Showing posts with label the fundamental interconnectedness of all things. Show all posts
Showing posts with label the fundamental interconnectedness of all things. Show all posts

Friday, December 18, 2020

A collection of one ...

The blog's been pretty limp for a long time - unfortunately not the kind of infrequency that keeps a reader wanting more. I follow several others like that, but even my following of other blogs has been pretty poor of late. I don't read like I used to, don't write at all, really haven't blogged either. And am not even really thinking about "maybe I'll write again" and so on.

That said ... please go visit one of those I follow! Jeff Sypeck is such a good writer, and his observations about anything he uses *his* blog to point to are worth the stopover every time. In this case, too, the way he's pointing has me fascinated AND my mind is blown. Spoiler alert: Mike Tyson is fascinated by Clovis, the Merovingians, the Franks???? I mean ... Huh. It doesn't take me back, ahem, but does provide the unexpected imaginary mindpic of Mike Tyson reading my novel (had it ever seen the light of day). Huh.



Tuesday, September 11, 2018

Florence and the (disaster preparedness) Machine

Yes, it is coming this way. Forecasts, of course, vary - but the upshot in more than one tracking-map I've seen seems to point to pretty intense inland flooding, which means: for all the frustration it took me dealing with JES (ugh) to get it, I *am* provisionally glad I have a pretty new sump pump and waterproofed basement.

For all the frustration JES caused me over a year and a half trying to get it right, I will also be WATCHING carefully to see how well the 'proofing and pump will perform.

As for the rest of it ... I stopped this morning for gas. There was a pretty impressive (but blessedly not static) queue, and this at a station with ten pumps. There are several gallons of water for me and the fur kids, kibble enough for them for more than a week, and for me some less-perishable foodstuffs and a non-electric can opener. Tonight, I need to remember to throw several large bags or bottles of water in the freezer; these can help it act as a cooler for at least *some* period of time in the event of an outage. Other than that, plentiful candles and funeral fans.

Funeral fans, for those not familiar with this Southern tradition, are good-sized stiff paper fans, most often provided by funeral homes for those ladies sitting beside a burial in the hot Southern summer. These fans outpace any folding fan I've ever had, for maximal air-movement output. And, fella babies, I can tell you: as a woman enjoying the frequency of hot flashes reserved for those of us passing out of August and our fertile years, moving air is not low on my priorities list in facing this possible emergency.

It tends to be hard for me not to be amused at the way my hometown responds to the merest whiff of emergency. We go mad for grocery stores and water when weather calls for anything beyond routine, and so when a disaster may actually be looming, the drama still looks quaint - because, frankly, I've seen this city go nuts time and time again, when six flakes of snow were in the offing. Sixty miles away.

So, facing what could end up being a twenty-four-incher on uncertain heading, but looking likely to visit here, even if peripherally ...


Yeah. I'm amused by my community. But don't think I didn't buy gas on purpose, and that inventorying the hand-fans and water available are just entertainment.

As seldom as I have troubled to actually *write* anything here since my stepfather died, I will check in.

For those of you so much closer to the impact of winds and real danger: my prayers are with you. Be well, and check in when you can too, please. Donna. Colin. Anyone in the Carolinas.

Monday, July 16, 2018

Framing

Yesterday, my mom and I got together for lunch, sat and waited a little while I got my car cleaned up a bit, and shopped. The first retail excursion was to the crafts store, where she had recently left a couple things to be framed.

One of these is the circa-1960 map of her home county. It includes a legend of several local businesses, and in the top right corner are two images of bank branches; one, the new and super modern DRIVE THROUGH branch. The other, the older building: where mom worked when she was a single lady. She pointed to the second floor corner window.

"That is the window where I looked out and saw your dad when he came for our first date."

They were set up on a blind date, so this was where she saw dad for the very first time.



The other thing she had framed was dad's system. He designed a certain system for CEBAF, now known as Jefferson Laboratory, the national accelerator facility. After sketching it out, he had a student put it in a proper rendering, and this, now, is in a really nice frame.

Dad worked with Jeffy Lab when they first started calling it that, and you can see by the nickname how Virginians are about change. Heh. Plus, it's fun to say - Jeffy Lab.



The framing guy did a splendid job with both pieces. The map was pretty fragile, even had small holes in it, but ironed out and mounted with UV glass, it is a gorgeous faded color, but the blue ink is really pretty. The frame is wood, with a nice interesting grain. It's warm.

The schematic is less amber, though the paper was decades old - and you can discern, if you care to, where it was folded. There is one whiter spot, where it was stored for years next to some smaller piece of paper that left a paler, un-faded square where it had lain. It is in a black frame, white-matted, but with the thinnest under-mat of black, to create a little outline around the document.

For someone into industrial design, this would be a pretty cool design piece. For me, it is an image literally mined out of the mind of my dad; who, not that I've ever mentioned this before on my blog (hah), happened to be a stupefyingly brilliant teacher and scientist.

The system's exactingly thin lines and detailed intricacy are beautiful; not entirely unlike a flow chart, balanced, and filled with information I don't understand. It all comes to a result that ... is an ongoing piece of the scientific community of the world.

