Overview

Nearly all of these poems were written in 2020, the year in which covid-19 moved from China, to Europe, to the United States-an amazing series of movements that changed our lives. Infections. Deaths. Face masks, distancing, personal isolation. Racial protests. Civic chaos. Global instability. The burdens were great, and still are-the lingering deleterious effects of Trump's corrupt administration and his non-functioning Senate. The covid-19 pandemic. The plummeting economy. The horrideous psychological diminution of confidence, energy, will power, and creative courage throughout the land. Nevertheless, in spite of these and related burdens, the center of the human heart remains forever alive. We love, we care, we doubt, we fear. We scale the heights in our mind, sometimes succeed, sometimes fail, and always aspire to realize the best, the most hopeful, the most loving and empathic dimensions of ourselves. That is what most of these poems are about: the forever-shining jewel-center of the universal human heart.

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During the late '60s and early '70s, Underwood played lead guitar with singer/songwriter Tim Buckley on seven of the nine albums Buckley released while alive, including Happy Sad and Starsailor. Underwood also appeared on several posthumous Buckley CDs, notably Dream Letter: Live in London 1968 and Works In Progress. In the '70s and '80s, Underwood wrote extensively about music and musicians. His articles, interviews and reviews appeared in dozens of periodicals, including Down Beat (West Coast Editor, 1975-1981), L.A. Times, L.A. Weekly, Rolling Stone, Pulse, Jazz Forum, L.A. Free Press, New Realities, Body/Mind/Spirit, New Age Journal, and many others.

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