Category: Writing

  • New Look

    Since I’m in the process of penning a contemporary murder mystery, I thought it might be a good idea to trade in the silver space suit with shoulder flashes and Flash Gordon ray gun for a more up-to-date image.  Last week, Donna and I had some fun doing new photos.  One of them will end up being a new bio image for conventions, interviews, and the like, but I had wanted something with a bit more panache, a bit more attitude, a bit more…

    Well, I like this.  I don’t think it would be suitable for Christmas Cards, but it’s kind of fun in the direction I was attempting.

    tough-guy-2009.jpg

    Real tough guy, eh?  Not really.  But I do like the hat.

    Happy New Year, all.

  • I Have Words

    This week is all about the new novel, which I began cutting on Monday.  I’m almost through chapter five now and it feels…good.

    I don’t know how else to put it, but it flows well.  Yes, there’s fixing needs doing and I’m rewriting swaths of it, but basically it looks okay.  As I hoped when I finished the first draft a week and a half ago, I mainly have to add detail.

    So I’ve been working at it most of today.  By hand.  I’m going out tonight, despite the awful wind and cold, to see a friend of mine, Sharon Shinn, speak at a local library.  Depending on the weather tomorrow, the gym in the morning, then more words.

    What would I do without words?  Words have dominated my life since I was old enough to talk.  Even when the dominant art of my life was visual, I talked about it (and other things) as much as I did it.

    It would be awfully nice to be able to just keep doing this.

  • How Do I Bio, Let Me Count The Ways…

    I have to write a new bio.  I’ve been needing to do this for some time.  I had a few prepared bios for conventions and such, tailored depending on who I sent them to.  Magazine bios, con bios, conference bios…they all required a bit of tweaking.  But they’re all pretty much out of date.

    I’m going to do this during the coming week.  Cull through all the details that would seem to make me an important person, someone people might wish to come listen to or see.  I have a difficult time with these, which is why I write most all of them in third person.  I have to put myself in a frame of mind that I’m writing about Someone Else.

    Apropos to that, this past weekend I received my copy of the new documentary The Polymath: or the Life and Opinions of Samuel R. Delany.  In the course of watching it Saturday and Sunday, we heard him say that he considers himself a rather uninteresting person.  I found that resonant.

    When I’m writing a new story, I tend to put myself in the character of the protagonist.  I see myself as That Person.  And almost always, when I start on the subsequent rewrites, one of the problems I have to fix is that the main characters of my stories are uniformly weak compared to the secondary characters.  A couple of years ago I had a revelation about why that is.  Mainly, because I don’t see myself as a particularly interesting person.  So that translates into the protagonist, who is generally interested in the other characters, who then become relatively more imbued by interesting characteristics.  I have to then go back and add in all the missing stuff the main character requires.

    Which brings me to the writing of a personal bio.

    What is it about me that  is interesting to other people?

    Now, I’d like to be interesting and sometimes I think I am.  But in the course of the day, I don’t even think about myself much less what it is about me that makes me worth note.  This is perfectly sane behavior, as far as I’m concerned.  Who does go through the day cataloging their specialness besides narcissists, obsessives, terminally vain, or profoundly insecure people?  I stipulate that I’m vain, but it limits itself to personal grooming, physical fitness, and an attempt at erudition, none of which controls my life, and all of which are practices I think more people should embrace if for no other reason than a sense of public politeness.

    But I’m always a bit dismayed when people actually pay attention to me or think I have something worth saying.  (I stress again, I want to be someone like that, I just don’t happen to “feel” it.)

    So the personal bio usually becomes a list of things I’ve done.  It seems a common way to deal with the self-conscious aspects of a productive life, to place your credentials, as it were, Over There In That Box.  You can point to the file and say, well, if you want to know about me, look in there.  And in that file you’ll find my publications, my award nominations, and the work I’ve done, etc etc., and, oh year, I live in St. Louis, I have a dog, I’m in love with Donna and so forth—which are still components, in a way, rather than actual revelations.

