Category: Art

Art

Still Plodding

I’m finally able to sit in front of my computer for more than five minutes at a stretch.  (Nothing painful, just really uncomfortable.)  I suppose I’m progressing. My patience abandoned me weeks ago, but since I have almost no energy, it’s not an issue.

Next Tuesday I have my follow-up at the various clinics to see if I’m doing well enough to be “unplugged” and go on my own.  Which only means that afterward I have to be vigilant for a couple of months in regards to fever, etc.  Last night I discovered I’ve lost 15 pounds, which under normal circumstances I wouldn’t mind terribly much.

Meantime, I’m doing some reading.  I have a few books going at the same time.  I’m finally reading the first Aubry/Maturin novel, Master and Commander.  This has been recommended to me by so many people whose taste I trust and I have been so utterly put off by it till now that I feel a bit embarrassed.  The big problem is the plot—which proceeds at a snail’s pace.  But I’ve given it the major attention it clearly deserves and I can appreciate what O’Brian was doing.  Not sure I’ll continue on with it, but I can now declare that it is indeed a fine piece of work.

A couple of history books, and I’m reading Leigh Brackett’s The Long Tomorrow.  Yes, this is a reread, but since my first time was forty-plus years ago, it’s virtually a new book, and I guarantee I missed a lot back then.  I’ll be doing a long post about it soon.

Anyway, I’ve booted up my novel again and I’m noodling with it.  I’m only three or four chapters from done with it, which makes this past month a real annoying waste in my mind.  But the downtime has given me the space to rethink a couple of things, which is all to the good.  A better book will emerge from this.

So, till later…

“Rides”
Art

Plodding Along

For those who may be interested, recovery continues.  I know things are improving because my memory is fairly clear about how bad things were.  Last week, the week before.  But, as is the nature of the critter, we tend only to focus on the present and how crappy it may be.

But I am getting work done.  I’ve completed the first few prints I intend to exhibit in this year’s Archon art show.  Done the critiques of the short stories for the workshop I’m conducting then.  And just about finished two chapters in the current project.  (About those chapters, it is with wry amusement I note that I was about to doggedly go down the wrong path in one of them when this nonsense struck.  Between the time off and the percocet hell, I realized the mistake I was about to make and corrected it.  Always look for something positive, you know?)

Other things are better.  Not great.  I seriously doubt I’ll be back to the gym for at least another month.  And my body seems to have entered another phase of healing, because around noon or one o’clock I seem unable to stay awake.  My sleep is deep.  I’m assuming my body knows what it’s doing.

Part of my reticence involves a growing lack of patience.  I’m getting well enough to start chafing under the restrictions.  I would really like to walk my dog by myself.  I would like to go to the grocery store so that Donna doesn’t have to.  So on and so forth.  I’d like to be able to say I’m catching up on my reading, but that hasn’t been a notable achievement.

In any case, I’m still alive and that’s the best part.  So till my next entry here, I’ll leave you with a new image and a hope that the rest ofyour summer is just fine.

 

Sugar Steel Mill
Art

Jon Lord, Deep Purple, Legacies

I said I’d do a longer piece on Jon Lord, so.

In the aftermath of his death, I bought a couple of old Deep Purple cds I never had. By old I mean from the Sixties. The Book of Taliesyn, Shades of Deep Purple, Deep Purple. These three albums, the band’s first, were recorded with what is known as the Mark I line-up, which did not include Ian Gillan, who became the most recognizable voice of the band in the Seventies, during their most successful period.

What is fascinating now, in retrospect, is just how much a shift they made after they fired Rod Evans (vocals) and Nick Simper (bass).* The original Deep Purple was very much headed in the direction of what we now call Prog Rock. Not just in the wild sound effects they employed, but in the really intricate song-writing. The whole aesthetic approach of this early manifestation of the band embraced the novelty and innovation that defined bands like The Nice, Jefferson Airplane, Yes, and early Genesis. The break when they reorganized around Ian Gillan’s greater range and angrier delivery and Roger Glover’s far more fluid and, yes, heavier bass work is striking, not only for the differences manifest between songs like The Shield or Hush and the next-period thunder of Speed King, Hard Lovin’ Man, or Fireball, but also because of the album that came between the last Mark I Purple and In Rock—namely, Concerto for Group and Orchestra.