My dad did that. He is *still* a part of the mechanism of study and discovery. Gone fifteen years and more, he still lives - in this little avatar of his work, which is an artifact we can enjoy - and in his WORK, which is still a part of the engine of science and study.


It's easy to remember, as his kid, that my brother and I, his grandkids - and mom, who lived with him for over forty years, and started this branch of family - are the products of his life. But it's heart-swelling to think: dad contributed to so much more than just "me" in this world (as good fathers do, right?). That his being a teacher frustrated and challenged and maybe inspired hundreds of others. Maybe thousands.

My dad touched so many things, as curious intellects do. He *made* much more than I probably ever will. Which so few of us will ever be able to say.



And it's out that second-floor window ... where that all began, just before the blind date did.

Tuesday, October 31, 2017

Collection

The (Not) Just No Stories ... Casey Karp tells us about yet more ways for The Internet of Things not just to run, but to ruin, our lives. Not scary at all!

Art history, religious history - on the history of the fig leaf, all the way to Instagram. Spiff.

Reider reading! I am shamefully late to getting to it, so probably anyone here who frequents the comments at Janet Reid's blog has read this already, but Jen Donohue was published recently, and her short story is very good. Hop on over to Syntax and Salt, sink into it slowly, and enjoy.

Can we please dispense with the precious little phrase "open secret" now? In the past three weeks alone, we've encountered an open secret in Hollywood - oh, and in politics - now it's academia - and media-curated regions of the world or remoter reaches of the United States - and it's been discussed about Silicon Valley for many years, at this point. "Casting couch" is a phrase probably nearly as old as the phenomenon is, which may be about a century at this point (if you only count *film*). THIS IS OUR CULTURE. Not some isolated little "secret" - open or otherwise - affecting isolated little islands of people other than ourselves. This is the world. Women have never not-known this. So who thinks this is any sort of a secret? Oh yeah. All those men who're so surprised that rape and sexual extortion/blackmail/revenge is a thing. And it's not a secret, even from them. They've just enjoyed the privilege of obliviousness.

Friday, April 28, 2017

Picking and Choosing

Scenes come to me when they will. The term "pantser" doesn't appeal to me, but I am not an outlining writer, and the idea of composing a novel in order confounds me. I follow the research first, and the inspiration second. Usually because the latter doesn't precede the former, and I have a harder time capturing it.

Not long ago, I was working on that quiet moment, knowing what has got to come after it. The scene stands alone (though I do still need to get rid of that research-y bit about natron), but really there's no novel if anything does that. And so I must proceed.

Eventually.



I don't want to write the pogrom. And that is what follows, there.

Writing one of the first riotous, violent religious purges in the storied history of Christendom all but makes me long for a battle scene. And I hate writing battle scenes.

But even to contemplate this is so much worse. The only redemption before me is that I will not write from within the perspective of the murderers, the looters, the rapists, the cruel. But it is little consolation; knowing one is only surrounded by looting, rape, and killing doesn't take away the looting, rape, and killing.



So, today, I got back to the murder scene.

It's strange how preferable this is to writing the pogrom. It is smaller in scale, of course, and so I have more control, more ability to move through the mechanics of each moment - realization, sensation, progression.

It also takes place with a character who has come to a philosophical place of relinquishment. She's lost enough to eschew the rest, and life appears all but pointless by this moment. Losing everyone else was hard; losing herself, even painfully, may be a relief.

I've watched this relinquishment, of course. I've been witness to plaintive, righteous begging for death. It's hard, but great Christ do I understand it.

And so the crux of this murder is that it becomes manumission; the killers will free this woman, and she will accept escape at last, if only when she sees there is no other choice.


Thematically, of course, this links to my post from yesterday. So I had to go to this scene. (That is my excuse, and I'm sticking with it.) I had to find the sensations of the ground under her toes, the air down her throat, the sweat of her skin.

It's got me thinking of another death scene too. A character I can scarcely bear to see die, but who eventually must. A person can only live so long, and in the sixth century CE, even less than we tend to expect now.



When I emailed the manuscript to myself last night, as I do periodically as a kind of backup - the chronicle of my "versioning" (and progress) - I put a subject line on the email: "What good is this life edition" ...

There is an ancient religious philosophy - not only in Western schools of faith, but certainly predominant in Europe for centuries - that this life is a vale of tears, and the only existence worth contemplating is the eternal destination of the soul.

Think of Heaven. For kings and peasants alike, this was the mindset encouraged by so many aspects of so many ways of life.

Even as kings needs must strategize every single day.

Even as peasants must tend and bring in the harvest, the flock, the catch. Must learn how best this is done. Must feed the body, for letting it die - no matter how useless this life may be - was still a sin.



All these contradictions.

I'd rather write death than massacre.

Writing. Like everything else, it comes down to choices.




So. How's YOUR writing going?

Tuesday, March 14, 2017

Fröhliche Geburtstag, Herr Professor Doktor Einstein

My grandfathers were not close by in my childhood. One died when I was seven, and the other became very ill for some years. So it was that I adopted Einstein as my granddaddy. He was always there; just above the couch. I'd lie on it, feet up along the backrest, my back twisted along the seat, looking up at him in our cool, shadowed family room.