    I don’t think there’s anything wrong with this approach and I certainly don’t think strangers have a right to expect more, but it’s not exactly a biography, is it?  It’s more like a resume.

    It doesn’t say anything about the fact that for me different music produces different kinds of writing, that if I’m trying to get inside the head of someone tormented I often listen to Ligeti and when I’m creating landscapes, I want Vangelis or Sibelius and when I need action, I find Last Fast or Joe Satriani or Bartok really helps.  It doesn’t cover the fact that I use much of my music to unlock a feeling I can’t quite identify just for myself.

    It doesn’t say anything about how much I like late evening sunlight shafting through miniblinds (or how the same effect, late at night, from streetlamps, really turns me on); or how the late afternoon sunlight across open fields in September strikes a kind of heroic melancholy in my mind, like the atmosphere of final days or impending loss or the denouement after a mighty adventure; or the fact that I’ve never read a book that has made me weep, but there are certain films that do it to me almost every time…

    In other words, bios like this don’t say much about me.

    But my stories do, if you remember that they are not and never have been biographical.

    A paradox?  Not really.  You put what you feel into a story.  How that feeling is evoked is unimportant as long as it’s true, and you don’t need personal revelation in terms of history to do it.   Everyone has these feelings, and they own them, and they were all evoked differently, so fiction that talks about the personal need not be about the author to work.

    But you still ought to be able to say something in a bio about yourself that makes you at least seem interesting to total strangers.

    I’m still working on all this.

  • Remembering the Future: Why Science Fiction Matters

    Recently, I was asked to write a short piece about what science fiction means to me for the St. Louis Post-Dispatch.  I did and they published it the weekend of Archon 33, October 4th.  Not that anything was wrong with what I wrote, but as this is a topic I think about on and off all the time, I came up with a somewhat different version and, in some respects, a better version, which I couldn’t get in on time.  So here it is.
    ************************************************************************

    We seldom realize what an amazing time we live in. Every time I see someone flip open a cell phone, I get a little thrill, and for a moment I feel the way I did at age 12, huddled in my room, reading Doc Smith’s Lensmen novels with their instantaneous communications. We are on the brink of building cars that do the driving for us—they already work with more computing power than an 80s vintage computer.

    Going through the day reminds me of scenes from the works of Isaac Asimov, Poul Anderson, Robert Heinlein, scores of others. In many ways we have built the world envisioned in the pages of science fiction magazines of the 50s and 60s. The only exception appears to be space travel—it’s the 21st Century and we still do not have a colony on the moon or Mars. Space exploration is happening, just not in the way we expected, so it’s a minor quibble.

    I grew up at a time when reading novels and magazines adorned by the garish and outre paintings of artists like Ed Emshwiller, Kelley Freas, Paul Lehr, or Richard Powers could earn you ridicule from peers or lectures from adults about wasting time with nonsense. I, and many others, stuck with it because something about it clicked and nothing else came close to providing the same thrill. For many, devotion lapsed with adulthood, but some of us came back, and today we feel a bit vindicated—the images of science fiction are everywhere.

    It is, however, a mistake to value science fiction for its presumed predictions. While we have certainly arrived in The Future, the fact is that if a writer of the 40s or 50s or 60s has turned out to be correct in an extrapolation, it is purely serendipity. These are stories, not blueprints, and casting fortunes is for the tea leaf and horoscope crowd, not science fiction writers.

    If utility in art must be found, then the benefit many of us derived from science fiction is simply this: it taught us not to fear change. Tomorrow is just another place to visit, and next year a new city or country. It shows us that things happen for reasons, that the best tool we have with which to face the world is our mind and the effectiveness of that tool is composed of the two most indispensable things—knowledge and imagination.

    Things have gotten a bit darker in science fiction, as in the world at large. In some ways we’ve forgotten the 12-year-old to whom these tales should first speak. But at the core of the genre is an optimism and confidence difficult to find in any other literature. After all, most science fiction begins with the assumption that there will be a tomorrow.