This album goes directly to what I consider the most significant aspect of Deep Purple, namely the incredible musicianship of Jon Lord. This is a Lord composition and it is a mature, fully-realized bit of what we call Classical Music (given that we tend these days to lump all the various schools of such music into that one bin—Baroque, Rococco, Classical, Romantic, NeoClassical, etc) that also incorporated rock motifs, elevating what at the time was still, despite the work being done by many gifted writers and performers to raise its stature, regarded as “kid’s music” or, more generally, “pop” or, less kindly, trash. Going back to the the first three Purple albums, you can hear the forerunners here and there throughout in the experimental elements and classically-tinged keyboard work of Mr. Lord. It is historically an astonishing piece of work, rendered even more so by the fact that after that, the new line-up of Deep Purple dove head-first in the hardest of hard rock, the music pitched at a roar and scream.

And yet, here and there throughout the next four albums—In Rock, Fireball, Machine Head, Who Do We Think We Are?—we hear that same sensibility flavoring the stew. Lord’s solos, while full-blown blues-idiom statements, would shift into energetic renderings of Bach, Vivaldi, Rachmaninoff, inserting passages of refined musicianship that fit in with, augmented, and yet stood apart from the thunder and shouts around them.

As good a set of musicians as Deep Purple comprised, it was the sensibilities of Jon Lord, I think, that made them stand out.

(I have to admit here that I never really loved Ritchie Blackmore’s guitar work. It’s fine for what it is and I’ve changed my mind about his actual abilities, especially after listening to the Taliesyn album. He could keep up with Lord, truly. I just didn’t care for his approach. But it was another distinctive voice within the Purple mix. I confess that both Tommy Bolin and present-day Steve Morse play more to my liking (especially Morse, whose work with the Dixie Dregs and later with Kansas established him as one of the best in the business), but there is also no arguing that Blackmore’s style is almost instantly recognizable. But I listened more in spite of him than because of him.)

Deep Purple became a bit of a cliche by the end of the Seventies. Smoke On The Water was so overplayed as to become its own parody. But despite periods of never listening to them, I always return, drawn to the power, yes, but always to those keyboard runs and the above-average musicality, which I identify with Lord’s continual influence.

What brought me finally to the realization that this was one of the finest composers on the planet was the series of albums he did all of his more or less straight classical compositions, starting with The Gemini Suite, which in many ways was a second try at the Concerto. The format is the same (modeled on, I believe, Bartok’s Concerto For Orchestra) but the music is all new. Lord did a number of these and after his retirement from Deep Purple in 2001 or so he devoted all his time to composition and recording his symphonic music. In albums such as Boom of the Tingling Strings, Durham Concerto and others, he has left us a set of musical experiences quite apart from the driving rock he also did with great ability and obvious passion. (He said of his later works that he composed music, not labels.)

Jon Lord was only 71 when he passed away, from complications of pancreatic cancer. His voice still speaks and I would urge everyone with any serious interest in music to go find his later recordings and be amazed.

As much as I love his classical works, though, I think this is how I will always remember him.

___________________________________________________________________

* Rod Evans, in these early recordings, displayed a common approach among a certain kind of rock’n’roll vocalist that was a sort of homage to Elvis. His exaggerated stylings can come across almost laughable in certain instances, but he was a credible singer within a certain range. He later became a founding member of Captain Beyond in league with a couple of Iron Butterfly alumni where his vocals leveled out and he displayed his qualities to much better and more honest effect. With the collapse of that band, Evans soon retired from music.

Nick Simper fared less well, though he worked more steadily, in and out of a variety of bands that never quite “made it.” The longest run after Deep Purple was a band called Fandango. Simper still gigs, though.

Art

A Need To Notice

Selective blindness is something everyone suffers.  Depends on priorities.  It becomes a major problem when an entire society experiences it, which happens too often.  So, just a little reminder…

 

Granite Bed
Art

Sky Sea

On my own this weekend, with the dog, working on rewrites.  For the time being, a little cloud-gazing for you.

