Casting Call

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

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

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

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

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

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

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

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

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

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

Joclen would be well played by Amanda Righetti

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

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

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

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

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

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

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

The Keyboard I Didn’t Buy

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

And I passed.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Besides…where the hell would I put it?

Some Art

Time for a little art.

Once upon a time, in the distant past, I had ambitions to become a comic book artist.  I wrote and drew my own.  My models…well, I am very much a fan of extreme realism, so some of the less mimetic, more representational comic art leaves me unimpressed.  My idol when I was a kid, trying to do this, was Russ Manning.  He was the ne plus ultra of comics technicians, and not only because of his superb style, but for the substance of the comics he did.  Magnus Robot Fighter 4000 A.D. was just about everything I ever wanted in a comic book, along with its spin-off, The Aliens, which did not last very many issues.

There were others I liked.  Dan Spiegle,  who did Lost In Space (before the lamebrained television series and long after it) among other things.  And of course the wonderful Alex Raymond of Flash Gordon fame.

There was a time, when I was drawing every day, that I got fairly good.  But then photography came along, then I went back to writing, and the rest, as they say….

But I still do art occasionally.  Now I think that rather than doing comics, if I’d stuck with it, I’d do illustrations.  That leads to a whole other pantheon of greats.  In the last couple decades, I sit down to doodle or sketch when I need a break.  It’s fun and relaxing and I feel no pressure to accomplish anything beyond satisfying my desire to create something cool.

Below you’ll find a new drawing.  You may be able to tell from the technique that I’m a Virgil Finlay fan, though nowhere near his legendary abilities. Below the main, finished, illustration are thumbnails of the work-in-progress.  I posted these as they were done on my Facebook page, but I thought I’d put them all up here.  (Click on the thumbnail and you can get a larger view.)

I’m going to hang several pieces this year in the Archon art show.  I don’t have room to keep everything, but I’ve scanned the pieces into the computer and I can print them out later if I want.

Anyway, enjoy.

stage-5-final.bmp

Thumbnails of the process below.
stage-4.jpgstage-3.jpgstage-2.jpgstage-1.jpg

John Adams and the Efforts of Time

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

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

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

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

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

Or was it?

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

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

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

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

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

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

It was a mess.

The myth prevails.

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

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

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

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

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

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

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

But look at what they managed to build.

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

Boston, 1989

One of these days I will get the Art section of this website straightened out.  If you go there now, you’ll find a lot of photographs, but several of them when clicked on expand to huge size and you only see a corner of the image.  I found that if you click on that again, it reduces to screen size.  Still, it’s a bit of a pain.

Meantime, I can always post an image here now and then, and for no other reason than I like to.  Like this one, taken in Boston circa 1989.

boston-1989.jpg

I’m proud of my photography.  Quietly, almost too shyly.  I love the medium, always have, and some time in my childhood I became acquainted with the work of Ansel Adams.  The older I get the more I appreciate his artistry and I doubt I’ll ever match it.  But I’ve done a few pieces that I think are not too bad.

I had my first gallery show in July.  The reception evening was a surprise.  The place was never empty, and most of the people who came through I did not know.  I felt very pleased.  We didn’t sell anything, but I hadn’t expected to.  Now that the bubble is burst, though, I may try to do that again.

I’ve been taking photographs actively since I was 15.  That’s nearly 40 years now and I have tens of thousands of negatives.  The technology has changed and the industry is digital and I need to crack the books and learn it.  I’ve been dipping a toe in the (non) waters of digital imagery, hence the photographs posted here and on Facebook.  I have a lot to learn and I should get on with it before I run out of either time or interest.  But even if I don’t, I can still put a few up here for wandering visitors to enjoy.

Dante’s HMO

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

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

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

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

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

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

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

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

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

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

Missouri Center for the Book Presents…


 HISTORY AND FICTION:

                           DUELING NARRATIVES   

             

           A CELEBRATION OF THE BOOK   

 

                  Saturday, October 10, 2009    

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

                                       at       

                         Stephens College                                                     

 

            Registration, including box lunch,

                             $25.00

Sponsored by:

Stephens College English/Creative Writing Department

                                      And

              The Missouri Center for the Book

Featuring a keynote address by historian and novelist,

 

                        HARPER BARNES,

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

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

 

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

 

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

 

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

 

             MARGARET SAYERS PEDEN

            Translator of works by Octavio Paz, Carlos

                 Fuentes, Isabel Allende, Cesar Vallejo, and

                numerous other important Latin American

                 writers.

 

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

For more information, go to  Missouri Center for the Book

 

          

Readingless Writers—Not Right

I’ve heard of this phenomenon, but never before encountered it directly.  Excuse me, I’m still trying to wrap my head around the utter vapidity of this…

I have a MySpace page.  Admittedly, I pay less attention to it these days in lieu of my Facebook page  (all these Pages…for such a functional Luddite, it amazes me I navigate these strange seas), but I do check it at least once a week.  I post a short blog there.  And I collect Friend Requests.

