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U.S. Senate
2026 Alaska U.S. Senate — Top-Four Primary · August 18, 2026
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Last reviewed September 17, 2026Policy statements from campaign-controlled sources are labeled candidate positions; they are not independently presented as proven outcomes.
The text below is the exact source material used for this statement.
Alaska Division of Elections — 2026 Primary Election certified candidate list
Contest: UNITED STATES SENATOR
Candidate on ballot: Grayson, Richard
Party registration: Green
Status: Certified
Campaign address: 1093 W. 14th Ave. Apache Junction, AZ 85120
Phone: (480) 688-1954
Email: [email protected]
Website: http://www.richardgrayson.com
Only contact details published in official filing records, FEC filings, or a verified candidate-owned source with retained exact evidence appear here.
1093 W. 14th Ave. Apache Junction, AZ 85120
The text below is the exact source material used for this statement.
Campaign address: 1093 W. 14th Ave. Apache Junction, AZ 85120
Phone: (480) 688-1954
Email: [email protected]
Website: http://www.richardgrayson.com
Candidate website published in the official filing ↗
1093 W. 14th Ave. Apache Junction, AZ 85120
The text below is the exact source material used for this statement.
Alaska Division of Elections — 2026 Primary Election certified candidate list
Contest: UNITED STATES SENATOR
Candidate on ballot: Grayson, Richard
Party registration: Green
Status: Certified
Campaign address: 1093 W. 14th Ave. Apache Junction, AZ 85120
Phone: (480) 688-1954
Email: [email protected]
Website: http://www.richardgrayson.com
Publication here means only that the contact detail appeared in the cited filing. It is not an endorsement, and older filings may remain visible until an amended official record is captured.
Verified records and candidate-provided claims are labeled separately.
Richard Grayson was born on 4 June 1951 in Brooklyn, New York, the son of Daniel Grayson, a clothing manufacturer and salesman, and Marilyn Grayson, a homemaker. He was educated in the public schools of Brooklyn and graduated from Midwood High School in 1968. After a year in which the panic attacks he suffered grew into full-fledged agoraphobia, Grayson entered Brooklyn College, where he was a student activist and from which he graduated with a bachelor's degree in political science (Phi Beta Kappa) in June 1973.
The text below is the exact source material used for this statement.
Richard Grayson was born on 4 June 1951 in Brooklyn, New York, the son of Daniel Grayson, a clothing manufacturer and salesman, and Marilyn Grayson, a homemaker. He was educated in the public schools of Brooklyn and graduated from Midwood High School in 1968. After a year in which the panic attacks he suffered grew into full-fledged agoraphobia, Grayson entered Brooklyn College, where he was a student activist and from which he graduated with a bachelor's degree in political science (Phi Beta Kappa) in June 1973.
As a graduate student Grayson's goal was to produce one story each week and submit his work not only to his fiction-writing workshop classes but also to the scores of literary and "little" magazines being published in the mid to late 1970s.
The text below is the exact source material used for this statement.
As a graduate student Grayson's goal was to produce one story each week and submit his work not only to his fiction-writing workshop classes but also to the scores of literary and "little" magazines being published in the mid to late 1970s.
In 1975 Grayson began his long college teaching career as an adjunct and temporary full-time instructor of English and other subjects at Long Island University. In the same year he started working as an editorial assistant at the Fiction Collective and published his first story in a literary magazine, New Writers. Within five years, Grayson had published more than one hundred stories in little magazines.
The text below is the exact source material used for this statement.
In 1975 Grayson began his long college teaching career as an adjunct and temporary full-time instructor of English and other subjects at Long Island University. In the same year he started working as an editorial assistant at the Fiction Collective and published his first story in a literary magazine, New Writers. Within five years, Grayson had published more than one hundred stories in little magazines.
The first story in Disjointed Fictions is "A Disjointed Fiction," five seemingly unrelated fragments, the first of which is an acknowledged (within the fragment) steal from Jorge Luis Borges. Grayson states that the anarchist's bomb that killed Czar Alexander II in St. Petersburg in 1881 led directly to the anti-Semitism that resulted in the migration of Russian Jews to the United States and thus to "the entrance of the noun 'chutzpah' into The Random House Dictionary of the English Language; Al Jolson's rendition of 'Mammy' in blackface; seven gold medals won by the United States Olympic swimming team at Munich in 1972; the Ziegfeld Follies; a certain kind of suburban vulgarity typified by the town of Woodmere, Long Island," and indirectly to Grayson's birth in the United States, his becoming a fiction writer, and finally to "the writing of this story, and ultimately to your reading of it." Grayson then suggests readers who have complaints about his work should address them to the anarchist whose bomb snuffed out the life of the czar, as the author would take no responsibility whatsoever for his fiction.
