I Know You're Not Supposed to Do This, But...

I did it anyway. After reading the first several stories in Brian Evenson's Altmann's Tongue, I read the author's afterword. I didn't want to find out about the stories as much as I wanted to find out about Evenson.

Why? Because the first several stories in the collection (maybe all of them) deal with killing, not in a typical murder/slasher/psycho sort of way, but in a detached, unemotional, yet oddly disturbing manner. Says Evenson,

So violence is depicted but then superseded by style operating as a kind of violence toward the reader: the two working sometimes concertedly, sometimes in tension, to create a world that feels at once stark and yet stylized, in slant relation to the actual world.

Would you guess that Evenson was a Mormon? Not only that, he taught at BYU and got in a lot of hot water over this book. Read it and you'll understand why. But it's great stuff filled with stories that demand a second (or third) read. In fact, a little later in the Afterword, Evenson states,

Altmann's Tongue is meant to be a challenging book, is postulated as a challenge to the reader. The stories in it are meant to function beyond their initial reading, in the way readers choose over time to process the reading experience and supply their own moral response to the absence of response within the text proper. A sort of virus, as it were.

Can't wait to finish this one, then read it again.

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Started a new story this morning - only got a couple of hundred words down, but I'll have time to think about it while I'm in the dentist's chair later today. Wish me luck. (For my teeth and the story.)

The Vampire plus a Little Story News

I ran across a hardcover edition of this book yesterday (no dust jacket) and saw simply The Vampire (with no subtitle) on the spine, thinking it was a horror novel or maybe even a look at vampires in film or literature. Not so.

Rather than an examination of the vampire in film or literature, The Vampire: A Casebook is a scholarly work dedicated to traditional legends and folklore associated (for the most part) with eastern Europe. The book is published by the University of Wisconsin (Now I know what you guys are really doing up there, Trent.) and includes essays by eleven academic scholars. Some of the essay titles are:

The History of the Word Vampire

The Romanian Folkloric Vampire

South Slavic Countermeasures against Vampires

The Killing of a Vampire

Forensic Pathology and the European Vampire

The Vampire as Bloodthirsty Revenant: A Psychoanalytic Post Mordem

Very interesting stuff. This one will soon be at the top of my "To Read/Non-Fiction" list.

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On the story front, this past weekend I was contacted by an editor who expressed an interest in publishing one of my stories and has asked for a revision of the ending, so that's been my recent focus. Keep your fingers crossed.

April Books Bought and Read

For once, I actually read more books than I bought...but just barely. The first three books bought were either ex-library copies or thrift store purchases, so I didn't spend much for them. The rest of the books were purchased on my recent Texas trip.

I hadn't realized that April was such a month for mysteries - I read three of them. I'd forgotten how much I enjoy Rex Stout's Nero Wolfe mysteries. I've read them all, but it's been two years since I read one. I'm taking my time, reading them in the order they were published. If you haven't read any of the Nero Wolfe novels, I'd recommend trying one of the collections of novellas. (You can see the complete list here.)

As always, highly recommended books from "Books Read" are linked.

BOOKS BOUGHT

The Ragamuffin Gospel (NF 1990) - Brennan Manning

Duel: Terror Stories (collection 2003) - Richard Matheson

H.P. Lovecraft Tales (Library of America 2005)

Altmann's Tongue: Stories and a Novella (1994) - Brian Evenson

The Bride of Hell & Other Stories (1949/2006)- Marjorie Bowen

The Girl in the Flammable Skirt: Stories (1998) - Aimee Bender

The Haunted Hotel & Other Stories (1941/2006)- Wilkie Collins

Microcosmic God: Volume 2 of the Complete Stories of Theodore Sturgeon (1995)

The Green Glass Sea (YA 2006) - Ellen Klages

Invitation to a Beheading (1959)- Vladimir Nabokov

The World of Nabokov's Stories (NF 1999) - Maxim D. Shrayer

BOOKS READ

Seven Money Mantras for a Richer Life (NF 2004) – Michelle Singletary

The Door Within (Juv. 2005) – Wayne Thomas Batson

Engaging the Soul of Youth Culture (NF 2006) – Walt Mueller

Fledgling (2005) – Octavia E. Butler

Art & Fear (NF 1993) – David Bayles and Ted Orland

Heart-Shaped Box (2007) – Joe Hill

Marley & Me (NF 2005) – John Grogan

Saffron and Brimstone: Strange Stories (2007) – Elizabeth Hand

School Days (2005) – Robert B. Parker

The Ragamuffin Gospel (NF 1990) – Brennan Manning

The Silent Speaker (1946) – Rex Stout

Baltimore Blues (1997) – Laura Lippman

And there you have it.

Two Writing Paths, plus Another One Bounces Back

The always insightful (He really is - his blog even says so.) Trent Hergenrader has some really interesting thoughts on two paths writers of speculative fiction can pursue: the Clarion workshop and a university creative writing program. I can attest to everything Mr. Hergenrader says about the Clarion experience and trust him that the rest of his findings are probably accurate not only for his university, but for most places as well. Again, very interesting reading.

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A nice rejection letter for my newest completed story "The Probationary Period" was waiting for me when I got home from Texas, so we'll just send that sucker back out into the world and see if it sticks somewhere else. Plus I started a new story this morning (1100 words so far).

Back from Texas

Had a great time in Texas this past weekend. Travis and Libby's wedding was just about perfect in every way. It was very exciting to see them start their new life together. I also got to see some family that I don't get to see as often as I would like. Very enjoyable.

Alas, while in Texas, I fell to the temptation of too many great book stores. Two Arlington Half-Price Books locations (Collins, Cooper) and the mothership - Recycled Books in Denton. I came away with a total of eight or nine books, which I guess could have been a lot worse. I'll share the titles in tomorrow's April Books Read/Books Purchased report. (I know, the antipication is just killing you.)

Arlington hasn't changed too terribly much, but man, has Denton exploded! I don't know if UNT has grown that much or people are simply moving further north, but Denton is absolutely crazy now. When Cindy and I lived there it was a nice, sleepy little college town with a couple of good Mexican restaurants and a bad mall. Now they have just about everything you could want (except maybe a football team at the university).

I'd forgotten how wide open everything is in Texas. The roads, the land, everything. And the reverse sticker shock: I saw a billboard with a photo of a large two-story house. The sign read "Starting from the $140's." I just about wrecked laughing so hard. Maybe I should have been crying? We could sell our house in Maryland and buy 2.5 of those.

Ah, Texas!

No posts for the next few days - yeah, I know, it's not like I've been lighting it up lately, but at least I'm giving you fair warning. My nephew Travis is getting married this weekend, so I'll be in the great state of Texas, where I lived for 4.5 years, more specifically in Arlington where I lived and taught for 3.5 years.

I'm looking forward to the trip, but...what do I take to read???

Possible candidates:

The Dark Descent - huge horror anthology edited by David Hartwell. Maybe too huge (1000+ pages).

The Perfect Host - Volume V: The Complete Stories of Theodore Sturgeon Been meaning to read some Sturgeon lately. Not as big (or heavy) as the Hartwell.

Dark Forces - 1989 horror anthology edited by Kirby McCauley. This one may get the nod - It's the only mass market paperback under consideration.

Cast your votes! See ya soon.

Playing Favorites, Installment # 4

"Rio" (Michael Nesmith) – Michael Nesmith (1977)

I've never really understood why Michael Nesmith wasn't embraced more warmly as a solo artist after the end of The Monkees. Maybe because he made such an issue of not wanting to be a part of any reunion projects for several years when nearly every band from the 60's was launching reunion concerts. That's not to say Nesmith wasn't successful – he certainly was both as a musician and an innovator in music videos in the late 1970's/early 1980's. Some even refer to Nesmith as "The Father of the Music Video," which isn't quite accurate, but I'm willing to give Mike the nod.

I first encountered "Rio" as a music video thirty years ago on HBO. (You can see the video here.) By today's standards, it looks a bit cornball with wanna-be Carmen Mirandas, low-budget special effects and goofy comedic touches. Yet it's a charming video, full of nostalgia, whimsy, and fantasy. Nesmith was no doubt influenced by the Fred Astaire/Ginger Rogers film Flying Down to Rio (1933), its dances, sets, and carefree atmosphere. "Rio" is a throw-back to a simpler time with a simple concept – daydreaming of what it would be like to spend a little time in an exotic location, dancing the night away before coming back to reality.

I'm hearing a light from the window
I'm seeing the sound of the sea
My feet have gone loose from their moorings
I'm feeling quite wonderfully free
And I think I will travel to Rio
Using the music for flight
There's nothing I know of in Rio
But it's something to do with the night
It's only a whimsical notion to fly down to Rio tonight
And I probably won't fly down to Rio
But then again, I just might

I know I've talked a lot about the video, but since that's how I first encountered "Rio," it's hard to divorce the music from the images. I guess that's a large part of what the video revolution was about. You can certainly see in "Rio" one of the techniques that would be later used in countless music videos – the blending of fantasy and reality by character costume changes via camera cuts. Music videos soon progressed rapidly from Nesmith's early efforts, but I don't remember very many MTV videos that were as much fun as "Rio." Even the last (spoken) lines of the video are fun:

Nesmith (playing a lighting man on a movie set): "Reno? Why Reno?"