    For my part, I’ve never been frightened by the prospect of change. In fact, I’ve always looked forward to it. Every now and then, I see something new on the street, in science, on tv, in the world and I look at it and say “Oh, yeah, I remember that.” I can thank all those crazy stories that took delight in the infinite variety of the universe and showed me how to greet the future. For me, that’s why science fiction matters—and always will.

  • Events and Events

    Hard to believe it’s mid-October already.  Last weekend I was in Columbia, MO, for the MCB annual Celebration.  I’ve talked about this before—History and Fiction: Dueling Narratives—and all I’ll add here is that the programming for the day was marvelous.

    Turnout was another matter.  It wasn’t embarrassing low, to be sure, but it wasn’t up where I’d hoped it would be.  We have a lot to learn about proper promotions.  But it was generally successful enough that there is no question about next year, which will be—

    MISSOURI GENRE.

    I sort of grabbed the title out of the air at the last board meeting, just so we could all start thinking about it and working toward it, and to make sure everyone understood that we have a program (even though we don’t, exactly).  I’ve already enlisted three writers to appear.  Katie Estill, who has two novels to her credit, the most recent one, Dahlia’s Gone, is quite a bravura piece of writing.  Not genre, not exactly, although it does involve a murder.  But in a way, mainstream is a genre insofar as it is recognized as distinct from all other “genres” like mystery or romance or science fiction.  John Lutz, a local mystery writer of considerable reputation, who wrote the novel on which the movie Single White Female was based.  And Robin Bailey, talented fantasy author and former president of SFWA.  I figured having them on the bill would be a good, solid foundation on which to construct the rest of the program.

    This will be the last Celebration in which I’m directly involved as a member of the board of the Missouri Center for the Book.  Come April of ’11 I shall be leaving the MCB, per the by-laws.  So I hope this one will nail it up good.

    I really enjoy being on panels and doing presentations.  I can’t claim to be exactly comfortable in front of an audience, but I like it, and occasionally I even do well.  So in future I hope to be doing more of that and less planning.

    Assuming, of course, I also have some new novels to promote.  I’m still waiting to hear.

    I’ve got another month or two of regular unemployment, then there seems to be some kind of extra rigomarole to go through to get the extensions.  I have a prospect that won’t come in till January.  We’ll see how that all works out.

    I must say that all the presenters we had at this last Celebration were excellent.  The talks were first-rate.  We must solve this attendance problem, because people are missing out on some really great stuff.  Tenacity.  I’ve already put some things in place that I have to follow up on next year in terms of radio presence and such.

    Meantime, I have one more major gig for the MCB this year—the book-to-film panel at the St. Louis International Film Festival.  I have obtained a copy of the novel in question—Woe To Live On by Daniel Woodrell, which is out of print—and I need to read it beforehand and make up my list of questions.  We’ll have Scott Phillips on stage to talk about converting novels to screenplays and a Civil War historian, Louis Gerteis, to do a little commentary on the subject of the novel, which is the Civil War in Missouri (which was particularly nasty).  Ought to be a great event.  The film is Ride With The Devil, of which a new director’s cut is being released in a couple of months.  Early Toby MacGuire work.  This will be on November 15th, probably at Washington University.

    Then I will be immersed in my own work for the rest of the winter.

    Oh, boy.

  • Casting Call

    I’m feeling kind of antic this morning, so I thought I’d play a little fantasy game.  Most writers, whether they admit it or not, indulge in a game of imagining who would play what part in films from their books.  This comes almost second nature to me, since from an early age I started reading with a movie playing in my head and I would cast the parts.  (My most successful casting job was Michener’s Hawaii—I got just about every part right but one, that of Rafer Hoxworth.)

    So I thought I’d post my choices for casting in movies from some of my books.  What I’d really like is for people to post their choices in comments.

    To start with, Compass Reach.  The part of Fargo has changed over the years, from a youngish Daniel Craig to Robert Carlyle to  Ioan Gruffud (all Brits, imagine that) to more recently Jamie Bamber (another Brit) to my current choice of Ryan Phillipe (an American for once).  I still think Daniel Craig would be good.  But Fargo is mercurial that way.