Portrait of the Old Man by an Artist 


The painting was done by a student of my father's. He was from Malaysia, and once went home to visit his family. When he came back to school, he brought gifts. I still have the shells he gave me, one thick with mother of pearl, pink-veined and shaped like a fan. The other is a delicate, spiny spiral.

We got close to a number of dad's students when we were kids. I remember some of them so vividly, though none of them have I seen for twenty-five years - and many far, far longer. We had wonderful picnics at our house, volleyball, and hot dogs on the brick grill dad built, too many sweets, and cases of soda from a specialty place called The Poppe Shoppe (I think it was spelled so).

The artist who painted the above piece was one of the early ones. I would have been three or four at his advent. Memory of him is hazy; and yet, I have always been grateful for his kindnesses. So distinct, they still mean something to a toddling moppet near half a century on. And his great talent. The portrait was painted in mere hours, part of an art class he took because he wanted to be well-rounded. It is glorious, and was the great gift my father left me when he died. We discussed it when he was ill; my brother would get the pocketwatch, I the portrait. Nothing - no *thing* - could have meant much more to me, from him. We all love the painting; my mom has wished from time to time that she could have it. But, though I try to be undemanding with her, this I will not give up. It is a very literal legacy.

Dad was a physicist, you see. Einstein was practically a fixture in our family culture, and literally part of the furnishings, in this painting. Dad's students were part of our lives well beyond their graduations; we followed careers, dad received beautiful invitations to important events for them; his university, his colleagues, his advisees and lab assistants were ingrained with us.

The painting is more than a sentimental present, it is the history of our nuclear foursome AND the history of our nuclear understanding in the scientific sense.

The painting is a bold thing, marvelous in its execution, beautiful to look at - formative not only of my philosophy, but very much of my aesthetic. I love its incredibly powerful reds, yellows, negative space. Its seventies mod-ness. Its connection, almost beyond dad, to the *influence* he had in this world, in this place we occupy even now without his presence.

The painting *is* his presence - and it is his absence. That is relativity for you.

A year or so back, I had a contractor out to the house, quoting me a job. As he stood in the front door saying goodbye when he'd inspected the pertinent area of the home, he stopped cold - transfixed. He fell in love with the Einstein portrait instantly, and we ended up talking a good while longer about it, about its presence. Closest I've come to falling in love since Mr. X. I still think about that (the guy didn't get the job in the end, possibly unfortunately).

The presence of the dead can be exquisitely random, and yet it can be predictable. I know every time I go to the dentist, I'll cry - not because I've been hurt, but because the guy I go to was one of my dad's advisees. And he always has memories - such respect, such almost AWE at my dad's intelligence. His goodness. My dad had an elegant expansiveness; he was more than a marvelous teacher, he was a teacher of marvels, and he cared immensely about the students.

I remember the year he went from being the kid on the physics faculty, to being the oldest. Just the right retirements, a couple new hires - boom, suddenly he was the old war horse. He wore it so well.

The thing about the painting. The thing about the student who painted it. The thing about the guy transfixed by the portrait. The thing about my dentist, and the very books I inherited and the dog he never knew and the dog now years-gone, whom dad did love though she was so hard on his lungs ... the thing about the flotsam and the furniture of my life ... is that dad is part of none of it now - not the way he was. But he is part of all of it - and always will be.

My dad is me. He is my brother. He is my mom. He is the reason, and the question, and the answer, and the causation. He is how I came to be. What I hope *to* be. He IS, even still, a good man.

He gave me Einstein. And so did that student.

And all three of them - though not alone, not by a long shot - taught me gratitude. All these things are me.

And old Albert ... he made a good substitute granddaddy, when I had none left to "give me a little bit of that applesauce" or to love, quietly, while grandma took care.

Happy 138th birthday, Herr Professor Dr. Einstein. And thank you for *our* little corner of relativity.



And how has it always escaped me ... that Einstein's birthday is Pi day?

Thursday, July 14, 2016

Faces of Death

We've got to start off with the following phrase: the denial of human creatureliness. My stars, what a great twist of words, as cruel as any knife.

(B)eing an animal is threatening because it reminds people of their vulnerability to death...
--multiple authors, see link above

A few days ago, doing those things we do that we don't share with most others - showering and getting a look at my body's age and particulars - I was thinking, as I have before, of how I wish it were a different sight. Thinking about how age has changed things, how annoying bodies can be, not trapped in amber and constantly energetic and healthy got me to thinking (a) of all those things we are told we can do about that and, inevitably, (b) the people who do the most to give some plausible lie to the necessity of age and our animal nature.

Image: Wikipedia
Obvious choice? Heck yes.

If I'm honest, Dita von Teese actually occurs to me most often when I think about these things. She actually is lovely, but the image she's crafted - I sometimes wonder how well it will age. Perhaps it is her vintage spin that makes me look to the ways some of the Hollywood glamour goddesses who inspired her ended up; and at forty-four, you wonder how much mileage is left in her career of being alluring. The Kardashians are an industry, and nobody expects humanity of them, so contemplating how they age just means looking at Momma K and shrugging a bit.

But the fundamental point is, artifice is the denial of the animal.