Woman dancer: "Not Reno, dummy, Rio. Rio de Jan-eir-o!"

"Rio" isn't a great song, but it's certainly fun. Sure, it's only a whimsical notion, but sometimes that's exactly what we need to get us through the day.

"Rio" appears on Michael Nesmith's From a Radio Engine to the Photon Wing CD and the DVD Elephant Parts.

New Directions?

Lately I've read a couple of books that are making me reconsider how I think about several things. In Engaging the Soul of Youth Culture, author Walt Mueller talks about how teenagers in his country have largely been abandoned by most of the adults in their lives, whether they be parents, teachers, employers, whatever. Often, says Mueller, the adults realize that this gap exists, but just don't know how to go about bridging it. Mueller's answer is simple: Get to know teenagers. Spend time with them, talk about what's important to them, not you. But carrying that out isn't easy.

The leadership of our church is seriously looking at ways we can help people who aren't getting help. Key word: help, not beat them over the head with a Bible. We've got so many people of all ages around us that need help and we can't expect them to come to us. After all, the church as a whole often does a pretty lousy job of actually helping people who need help.

The other night I was talking to some of the guys in our church's men's group. Somebody said, "What do you think's gonna happen the first time somebody brings a drug addict to church? Or takes a homeless person to lunch? We've got people in this church who'll freak!" He's probably right. But nobody's caring for these people. And the church has two choices: we can sit in our pews inside our nice white walls and talk about theology or we can be more Christlike and help people that need help. The book I'm reading now, The Ragamuffin Gospel, talks about this a lot. And it warns that many people in the church will not be on board with this plan.

What does all this have to do with writing? A few weeks ago, our youth minister announced that he'd met with all the kids from our church and asked them to list all the things they're interested in, no exceptions. They came up with all sorts of stuff: skateboarding, laser tag, paintball, scrapbooking, soccer, art, video games, cooking, rock climbing, movies, poetry, camping...nearly forty different categories. The youth minister said, "Okay, for every category you listed, we're going to provide a forum (with an adult leader with some expertise in that area) for you to do that activity." He hopes the kids will see that there are adults that are interested in the same things they are. And that they're interested in them.

I offered to lead a forum on writing. Participants can do poetry, journaling, fiction, whatever. This is the sort of thing that I did with Writer's Way. I never led a workshop with only teenagers, so that will require a little adjustment, but probably not that much. Writing is writing. And I worked with teenagers for 15 years as a band director, so I know a little about them.

But what can writing do for adults who are hurting, for someone hooked on drugs or someone in deep depression? I led a Writer's Way session once at a DC halfway house where all the guys were recovering from some type of addiction. We wrote a lot and those guys came up with some incredible stuff. More importantly, they talked about what they wrote, talked about how hard it is to walk past a liquor store and not go in, how much it hurts to come home high and have your children greet you grabbing you by your legs because they've missed you, not knowing where you've been for the past three days.

Obviously this is a different type of writing from what I normally do. But as any writer knows, writing can show you things inside yourself you never knew were there. And that can open people up to all sorts of things leading to all sorts of healing.

I'm not sure where any of this is going to go, but it's caused me to examine a lot of things. I used to think I was helping people when I was a teacher and I probably did help a lot of people. But there were many kids I didn't know how to help. I wanted to, but just didn't know how. Or was scared to.

Maybe I'm crazy. Maybe the leadership in our church is crazy. But maybe we can help some people who need help. That's not so crazy.

Yeah, I'm Still Here

Busy, nutty, crazy. Writing, reading, getting a sick Cindy well, getting whatever she had, shipping books, Dog-whispering the hound, all sorts of stuff. Coming soon: thoughts on books, more favorite songs, the secret of the universe, etc.

Swimming Through/Wading Through/Drowning in Faulkner

I'm slowly working my way through several of William Faulkner's short stories and am starting to (starting to, mind you) understand a little of the Faulkner universe (or more accurately, Yoknapatawpha County, Mississippi).

Sometimes you have to read Faulkner a few times to get it and sometimes even that doesn't help much. My second favorite Faulkner quote - Faulkner was being interviewed in 1956 in the Paris Review:

Interviewer: Some people say they can’t understand your writing, even after they read it two or three times. What approach would you suggest for them?

Faulkner: Read it four times.

That's pretty much what I've been doing this week with "That Evening Sun." There's so much going on in this story that you really have to filter it all through the opening paragraph, in which Faulkner (through narrator Quentin Compson) informs the reader that progress and technology have had a drastic (and not necessarily positive) influence on the town of Jefferson (county seat of Yoknapatawpha). Quentin speaks of events that took place fifteen years earlier when he and his siblings were children, seeing the world through children's eyes. And it's quite a frightening world.

As several as the pieces of the story come together, you get the feeling that not only "That Evening Sun" but all of Faulkner's tales and novels are just one part of the massive universe of Yoknapatawpha County with its history, its characters, their history, etc. As I'm reading, I understand with equal measures of pleasure and woe that to truly understand Faulkner, one must read all of Faulkner.

For right now, I need to take Faulkner in small doses. I imagine that after I've studied "That Evening Sun" I'll take a little vacation from Faulkner. Yet I know no one describes my home state quite like he does. Faulkner knows the wonders and horrors of Mississippi in particular and the South in general. It's all summed up in my favorite Faulkner quote:

"The past isn't dead. It isn't even past."

Getting It Out There

I'm determined to get more stuff out to markets this year. Looking back at my "Stories Sent" file, I was stunned to see that in 2006 I only sent stories out twenty times. (One got published.) That's not very much. So far in 2007 I've sent out ten, and for the last five weeks, one a week. Now if I can just keep that pace going. Stay tuned.

This is Sooooooooo Tempting....

Although I only own three or four of their books, I love the Library of America series. The quality of the books themselves is outstanding, the content is excellent and the ones I own have held up extremely well through the years.

Well now you can get all 189 volumes from Amazon for the price of.........

$3,992.97 (Amazon will even give you free shipping.)

That comes to about $21 per volume, which is really pretty good, considering the retail price for most individual books is $35. But do you really want them all? (Hey, they're on my Amazon Wish List. You buy 'em for me, I'll take 'em...)

If you don't want all 189 volumes, you can subscribe directly from the Library of America. Subscribing from the source carries several advantages:

You purchase only the titles you want.

Each clothbound volume comes in a slipcover.

Each volume (including shipping) comes to $30.45. (These are of an even higher quality than their "regular" volumes.) This price reflects a 45% savings over the retail price.

Temptation....

March Books Bought and Read

If I was bad in February, I was very bad in March. Out of control, insane...

Broke.

BOOKS PURCHASED:

The Man Who Turned Into Himself (1994) – David Ambrose

Word Work: Surviving and Thriving as a Writer (NF 2002) – Bruce Holland Rogers

Three Days to Never (2006) – Tim Powers

In the Penny Arcade: Stories (1986) – Steven Millhauser

Watson and DNA: Making a Scientific Revolution (NF 2004) – Victor K. McElheny

Count Down: The Race for Beautiful Solutions at the International Mathematical Olympiad (NF 2005) - Steve Olson

The Killer Inside Me (1952) – Jim Thompson

Burger Wuss (YA 2001) – M.T. Anderson

The Astonishing Life of Octavian Nothing, Traitor to the Nation, Vol. 1: The Pox Party (YA 2006) – M.T. Anderson

Mississippi Sissy (NF 2007) – Kevin Sessums

Crime Beat: A Decade of Covering Cops and Killers (NF 2006) – Michael Connelly

A Handbook of American Prayer (2004) – Lucius Shepard

BOOKS READ:

The Keyhole Opera (2005) – Bruce Holland Rogers

A Short History of Nearly Everything (NF 2003) – Bill Bryson

Otis! The Otis Redding Story (NF 2001) – Scott Freeman

Sandy Koufax: A Lefty's Legacy (NF 2002) – Jane Leavy

The Astonishing Life of Octavian Nothing, Traitor to the Nation, Vol. I: The Pox Party (YA 2006) – M.T. Anderson

Plug Your Book (NF) – Steve Weber (2007)


I'm pretty amazed that I read so little fiction in March, but I read several short stories from magazines and collections I haven't finished, and only finished books are included here. But back in January I said I wanted to read more non-fiction, so there you have it. Once again, highly recommended books are linked.

Playing Favorites, Installment # 2 & # 3

"Dear Someone"
"Red Clay Halo"
by Gillian Welch
written by Gillian Welch and David Rawlings (2001)

Gillian Welch writes contemporary songs that sound like they were penned fifty, sixty, even a hundred years ago. You can hear elements of various styles in her music: country, gospel, mountain, roots, old-time, rock, and blues, to name just a few. But with "Dear Someone" what you get is pretty straightforward: a slow waltz that's in absolutely no hurry at all. Yet at just over three minutes, it's over far too soon.