    But for Lis, one actress just leapt out at me the moment I saw her and I exclaimed “That is Lis!”  Franke Potente

    Haven’t seen anyone yet who’d do better in the role.

    Stephen, of course, is another mercurial one, but I finally settled on James Marsters (yeah, Spike of Buffy fame).  He’s it, I think, for the stricken telelog.

    Metal of Night is a bit rougher.  For Cira Kalinge I have two actresses in mind.  The first is Indira Varma of Rome fame, but the other would be Nia Long.  I have one actor in mind for the dual role of Alexan and Nicolan Cambion and that is Johnny Depp.  Name dropping perhaps, but there it is.

    But for Merrick…ah, yes, my ongoing spymaster/corporate magnate/mover’n’shaker.  Again, just one actor—Tim Roth.

    Tim Kang as Tory Shirabe, Ralph Fiennes as Maxwell Cambion, and for the berserker part of Venner…Rufus Sewell

    Peace & Memory has a larger cast and more possibilities, but the actress I have in mind for Tamyn Glass…well, bear in mind that I think if this film has a chance in hell of being made, it won’t be for ten years, by which time she’ll have grown into the part.  Eliza Dushku.  Which is a bit of a cheat, because everyone else I have in mind would be cast in a film made, say, tomorrow.  At one time Sigourney Weaver would have been a shoe-in, but in SF she’s too much Ripley, so it would be Ripley playing Tamyn, and that might not be a good fit.  However, as an alternative more in line with what I have in mind, someone like Angela Bassett would be good.  But this is up for grabs, really.  I’ll stick with Eliza as an image.

    Joclen would be well played by Amanda Righetti

    Kevin McKidd for Benajim Cyanus.  We can stick with Tim Roth for the discorporate Sean Merrick.  Then we come to the pivotal role of the prophylactic, Piper Van.  I have a couple of names in mind for that, one simply because I like her—well, I like them all—but she has demonstrated an ability to do the physical side:  Marley Shelton.   Perhaps a bit too “girlie” for Piper, but as I say, I like her.  Katie Sackhoff  which after Battlestar Galactica and her performance as Starbuck might be a bit obvious, but she’s got the presence to carry off the part.  A less obvious choice would be Thandie Newton.  Piper is supposed to be enhanced and, therefore, deceptive.

    Naril Van, Tamyn’s lawyer, would be well played by Mary McDonnell,  but I could also see her played well by Mary Steenburgen.  Don’t know which I’d prefer.

    Fisher, the bad guy, I’d cast Jonny Lee Miller.  Not, perhaps, an obvious choice, but thin about it, he’d do marvelously.

    Which brings us to Ryan Jones, Bool Nooneus, and Elen ap Marik.  Ryan I think should be played by Robert Conrad of Wild Wild West fame.  Or The Black Sheep.  Or a gazillion tv movies.  But take a look at more recent pics and he looks perfect.  Nooneus, just to be antic, would be Stephen Fry.

    Then there is Elen, the woman who falls for Benajim and has such, er, interesting modifications.  She’d have to be someone who could carry it off with one artificial eye.  My choice?   Maybe I’ll leave that one blank for now and see if anyone comes up with someone for the part.

    That’s the Secantis Sequence and certainly not all of the parts.  It would be fun to see what people thought of the secondary and tertiary characters, who would be good to play them, but also the alternatives to my list.  There are several characters I skipped in this, but we can revisit the topic later if it’s fun.

    Ah, fantasy.  Now, who would I get to direct…?

  • The Keyboard I Didn’t Buy

    I came within a few synapses of buying a keyboard today.  An old Yamaha, double-manual, polyphonic ensemble—portable, with a stand.  No amplifier.  There was a time I would have fallen all over myself to get one of these for under five hundred bucks.  This one—sitting on the grass in someone’s back yard, part of the swag obtainable at the annual neighborhood yard sale we attend—was going for twenty-five bucks.

    And I passed.