There are times I revel in artifice. But the thing with me is, there are also times I revel in being an animal - in the biological status of my existence, as much as the spiritual or intellectual (or silly). In some ways, the best PART of getting dolled up (and note the word choice there, hah) is the way we start off - sweaty, sparse-eyebrowed, with imperfect skin and no ornament. For me, "gooping up" as my friend TEO and I used to call it, is an emphasis of artificiality, not of myself. When I go out in any sort of drag, it's not a presentation of myself, but of the things I like or find funny or a neat idea I had with hair or makeup, something archly and specifically NOT myself.




Anyone who believes I have purple hair - or those eyelashes - is not my responsibility to counsel.

Anyone who believes I am significantly younger than I am - well, I have two lovely parents certainly to thank. Assuming we take the cultural worship of youth as read.



For those less than eager to take on the entirety of the paper whose abstract is linked above, consider this. An interesting look at death, indeed, and possibly informative of more than America's own current state of politics.

Study subjects who were prompted to talk about their own death later rated their support for Trump 1.66 points higher on a five-point scale than those who were prompted to talk about pain generally.
--Max Ehrenfreund, Washington Post

The old "May you live in interesting times" joke comes to mind. Not only because ALL times for humans have been interesting, harrowing, joyous, and terrifying all at once, but because the first and foremost draw of Trumpery has been how interesting he is. He's entertainment, as well as a valve for the release of all those unseen things we hold inside; hatred and anger and fear. He's a really big show.

Image: Wikipedia
I chose this because it's about as dignified a shot of The Donald as I can find in fair use rules,
and the juxtaposition with someone notorious for his flamboyant looks was irresistible.
And he's really smiling.


***


It is common received wisdom that art and comedy are born out of our knowledge of death. Fashion and cosmetics are too, which is interesting given their connection to human sexuality, itself the only means toward immortality in providing for procreation.

Politics is death. And sometimes suicide is the way humans meet death.


***


I both revel in my creatureliness and play with those toys of denial. Most of us do the same in one way or another, saving contemplation of death for special occasions, but not actively denying it. Life just doesn't leave time for it, mostly. We get caught up in the day-to-day, and that works both in our favor and against us - it is all to easy to forget to deal with those parts of life that have to do with its cessation.

It is perhaps precisely because all times are interesting that we simultaneously gorge on it, and then need to retreat from it, and on a humankind scale this leads us to bewildering socio-political behavior. American media would have it that the Brexit vote came largely because people voted for exit thinking "this will never happen" and now they all wish they could take it back. How far this gibes with reality is debatable, but not a debate I wish to be party to. It's an interesting sort of finger-shaking version of "journalism" (a word that's been in scare-quotes for years now), but a curious look at the fear of death in itself. A few weeks go, Brexit looked like Roman decimation in broadcast media; right now, we're forgetting about it and "la-la-la-I-cant'-hear-you"-ing all the way to Sodom, most of the day-after pearl-clutching forgotten, at least amongst us unwashed masses. There isn't time to think about it.

Three days ago, I'd never heard of this dang Pokemon walking game, and now it is EVERYWHERE, both in hilarity and more finger-wagging ("don't play Pokemon games in the Holocaust museum" was an actual thing this morning).

Fantasy is our way of denying death - if we focus on what we find most beautiful, desirable ... death loses its hold in our minds, because those things are as strong for us as the unknowable inevitabilities of our bodies.

By writing, I revel in the creatureliness of my characters, and my own - and because I write fiction, I can deny it ALL. Nothing is real, and if I write about those things that frighten me most, that is not real either.

This is the essential appeal of horror.

The ultimate fantasy is control.

We seem to be exerting the fantasy of control by going out of control an awful lot lately.

Why *wouldn't* people rather contemplate the curiously human and artificial face of a Jenner or Kardashian ... ?

Tuesday, November 3, 2015

Personal Collection

It just started with a search string. Someone on AOL ended up on my blog with a set of words that intrigued me, so I looked where their search had led. It took me to some three year old posts.

And then I remembered The Sweet La's last month.

And I remembered remembering summer.

I found myself writing about Mr. X. In less than a month, I'll have known him thirteen years.

It took me to some feelossy-fizin. "Rejecting an ism, even knowing its actual face, because others find it ugly condones the perception of ugliness.  "Yes, that is ugly - whoo - that's not me!""

And a nice thing Cute Shoes once did. Cute Shoes is a lovely and thoughtful friend.

Monday, May 4, 2015

The IMPORTANCE of Costume

One of the things about the clothes we wear, even people who aren’t obsessed with fashion or looks, is that for most of us, some events or feelings actually imprint themselves upon what we are wearing at the moment something happens. How many men do you know who have a “lucky” pair of shoes or shirt or the like? How many women wear some particular outfit because it was what they wore when they got a particular job or met someone or just had a great day the first time they took it out, and it still makes them feel like a million?

I am not even sure where its box is right now, and will never so much as fit an arm in the thing again; but my wedding dress is one of those artifacts of my life I’ve never found a way to “give up” … Not least because giving it to any relative of mine would bring with it the knowledge that I was a rotten bride and my marriage broke up, but also because I’m not close “like that” with any of my cousins, and my nieces don’t appear to be stacking up (ahem) to the same build I had (chest-less), and my style in 1993 probably isn’t to either of their tastes anyway. But that dress was made for me – literally built ONTO me, over the course of a day – by a friend I still consider deeply dear to my heart. It is a thing of gorgeousness, and its fate – preserved in a box, never to see the light of day – seems largely inescapable. Who would wear it? I can’t bear to cut it into crafts projects. It is the only garment in my life I ever expect to be one-and-done, so to speak; worn only one time and literally never again.