As with much of Gillian's music, what you hear is very stripped down: two acoustic guitars and two voices, that's it. (That second voice, providing gorgeous harmony, belongs to Welch's partner David Rawlings.) Other than calling it a waltz, "Dear Someone" is hard to classify. Nothing in the song really identifies itself as "country" or "gospel" or anything else. It's just a waltz. A beautiful waltz of stunning simplicity.

The singer expresses her desire for freedom, freedom not only to see the world, but to find the one person waiting for her in a place she's only dreamed of. Only the stars – perhaps only one star – knows where this other person is, but the singer tenaciously clings to the hope that "one little star, smiling tonight/knows where you are."

"Dear Someone" is reflective, dreamlike, and yes, sentimental. The narrator doesn't know where help is coming from, but she's sure that that little star will guide her. That sense of almost childlike hope pushes her forward with excruciating slowness. You get the sense that even when she says "Hurry and take me straight into the arms of my dear someone," that it could take next to forever and her faith won't be deterred.

"Red Clay Halo," much livelier than "Dear Someone," sounds as old as the Appalachian hills. It's the type of old-time bluegrass/gospel tune you could've heard at a barn dance forty or fifty years ago. David Rawlings's picking sounds light, effortless, and at times just a little bit alien. If you ever see Welch live, you can't help but like Rawlings. He plays like he's in his own little world, then expands out beyond the universe of what seems possible, then gives you an "Aw, shucks" expression, like there's nothing to it.

In "Red Clay Halo," like many of Welch's songs, themes of anticipation and redemption are prominent. No one wants to dance (or associate) with the song's narrator, since he/she can't escape the indignity of clay, mud, and dirt that seems to inundate all of life. There's no friendship, no recognition here of anything beyond surfaces and appearances. This filth is part of life, but the narrator wonders if defilement will follow him/her into the next life.

But when I pass through the pearly gate,
Will my gown be gold instead?
Or just a red clay robe with red clay wings
And a red clay halo for my head?

Is it even possible for me to be cleansed? Will it matter that I'm filthy in heaven? By the time we get to the final verse, the narrator seems to be singing, "This is who I am and I can't change it."

And you know, the thing is, you don't even have to.

"Dear Someone" and "Red Clay Halo" appear on Gillian Welch's 2001 album Time (The Revelator).

Another One Out the Door

Put the finishing touches this morning on a new 3500-word horror story called "The Probationary Period." This is my third story to go out in as many weeks, so I feel like things are headed in the right direction.

I'm in somewhat of a dilemma about an older story, though. It's one I've had rejected nine times, but most of the rejections have included several positive comments, so I'm a little hesitant to just kill it. (Besides, ten is such a nice, round number, don't you think?) One of my stories got published after nine rejections, another after twelve.

What made me keep sending them out after all those rejections? I just felt there was something there. Some stories I've sent out just a few times, some just once before I realized that they just weren't working and I didn't know how to fix them. If you feel the story's got something, I think you either stay persistent or figure out what's wrong with it. But eventually you have to make a decision.

I will. After this next time. I promise...

I Certainly Never Expected This...

Here's Oprah's latest Book Club pick. Go figure...

All Me to Summarize....Please....

Trying something different with the story I'm working on now. I'm sure it's not original, but I can't recall where I picked it up. (Feel free to contact me for proper credit.)

At the end of each paragraph of the story's first draft, I add a margin comment, stating what each paragraph "does." For instance, at the end of the first paragraph, I have in the comment, "Introduces protagonist Sandra and her immediate surroundings, hints at her financial condition and shows her intense fear of who might be calling her on the phone." Not that wordy, but you get the idea. If the paragraph doesn't do something to advance the story/characters, what's it doing there?

I'd sort of been doing this with several of the published stories I've been reading, which in short fiction can be a valuable exercise. I haven't seen a lot of unnecessary paragraphs in the published work of others; sentences sometimes, but rarely paragraphs. (I suppose you could do this exercise on the sentence level, too, and I'll probably do that next. Heck, maybe even the word level.)

This is a really good exercise for me. I tend to wander in some paragraphs, pursuing character elements that are important, but in the wrong place at the wrong time. It's helping tremendously, with this story, anyway. Anything that helps.

Charlottesville

Cindy and I spent the first part of this week in Charlottesville, VA, taking a little mini-vacation. If you're a history buff or a book lover, Charlottesville is the place to go. The most famous attractions are the homes of three presidents: James Madison's Montpelier, James Monroe's Ash Lawn-Highland, and of course, Thomas Jefferson's Monticello.

Monticello is quite impressive, especially if you have a good tour guide (or if you know enough to be your own guide. I do not.).
Monroe's Ash Lawn-Highland is more modest in scope and history, but still quite interesting with the right guide. (Ours was superb.) We passed on Madison's house in favor of...well, books.

Downtown Charlottesville has at least six used book stores and I hit them all. (My "Books Purchased" for March will completely obliterate previous months.) We missed the Virginia Book Festival by one day and Iris DeMent by a week (she'll be in Annapolis soon, though), but still had a great time.

Other stops included Spudnuts, a local C-ville shop specializing in doughnuts made from potatoes (tastes better than it sounds) and the Barboursville Vineyards and Ruins - an excellent winery with nearby ruins of a home designed by Jefferson for Virginia governor James Barbour. The house was destroyed by fire in 1884, but the wine's still good - we bought a couple of bottles---to go with the Spudnuts, of course.

Getting Closer

Received two short story rejections this week from major genre markets, both of them containing some positives.

From one,

There's some good stuff here, but ultimately it just didn't quite work for me.

and from another,

Almost works, but doesn't quite make it.

On the plus side, neither of these rejections were form letters and both lead me to believe I'm on the right track. Something is working with each of these stories, but each also contains something that's not quite there yet.

Small steps, but steps that are moving forward.

Cut It Out

Got a rejection letter yesterday, but at least it wasn't a form letter, plus it said that the story "Almost worked," so I suppose that's better than "Didn't work at all" or "Completely sucked" or "I've had more enjoyable root canals." (You have to take the small victories where you can find them.)

So I went to the next market on my list and noticed they have a 5000 word limit. Oops. My story was 5600 words. Hmmmmm.

I've cut stories before, trying the meet the word count, but the end result was never good. It probably would have been better if I'd just sent those markets different, shorter stories or just sent the longer stories somewhere else.

But I thought I'd have a go at trimming this one down. Turns out it made the story much stronger. I found several places where my first-person narrator said roughly the same thing in two different ways and a few other sentences that read like digressions. Losing those 600 extra words really wasn't that hard. They needed to be cut.

What do you say? Does cutting for word count ever make your stories stronger? It did for me in this case, but I'm thinking maybe that's not the norm. Let me know.

Which Are You - Hunter or Farmer?

In his book on writing, Word Work, Bruce Holland Rogers talks about two different types of people/writers: Hunters and Farmers.

Hunters (who may also, Rogers says, have a touch of ADD) "are distractable, risk-taking, and restless. We may be impulsive or irritable. Our moods shift often and (to others and ourselves) mysteriously. We likely have many projects going at once, but we may finish only the ones that someone makes us finish. We change our plans all the time. What we were enthusiastic about last week isn't so interesting now because we're onto something better."

Farmers "have it together. They find it easy to do one thing at a time.... Farmers know where their tools are. They plan a project, take it step by step, and clean up when they're done. Farmer emotions have a lot to do with what's going on right in front of them at the moment. When you have a conversation with a Farmer, she is right there with you, hearing every word you say."

Rogers expounds on both Hunters and Farmers, offering suggestions to those who want to balance their Hunter/Farmer natures.

I'd say I definitely lean more toward the Hunter camp, maybe 75% Hunter, 25% Farmer. Looking at my "Current Stories" file, I have fourteen stories I've started and not finished. Yet on the Farmer side, I told myself this week that I would send one of those stories out by Friday. (It's actually going out today.) Hunting...farming...hunting...farming... Which are you?

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From the Upcoming Books I Must Have department, this from Jeff Ford.

Get Weird

Here's a great deal, boys and girls: from now until April 31, subscribe to one year of Weird Tales for just $12. Really. I wouldn't kid around about something like that.

Playing Favorites, Installment #1

I love lists. Don't know why, but I do. For years I've kept a list of my favorite movies and have wanted to do the same with albums and songs, but never got motivated to do it.

But lately I've been listening to my collection (partly as an exercise in weeding stuff out), asking myself why I like certain songs, certain albums. So I thought it might be fun to explore some of those songs here. Even though this is the first entry, these songs are in no particular order and future music posts will probably not appear on a regular basis. Just whenever the mood strikes me.

And these aren't what I consider "the greatest" songs or albums of all time. Just stuff I like. So here's the first one:

"No Expectations" - The Rolling Stones (1968)

If you could find someone who had somehow never heard of the Rolling Stones and played them "No Expectations" (the second track from Beggars Banquet), then played them just about any other Stones song, the novice listener would no doubt ask, "That's the same group?"

Of course it's the same group. As soon as you hear him sing the first notes, it's unmistakable Jagger, yet atypical Mick: subdued, reflective, almost tender. Keith Richards quietly strums his acoustic while Brian Jones delivers a great Mississippi Delta blues slide guitar, arguably some of his best work.