    Couldn’t change my mind, either, a young fellow was right behind us and snatched it up.

    Now, I could say that I passed on it because I never buy a keyboard without trying it out, to see if all the notes and pots work, to see, basically, if it both sounds good and feels right.  Feel is very important in these matters.

    But that would be waffling, really.  I didn’t buy because…well, why?  I’m going to be 55 in a few weeks and my days of gigging are more than thirty years past.  I do not play well enough anymore to justify having more than the one piano I have—an instrument, by the way, the capacities of which I have yet to max out.

    I play at playing music.  Way, way back in the distant past, there was a period of a couple of years when I could sit in with other bands, could do a reasonably good evening of rock-n-roll with some classical stuff thrown in for the oohs and ahhs.  I played every day, usually for three hours, often more.  I wanted to be Keith Emerson.  I could do a couple of the less complex ELP tunes.

    But I did not have all the other requisite drives to make it as a professional musician.  I hate dealing with the business side, for one thing, something I confess to still dislike.   I am not constitutionally equipped to make money.  I wanted to play music.

    But I also wanted to play the music I wanted to play and the fact is that as in everything else one does to make a living, you don’t really often get to do what you want to do—you have to please the customer.  And I lost patience with the pathetic musical taste of my so-called audience back then.  I—and the guys playing with me—would break our backs learning some really cool piece of choice music (something by Genesis, say, or Yes or, one time I remember, something by Premiata Forneria Marconi—and if you do not know who they were, go check them out, for your musical education is lacking) and put it out there at a gig and receive lukewarm response and a request for something from the Doobie Brothers.  Not that I dislike the Doobies, mind you, but it just wasn’t up there, in my opinion.  Actually the audience just wasn’t up there.

    So I walked away.  I sold all my equipment and said to hell with it.  Didn’t play for several years.

    We bought a piano in 1989.  The last gig I’d done was about 1977 or 78.  I had forgotten damn near everything.

    But I hadn’t bought the thing to relive glory days or revisit tunes I could enjoy easily on the stereo—I’d bought it to do what I wanted to do.  So I wrote a few pieces, played in the mornings just to reset my mood for the day, jammed, really.  Over the years, I have occasionally picked up a piece of sheet music and worked at it, but basically I play a kind of pretend music.  In my mind it is.  It’s kind of like Keith Jarrett, who improvises everything he does.  Of course, Jarrett is marvelously skilled and educated so his improvisations are fascinating, intricate.  Mine are a bit redundant.  I’ve developed a suite of a couple dozen motifs that I can mix and match and then just sit down and rip on them.

    People listening, when I’m in a groove, think it’s amazing, and the structure is such that most of them think I’m playing something they just can’t quite recognize.  But it’s a rudimentary form of jazz freeform.  Middle-level musicians enjoy what I’m doing but know it’s more or less fake.

    Oddly enough, the few really good musicians I know love listening, because to them it’s just spontaneous composition and they’ve worked very hard to get to a point where they can do the same thing.  As long as I don’t play too long, they’re actually impressed.

    About once a month, if I’m not doing anything else, I play at a small church open mic from January to August.  The audience is small, they never have requests, and they think I’m pretty good.  At least, they clearly enjoy themselves when I play.

    And that’s enough.  I’m playing.  I’m playing from the heart.  I’m playing what I want.  I don’t really need much more, though sometimes I’d like more.

    So why did I pass on the yard sale keyboard?  Because two keyboards means more discipline.  It means I’m getting serious about doing music that I no longer do.  It means—to me, from inside my skull—that I have to knuckle down and practice and prove I deserve to be playing.  It means pressure.

    There might come a time I decide, because I really want to, that I need to get my chops back in a serious way.  But not now.  I’m concentrating on my writing.  That’s the work that needs the lion’s share of my attention.  If I start playing music three or four hours a day again, I’ll short-change the important stuff.  So I passed.  I don’t need it.  I’m okay with where I’m at with what I do with the music I make.

    Besides…where the hell would I put it?