But even lesser things have their psychic cachet. I can tell you exactly what I wore to work on the first day of my last job; one, because Cute Shoes remarked on it to me as the first clue I had some style. And two: because it was the dress I was wearing when I was laid off, on a gorgeous day in spring, from the previous job – and that dress deserved better than that. It got it; I had hated previous-job anyway, and been looking for months before I won the layoff lotto at an employer that “never” did that. Except that one time.

Today, I wore a dress with an odd mix of emotional ghosts attached. It’s a tasteful number in beige and white, just longer than the knees, sleeveless but conservative, an empire waist with a tie, and a little pattern from there up. It made as good a choice as possible, during the heat of an August day, when I had to go to traffic court: and found myself served with a half-million dollar lawsuit.

The lawsuit is over, and at about the moment that happened, last year, I purchased my Prius – getting rid of a *car* freighted with too much emotional weight – and somehow this dress, the thing covering me at the moment I experienced the greatest horror and cowering fear in all my life, does not bring with it the latter emotional recall, but only its own light color and comfortable wear. Yet I can’t wear the thing without knowing its history.

I color that history now with gratitude – because that ordeal IS over, and I am intact. And it feels GOOD to know that, to remember the fear, to have that in the past. And the dress looks nice, its lightness speaks of spring and of summer, its conservative and flattering lines give me a power-boost at work, and the memory of the people who have said it is a nice dress feels good too. Even my MOM liked this dress. It’s a good dress.

And memory is good, and keeping myself honest, and being grateful – these are all important.

Some days, it can feel important just to look slick. Looking slick in comfort: bonus points.

But memory is always there. Of the important things – and the less-so. The day you were wearing the comfy jeans you like, walking alone on an autumn day, kicking leaves. The boots you had on once when you almost slipped on ice, and didn’t – whether they really saved you or not, you’ll always think of them as Good Boots, and you’ll have them repaired if you can, rather than tossing ‘em and buying new when the leather stresses or the laces go or a grommet on an eyelet comes loose. We can develop actual gratitude even for clothes, if the serve us well.

This is why the disposable clothing industry is sad (even aside from its implications for our natural resources).


I have a little jersey jacket. They’re wonderful, little light cardigans that can stretch a sleveless top’s seasonal functionality, or take us from chilly morning to warm afternoon with no changing or little fuss.

This one, I happened to buy the last time I saw Mr. X.

I’d arrived in the town where we were meeting, and it was early afternoon, and I didn’t “need” to check in immediately, so before I got to my hotel, I stopped at a Ross Dress for Less, and bought a couple things. A long blue sundress with beading around the neck; this little taupe cardi with a bit of a peplum and a nice drape.


The thing about jersey – particularly lightweight jersey – it’s a very flat fabric. If it develops a hole or even a run, there is little that can be done. And what heroic measures would even the best seamstress take with a $12 garment already three years old?

This little jacket is great, I use it all the time, through three-quarters of the year. It’s flattering, goes with many things, and stretches any number of outfits’ utility and versatility.

And it has a little hole in the back, in the peplum, in a broad stretch of fabric that wouldn’t lend well to mending even if I had the skills. A patch would be bulky and unsightly – and, indeed, any bulk over a weak spot could actually create weak spots in its own perimeter. This fabric is THIN.

And the jacket has had three years already – in a variety of garment generally manufactured to last six months or less. This is actually part of the design/making of disposable clothes. They’re meant to be ditched. Not fixed. Just replaced. There’s another cardigan jacket out there just as good; there are fifty; a hundred. This is meant to be tossed, replaced by new.


This is something I wore three YEARS ago, when last I saw the man who ruined me for all the other ones. When last I saw the friend in this world who knows me better than even my oldest. When last I saw his laughter, heard it, MADE it. He’s touched those sleeves, put his arms around the back of this jacket. Felt how soft it is, even as I have a hundred times since, without him.



There’s really no way, even with the finest needle, to pick that hole and pull it back together. It’s small, but it is a hole. It can’t really be fixed.

And yet. And yet. I resist throwing the thing away. It keeps me JUST warm enough, it looks good in front still.

If only I didn’t know it had this flaw. This unfixable, and un-hide-able, flaw.

Saturday, April 18, 2015

The Knee Bone's Connected to the Mop Bone

The laundry was too late.

Saturday is house cleaning day, and tonight I have a date with myself - it is high time I squired myself out in some impractical shoes, with age-inappropriate hair and too much makeup - and so today for the first time in a while, house cleaning is on a schedule. I need to be done by five so I can do something about my nails, then shower and primp and spend far, far too long pampering myself into a sense that I am cute and worth seeing, and get out of here.

The thing about cleaning is, one thing leads to another. It's not another thing leads to one thing. You have to do some things first, some things last (painting your face works the same way, come to think of it - you can't put on mascara THEN do foundational stuff; they call it that for a reason).

In the case of my home, I have to make the bed, then dust, then vacuum. Making the bed, you see, kind of raises dust and pet hair. Dusting itself may result in a bit of fallout to the floor. So there is an order.