 

Cloud Sea, June 2012
Art

Reflections On the 4th of July: A Personal Statement

I am not given to setting out pronouncements like this very often, but in light of the last several years I thought it might be worthwhile to do so on the occasion of the 236th anniversary of our declared independence.

I don’t think in terms of demonstrating my love of country. My affection for my home is simply a given, a background hum, a constant, foundational reality that is reflexively true. This is the house in which I grew up. I know its walls, its ceiling, its floors, the steps to the attic, the verge, and every shadow that moves with the sun through all the windows. I live here; its existence contours my thinking, is the starting place of my feelings.

The house itself is an old friend, a reliable companion, a welcoming space, both mental and physical, that I can no more dislike or reject than I can stop breathing.

But some of the furniture…that’s different.

 

I am an American.

I don’t have to prove that to anyone. I carry it with me, inside, my cells are suffused with it. I do not have to wear a flag on my lapel, hang one in front of my house, or publicly pledge an oath to it for the convenience of those who question my political sentiments. Anyone who says I should or ought or have to does not understand the nature of what they request or the substance of my refusal to accommodate them. They do not understand that public affirmations like that become a fetish and serve only to divide, to make people pass a test they should—because we are free—never have to take.

I am an American.

I am not afraid of ideas. My country was born out the embrace of ideas, new ideas, ideas that challenged the right of kings to suppress ideas. Ideas are the bricks that built these halls. I claim as my birthright the freedom to think anything, entertain any notion, weigh the value of any concept or proposition, and to take refuge in the knowledge that wisdom comes from learning and the freedom to learn is among the most hallowed and sacred privileges we have inherited as a country. The greatest enemy of our republic is the fear of ideas, of education, and by extension of truth and fact. Those who see no harm in removing books from libraries or diluting fact with wishful thinking and teaching our children to accept things entirely on faith and never question will weaken the foundations, damage the walls, and corrupt every other freedom they themselves boast about and then fail to defend.

I am an American.

I do not need to demonize others to make myself feel safe or superior or even right. I do not need to pretend that I am innately “better” than anyone else to prove my own worth. America was founded on the idea that all of us are equal in potential value. I do not need to oppress, undercut, strike, or otherwise impede others so that I can claim the dubious and ultimately meaningless label of Number One.

I am an American.

Sometimes I wear my sentiment on my sleeve, display my emotions at inappropriate times. I often side with unpopular causes, cheer those who aren’t going to win, get unreasonably angry over unfairness. I believe in justice and I don’t have any trouble with the idea of making an extra effort for people who can’t afford it for themselves. Other times I am stoic, even cynical. I accommodate a world-weariness far beyond the scope of my heritage. I do not believe in providence. Things will not just “work out in the long run” and the bad are not always punished and the good too often are crushed. I know the world doesn’t care and has no interest in level playing fields or evening up odds or anything other than its own ravenous acquisitiveness. It’s an uphill battle against impossible odds, but it’s the only one worth fighting, and I have an unreasonable belief that as an American I have a responsibility to help fight it.

I am an American.

I take a childish pride in many of the attributes and details of my heritage. We build things, we invent things, we have moved mountains, changed the course of rivers, gone to the moon, created great art, changed the face of the earth, broken tyrants on the wheel, and made the world yield. At the same time I am embarrassed at many of the other details of my heritage. We have hurt people unnecessarily, killed and raped, we have damaged forests, poisoned rivers, waged war when there were other avenues. I like the idea that I can work my way out of poverty here, but I hate the idea that we idolize the rich when they put barriers in the path of those like me just because they can. It’s not the money, it’s the work that counts, but sometimes we forget that and those with less must school those with more. That we have done that and can do that is also part of my heritage and I am glad of it.

I am an American.

I am not bound by ritual. Tradition is valuable, history must never be forgotten, but as a starting point not a straitjacket. Those who wish to constrain me according to the incantations, ceremonies, and empty routines of disproven ideologies, debunked beliefs, and discredited authority are not my compatriots, nor do they understand the liberty which comes from an open mind amply armed with knowledge and fueled by a spirit of optimism and a fearless willingness to look into the new and make what is worthy in progress your own.