  • John Adams and the Efforts of Time

    We just watched the last episode of John Adams.  I got the DVD from the library and we went through it in one week, all seven installments.  I have to admit, the last episode brought tears.  The partnership between John and Abigail was well-portrayed and deeply moving.  The older I get, the more I find the strongest story resonance with depictions of deep, deep friendships, especially those that exist between lovers, spouses, life partners.  I cannot imagine losing Donna, who has become exactly that for me, in spite of the fact that I have friends of longer acquaintance, good friends, too.

    The casting was incredible, the make-up superb, the writing first class.
    What struck me most about this as well was the marvelously-nuanced dramatization of the fundamental differences in political philosophy between Adams and Jefferson.  I can’t help but think that when Adams declared that “the true history of our revolution is lost” he must have been thinking of the initial partnership and later dissolution of like-mindedness between himself and Thomas Jefferson, whom Joseph Ellis depicts an an American Sphinx.

    Adams is here portrayed as an idealist who cannot separate his philosophy from his pragmatism.  In the first dozen years of the new republic, there was enormous public sentiment for France and when that country descended into the frenzy of its own revolution gone mad, that sentiment demanded that we support the revolutionaries.  The irony that France supported us when it was still a monarchy and now those very people that had backed us (granted, as a move in their own war with England) were the victims of the mob ascendant was lost on most people, and apparently even Jefferson, who wanted us to embroil ourselves immediately and deeply in support of the revolutionaries.  Washington—how lucky they were to have him—refused.  He was a militaryman by training and he understood how to assess the chances of success and how to go about surviving a conflict in which you are outmatched.  He had seen more than his share of defeat in a long career and knew well that ideology needed a strong hand to keep it in check, lest it carry you over the precipice.  He refused to side with France, believing that neutrality was the only way for the United States to survive.  Adams shared that belief.

    Jefferson, and those like him believed that the rightness of the cause would win out.

    Neither Jefferson or Adams had served in the military, but it appears that Adams at least had seen a bit of bloodshed.  He grasped an essential reality—that ideals do not win battles.  And yet, politically, he clung to his ideals in the face of an enemy who seemed capable of indulging any tactic in the cause of winning, namely Jefferson.  Almost a complete reversal of roles, at least in appearances.

    Or was it?

    Adams seems to have had a grasp of the long-term in a way that Jefferson, with his mercurial fixation on posterity, did not.  Adams grasped that the fields in which ideals must be left unsullied by pragmatism are different than those in which an immediate fight for survival is waged.  He would not interject himself where his loyalty to the Constitution said he ought not, even when it might win him another term as president.  Jefferson seemed willing to do work-arounds whenever his vision demanded.

    I’m simplifying, of course.  Adams blundered in terms of ideals badly with the Alien and Sedition Act.  He knew he would be remembered more for that—and not well—than for having steered the country through the shoals of potential disaster by refusing to take sides in the squabble between England and France.  And the Alien and Sedition Act is a nasty, unAmerican piece of political offal.  Patently unConstitutional.

    And yet Jefferson’s purchase of the Louisiana Territory was also patently unConstitutional, a violation of due process, and in many ways unleashed nastiness and ugliness by opening up all that land to American incursion, wiping out more Native American nations and people, bringing us into direct conflict with Spain and then Mexico, lent opportunity for future presidents to exercise the worst aspects of imperial ambition all in the name of the United States and in contradiction to the Founding Intent of the republic….and for that he is praised.

    The essential element of the American Revolution, as it was happening at the time, is simply a group of talented men scrambling around trying desperately to make something workable out of a deadly situation.  They didn’t want a king anymore, they wanted to run their own affairs, but they were also terrified of their neighbors, so some legal wall had to be built to keep New York or Pennsylvania or Virginia from dictating to the smaller states.  The southern colonies operated as agrarian economies based on slave labor, and they wanted to maintain that, so something had to be done to make sure the abolitionists in the north couldn’t strip them of millions of dollars worth of property and labor.  In the tumult of ongoing war, they were working at a fever pitch to make sure they came out the other side with what they wanted, even at the expense of the unity that was to guarantee a victory, and they had no idea how it was all going to look.  It was bedlam.  It was panic-stricken intellectual jerrymandering.