And today, I started the laundry after 2:30. And I need SHEETS. In order to make my bed.

You see the problem. (If you have not run screaming from this boring post!)

And so I pause to say hello. "Hello!"

Wash cycle should be winding up - and then there must be drying.

The good news in all this is: one, I've gotten all the trash out of the house and the cat litter part is done. And, two - I can do the kitchen and bathroom scrubbing pretty much any tie I want. And if I get those things done - they're DONE! And yay for getting gross toilet cleaning OUT of the way.


Off I go again. Happy Saturday, everyone!

Tuesday, November 11, 2014

Writing and Communicating

There is some irony, perhaps, in the fact that, though I’m a novelist and can barf out a block of text topping several hundred words in no time flat, when I’m at work and see an email consisting of more than about 200 words in paragraph form, with no formatting to highlight key points or organize information visually, messages are lost on me.  It was a fun fact of life at my last job that “messaging” was commonly effected by the Giant Block O’ Text method, and sometimes I still find this true at the “new” (now nearly a year old!) employer.  When working on communications with one of my own kids, I’ll massage a message (har) with at least a bit of formatting, especially when it comes to emails we’ve got to share with big groups.

When working on anything, ever, in PowerPoint, I’ll gnash my teeth and go mad at Giant Blocks O’ Text, flat out.

Perhaps precisely because I’m guilty of producing giant streams of NON-information in excess, when I see actual information treated to the essay format (or, Maud help us, novel lengths – which you all must have seen yourselves in pointless emails), seeing GBOTs in forms definitively unsuited to it (PowerPoint, I am looking at you) hurts my head.

GBOTs hurt *everyone’s* head.  It is unkind and unproductive to try to stuff a Word document into PowerPoint or an email.  PPT and email are visually and cognitively rotten vehicles for anything but the most high level media.

For pushing twelve years, let it be said, Mr. X and I have brought novel-length emails to the level of an art form – I won’t pretend that when options are limited, you use whatever medium you can.  But even then, once there is any exchange, we have always reorganized big blocks into smaller chunks of dialogue, responding to each other point by point in a visual equivalent of real time.  Sometimes, if we don’t read an entire email before responding, the results can be curious – amusing – even disastrous, of course.  Limitations.

But the point is, given constraints, the only kindness to our fellow beings is to work within them.

Because PowerPoint, for instance, is theoretically designed as a presentation software (often used to present without an actual speaker or even a meeting involved, of course), it is optimally used to illustrate data, plans, concepts, or team information at the highest level, eschewing detail.  The idea, again theoretically, is that a big-picture chart or bullet list allows a speaker to expound further than what’s on screen and make their speaking role relevant while perhaps more dynamic, with graphics and other visual/auditory information supporting them rather than the other way around.

Raise your hand if you’ve ever watched a presentation in which 100% of what a speaker said was emblazoned at great magnification directly behind them on a big screen.

Yeah.  That.  Or, really:  NO ("noooooooooooooooooo!!!").  That.

It’s torture, waiting for a presenter to catch up with their plodding, hyper-pedantic slides.

It’s torture, too, going through email and getting a message the sender passionately believes is crucial for you to understand, and it’s half a screen of black-on-white prose in ten point font.



When we’re being paid to read and receive information, spelunking for it when it’s buried in paragraph form in a copious message can be bitter work and wasted time.

When we’re alone on a train or at home, reading a book we chose out of interest and hope – no matter how long – the same is still true.  The nature of the reading, the working of our brains, the organization are completely different – but the need can be very similar:

“Give me the story.”

This doesn’t mean rich descriptions and context and world-building needs must be pithy – or that, literature forfend, prose should be organized in some other way than a wonderful block of text, perhaps even topping four hundred juicy, pulpy pages of reading goodness.  It just means that everything contained in those pages ought to be serving something, ought to be accomplishing something (even if that something isn’t pushing out the sales figures for Q3).

The luxury for authors is that what we’re out to accomplish may be conveying something as subtle as the alluring turn of an ankle, the way a character’s walk romantically captivates another (or, as in “Pippin”, the arch of a foot!).  We may need to place a reader in a moment of stillness which, redolent with some flower’s exotic scent and the soft, golden light of evening, may be broken at any moment.  The need may be to leave our audience wondering whether we’d rather stay in the stillness or heedlessly throw ourselves into the next action, the next sound, the next rapture or disaster …

There just should always be some need.  That “tension” our beta readers like to go on about, that agents get so excitable about.  Even if the tension isn’t that of a spy rifling through a drawer just as the Russians are coming back to the office.

If we have a Giant Block O’ Text going, but its essential message isn’t apparent, we’re doing no better work than the Communications experts who bury the lead (lede, if you prefer …) and render it invisible with too much pointless verbiage.

Like this post, if you will.  Which started with a 532-word intro before I revealed the point.


Was that clever context and tension … ?  Or just torture?

Tuesday, September 2, 2014

"And, Reader, I Purchased It"

Surely, it is fated.  THIS is the post that put me over 100,000 hits on this blog!  And I called this morning - they still had the desk - and I paid for it.