"That was the last time I remember Brian really being totally involved in something that was really worth doing," Jagger reflected in 1995. Shortly after the release of Beggars Banquet, Brian Jones was found dead in his swimming pool. The song, written by Jagger and Richards, could be seen as a regretful look at life and love on the road or perhaps as Jones's epitaph.

The slide guitar brings the tune in line with not only the rest of the blues-based album, but also the band's own blues roots. Aside from Jones's slide work, the song's chord structure and lyrics are quite simple. Yet there's more going on. Nicky Hopkins (who played keyboards on several of the Stones recordings) enters after the third verse with a very unobtrusive, tasteful middle-register piano, changing the mood to something more refined, yet laced with melancholy. Hopkins pretty much stays in the middle register for the next two verses, then closes the song in the upper register with notes so delicate they sound like a stream of water running over rocks. It's the way this elegant piano line contrasts with Jones's pain-filled slide that elevates the tune to something truly memorable.

"No Expectations" was also released as a B-side to "Street Fighting Man" in the U.S.

Zodiac (2007)

I was in high school when I saw the last twenty minutes of a cable TV special (I think it was on HBO) about serial killers. This final segment of the show was devoted to California's Zodiac killer, which I thought was fascinating. I had no idea anyone had written a book about Zodiac until ten years later in 1988 when I saw Robert Graysmith's book in a used bookstore in Memphis (where I lived at the time). I took it home and read it in one night. I also didn't get much sleep that night.

Ever since then I'd hoped that one day someone would put together a good movie about Zodiac. Could David Fincher's new Zodiac be that film?

Zodiac is more a spotlight on police procedures than a conventional horror or thriller film. Don't get me wrong, there's plenty of suspense and tension, but much of it is sustained through the characters - the police, the newspapermen, the families, the surviving victims - and the passage of time as the Zodiac manhunt progresses. Critic Richard Roeper said it's like looking at Silence of the Lambs through the eyes of Scott Glenn's FBI character. Procedure is a big part of Zodiac and it's handled smartly.

One of the reasons Zodiac works so well is that Fincher knows what not to do. He doesn't spend too much time on the crimes themselves. (Many of them don't even occur onscreen.) He doesn't have the killer make long, stupid speeches or show some crazed nutcase pouring over plans in his basement at 3:00AM. The audience pretty much learns what the police/journalists learn as it happens.

Of course the problem with this is - unless you're new to the story - you know what's going to happen. But knowledge of the case did not hinder my enjoyment of the film one bit. In fact, I was impressed with how closely the film followed the book.

There's a lot to like about Fincher's version. The film is nearly three hours long but never seems like it. The acting is excellent. I can't stand Robert Downey, Jr., but I have to admit his performance is superb. (And Gyllenhaal is quite good too.) And the attention to period detail must have been painstaking.

Don't be surprised if you read several negative reviews of the film. I think that comes from Fincher fans expecting to see another Se7en or Fight Club. Those are different films and it's unfair to compare Zodiac to them. Zodiac focuses on a different kind of fear, a different type of terror. What Fincher does so well is show that those who were attacked by Zodiac were not the only victims. The slow grind of seeking information, of following dead ends, even of looking over your shoulder when you get into your car at night --- all of these things add up and affect the characters and their families. It's fascinating to see how one crazed maniac could cause such widespread fear and how people react to it. Fincher knows this and knows how to convey it.

Adam Kingsley Smith

If you're going to be in my neck of the woods on Saturday, March 3 you owe it to yourself to drive, walk or crawl to the Severna Perk coffee house to check out Adam Kingsley Smith. Adam's a really cool singer/guitarist who's got some great stuff going on, including several tunes he wrote. As he mentions on his MySpace page, he's got some strong Bob Dylan/Johnny Cash influences. He'll be performing Saturday from 4:00-5:00PM. And it's free. Check him out.

Severna Perk
545 Benfield Rd
Severna Park, MD 21146

February Books Bought and Read

As we arrived at 2007, I told myself I'd cut back on my book purchases, which I did in January, only buying two books. Two! That's pretty good...for me.

Needless to say, I was very bad in February.

It's all the fault of The Book Nook II in beautiful Glen Burnie, Maryland. (The original Book Nook [NOT "Book Nook I"...man, I hate when people do that with movies...] in College Park, Maryland closed down last year.) They only have one sale a year - a half-price sale - and it was last week. That sale accounts for most (but not all) of February's book purchases.

And most of it is stuff I wouldn't normally buy. I mean, sure, I have some interest in philosophy, logic and architecture, but if they hadn't been HALF PRICE, they'd still be on The Book Nook II's shelves. But anyway, here we go with February's lists.

BOOKS PURCHASED:

Fantastic Tales (1998) - Jack London

Everyman (2006) - Philip Roth

A Friend of Kafka: Stories (1979) - Isaac Bashevis Singer

The European Philosophers from Descartes to Nietzsche (1960/2002) – Monroe C. Beardsley, ed.

Introduction to Logic (1957/1999) – Patrick Suppes

The Ten Books on Architecture (1914/1960) – Vitruvius, trans. Morris Hicky Morgan

I Am Legend (1954) – Richard Matheson

Heart-Shaped Box (2007) - Joe Hill

BOOKS READ: (links to those I enjoyed most)

The Complete Stories (1971) - Flannery O'Connor

Understanding Flannery O'Connor (NF 1995) – Margaret Earley Whitt

Everyman (2006) - Philip Roth

The Terror (2007) - Dan Simmons

A Sight for Sore Eyes (1998) – Ruth Rendell

Dearly Devoted Dexter (2005) – Jeff Lindsay

Leave Me Alone, I'm Reading: Finding and Losing Myself in Books (NF 2005) – Maureen Corrigan

Bald As I Wanna Be (NF 1997) – Tony Kornheiser

Yeah, I know what you're thinking: "Going from Tony Kornheiser to The European Philosophers from Descartes to Nietzsche...What a clod!" Well, maybe. But sometimes you just need a little comic relief. I might just keep a Marx Brothers DVD film festival going while I'm reading the philosophy book.

I hope I don't get my Marxes mixed up...

Gifts from The Slush God

Awhile back I sent John Joseph Adams (a.k.a. The Slush God) a back issue of F&SF that he needed to complete his collection of the mag - a complete run, which is quite impressive.

To show his appreciation, he sent me a whole box full of YA sf/fantasy galleys! Wow, I've now got enough YA books to justify the purchase of another bookcase. (I wonder if Cindy will notice?) I surely appreciate it, JJA.

I wonder if there's any other stuff lying around here that JJA could use...

Whatever It Takes To Get the Thing Finished

I'm sending my YA novel Fortress off to a contest today. I don't expect to win, but no matter what happens, one good thing is going to come from it and one already has.

I finished the first draft about this time last year and just couldn't get motivated to revise it until I talked to some folks at World Fantasy. Even then, I only got maybe five or six chapters revised. Then about six weeks ago, I found out about this contest with a deadline of Feb. 28. I tend to work better with a deadline hanging over my head (even if it's one of my own choosing) than with none at all, so I decided to enter the contest.

Little did I realize at the time that I'd already committed myself to finishing my deacon training, running a 5K and moving my mom from Arizona to Maryland. Despite the all the insanity, I finished my revision last night. Deadlines can be wonderful things.

Again, I don't expect to win in the "Science Fiction/Fantasy/Speculative" category of this contest, but I'm pleased with most of what I've written and know that at least two judges are going to read it. Plus each judge will send back a written critique, which will no doubt help with a future third draft.

I'm just glad the thing's done.

Sleep....

I Just Don't Know If It's Worth It...

Of course I'm talking about watching the Oscars tonight. For the first time in a long time, I

1) haven't seen any of the films or performances nominated. (I take that back. I did see Little Miss Sunshine.)

2) don't really care who wins.

3) have better things to do (like writing).

Maybe this sounds a little morbid, but recently the most enjoyable part of the show has been the montage of clips commemorating those in the film industry who passed away during the previous year. (Somebody could just call me and let me know when that portion's about to air. That would be cool. As long as it's not at 2:15AM, which it very well could be.)

I know this year's list of those no longer with us will contain some big names, among them:

Robert Altman
Shelley Winters
Don Knotts
Arthur Hill
Peter Boyle
Al Lewis (Grandpa on The Munsters, although I'm sure he also made some motion pictures)
Red Buttons
June Allyson
Phil Brown (Luke Skywalker's uncle in Star Wars)
Dennis Weaver
Darren McGavin

I'm sure there are many more that I've missed. For some reason, just knowing about them isn't enough. I guess I want to see them on-screen, featured in their most memorable work one last time. They deserve at least that.

I just hope Anna Nicole Smith isn't among them.

The Trade-Off

I guess it's a trade-off. On the one hand, I've been going to the gym pretty regularly lately (except for the last few days - we've been moving my mom into her new apartment) and feel better than I've felt in years. On the other hand, my up-close vision has sunk to abysmal levels.

At my last eye exam, my optometrist (who looks like he's about 25) shook his head and told me, "Well, you're 45 years old...that's about the time these things start to happen." (Start to happen? What's next? Those beige orthopedic shoes? Cardigan sweaters?) He suggested I try some reading glasses so I picked up a three-pack at Costco. They work great and I figured, "Hey, a three-pack is cool. I'll NEVER run out." (Plus I'll look all distinguished, especially with the gray hair and all...)