I received such a request the other day from someone whose name I will not use.  Unless it’s from someone or something I recognize, I go to the requester’s page to check them out.  Saves on a small amount of embarrassment.  This person had a legit page.  Aspiring writer.  Claimed to be working on several short stories and a novel.  Great.  I’m all about supporting other writers.  Sometimes we’re all we’ve got.  But I scrolled down to the section where he lists his interests and find under BOOKS this:

I actually don’t read to much but I do like a few. Twilight, Harry Potter, Impulse, Dead on Town Line, etc.

I sat back and stared at that and the question ran through my head like a neon billboard, “How does that work?  Just how the hell do you want to be a writer and not like to read?”

So I sent this person a message and asked.  I told him that to be a writer you have to love words, love stories…

Well, here’s the exchange, sans names:

Okay, you sent me a friend request, so I looked at your profile. It says you want to be a writer, but then under Books you say you don’t read much.

How does that work? You want to be a writer you have to love words, you have to love stories, you have to love it on the page, and that means reading A LOT.

You might just blow this off, but don’t. If you really want to be a writer, you must read. That’s where you learn your craft, sure, but more importantly that’s where you nurture the love of what you say you want to do.

Either that, or you’re a poser.

Apologies for the bluntness, but I am a writer and before that I was a reader. You can’t have one without the other.

Mark

REPLY:

You don’t have to like both to be a writer. That’s a ridiculous thesis to be honest. That’s like saying that you have to like listening to someone else to you how their day was in order to tell them how your day was. It’s just true. Reading bores me, and prefer to witness a story as a much faster pace, eg. a Movie. Writing, however, doesn’t bore me. It’s as simple as that. I don’t know why people always over complicate simple things like that.

MY RESPONSE

Well, good luck with that. It’s like being an auto mechanic and not liking cars. Or being a musician who doesn’t listen to anyone else’s music.

Maybe someday you’ll get it.

Mark

You don’t have to like both to be a writer?

Well, I suppose in the absolute strict sense of wanting to write things while disliking going through other people’s work, he’s right.  But that, it seems to me, is legitimate only insofar as a narcissistic indulgence.

But a ridiculous thesis?  How do you even come to a notion of what it means to be A Writer without some affection for the product in general?  This is so alien to my experience, my way of thinking, that I’m still struggling to make sense of it.

It only scans in one of two ways.  (A), it’s not that you want to be a writer.  Being a writer is hard work, it’s paying attention to all manner of triviality that goes into the making of Life, sorting it into piles of Meaning and Dross, and from that compiling and elucidating an observation that is relevant to strangers, because if you publish you have no idea who will read your words, and the viability of what you do must find a resonance with people you do not and will never know.  Being a writer is living through the word, through the paragraph, the scene, the story.  The way in which story operates—how it comes to be, how it is constructed, how it moves—can only be learned by responding to it yourself, both in life and on the page, but on the page is where the art happens, and you cannot learn how to do that unless you read, widely and deeply.  So it is not that you want to be a writer, you want to be an Author, someone with titles strewn beneath your name, who is adulated by the public, respected for what wisdom may be found in works you presumably did by some mechanism (but not, apparently, by actually being a writer).  You like the idea of being a writer, but having no idea what the purpose of it is, you cannot be one, only, if you learn the trick, an Author.

Or (B) you are simply in love with the sound and look of your own voice on the page.  Nothing wrong with that, but unless you have some external input what you write will only be relevant to yourself.  It will be indulgent.  And it will have resonance to others only by accident—not because you are so different from anyone else, but because you have no notion how to convey your commonality.  It is a form of masturbation, and while that is legitimate, it is done in isolation, born out of a fantasy of connection and, in time, if it is all you do, an inability to touch anyone outside yourself.

But what genuinely troubles me is the whole disregard—the blind ignorance—of what writing is all about.  It is an art and if you cannot respond to the art you cannot do it, not so that it means much to anyone else.  It is, to stretch a metaphor from the previous sentence, like having sex with someone you don’t much care to spend any time with.  You like the orgasm, but you don’t want to be bothered with other people and their desires and needs.  It’s selfish, true, but it’s also tragic, especially if you then go and pose as a Great Lover.

We do have a generation (and I’m using that term to define an age bracket—this group includes people from 10 to 50) that is enamored of film.  That’s where it is for them.  But a lot of flawed and failed films get made and often—not every time—but often the failure is because someone doesn’t read and has no idea what it is that good writing conveys.  It begins with the word, but they want to bypass that.

Why?  I have a theory, of course.  Because it’s hard work to make the translation from words on a page to images in the mind.  Most of the people I know who do not read for pleasure—read fiction for pleasure, I should say—seem incapable of running the story in their imagination.  The words do not make pictures for them, do not open vistas of the imagination, do not convey the essence of character.  They’re just words on a page.  This is sad and I think a failure of education on a basic level.

But it’s sadder still when these sorts then try to do film.  Or fail to do film.

I’ve said this before, and I’ll say it till I have no more breath with which to say it—reading is fundamentally different from almost any other form of entertainment (the closest is radio drama) because it is interactive and participatory.  You must do the work of creating the images suggested on the page in your own mind.  It is a trick best learned young, but it is a trick that will give us the stars, because the imagination is a living thing that must be nourished from both within and without. If you cannot envision, you cannot build.