As I understand it, the desk was much loved by its previous owner, a guy who had it for many years and ran a business - and was also at some point (I don't know whether it was when he had the desk) an assistant coach for the Dallas Cowboys.  They're planning to tell him it's going to someone who'll love it, too - and he'll be so pleased.

I told 'em they could leave out the part about how I'm no football fan ...

Well, this poor desk is in for a change.  But I think it'll find it interesting around here.

Thursday, January 16, 2014

Wetlands

I grew up on the swamps between the Tidewater and the Piedmont, and the office complex where I work is a stone’s throw from the home of my childhood.  The land here is where my brother used to go exploring, coming home with odd treasures, from Civil War bullets to contemporary plastic casings, to that one partially skinned deer hide that one time.  People have tried to prettify the term swamp by calling these wetlands, and as much as possible, man has chosen to landscape over the marshy ground and put it to “good use” as we like that term.

Fortunately, there are still a few members of mankind who protect what is necessary to us, and these swamps have not been overdeveloped in the past thirty years.  There’s more than there was out here – and traffic is like nothing I imagined when I was a kid – but the swamps themselves continue, in places, unmolested.

To me, this is absolutely beautiful.

At my last job, which was near here but in a more landscaped/manmade part of the office park, we used to run to the windows like little kids – to watch the weather, to watch eagles fly, to catch a glimpse of deer or the fin of a carp, or the sight which still captivates me, the White Egret.  It was a wonderful moment, here and there, getting to remember what it was like watching Wild Kingdom as little kids – but in our own backyard.

A bit down the road and off the landscaped path, my current building lies on a very low bluff over the swamp proper.  No grass gets mowed outside our windows, the land just drops off after a couple of yards or so out from the building, and it’s bare trees and patches water and dead leaves and squirrels’ nests.

Again – to me, absolute loveliness.  Even now, in winter, the colors muted and the sky drear with leftover snow and rain, the untouched sight (or, at least, if we must be honest and not call this “natural” – at least it is less-touched than almost anything else I can expect to see day-to-day) can be full of peace.  And marvels, too.

This morning, we had snow, and it was a frost-swept wonderland out there.  When I got out of my car, in a corporate parking lot, the air was still and sound muffled, just like it always was when it snowed when I was growing up.  Impossible not to think of that time my dad and I walked to my grandmother’s apartment in the snow, and shared fresh-baked cinnamon rolls with her, just the three of us.  And walking home, dad telling me how snow used to be so cold in his smalltown home in the Midwest, that it crunched, dry, beneath your feet.  Impossible not to remember the time I found a bright feather on the packed snow of our street, on my birthday – a feather, I have to believe, I still have pressed somewhere in an old diary, journal, or book.

Yesterday, the evocative veils and whorls of thick fog.  Not an all-encompassing sky full of mist, but clearly delineated piles of it, walls of it beside the roadways, clinging in the trees, rolling down the gulleys behind the building.  Wondrously pretty.

The swamps make me pause, make me slow down even when I am busy commuting, and take in the odd dead trunk or bed of cattails, the breadth of space not overtaken by *buildings*, the way the light plays in spaces I’ve known all my life – the way, sometimes, it doesn’t, and how that is lovely too.  These quiet spaces lurk, peace between a drugstore and that service station dad used to walk home from after dropping off the car; places where kids explore and find treasures, where birds eat and ignore us and go on about the business of life, which is older – and will outlast (that blessing, that marvelousness) every strip mall and drive-through we erect to sustain our silliness.  There is peace between those townhouses, built in the 1950s or 60s, and the slender grey stalks of trees, of those grown and died since I grew up here myself, of those still coming up, of those dead now and quietly standing, still.

Every day of my job, I come home in a unique way – some days, I feel it powerfully.  Summer, the windows open, a song on the radio which might have played when I was a teenager, the quality of light JUST as it simply *is* in this town, in this place, in this world, which can’t change the way it plays.  I drive home eastward, past places I have known in one hundred different ways, and I’m grateful I get to live in this place that *feels* like home.  In this place that doesn’t reject me, nor change against me, nor spit out its own past like so much disposable trash.

There’s some past around here we must regret, but to do that we must remember it too.


When I was very small indeed, there was this one long road nearby – which went, one way, out to the country where we drove to see my family – and, the other way, into the city where we drove when shopping or some sort of event demanded it.  I conceived an idea that this road, this long, straight byway into the country, into the city, rising and falling over hills but rarely bending, was the route to the past, or to the future.  In the West was the past.  Go far enough beyond the country I knew, past the farms where the red clay lived, where the old grey wood house was, in which my mother was born – far enough, so far as to be inconceivable, where the big red sun set – that was where Jesus lived, where olden times were, where the Revolutionary people and Civil War people were.  Go east – the direction we rarely took to speak of, at least beyond a particular hill – that was the future.

I can still remember when I found out that road – that road that never ended, that went so far it encompassed time itself, had an endpoint in the east.

Where it terminates in the west … I still have never traveled there.

And, to this day, when I drive out of my mid-century, Norman Rockwell neighborhood, coming west on that road, I come every day to my own past, and don’t proceed beyond the land I knew, the land I crawled on, growing up.