I often have moments of great stupidity. This was one of them. I can never find the blasted things anywhere. I've left them in the drawer of my nightstand, in my bookbag, in the bathroom drawer where I keep the bandaids (figure that one), you name it. I don't think I've left a pair in the refrigerator, but I wouldn't be surprised to find something clunking around inside the orange juice container one day.

I just can't keep up with them. I tried putting them in hardshell cases (like they were real glasses) and I lose those too. I look for and at books all day long and sometimes need to whip out the ol' reading specs, so I tried keeping a pair in my shirt pocket. No good. They fall go boom. Same for the pants pockets. They come out looking like some metal and glass modern art project.

I guess there's only one way to solve my dilemma, but I won't do it, I just won't. I REFUSE to wear one of those little chains or bands or shoestrings or whatever those things are that crusty old guys use to keep their glasses around their necks. (At least my glasses are full-sized and not those little skinny glasses that look like the top half got chopped off.) So forget it! I'll manage somehow.

Hey Cindy --- would you hand me the orange juice?

Cormac McCarthy for Trent...or Anyone Else

My fellow Clarion dude Trent writes:

...but I think it's only fair that your blog exists in order to answer my questions.

Sounds good to me. Let's do it!

The question, for those of you who do not read every comment on this blog, is about the writing of Cormac McCarthy. I'm certainly no authority, and I can only give my own brief reflections (plus one other guy's) on the three McCarthy works I've read. Here we go....

I first listened to No Country for Old Men on audio shortly after its release in 2006. I'd never read anything by McCarthy, but at that point had owned an unread copy of Blood Meridian for a few years, so I thought I'd start with something I could listen to while driving.

(You can read the plots of each of these books on Amazon, so I'm not going into them here. One is set in the current west, one in the Old West, and one in a post-apocalyptic locale.)

The first thing I noticed about the audio version of No Country was the absence of "he said"s and "she said"s, which I really didn't dwell upon until much later. There was (as I remember) a fair amount of poetic language scattered throughout the book, mainly reflections on and personifications of the landscape, the desert heat, violence, that sort of thing. The dialogue, however, was fairly simple and unadorned. I thought the book was effective, although maybe a bit emotionally manipulative and brutal. But as it was my first encounter with him, I thought I'd want to read McCarthy again. (Almost immediately after reading No Country, I read somewhere that the novel was considered by many to be McCarthy's most approachable work. Of the three I read, I would agree.)

Next I read Blood Meridian. If I thought No Country was brutal, I soon redefined (or rather McCarthy redefined) the word. I considered Blood Meridian a much more challenging, but more satisfying read overall than No Country. At times I thought McCarthy's poetic descriptions of the landscape and the brutality/depravity of man were a bit over the top, at least for me, but I kept at it and was glad I did. Blood Meridian is certainly not a feel-good read and I sometimes felt like I'd lose my lunch reading it, but I can't deny the power of the book.

Since I'd listened to No Country, I learned from reading Blood Meridian and The Road that McCarthy apparently has a deep-rooted hatred for quotation marks and often dialogue attributions too, which makes it sometimes difficult to know who is speaking. But for the most part, you get used to it.

By the time I'd finished the book, I understood that McCarthy's style, pacing, word choices and tone in Blood Meridian, sometimes referred to as "muscular prose" (more on that term in a minute) worked very, very well. I felt it was a book I would and should read again. Well, most of it. Some parts I didn't think I could stomach again.

I hadn't really intended to read The Road, my third meeting with McCarthy in twelve months, but I'd heard the novel was somewhat of a post-apocalyptic tale approaching genre dimensions, so I thought I'd give it a try. I'm in the vast minority here, but I didn't think it was that great. McCarthy's "muscular prose" is in full use here as are his distaste for quotation marks and love of sparse dialogue. I can't really put my finger on why, but The Road just didn't do it for me. Maybe I should read it again to see if I missed something. But to me, it just seemed to be one of those novels that everyone says is great just because everyone says it's great. Again, I may be the only person on the globe reluctant to anoint McCarthy for The Road and if I indeed missed the boat, I feel I should give it another shot.

After reading all three of these McCarthy novels, I ran across a book by B.R. Myers called A Reader's Manifesto: An Attack on the Growing Pretentiousness in American Literary Prose. In the book, Myers takes a swing (with a pretty hefty bat) at several American writers including Cormac McCarthy. Myers refers to McCarthy's writing style as "muscular prose," which he only defines as "The masculine counterpart to the ladies' prose poetry." I'm not exactly sure what he means by that, but he goes on to accuse McCarthy of unrestrained "literary" complexity. For example, Myers cites in McCarthy's writing what he calls the andelope: "a breathless string of simple declarative statements linked by the conjunction and." Sentences like this:

He ate the last of the eggs and wiped the plate with the tortilla and ate the tortilla and drank the last of the coffee and wiped his mouth and looked up and thanked her. (from The Crossing [1994]).

Sure, McCarthy does a lot of andeloping, but I guess I just got used to it. What makes Myers even madder is McCarthy's lack of economy of words, instead using "barrages of hit-and-miss verbiage (rather) than...careful use of just the right words." He may have a point, but maybe McCarthy's not always interested in the economy of words. And maybe he enjoys andeloping.

But what really steams Myers is his belief that McCarthy just flat-out isn't a good storyteller. He attempts to make his point by quoting a section from a novel by one of the western genre's most-loved writers, Louis L'Amour and comparing (whether fairly or not) his style to McCarthy's:

Fortunately for millions of readers around the world, L'Amour was less interested in winning prizes than in telling a good story: "That's the way I'd like to be remembered," he told an interviewer, "as a storyteller." So of course the critics dismiss Hondo as pulp, just as many book-reviewers once regarded Treasure Island as fit only for children. The cultural establishment likes to reserve its accolades for those who take themselves most seriously. But how many critics will care to be reminded of Cormac McCarthy in twenty years? The smart money's on the storyteller.

Myers may have some valid points, but he also may have an axe to grind – I don't know. I do know that for me, McCarthy's style worked best in Blood Meridian. No Country for Old Men certainly seems to have fewer instances of the things Myers is griping about. The Road I just couldn't get that excited about. I don't think Myers and his views have really changed my mind about any of these three books, but he's entitled to his opinion.

So Trent, I don't know if that helps you at all, but there it is, bro. My suggestion: Definitely read Blood Meridian. If you like it, try No Country, or maybe The Border Trilogy (All the Pretty Horses, The Crossing, Cities of the Plain), which many people seem to enjoy. Let me know how it turns out.

New Editor in Town

Announced yesterday on VanderWorld, Ann VanderMeer is now the fiction editor at Weird Tales. Congratulations, Ann!

And Now For the Fitness Portion of Our Program....

This morning - at 28 degrees outside - Cindy and I ran the first area 5K of 2007. Cindy runs 5Ks all the time, but it was my first one in nearly five years. I actually felt pretty good up until slightly beyond Mile #2, where there was a steady uphill slope all the way to the end. But I made it, ran the entire way and wasn't the last to cross the finish line, thank you very much. Maybe I'll do another one soon.

When it gets warmer...

Mission: Impossible Revisited

My mom's staying with us for a few days until her apartment is ready, and since we get only local channels, I asked her the other night if she'd like to watch a movie on DVD. When I mentioned that I had the first disc of the first season of the original Mission: Impossible show (1966-1973), she said, "Let's watch that."

Now it's been at least twenty years (probably more) since I'd seen any of the original shows, so my expectations weren't too high. Nevertheless, I was pleasantly surprised.

Sure, the technology is from 1966, which at that time probably was the cutting edge or close to it. Some of the tech stuff looks pretty funny today, but the way it's treated isn't. In fact, the way the show respects the tech and the audience is what makes it work.

One of the things that struck me about the show is its lack of unnecessary explanation. In each episode, you get the basic premise of the mission, the rough plan, and an execution of the plan (with lots of intangibles thrown in). What you don't get are a lot of lines like, "Hey, Bob! Jump out that open window and cut that fuse leading to that load of dynamite that's going to blow us all up in fifteen seconds! Good luck!" No, you have to keep up with what's going on and you have to pay attention to details. This was not a mindless show. (If mindless is what you want, just watch the Tom Crusie Mission: Impossible movies, if you can stand them.)

Only two actors worked for the entire run of the series: Peter Lupus (Willy Armitage) and Greg Morris (Barney Collier).

Willy was pretty much the guy that did the driving and the heavy lifting, which worked out well, since Lupus was a bodybuilder (a former Mr. Hercules). I remember seeing him in later seasons, an disgusted look on his face as Peter Graves says, "Okay, Rollin: You impersonate these four people on this mission. Barney: you rig up seventeen explosives timed to go off at 42-second intervals. Willie: you drive the truck." Lupus currently runs a nutrition company.