The text below is the exact source material used for this statement.
The first story in Disjointed Fictions is "A Disjointed Fiction," five seemingly unrelated fragments, the first of which is an acknowledged (within the fragment) steal from Jorge Luis Borges. Grayson states that the anarchist's bomb that killed Czar Alexander II in St. Petersburg in 1881 led directly to the anti-Semitism that resulted in the migration of Russian Jews to the United States and thus to "the entrance of the noun 'chutzpah' into The Random House Dictionary of the English Language; Al Jolson's rendition of 'Mammy' in blackface; seven gold medals won by the United States Olympic swimming team at Munich in 1972; the Ziegfeld Follies; a certain kind of suburban vulgarity typified by the town of Woodmere, Long Island," and indirectly to Grayson's birth in the United States, his becoming a fiction writer, and finally to "the writing of this story, and ultimately to your reading of it." Grayson then suggests readers who have complaints about his work should address them to the anarchist whose bomb snuffed out the life of the czar, as the author would take no responsibility whatsoever for his fiction.
The Greatest Short Story that Absolutely Ever Was (1989) features a title piece in which Grayson again mocks both the blockbuster ethos of the 1980s book publishing business and the inconsequential nature of his own fictional efforts, largely published in obscure literary magazines or small-press books. The story is a compilation of gossip column items à la Larry King or Liz Smith, each ending with the requisite ellipses. These items concern Richard Grayson, an "ultra-talented" "super-writer," who, it is rumored, is at work on "another one of his short-story masterpieces." Breathlessly, the gossip columnist reveals details of the plot ("based on his own adventures on the psychiatrist's couch and in graduate school"), the secrecy surrounding work on the story (the author's eighty-two-year-old grandmother was said to be interviewing "all the candidates for the honor of typist . . . in the back booth of the Bagel Whole Restaurant in Plantation, Florida"), and a possible movie deal involving superstar actors (Tom Cruise reportedly gets down on his hands and knees to grovel before Grayson, who demands that the actor "put on fifty pounds and a dirty blond wig and glasses to play the main character, said to be based on Richie himself"). After pages of this hype-filled buildup, the author/character angrily denies to USA Today that "his much ballyhooed masterpiece doesn't even exist," but finally the "dynamic young superwriter who's shaken up America with his fantastic innovations in short fiction" announces at a closed-circuit press conference that he is abandoning his story but will begin a new story, "an experimental piece about all the furor writing the first story caused."
The text below is the exact source material used for this statement.
The Greatest Short Story that Absolutely Ever Was (1989) features a title piece in which Grayson again mocks both the blockbuster ethos of the 1980s book publishing business and the inconsequential nature of his own fictional efforts, largely published in obscure literary magazines or small-press books. The story is a compilation of gossip column items à la Larry King or Liz Smith, each ending with the requisite ellipses. These items concern Richard Grayson, an "ultra-talented" "super-writer," who, it is rumored, is at work on "another one of his short-story masterpieces." Breathlessly, the gossip columnist reveals details of the plot ("based on his own adventures on the psychiatrist's couch and in graduate school"), the secrecy surrounding work on the story (the author's eighty-two-year-old grandmother was said to be interviewing "all the candidates for the honor of typist . . . in the back booth of the Bagel Whole Restaurant in Plantation, Florida"), and a possible movie deal involving superstar actors (Tom Cruise reportedly gets down on his hands and knees to grovel before Grayson, who demands that the actor "put on fifty pounds and a dirty blond wig and glasses to play the main character, said to be based on Richie himself"). After pages of this hype-filled buildup, the author/character angrily denies to USA Today that "his much ballyhooed masterpiece doesn't even exist," but finally the "dynamic young superwriter who's shaken up America with his fantastic innovations in short fiction" announces at a closed-circuit press conference that he is abandoning his story but will begin a new story, "an experimental piece about all the furor writing the first story caused."