I am an American.

I do not need others to tell me who I am and how I should be what they think I should be. I elect my representatives. They work for me. They are employees. If I criticize them, I am not criticizing my country. If I call their judgment into question, I am not undermining America. If I am angry with the job they do, I do not hate my country. They should take their definition from me, not the other way around.

I am an American.

If my so-called leaders send soldiers in my name somewhere to do things of which I do not approve and I voice my disapproval, I am not insulting those soldiers or failing to support them. They did not send themselves to those places or tell themselves to do those things. My country has never asked one of its soldiers to kill innocents, torture people, lay waste to civilians, or otherwise perform illegal, unnecessary, or wrong deeds. Politicians do that and they are employees, they are not My Country. Greedy individuals do that, and they are not My Country. No one has the right to call me unpatriotic because I condemn politicians or businessmen for a war they make that I consider wrong, nor that I am not “supporting out troops” because I want them out of that situation and no longer misused by the narrow, blinkered, and all-too-often secret agendas of functionaries, bureaucrats, and bought stooges.

I am an American.

My success is my own, but it is impossible without the work done by my fellow Americans. I acknowledge that we make this country together or not at all and I have no reservations about crediting those whose labor has made my own possible or condemning those who seek to divide us so they can reap the plenty and pretend they made their success all by themselves.

I am an American.

Which means that by inheritance I am nearly everyone on this planet. I am not afraid of Others, or of The Other, and those who would seek to deny political and social rights to people who for whatever reason do not fit a particular box simply because they’re afraid of them do not speak for me. I reject superstition and embrace reason and as a child I learned that this is what should be the hallmark of an American, that while we never discard the lessons of the past nor do we let the fears and ignorance of the past dictate our future.

I am an American.

I accept the rule of law. This is a founding idea and I live accordingly, even if I dislike or disapprove of a given example. If so, then I embrace my right to try to change the law, but I will not break it thoughtlessly just because it inconveniences me or to simply prove my independence. My independence is likewise, like my Americanness, something I carry with me, inside. The forum of ideas is where we debate the virtues and vices of the framework of our society and I take it as given my right to participate. Cooperation is our strength, not blind commitment to standards poorly explained or half understood. Because we make the law, we determine its shape and limits. The more of us who participate, the better, otherwise we surrender majority rule to minority veto, and law becomes the playground of those who learn how to keep the rest of us out.

I am an American.

Such a thing was invented. It came out of change, it encompasses change, it uses change. Change is the only constant and too-tight a grip on that which is no longer meaningful is the beginning of stagnation and the end of that which makes us who we are. Change is annoying, inconvenient, sometimes maddening, but it is the only constant, so I welcome it and understand that the willingness to meet it and work with it defines us as much as our rivers, our mountains, our cities, our art. A fondness for particular times and places and periods is only natural—humans are nostalgic—but to try to freeze us as a people into one shape for all time is the surest way to destroy us.

I am an American.

I do not need others to be less so I can be more. I do not need others to lose so that I can win. I do not need to sabotage the success of others to guarantee my own. I do not have to take anything away from someone else in order to have more for myself.

America is for me—

My partner, my family, my friends, the books I love, the music I hear, the laughter of my neighbors, the grass and flowers of my garden, the conversations I have, the roads I travel, and the freedom I have to recognize and appreciate and enjoy all these things. I will defend it, I will fight anyone who tries to hurt it, but I will do it my own way, out of my own sentiments, for my own reasons. Others may have their reasons and sentiments, and may beat a different drum. That’s fine. That is their way and we may find common cause in some things. This, too, is America.