There are many reasons to read and I was encouraged more this year than ever before to learn, via and NEA report, that reading in America had increased substantially for the first time since they’ve been keeping track in 1982.

But you run across these bizarre confluences from time to time and you wonder how this happened?  I can live with the idea that there are people bored by reading.  But then to be told that these same people want to be writers baffles.  If reading bores them one can only assume that what they write will be boring—because they’ll have no clue how it can be otherwise.

Choice Evening

Donna and I arrived a few minutes after six.  The evening—the physical manifestation of July 17th—was wonderful.  Mid seventies, straggly cloudlets in darkening blue sky, a pleasant breeze.  Early for the usual nightlife that flows up and down Park Avenue on a Friday night, but there are a few folks choosing restaurants.  There’s a custom glass shop across the street, customers still perusing.

I’d changed clothes twice, trying to decide what level of chic or cool I wanted to reach.  Had to wear the hat, the Bogard, which Donna had made me buy several years back and which I love.

Only the owners are in the Gallery as we step through the door.  Greetings, there’s wine.  I pour a glass—plastic cup, really—and step out into the main gallery.  My photographs range across one complete wall, with three spill-overs on another.  Jane, the gallery manager, puts on some music—light jazz.

And people start to arrive.

A lot of friends show up, and Donna points out later that a lot of them never saw this much of my photography before, many of them having met us wehn writing had become the dominant pursuit.  Only Tom showed up, who has been there through multiple ambitions—even helped with a lot of it.  But most of these images were new even to him.

Then strangers arrived.  People are looking.  The place gets crowded.  Questions get asked.

I’m a bit of a hit, it appears.  No offers for purchases, but that may come later.  For three hours people keep showing up, leaving, a couple of them come back.  All the wine gets drunk but for two glasses, which the owner and I finish.  The last people out besides us is a local photographer who is favorably impressed and we talk knowledgeably about certain difficulties in printing.

We go home and I’m in a kind of warm bubble.  Even if no one buys anything, it was worthwhile.  Choice evening.

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Because It’s Only A Week Away…

I thought I ought to post the notice about my upcoming photography exhibit here.  Am I excited about this?  Does a dog chase squirrels?

Marbles Gallery exhibits “Edge on…” photography by *Sally B. Simpson *and* Mark Tiedemann* with a free public opening reception on Friday, July 17 from 6-9 p.m. The exhibit will run from July 3-31. Open hours before yoga classes or by appointment. Marbles Yoga Studio and Art Gallery is located at 1905 Park Avenue in Lafayette Square. For additional information call 314.791.6466 or visit www.marblesyoga.com .
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Marbles Gallery exhibits “Edge on…” photography by* Sally B. Simpson *and* Mark Tiedemann *from July 3 – 31.

*Opening Reception: *

Friday, July 17 from 6-9 p.m.

Marbles Yoga Studio and Gallery

1905 Park Avenue in Lafayette Square

Meet the artists, enjoy a glass of wine

Free and open to the public

*Sally B. Simpson* photographs under natural lighting situations, with very little or no use of camera filters to capture the beauty and simplicity of everyday subjects using a variety of camera types, including /the medium format 120 film toy camera, the Holga. Intrigued by places and subjects that exhibit a haunting sense of abandonment, as well as images that evoke a strong sense of familiarity and simplicity, Simpson chooses to photograph with her Holga often. With its cheap construction, images produced from the Holga often yield photographs with characteristic light leaks, blurs and vignetting, adding depth and individuality to each photograph.

With a decade of experience, Simpson’s award winning and published photography includes a collection of Route 66 color images that were exhibited at the Route 66 State Park Visitor Center in 2007. Today, Simpson, a St. Louis native, is currently working on her AFA in Photography as well as her Certificate of Proficiency from the St. Louis Community College at Meramec.

Multitalented writer, musician and photographer, *Mark Tiedemann*, premiers his black and white art photography inspired by the work of Ansel Adams, Edward Weston, and other members of the f64 Group. During his commercial photography career as a proficient black and white lab technician, he has continuously recorded and printed but never shown his own work.

In 1990, Mark achieved a childhood of dream of becoming a published author and to date has published ten novels and over fifty short stories. He is a regular contributor of essays to DangerousIntersection.org and a book reviewer for Science Fiction Age, The New York Review of Science Fiction, Sauce Magazine, and the St. Louis Post-Dispatch. Born and raised in St. Louis, Mark Tiedemann recently served for four years as president of the Missouri Center for the Book where he oversaw the establishment of the first Missouri Poet Laureate position.

Open before yoga classes. Call 314.621.4744 to confirm additional hours or for an appointment www.marblesyoga.com

Marbles Yoga Studio and Gallery

Exhibiting St. Louis area artists in historic Lafayette Square

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Jane

Jane Ollendorff
Art Director, Marbles Gallery
1905 Park Avenue, Lafayette Square
St. Louis, MO 63105
314.791.6466
marblesart.jane@hotmail.com
www.marblesyoga.com
exhibiting local artists