, more vilification, more jailings, more frameups, more extrajudicial murders of activists. Many campuses were already on strike. UNC would soon follow.

On Monday, May 4, I watched David Brinkley’s NBC News report of the National Guard’s action that day at Kent State University in Ohio. People running, tear gas, troops in formation, aiming, firing, ambulances. The next morning I went to Grey Culbreth as usual. The news had broken through the humdrum class routine of junior high school. It was on everyone’s mind. There wasn’t any outpouring of rage, or grief, or anything else. More like a numb confusion. Each teacher would try to say something cogent about it at the start of class, but it would come out like: We’ve all heard about this, and it’s terrible news. Now we need to focus on our lesson….

In the hallway, I heard a rumor that one teacher—known as a conservative hard-liner—had said, “It’s about time.”

I wasn’t surprised. Through my own daze, I could feel the verdict. Most Americans blamed the students for what happened at Kent State. David Brinkley had closed his report that night by repeating the official version—that the troops fired on the crowd only after student snipers fired on them.

NBC’s own news footage put the lie to that even before David Brinkley said it. We could all see it had been a massacre. The government had sent trained and heavily armed troops to deliver a message to the antiwar movement, to show us we could not expect to speak out against war, or challenge their authority, without being shot down defenseless where we stood.

The purpose of the lie was not to cover up the government’s responsibility. On the contrary, the purpose of the lie—and the purpose of leaving four students dead and nine injured—was to show that if the government chose to openly kill unarmed demonstrators, or activists, or radicals, whenever and whatever the circumstances, liberal reporters and commentators would say the truth was murky. That an investigation would take time. That both sides should de-escalate.

That center—the center of liberal moral equivocation—was going to hold. Crosby, Stills, Nash, and Young had their single about Kent State, “Four Dead in Ohio,” on the airwaves within a month. “Should’ve been done long ago,” the chorus went. Neil Young must have heard someone say the same thing I’d heard.

I can’t remember where I got the red flag. I think my sister Connie might have made it. She might have written “STRIKE” in wax on a piece of white bedsheet before mixing the jar of red Procion MX dye into a bucket of water and leaving the cloth in there overnight. The flag was stapled to a dowel, not too long, just a couple of feet, so you could hold it up and wave it. I was waving it around while biology class was getting seated. Mr. Killough told me to put it away. I didn’t.

Mr. Killough sent me to the principal’s office, but instead of going there I walked out the doors of the school and down the side of the highway toward town, waving my flag. On the UNC campus, the students were already out on strike. I was on strike too, now, and I’d never go back to school in Chapel Hill. If I had my way, I’d never go back to school at all.

Dan is the Man in the Van

I’m working on a memoir, which is the “culminating experience” of 4-years of study for an MFA in Creative Writing at SFSU. I’d also like to see the memoir published.

I won’t get into the purpose of writing the memoir here, because the meaning of it is a work in progress, along with the book itself.

However, you can get a sense of it from the following experience. I stumbled into this as I was writing about my childhood.

In 1963, I turned five years old. From that time until I was seven, I lived with my family in Enterprise, a rural village in Chaguanas, Trinidad, in the West Indies.

Recently–as part of my writer’s process to recall the details and mood of that time–I researched the top calypso hits of that time.

In 1963 the Mighty Sparrow reached the top of the charts with his satirical song “Dan is the Man in the Van.” As with many great calypso songs, the lyrics mix wry humor, social commentary, and some boasting.

As I listened to the recording on YouTube, I spun back to fragmentary memories of being five years old. In those memories, I am with my father or mother, and they are introducing themselves to someone, to a resident of this unfamiliar country where everyone looks different and talks strangely. The just-made acquaintance asks my name, the way one does of someone’s child.

On hearing me say “Danny,” they immediately exclaim “Dan is the Man in the Van!” And laugh uproariously. I think this happened more than once.

At five, confronted with this absolute nonsense, I had to go along. I did so warily. Eventually I was told there was a song, “Dan is the Man in the Van.” I must have heard it on the radio a few times back then, because I recognized it when I listened to it again this week.

The song is the Mighty Sparrow’s spoof on the First Primer of Nelson’s West Indian Readers. The Readers, similar to “Dick and Jane,” were published by Oxford University Press, London, and used throughout Trinidad’s government schools.

The Mighty Sparrow’s calypso mocks both the childish idiocy of the lessons and the very adult idiocy of importing British-themed pedagogical materials into the colonies.

(Trinidad had won independence just one year before, under the leadership of Dr. Eric Williams. Williams was educated at Oxford; his thesis is the highly acclaimed history Capitalism and Slavery. His leadership was soon challenged by Trinidad’s Black Power Revolution, and Williams survived the challenge by endorsing Black Power.)

A few days ago I spent $8.95 on a copy of the First Primer. Opening it, it all seemed familiar. I must have used the First Primer when, at five, I attended first form at Las Lomas Government Primary School. I was the only white boy in the school. For some of the boys and girls my age, I may have been the first white person they’d ever met.

In the picture in the First Primer of Nelson’s West Indian Readers, Dan—the man in the van—is holding a whip over the back of a horse, which is pulling the wagon in which Dan sits. That is the “van” in the rhyme, not a motor van as we’d use the word now.

And Dan is white. In fact, all the people in all the illustrations in the First Primer of Nelson’s West Indian Readers are white.

So it is not surprising that the Mighty Sparrow would be making fun of the primers. In the song, he explains that he avoided idiocy by being too thick to learn the lessons. He sings:

How I happen to get some education
My friends, me ain’t know
All dey teach me is about Beer Rabbit
An’ Rumpelstilskin-o
Dey wanted to keep me down indeed
Dey try dey best, but didn’t succeed
You see, meh head was duncee
An’ up to now ah cyah read!

Dey beat me like ah dog to learn that in school
If me head was bright ah woulda be a damn fool!

With Dan, is de man, in de van

What am I to make of this childhood story?

Fifty years later, I was father to a 5-year old. I think 5-year-olds need to feel that they are accepted as an equal member of the group, so that they can build their sense of self through free interactions with peers.

And I’m not the man in the van. Never wanted to be, and never was.

Let the Night Come

Here is a video of a staged reading of my play, Let the Night Come.

Synopsis: On a backpacking trip, four white men in their 60s share their losses of privilege, relevance, careers, and vitality. They witness changes to the wilderness and the global climate—and challenges to their common commitment to social justice. As they become lost and confront physical danger, they argue. What has to die here? What must be given up?

I first envisioned Let the Night Come in my tent during a summer 2022 backpacking trip on the John Muir Trail. I completed a first draft that fall, In my first semester in the Master of Fine Arts program at San Francisco State University, I later submitted it for inclusion in SFSU’s Greenhouse Festival of new plays. Through this collaboration between the Creative Writing and Theater Arts departments, I was connected with a director and actors to stage a reading, which was held on May 13, 2025 in “The Lab” theater at SFSU.