“All colors and blends of Americans have somewhat the same tendencies. It’s a breed — selected out by accident. And so we’re overbrave and overfearful — we’re kind and cruel as children. We’re overfriendly and at the same time frightened of strangers. We boast and are impressed. We’re oversentimental and realistic. We are mundane and materialistic — and do you know of any other nation that acts for ideals? We eat too much. We have no taste, no sense of proportion. We throw our energy about like waste. In the old lands they say of us that we go from barbarism to decadence without an intervening culture.”
John Steinbeck, East of Eden

“There’s the country of America, which you have to defend, but there’s also the idea of America. America is more than just a country, it’s an idea. An idea that’s supposed to be contagious.”
Bono

“We are not afraid to entrust the American people with unpleasant facts, foreign ideas, alien philosophies, and competitive values. For a nation that is afraid to let its people judge the truth and falsehood in an open market is a nation that is afraid of its people.”
John F. Kennedy

“When an American says that he loves his country, he means not only that he loves the New England hills, the prairies glistening in the sun, the wide and rising plains, the great mountains, and the sea. He means that he loves an inner air, an inner light in which freedom lives and in which a man can draw the breath of self-respect.”
Adlai Stevenson

Art

Upon Finishing A Novel

Oculus, the sequel to my alternate history Orleans, is finished.  I sent it off last week to my agent.  (Which means that, in fact, I will have to do another pass when she gets through making notes, etc, but for now I am content.)

They’re all a slog at some point.  The only novels I ever wrote that weren’t were the second Robot Mystery, Chimera, and the one Terminator novel I wrote, Hour of the Wolf (which wasn’t supposed to be the title—that was the working title I slapped on it because I have to have a title before I can write a piece, but given the impossible schedule and the fact that the publisher needed it, like, THEN, they went with the title as is).  Don’t get me wrong, they were both hard work, but they went relatively smoothly from beginning to end.

However, this one was a slog because the first draft was really rather not good.

Anyway, it got better and I sent it off.  Now comes the decompression and the preparation for the next project.  Cleaning the office, becoming reacquainted with the dog, having some kind of food that takes more than two minutes to prepare.

I have written 21 novels, beginning to end.  Ten of them have been published, six of them probably never will see the light of day again.

It’s difficult to describe to people who don’t do this what it’s like.  The total immersion in the world of your fiction, and having now written other things besides science fiction I can tell you that it doesn’t matter.  The world of your novel is A World and you have to live in it while you’re building it.  So far I haven’t found myself confusing the fictional realm with the “real” world, but I have found myself ignoring a great deal of what’s around me.  There have been a couple of times I’ve felt like someone emerging from a shelter after a nuclear war, wondering how much the world has changed while I was underground.

It’s also, for me, an act of faith.  Having the confidence or the optimism that a book will turn out worth while after all the work can be based on experience once you’ve written enough of them, but it’s still a gamble.  You could very well write a piece that is wholly inaccessible to anyone else.  While you’re inside it, making it, it becomes, at least for me, problematic as to whether or not it will appeal to anyone else.  It’s always a pleasant surprise when it turns out others like it.

Next week, I dive into the major rewrite of another, this one a historical—straight history, with a mystery—and the rest of my summer will be devoted to making it as good as it can be.  I do, however, intend to do a few other things this summer besides just tour the precincts of my fictional realms.

I’ll also have a special essay for the Fourth of July.  Something I’ve been working on for a bit.  Just a little heads up.

Ah.  There’s something else needs tending.  See you later.

Art

Torn

I’m torn.

I saw a news article yesterday that made the hair on my toes curl in the particular way that comes from purblind stupidity and I thought “I’m going to write about that!”  And then I thought, “Maybe I should calm down first, chill, get a little distance, and then write about it.”  So I’m taking my time, giving it due consideration so I can treat it with appropriate moment and gravitas.

Meanwhile, I had a couple of left-overs from the last two days of revisiting old negatives and making new images.  I keep my galleries on Zenfolio (with a couple of exceptions for slide shows hosted on other sites, like the one on my About page) limited to 32 photographs in each.  No reason, just when I started them they fell into that range.  So below are some extras, which will make their way eventually into a new gallery, but for now…

 

Containment vessel, Seattle Gasworks Park, 2001

 

O’Sheridan’s, Oregon, 2001

 

 

New Mexico, 2001

 

 

Rock Feature, After Paul Lehr, Oregon, 2001