    And somehow out of this a framework evolved that, not then and not for a long time to come, but eventually emerged as a marvelous machine.

    But there was little solidarity of invention, little conformity of vision.  They all knew that they had to fight to be severed from Great Britain.  That afterward they needed to erect a coherent government that wouldn’t take from them what they saw Britain trying to take from them.  How they were going to do all this, on that there was little agreement.

    It was a mess.

    The myth prevails.

    But not so much that sound research and a little patient thought can’t recover what might actually have been going on, and sometimes the results are something wonderfully poignant, insightful, and honest as this miniseries.  It ought to be shown in grade school.  It ought to be part of any American history course.

    At a book festival a few years ago, I attended a discussion by a historian who had just published a biography of Aaron Burr.  She’d taken the trouble to go back to primary sources and look at the man through the lens of his times rather than our modern, prejudiced view of a murderer and traitor.  She talked about the humanness of these people, who were an amalgam—hero and villain, coward and genius, self-serving and patriotic, publicly strong and privately weak—when someone stood up to condemn her for her scholarship.  His argument was that it wasn’t right to denigrate these people who had given us so much.

    “I’m not denigrating anyone, sir,” the historian said.  “I’m simply showing them as they actually were.”

    “What good does that do?  I don’t want to know that they were assholes.  I don’t agree with what you’re doing.”

    I don’t want to know that they were assholes.

    Understandable sentiment, perhaps, but without realizing how utterly human they were we risk deifying them.  And we’ve seen that process at work through most of our history, to greater or lesser degrees.  The temptation to cast the revolutionary era in bronze and hold it up as some ideal age is great because it seems so simple and honest and straight-forward compared to our present age of almost fractal complexity.  We can see the desire for that kind of simplicity and, we believe, dependability in the constant purges against politicians who prove themselves frail or hypocritical or simply too human.  We want paragons, walking talking ideals who never stray from the Philosopher’s Gold of which we think the Founding Fathers were composed.  We sacrifice a lot of talent this way.  Brilliant economists, diplomats, orators, legislators get harried out of office because they slept with someone out of wedlock or smoked pot in college or eschew a religious point-of-view.  The examination of private lives in search of the unstained, pure of heart, consistently noble character drives the best and brightest away from even putting themselves forward to serve.  As if any of these factors relate to competence or civic virtue or ability to lead.

    Any examination of the Founding Fathers shows such a catalogue of human frailty that likely none of them today could get elected as small-town councilman much less to the highest offices of the land.  Among them were speculators, slave owners, philanderers, alcoholics, bigots, gamblers, and all manner of personal hypocrisy.

    But look at what they managed to build.

    I think more such dramatizations ought to be made.  We should know very well how human these people were.  We should know that, really, they weren’t so very different than we were, beyond those differences that time and circumstance inevitably produce.  It would do us good to get the idea that if these—uncertain, petty, churlish, hypocritical, frightened men—could do what they did when the opportunity presented itself, what can we not aspire to accomplish with all the benefits of their histories and our present abilities?  Knowing that we are more like them than not would be a good thing, I think.

  • Dante’s HMO

    Now for something less sturm und drang (which is ironic, since just now it is thundering and raining outside) and more reflective.

    We’re still attending the Dante reading group.  Yesterday we did Canto XIV of Purgatorio and indulged some lively conversation over the meaning and intent.  It’s become fairly obvious (long ago, back in  Inferno it was obvious) that Dante was not talking about the afterlife, not in any serious way.  All of this is a critique of the world and its denizens.  It is a thoroughgoing strafing and scourging of the component parts of the world through which he moved.  He was doing what science fiction does, talking about the present world through the distorting lens of the fantastic.