Greg Morris played Barney Collier, an electronics and computer specialist. His character was quiet, yet sharply intelligent, working well under pressure. (Morris's son played in the second TV installment of Mission:Impossible in the late 1980's.) It is reported that Morris hated the first Tom Cruise Mission:Impossible film that he left the theatre before the film ended. Morris died in 1996.

I didn't even realize that the first leader of the IMF was Dan Briggs, not Mr. Phelps (Peter Graves). Briggs was played by Steven Hill, who later went on to star in Law & Order from 1990-2000. Hill only appeared on the show for one season. An Orthodox Jew, Hill refused to work on the Sabbath and the producers wouldn't budge on the production schedule.

Barbara Bain played Cinnamon Carter, the head-turner/femme-fatale when one was called for. At the time, she was married to co-star Martin Landau. Bain and Landau also co-starred in Space:1999 (1975-77) before divorcing in 1993. Bain currently spends her time promoting and supporting charities, including literacy.

Martin Landau played my favorite character (and favorite character name) on the show, Rollin Hand, master of disguise and impersonation. Landau is best remembered for his Oscar-winning role as Bela Lugosi in the film Ed Wood. Landau is still working, most recently in an episode of Entourage.

Considering OT (and I don't mean overtime)

As some of you may know, I was installed as a deacon in my church yesterday after a year of training. Sure, deacons really aren't expected to know as much scripture and theology as elders (After all, most people's image of a deacon is somebody setting up folding chairs, collecting the offering and fixing the boiler. Or at least cleaning out the coffee pot.), but after the written exams, I realized I could probably know more about the Bible that I do now, especially in the Old Testament.

It's not like I flunked the test or anything. I didn't put Moses in the ark or have Daniel parting the Red Sea or anything like that. (We all know it was Samson, right?) I just wanted to know more.

I'm in a Sunday School class right now that's exploring the minor prophets and it didn't take me long to realize I don't know jack about those guys, the kingdoms, the invasions, ANY of it. I noticed that the teacher was using An Introduction to the Old Testament by Longman and Dillard, so I decided to give myself that book as a birthday present.

I sure didn't realize that the book is a textbook for many seminaries and Bible colleges. Hey, I just wanted to know the difference between Zechariah and Zephaniah.

But the book isn't really that difficult, at least not yet. With each of the OT books, the authors discuss historical background (composition and authorship), text and tradition, historical-critical approaches, alternative critical views, evaluation of the critical approach, literary analysis, theological message, and how the book ties in with the New Testament.

All of this sounds quite difficult, but it isn't. I find it fascinating. (That could be why Cindy calls me a geek.) I especially like how differing views are discussed and how the authors avoid saying "THIS is the right way; stay away from this other view." None of that. Very interesting stuff.

Maybe I can figure out how they did that wall of Jericho thing.... I could get a group of guys to follow me down to Capitol Hill. And I've still got my trumpet...

Purchasing and Reading, with a Nod to Nick Hornby

After reading Nick Hornby's Housekeeping vs. The Dirt: Fourteen Months of Massively Witty Adventures in Reading, I decided to steal his monthly book format. Each month, Hornby lists all the books he purchased, followed by the books he actually read. Of course, he's a reviewer and I'm not, so his motivation is a little different from mine. I'm just trying not to buy so many blasted books.

I should also mention that one of my goals for 2007 was to read/study more short fiction. I'm doing that, but it's not really reflected here, since many of the stories I'm reading/studying are in magazines and books I haven't yet finished. All of the novels have been audiobooks.

So here's my list of Books Purchased and Read for January 2007:

Books Purchased:

An Introduction to the Old Testament, 2nd ed. (2006) - Tremper Longman III & Raymond B. Dillard

The Perfect Host: Volume V of the Complete Stories of Theodore Sturgeon (This one wasn't much of a purchase - 25 cents at the local library sale.)

Books Read:

Chasing the Dime (2002) - Michael Connelly

Stardust (1999) - Neil Gaiman

The Chocolate War (YA 1974) - Robert Cormier

The Cement Garden (1978) - Ian McEwan

The Gambler (1866) - Fyodor Dostoevsky

The Ocean and All Its Devices (2006) - William Browning Spencer

American Morons (2006) - Glen Hirshberg (started in 2006)

Housekeeping vs. The Dirt (NF 2006) - Nick Hornby

Confound Dan Simmons...

This afternoon I was in the library, minding my own business looking for a new audiobook for the car, when I noticed Nick Hornby's new book Housekeeping vs. The Dirt: Fourteen Months of Massively Witty Adventures in Reading. Well, how could I resist a quick look?

In the Preface, Hornby talks about reading, reviewing and many other related topics. He says readers shouldn't agonize over trudging through certain books just because "educated" people have labeled said books works a cultured person is "supposed to" read, but should instead read...well, whatever they want. Says Hornby:

Read anything, as long as you can't wait to pick it up again.

Which brings me to my beef with Dan Simmons.

Yesterday I was in the same library, again minding my own business, when I see the new Dan Simmons novel The Terror. It's a book that's captured my interest ever since I heard some buzz about it late last year. I figured I'd pick it up somewhere along the way, especially since I'd told myself I was only going to listen to novels while driving and spend my reading time in early 2007 with non-fiction and short stories.

Of course it didn't help that Jeff VanderMeer reposted his comments on The Terror a couple of days ago and that got the Simmons fever into my blood stream.

So there I am in the library, minding my own business, mind you, when I'm face to face with The Terror. Well, it won't hurt to, like, pick the book up, see how heavy it is, read a blurb or two...maybe just the first paragraph...

Captain Crozier comes up on deck to find his ship under attack by celestial ghosts. Above him - above Terror - shimmering folds of light lunge but then quickly withdraw like the colourful arms of aggressive but ultimately uncertain spectres. Ectoplasmic skeletal fingers extend toward the ship, open, prepare to grasp, and pull back.

Confound Dan Simmons...

Needless to say, I checked the book out. And when I've had to put it down, I can't wait to pick it up again. Nick Hornby would be proud.

I'm so weak...

Sister Rosetta Tharpe

Two things bother me about musicians from the 20's, 30's and 40's:

1. I don't know that much about them.
2. Not many other people do either.

I just discovered Sister Rosetta Tharpe via Bob Dylan's Theme Time Radio Hour*. I'd never heard of her before, but her influence is pervasive. Sister Rosetta (1915-1973) was possibly the first true crossover artist, moving from gospel to jazz, but also wielding a powerful influence in rock n' roll circles. Such names as Elvis Presley, Jerry Lee Lewis, Little Richard, Isaac Hayes and others have called Tharpe an important figure in their musical development. Rosanne Cash once stated that Tharpe was her father Johnny Cash's favorite singer.

Tharpe was born in Cotton Plant, Arkansas, but moved with her mother to Chicago in 1921. Rosetta learned how to play blues and jazz on her guitar, an instrument she normally played to accompany her evangelist mother. By 1938, Tharpe had recorded several songs for the Decca label and was soon playing The Cotton Club with Cab Calloway and Benny Goodman. Her gospel fans cried foul, upset that Rosetta had dragged the church into "dens of iniquity," but the club-goers loved her.

For the next several years, Tharpe couldn't be stopped. She recorded a whole slew of songs (several she wrote herself) and was one of only two gospel singers whose discs were shipped overseas to troops during WWII.

During the 1950's, Tharpe settled firmly back into gospel music, but couldn't hold onto the popularity she'd enjoyed with the clubs in the 30's and 40's. Europe was kinder to Rosetta, offering her solid audiences for several tours in the 50's and 60's. In 1970, while touring Europe with Muddy Waters, Rosetta took ill and later suffered a stroke. Even with distorted speech and an amputated leg, Rosetta planned to enter the studio on May 8, 1973 to record a new album. She never finished it. The next day, another stroke put her into a coma from which she never awakened.

The 4-disc boxed set Sister Rosetta Tharpe – The Original Soul Sister from Proper Records (UK) contains 81 tunes that are nothing short of astounding. Tharpe's blues influences are evident in both her guitar playing and her powerful, yet pleasant voice. Don't let the "gospel" label prevent you from experiencing this outstanding artist. This is music that shouldn't be forgotten from an artist who is timeless.

Several of the Proper Label recordings are available here at very reasonable prices. I'm thinking my next purchase may have to be Doughboys, Playboys & Cowboys: The Golden Years of Western Swing.


* Here are some of the other acts I've heard on Theme Time that I plan to investigate:

Warren Storm (The Godfather of Swamp-Pop Music)
Leroy Carr & Scrapper Blackwell
The Swan Silvertones
Roy Brown
Sonny Boy Williamson
Clarence "Gatemouth" Brown

Letting Go

I got a story rejection back yesterday and decided to put a little work in on it before sending it out again. I spent an hour with it, basically trying to make it into a better story. After that hour I realized, "This just isn't a good story and nothing I do to it is really going to make much difference." It wasn't a good feeling, but I think it's an accurate assessment of the story. The payoff is weak, the protagonist makes his discovery too easily (after 4700 words) and the progression of events just feels wrong.

It's just a bad story. Nothing to feel bad about. People better than me write 'em. (They probably just don't send them out.)