And, every night … I drive home.  Eastward.  Toward the future.  Leaving the swamps behind … but only for a little while.  They’ll be there.  They’ll be there tomorrow.  And I’ll be back again.  I’ll never forget.  And I’ll never stop loving the patches, the creeks, the dead trees and cattails.  And the miracle of the birds I still get so excited to watch and wonder at.

Thursday, November 14, 2013

In Praise of the Book

This is a video about so much more than book binding ... but it is a wonderful look at book binding, indeed.




Courtesy of Janet Reid's blog, which is filled with excellent advice for authors, and delicious things like this.

... and here, we have a piece on something a little more than book lending, too.  Have you ever heard of the Little Free Library?  I hadn't either, but am so tickled that a friend of mine at work shared this.  This is one of those neat little internet things I would seriously love to bring into my real world.  I lean toward the Amish ones, but the Little Cedar houses are BEAUTIFUL ...
(Thanks to Justin S. on Twitter, for this little addition to the LFL info!)

Tuesday, November 12, 2013

Food Chain Coming Home

The late, great Smike the Destroyer, one of the nicer cats who ever stalked this Earth ... and stalked his share of prey, has made me think from time to time about the pernicious toll the species has taken in various ecosystems.  Here is the story of a hawk ... and a starling ... oh, and yes.  A cat.

(Cats on Teh Intarwebs.  But not in the usual way!)

Thursday, January 3, 2013

Unconscionable

One in five children in our country goes hungry.  The wealthy in power DO NOT CARE.


School shootings generate an almost queasy level of excitement and attention in our nation - but, as often as we hear the statistic that twenty percent of our children suffer from deprivation, the excitement (the outrage) just isn't there for headlines without the perverted appeal of gruesome and random barbarity.

But hunger is NOT unpredictable.  It is NOT random.

And the wealthy in power are more concerned about THEIR PERSONAL WEALTH than other people's children (or other people at all).  There is no tenderness for children suffering in ordinary ways.  Hunger doesn't have the shock, commerce, or (let's be frank) entertainment value extreme violence does.  And it doesn't make anybody a buck, not reliably.

So bills like this week's watery soup get passed, and we try to consider it a triumph.

It is not.

And the kids aren't mine, so perhaps I am the perverse one.  Because I do care - and I know I don't do more than work the food bank on rare occasion, or the Salvation Army holiday charity event, or sign petitions (the link is a petition focusing on gun violence, not on hunger) ... an otherwise just go to my job, pray in thanksgiving and in supplication for those in need, and giggle about my new pets in my nice warm house.  I suck.

As the wealthy in power work hard to sin outright against everyone but themselves.

Friday, November 16, 2012

Pen'ned

No.  It hasn't escaped my notice I adopted a dog named Penelope.

Thursday, November 8, 2012

Ancient Puppy


So Penelope (also sometimes called New Poops, whereas The Lolly's name was sometimes Little Poops - which, now I've run across Pen's monster leavings, seems as appropriate as ever!) fleetingly appeared to me similar to Sidney, but it was immediately apparent to me she was no husky mix; she has no cat-hatred.  People ask from time to time what breed(s) she is, and I was at first incurious on this point, being busy just getting her at all settled in.  But my pesky curiosity can't be idle forever, and Wikipedia happened to fan the flame a little today.

Source:  Wikipedia


One of the featured articles today is on Abuwtiyuw, perhaps the most ancient known domesticated dog in the world.  He was guard to Pharaoh, and an image on his article intrigued me.  The image is not of Abuwtiyuw himself, specifically - but of a Tesem type dog, one of three breeds known from ancient Egypt.  Though the body is slimmer than my girl, the tail and ears are pretty striking, as is the size of the feet.

Penelope is blunter than the Tesem, but that tail seems to be Egyptian.  Her stronger resemblance to the Basenji doesn't much shorten the lineage - their own resemblance to animals found on ancient stelae is documented.

What I find most interesting, though, is her resemblance to another ancient hound, in my neck of the woods now called a Carolina dog or several other dingo variant epithets.  HERE we start to see Penny's inexplicable, utterly charming ears, and the insouciant set of her jaw/underbite.  Still showing some of the wrinkle-headed traits of the Basenji, but with coats more like hers and the much boxier face, there's more variety in these dogs' body style it looks like, but still much to share with my new baby girl.  The very very black nose is familiar, too.

These breeds are all called "primitive" - I prefer "ancient" myself - but the sense intended is basically that this dog has not been much modified by human interference (breeding for looks and traits).  It looks like there's one little whip-smart, little-adulterated African blonde in my house.  She's got a Carolina head and a Basenji butt, that kid, but I see a lot of these beautiful beasties and not a lot of bloodline-mucking-about in her.

Whatever she is, she's taken out a pretty long term lease on me, and I hope I will make it worth her while.  Aww.

Monday, July 16, 2012

Ancient Knickers

Sometimes, the surprised tone of media reportage regarding in-depth subjects without in-depth background (and the breathy, insinuating inventiveness often displayed by those with less of that background) is mildly amusing.

For instance, it turns out we didn't invent breast nor posterior coverings only 100 years ago.  Also, the human body has not radically altered in design for some millennia, so the stuff we as a species may be likely to protect hasn't migrated or anything.


***


Continued surprises may be found in ancient Roman depictions of underwear.



Ahem.