    There are equivalent personalities in Inferno and Purgatory.  There seems to be a question of degree, however, and an additional component of self awareness that has put the denizens of Purgatory—the Purgs in our group shorthand—and the Infernals where they are.  We have just completed Pride and are in the midst of Envy, and certainly there are those in Inferno who suffer from the same faults.  The difference is the Purgs know they have a failing, the Infernals embrace their flaw as if it is only right and natural.  The person of Chaco for one is convinced he’s heaven-bound just as soon as the bureaucratic cock-up that’s put him where he is gets cleared up.  The Infernals, you realize, are exactly where they want to be.

    This is a point I think Larry Niven and Jerry Pournelle missed in their otherwise delightful take, Inferno.  They portrayed the denizens of hell as people being punished and are aware of being punished, unable to do anything about it.  But it becomes clear with close reading of Dante that this is precisely not the case.  Chaco, and his ilk, like the way they are, they have no problem with themselves, it is the world that they see as the problem.  They would tear down creation to make it conform to their view of how things should be.

    Whereas the Purgs have no such conviction.  They are flawed and feel incapable of doing anything about it.  They know there is a problem, but can’t seem to identify it, or feel powerless to effect change.  Theirs is a more complex dysfunction, and it is compounded by a confusion with the systems they have lived and worked within.  They are loathe to drop the forms they have grown both comfortable and diseased embracing.

    And Virgil, who is outside this entire construct being a pagan, pre-Christian, tells Dante:

    That was the iron bit meant to hold man within his proper bound.  But you men swallow bait and hook and all, and then your ancient enemy yanks you in—small profit to you then, the rein or call.

    Stepping outside for a moment, which is Virgil’s freedom, this suggests that mankind has been sold a bill of goods, a slick salesman has had his way with us, and we bought it.  Bought into it.  And we’re stuck with it.  There are wonders enough in life and elsewhere, but we’re too busy tending the Great Machine to pay attention—or to think we can abandon what doesn’t work in the hope of finding…better.

    If Dante hadn’t written this in the 13th century, one might see it as an almost modern critique of the corporate system.  But why not?  The same flaws inform modern institutions, drive people to ignore their own best interests, create the same monsters of singular obessive control.

    Seen from this perspective, I have to say—I can’t resist saying—that the entire health care debate seems custom tailored for a Dante-esque interpretation.  Kind of fitting.  And frightening.

  • Missouri Center for the Book Presents…


     HISTORY AND FICTION:

                               DUELING NARRATIVES   

                 

               A CELEBRATION OF THE BOOK   

     

                      Saturday, October 10, 2009    

                             8:30 a.m. to 6 p.m. 

                                           at       

                             Stephens College                                                     

     

                Registration, including box lunch,

                                 $25.00

    Sponsored by:

    Stephens College English/Creative Writing Department

                                          And

                  The Missouri Center for the Book

    Featuring a keynote address by historian and novelist,

     

                            HARPER BARNES,

            Author of the prize-winning history, Never Been a Time:

              The 1917 Race Riot That Sparked the Civil Rights Movement,                and the novel, Blue Monday, among other titles.

     

    With readings and panels on historical fiction, biography, memoir, dramatizations of real life, journalistic narrative, true crime writing, essay writing, and workshops on writing poetry, fiction, and non-fiction,

     

    With participating writers, Fran Baker, Mary Kay Blakely, Virginia Brackett, Barri Bumgarner, Thomas Danisi, John Mark Eberhart, Matthew Eck, R.M. Kinder, Kate Berneking Kogut, Phong Nguyen, Scott Phillips, Kris Somerville, Whitney Terrell, Tina Parke- Sutherland, and Mark Tiedemann,

     

    And a special event, a presentation by the distinguished translator and author,

     

                 MARGARET SAYERS PEDEN

                Translator of works by Octavio Paz, Carlos

                     Fuentes, Isabel Allende, Cesar Vallejo, and

                    numerous other important Latin American

                     writers.

     

    All events will be located in the main learning center on the Stephens College campus, with entrance through the Columbia Foyer, facing East Broadway.  Book displays and author signings will continue through the day.

    For more information, go to  Missouri Center for the Book