I've been studying a lot of published stories lately and maybe that practice has opened my eyes to some of the not-so-good stuff in my own work. I know I've got other older stories still in the pipeline that need to be retired as well. It bothered me at first, but I have to look at it this way: I'm learning what makes a good story, what good writers do and what they avoid. If I learn to see weaknesses that I haven't seen before in my own stories, that can't be a bad thing.

So what did I do with this realization?

Started a new story, of course.

Now Playing = Sister Rosetta Tharpe: The Original Soul Sister

Another One Down (But a Good One)

Great birthday yesterday on all counts! Great gifts, great meal at the local Japanese steak house, great birthday cake coming this afternoon (German chocolate - my fave), just a great day overall.

Actual age: 45
How old I feel: Around 31 or 32
How old I act: Depends on who you ask
What I would do with 45 more years: Read more, write more (maybe finish my YA novel?)
What I would do differently if I could go back in time: Check back tomorrow - I've got a whole list of stuff.

Loot:

Leave Me Alone, I'm Reading: Finding and Losing Myself in Books - Maureen Corrigan

Visions of Jazz: The First Century - Gary Giddins

Collected Stories - William Faulkner

Bringing it All Back Home - Bob Dylan (I'd lost my original copy in a move several years ago.)

INLAND EMPIRE

There's a moment in the second half of David Lynch's Blue Velvet that has never left me. It occurs when Laura Dern's character Sandy comes to the brutally shocking realization that not only has her friend/boyfriend Jeffrey (Kyle MacLachlan) kept secrets from her, but her safe, ordered world is not as she thought it was and will never be the same. The combination of pain/horror/anger/helplessness on Dern's face is a microcosm of the entire film. It's also extremely effective.

But as effective as Dern is in that scene, it's like a speck of sand on the beach compared with her performance in INLAND EMPIRE. If you see INLAND EMPIRE for no other reason, see it for Dern's performance. You won't see another like it anywhere else. Lately I've read a lot of speculation that she'll be nominated for an Oscar for this performance. (Nominations are announced Saturday.) Such talk is both unrealistic and immaterial. This is not hyperbole: Dern's performance in INLAND EMPIRE transcends awards. Go see for yourself.

Having said that, not everyone should see this film. It is about as far from mainstream American filmmaking as you can get. If you haven't experienced David Lynch's work before, this is NOT a good introduction. Even if the only other Lynch film you've seen is Mulholland Drive, it still can't adequately prepare you for INLAND EMPIRE. Nothing can.

Describing the plot would be pointless and I don't want to give much away. Instead, here are a few of the things I've heard/read about the film with my responses.

Critics have said INLAND EMPIRE is Lynch's most ambitious film.

True. It has a tremendous scope and Lynch takes lots of risky chances.

The film is three hours long.

It is. (Actually it's about 2 minutes short of the three-hour mark.) For some, it will fly by. For others, it will seem like an eternity.

The plot is incomprehensible.

False. You won't get it all the first time and maybe not even the second time. I think I understood about 25% of the film last night. I didn't understand Mulholland Drive the first time either (and I certainly don't understand all of it now), but that film is a first-grade Easy Reader compared to INLAND EMPIRE. That's not to say INLAND EMPIRE does not have things in common with Mulholland Drive – it does. Both are about actresses and Hollywood, both use similar editing techniques, lighting, sets, similar Lynchisms, etc. In both films, you have to pay very close attention to what happens (and what is said) early in the film.

Lynch shot the film on digital video, which looks terrible.

I didn't think so. It certainly looks different, providing different textures, which Lynch loves. It takes awhile to get used to the look on the big screen, but after the first several scenes, I didn't think about it much.

This film is nothing more than three hours of self-indulgence.

I absolutely disagree. What about this film is self-indulgent? Has Lynch proclaimed himself Emperor or something? No, he has a story to tell and he tells it in his own way, a way that goes against the grain of mainstream film producers and studios. That's not being self-indulgent.

I saw the film last night and I can't stop thinking about it. How many movies that you saw last year – or any year – have had that effect on you? This is a tremendous, challenging film that I highly recommend. (And I recommend that you not wait for the DVD, but see it in a theatre if at all possible.)

Buy This Now!

Andy Duncan's Theodore Sturgeon Memorial Award-winning story "The Chief Designer" is now available on audio on two CDs or as a downloadable file from Audio Text. Check it (and other great stuff) out here.

Hirshberg/Lynch

I've been studying Glen Hirshberg's "American Morons," one of my favorite stories from last year. If you haven't read it, you can find it in Hirshberg's new collection (see "Now Reading" in the left margin) or in The Year's Best Fantasy and Horror 19.

I'm always impressed with Hirshberg, but reading his work is a great way to study how sentences and paragraphs do more than one thing. Hirshberg builds a very linear structure that advances the story with each paragraph, yet tells us everything we need to know about the two main characters, their relationship with each other (where it's been as well as where it's going), and how their immediate environment provides elements of both comedy and horror.

I guess it's his timing that impresses me the most. Kellen sees each event of the story unfold the same way his girlfriend Jamie does, but with each instance, Kellen feels the growing unease of an American stranded in a foreign country (Italy) balanced with the fear that he's losing Jamie. And the reader's not entirely sure if he should laugh or feel terrified. Again, the timing is perfect. Hirshberg knows exactly how long to play on then sense of comedy and how long to dwell on the impending nature of Kellen and Jamie's situation. Excellent stuff.

******************************

I've decided to go see INLAND EMPIRE this afternoon instead of on my birthday, since I had doubts that Cindy would want to see the film. We'll see if I'm too freaked out to write about it afterward.

This weekend's Fortune Cookie:

Do not be afraid of competition.

My Wish for This Year is....

Cindy always asks me about this time of year, "Well, what do you want for your birthday?" (which is next week). My first response is usually "How about books?" to which she lifts her eyes to the heavens and mutters things I'd probably rather not hear. Then I'll usually say, "Okay, how about a big cake? Like a whole sheet!" as I spread my arms out as far as they'll go. Before the words are even out of my mouth, her head's shaking, about to deliver the "You don't need a big cake," lecture, which is true, but hey, it is my birthday and she did ask.

But this year, I think I know what I want. I'm ashamed to admit that I've never been to the AFI Silver Theatre in Silver Spring, MD, which is less than an hour away from where I live, but I'd like to change that this year, especially since the new David Lynch film INLAND EMPIRE starts there in a few days. (Lynch says he wants this film title to appear published in all caps. Hey David! How about this: inland empire, inland empire, inland empire, inland empireinlandempireinlandempireinlandempireinlandempireinlandempire...)

I could kick myself for not checking the AFI schedule sooner, since Lynch himself is going to be appearing at AFI on Jan. 14, but the event is sold out. You think if I just stood around with a big sign with INLAND EMPIRE in like a 1500 font, he'd let me sneak in? How about if I could make my hair do that Eraserhead thing? That's what it usually looks like in the mornings anyway.

I'd love to see the movie with Cindy, but I don't know if she's ready for the weirdness that is Lynch, to say nothing of three hours of it. She'll probably want me to go anyway, since this movie is all I've been talking about for months and she just wants me to have a great time on my birthday. (She's cool like that.) If I go, it'll be the first Lynch film I've ever seen in a theatre. I might leave the theatre so freaked out I won't be able to find the car. (Of course these days that happens no matter what I've seen.) I might be so out of control I wind up at some place like The Cheesecake Factory or something, ordering a triple German Chocolate. With Lynch, you just never know. Even if you did know, would you know that you knew? And how would you know?

Ya know?

The Complete List

Fellow Clarion dudes Eric and Trent have posted their list of books read in 2006, so I thought I'd include my complete, unexpurgated list. The astute reader will notice a few books on my Best of 2006 list that aren't included in the following list. Explanation: I hadn't completely finished those books, but I'd read enough of them to know they'd make my Best of 2006 list. So there. Cheating? Naw! Remember, my list, my rules.

Also, don't be too impressed. 100 books really isn't that much, especially when you consider that several of them are YA or juv. books and others were Books on Tape/CD. I still count 'em, though. I drive around a good bit on my book rounds, so it just makes sense to listen to stuff as I drive. So 100 isn't really all that impressive. (I sure ain't no Harriet Klausner.)