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"Nice Weather, Aren't We?" - the title phrase a seemingly nonsensical but comprehensible bit of small talk by a stranger in an elevator-shows the narrator, an M.F.A. student, struggling to write a story that will outdo those of his graduate workshop rival, Bruce. But during the course of the "story," Bruce comes in and discovers that the narrator has used him as an unsavory character. Enraged, Bruce punches the narrator, who wonders how he will finish the story while in pain from a black eye. Almost immediately, however, the narrator announces he has made up the assault by Bruce and the story will go on-somehow. After recounting his dismay over rejections of his work and the lies he tells, not only on the page but to friends, the narrator explains that he writes only because he is so unhappy and urges the reader not to judge him: "All I do really is manipulate reality. Is that so bad? I don't know how else to live? End of story."
The text below is the exact source material used for this statement.
"Nice Weather, Aren't We?" - the title phrase a seemingly nonsensical but comprehensible bit of small talk by a stranger in an elevator-shows the narrator, an M.F.A. student, struggling to write a story that will outdo those of his graduate workshop rival, Bruce. But during the course of the "story," Bruce comes in and discovers that the narrator has used him as an unsavory character. Enraged, Bruce punches the narrator, who wonders how he will finish the story while in pain from a black eye. Almost immediately, however, the narrator announces he has made up the assault by Bruce and the story will go on-somehow. After recounting his dismay over rejections of his work and the lies he tells, not only on the page but to friends, the narrator explains that he writes only because he is so unhappy and urges the reader not to judge him: "All I do really is manipulate reality. Is that so bad? I don't know how else to live? End of story."
Only the title story in I Brake for Delmore Schwartz, as Ivan Gold noted in The New York Times Book Review, "threatens to become a well-made story." The narrator - a young writer, part-time cab driver, and adjunct college instructor living in a Brooklyn apartment with bars on his windows-has to come to terms with the fact that his girlfriend, Alix, has left him for his best friend, Tom, a struggling painter. He also must decide whether to join Tom in giving up his dreams of an artistic career in favor of going to New York University to learn computer programming. The narrator identifies with the poet Delmore Schwartz, whom he resembles both physically and in his incipient paranoia, and has made up the bumper sticker of the title to put on his car. Although neighborhood vandals have ripped it so that the slogan is now unreadable, it conveys the narrator's desire not to hurt anyone like the mad, disheveled poet who ended his days wandering the streets of New York in a stupor. Ultimately the narrator decides to "call up Tom and leave a message on his machine," and the book ends with a renunciation of the writing life that Grayson himself contemplated many times without truly going through with it.
The text below is the exact source material used for this statement.
Only the title story in I Brake for Delmore Schwartz, as Ivan Gold noted in The New York Times Book Review, "threatens to become a well-made story." The narrator - a young writer, part-time cab driver, and adjunct college instructor living in a Brooklyn apartment with bars on his windows-has to come to terms with the fact that his girlfriend, Alix, has left him for his best friend, Tom, a struggling painter. He also must decide whether to join Tom in giving up his dreams of an artistic career in favor of going to New York University to learn computer programming. The narrator identifies with the poet Delmore Schwartz, whom he resembles both physically and in his incipient paranoia, and has made up the bumper sticker of the title to put on his car. Although neighborhood vandals have ripped it so that the slogan is now unreadable, it conveys the narrator's desire not to hurt anyone like the mad, disheveled poet who ended his days wandering the streets of New York in a stupor. Ultimately the narrator decides to "call up Tom and leave a message on his machine," and the book ends with a renunciation of the writing life that Grayson himself contemplated many times without truly going through with it.
conserve celebrities, to make do with just one supermarket tabloid,one juicy tidbit about Larry "Bud" Melman each week. President Reagan, a celebrity for most of his 75 years, is congnizant of the crisis, political analysts say. But faced with problems like the federal budget deficit, the Gipper believes that individual initiatives, not government programs, are the answer. Others have proposed a variety of solutions:
The text below is the exact source material used for this statement.
conserve celebrities, to make do with just one supermarket tabloid,one juicy tidbit about Larry "Bud" Melman each week. President Reagan, a celebrity for most of his 75 years, is congnizant of the crisis, political analysts say. But faced with problems like the federal budget deficit, the Gipper believes that individual initiatives, not government programs, are the answer. Others have proposed a variety of solutions:
(2) Displaced workers, debt-burdened farmers and unemployed inner-city teenagers should be retrained. Small-scale efforts, like the proposed George Hamilton Institute in Youngstown, Ohio, are already getting under way.
The text below is the exact source material used for this statement.
(2) Displaced workers, debt-burdened farmers and unemployed inner-city teenagers should be retrained. Small-scale efforts, like the proposed George Hamilton Institute in Youngstown, Ohio, are already getting under way.
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