JANUARY

Harry Potter and the Order of the Phoenix (YA 2003) – J.K. Rowling
Crispin – The Cross of Lead (YA 2002) – Avi
No Country for Old Men (2005) – Cormac McCarthy
Storyteller: Writing Lessons and More from 27 Years of the Clarion Writers' Workshop (NF 2005) – Kate Wilhelm
Diary (2003) – Chuck Palahniuk
The Colorado Kid (2005) – Stephen King
Cell (2006) – Stephen King
Vellum (2005) – Hal Duncan
To Say Nothing of the Dog (1998) – Connie Willis
Only You Can Save Mankind (Juv 1992/2004 reissue) – Terry Pratchett

FEBRUARY

Reading Lolita in Tehran: A Memoir in Books (NF 2003) –Azar Nafisi
House of Leaves (2000) – Mark Z. Danielewski
Orchard (2003) – Larry Watson
The Handmaid's Tale (1985) – Margaret Atwood
Horror: Another 100 Best Books (NF 2005) – Stephen Jones & Kim Newman, eds.
Life of Pi (2002) – Yann Martel
Orphans of Chaos (2005) – John C. Wright
The Lincoln Lawyer (2005) – Michael Connelly
Their Eyes Were Watching God (1937) – Zora Neale Hurston
Cold Hand in Mine: Strange Stories (1975) – Robert Aickman
The Thief (YA 1996) – Megan Whalen Turner

MARCH

Saturday (2005) – Ian McEwan
Understanding the Bible (NF 1999) – John R.W. Stott
The Bottoms (2000) – Joe R. Lansdale
Night (NF 1959) – Elie Wiesel
Bankok 8 (2003) – John Burdett
Southern Comfort: A Charitable Anthology (2005) – S.A. Parham & W. Olivia Race, eds.
So You Want To Be a Wizard (YA 1983) – Diane Duane
Coldheart Canyon (2001) – Clive Barker
The Brief History of the Dead (2006) – Kevin Brockmeier

APRIL

Air (2004) – Geoff Ryman
The Witches (Juv/YA 1983) – Roald Dahl
Midnighters 2: Touching Darkness (YA) – Scott Westerfeld
The Shadow at the Bottom of the World (2005) – Thomas Ligotti
Tuck Everlasting (Juv/YA 1975) – Natalie Babbitt
The Two Sams: Ghost Stories (2003) – Glen Hirshberg
Leo: A Greyhound's Tale (YA 2003) – Cindy Victor

MAY

The Peacemaker: A Biblical Guide to Resolving Personal Conflict (NF) – Ken Sande
Blood Meridian (1985) – Cormac McCarthy
X-Men: Dark Mirror (2006) – Marjorie M. Liu
All You Need Is Ears – The Inside Personal Story of the Genius Who Created The Beatles (NF 1979) – George Martin with Jeremy Hornsby
Blue Like Jazz (NF 2003) – Donald Miller
Don Quixote (1605) – Cervantes, trans. Edith Grossman
The Thief Lord (YA 2000) – Cornelia Funke
The Empire of Ice Cream (2006) – Jeffrey Ford
The Adventures of Huckleberry Finn (1884) – Mark Twain
1066: The Hidden History in the Bayeux Tapestry (NF 2005) – Andrew Bridgeford
The Keys to the Kingdom – Book 1: Mister Monday (YA 2003) – Garth Nix

JUNE

The Spiderwick Chronicles, Book 1: The Field Guide (Juv/YA 2003) – Holly Black and Tony DiTerlizzi
1776 (NF 2005) – David McCullough
The Amulet of Sanmarkand (YA 2003) – Jonathan Stroud
Cold Hit (2005) – Stephen J. Cannell
His Majesty's Dragon (2006) – Naomi Novik
Armageddon Summer (YA 1998) – Jane Yolen and Bruce Coville
The Year's Best Fantasy and Horror Eighteenth Annual Collection (2005) – Ellen Datlow, Kelly Link, Gavin J. Grant, eds.
The Home-Based Bookstore (NF 2006) – Steve Weber
A Drink Before the War (1994) – Dennis Lehane
Cover Story – The Art of John Picacio (NF 2006)

JULY

The Book Thief (YA 2006) – Marcus Zusak
lost boy lost girl (2003) – Peter Straub
The Jaguar Hunter (1987) – Lucius Shepard
Prince Caspian (YA 1951) – C.S. Lewis
Jane Eyre (1847) – Charlotte Bronte
Horror: 100 Best Books (NF 1988) – Stephen Jones and Kim Newman, eds.
By a Spider's Thread (2004) – Laura Lippman
Ghost Stories of an Antiquary (1904) – M.R. James
Shadow Touch (2006) – Marjorie M. Liu

AUGUST

In the Forest of Forgetting (2006) – Theodora Goss
Addictions: A Banquet in the Grave (NF 2001) – Edward T. Welch
The Crying of Lot 49 (1965) – Thomas Pynchon
True History of the Kelly Gang (2001) – Peter Carey
When Life and Beliefs Collide (NF 2001) – Carolyn Custis James
Gun, with Occasional Music (1994) – Jonathan Lethem
Shadows and Silence (2000) – Barbara Roden, Christopher Roden,
eds.

SEPTEMBER

The Last of the O-Forms and Other Stories (2005) – James
Van Pelt
Manhunt (NF 2006) – James L. Swanson
The Husband (2006) – Dean Koontz
Rosemary's Baby (1967) – Ira Levin
Everything's Eventual: 14 Dark Tales (2002) – Stephen King
When People are Big and God is Small (NF 1997) – Edward T.
Welch
The Eyre Affair (2001) – Jasper Fforde
Midnighters 3: Blue Noon (YA 2006) – Scott Westerfeld

OCTOBER

Hans Christian Andersen Fairy Tales (2005 reissue) - trans. Tiina Nunnally
No Good Deeds (2006) – Laura Lippman
James Tiptree, Jr.: The Double Life of Alice B. Sheldon (NF 2006) – Julie Phillips
A Scanner Darkly (1977) – Philip K. Dick
Never Let Me Go (2005) - Kazuo Ishiguro
Shriek: An Afterword (2006) – Jeff VanderMeer

NOVEMBER

Kafka on the Shore (2005) - Haruki Murakami
The Road (2006) – Cormac McCarthy
London (NF 2004) – A.N. Wilson
The God Who is There (NF 1968) – Francis A. Schaeffer
The World Is Flat: A Brief History of the Twenty-first Century (NF 2005) – Thomas L. Friedman
The Five Love Languages (NF 1992) – Gary Chapman

DECEMBER

Twilight (YA 2005) – Stephenie Meyer
Reading Like a Writer: A Guide for People Who Love Books and for Those Who Want to Write Them (NF 2006) – Francine Prose
Best New Fantasy (2006) – Sean Wallace, ed.
Sharpe's Prey (2002) – Bernard Cornwell
Searching for God Knows What (NF 2004) – Donald Miller
Lolita (1955) – Vladimir Nabokov
To Own a Dragon (NF 2006) – Donald Miller & John MacMurray
Echo Park – Michael Connelly (2006)

Wheels

Just for fun, here are our two new cars, both in need of a wash.



My Toyota Matrix



Cindy's Honda Fit

Another Look

Still revising my YA novel (Chapter 9 out of 25, not 20 as I incorrectly stated in an earlier post) and making some interesting discoveries. I'm sure every novelist faces this, but since this is only my second attempt (and the first one anyone will ever see beyond the confines of my house), it's a real eye-opener for me. Of course what I'm talking about is the realization that the novel might not be about what I originally thought it was about.

That's both exciting and unsettling. It's exciting in that I'm discovering deeper themes, more complexities in my characters, making for (hopefully) a stronger story. But it's a little unsettling knowing that maybe this great scene/confrontation/battle I wrote into the first draft might be drastically changed or maybe even scrapped. In a way, I guess it's like the old adage about sculpting David from a block of marble. How do you sculpt David? Cut away everything that's not David. Even if that means cutting away a pretty cool piece that looks exactly like Paul or Moses.

But save that piece of Paul, that bust of Moses. They might come in handy some day.

Research, Getting Distracted and the Demise of the Public Library System

I'm in the middle of revising my YA novel (Well, not quite in the middle --- I'm on Chapter Seven of twenty.) and found I had to make a decision regarding on how much technology I wanted in my story's setting (specifically in this particular kitchen scene). Although my novel is not set in Colonial America, I found lots of helpful information in William Chauncy Langdon's Everyday Things in American Life 1607-1776. There's also a companion volume that covers 1776-1876, which I also own. Both include great information and are also fun to read.

They're also hard to find. Your local library may have them, or then again, they may not. I bought both copies for fifty cents each at my local library's ongoing library discards sale. (If I ever find this Langdon title, I can buy one of those big-screen TVs I've been drooling over.) For more on the current state of libraries in general, check out this from John's blog.

And speaking of books, one of the more dangerous parts of selling used books is running across books that you thought you were going to sell, but decided you just can't part with. (What if I never see the book again? TRAGEDY!) So yesterday I picked up The Golden Ratio: The Story of PHI, the World's Most Astonishing Number and decided to keep rather than sell it.

Now I don't know spit about mathematics, but I figured a whole book devoted to the number phi, or 1.6180339887 and counting (not to be confused with pi, which is 3.14159 and counting. Both numbers might even have as many digits as there are Nora Roberts novels.) must be worth a look. So I read the first sentence, including a quote from British physicist Lord Kelvin:

When you cannot express it in numbers, your knowledge is of a meager and unsatisfactory kind.

Well, that flew all over me.

So I started reading the thing.

What can I say? I love my job. I'll get back to you in, oh, about 1.6180339887 days.

Catching Up/Catching Cold

Cindy, Bullet and I had a great trip to an unseasonably warm Chicago to visit Cindy's sister Jan and her husband Pete (and their dog Sammy). Cindy's parents were there too and lots of loot was exchanged. We also had a great New Year's at John's house (Thanks, John!).

But once all the hoopla ended, I got sick. But at least that gives me a little time to catch up on reading, movies, etc.

More stuff to follow including a full loot report.