Joe Haldeman's Blog, page 47
January 21, 2012
in the Ancient City
Gay and I took off late yesterday morning for St. Augustine, where, as she posted, I’ll be giving a talk today. (“Setting the Scene,” at the library, for a writing group.)
We stopped at the traditional lunch place, Angel’s Diner in Palatka, just before the big bridge over the St. John’s River. Good burgers and such – I had their specialty, the Black Bottom, a bunch of loose hamburger bound up in a fried egg. Maybe better than it sounds.
We dropped our stuff at the Victorian B&B, which unsurprisingly is a big Victorian house, well maintained, with no obvious historical significance. Then we walked the length of the Old Town’s commercial street, and down a couple of byways.
A nice quiet time. Had a beer and listened to a bluegrass duet on mandolin and guitar for awhile. Good name, the Grassy ‘Noles. ( = Seminoles.)
Nice fish dinner with a glass of Pinot Grigio at the Columbian, which brought back memories. We went to the original Columbian, in Tampa, back in 1970, with Keith Laumer and Gordon R. Dickson. Its charming Spanish ambience, ambiente, was part of a mosaic of factors that caused us to move to Florida later that year. Can it have been 42 years? Keith was always reserved and somewhat distant, but I can still feel Gordy’s humane friendliness and limitless optimism.
We wandered awhile. I picked up a long-sleeved shirt against the chill. Going down a side street, we heard a couple of seriously good musicians playing guitar and fiddle in an open-air bar – two middle-aged women, gypsily yclept Maja Gitana, who obviously enjoyed their work. We bought one of their CD’s and I had a second and sinful third glass of wine through two sets.
The fiddler did something I’ve never seen before, a long sustained rising harmonic. I can visualize the physics of it. The bow has to touch the string at the precise midpoint between the fiddle’s bridge and where the left-hand finger is lightly resting, not pressing down, on the string. Then the musician has to move both bow and finger very precisely, maintaining the midpoint relationship while shortening the “virtual” string at a constant rate. The distance between bow-point and bridge is of course critical.
Maybe this is something all fiddlers know about. I don’t think I’ve seen it before.
Walked around at dawn this morning, cool and clear, the salt air damp but not uncomfortable. Took some sunrise pictures, which I’ll download later – forgot to bring the little card reader. Maybe tomorrow, if the weather holds, I’ll go out prepared and do a watercolor sketch.
See some of you at the library?
Joe
Joe in St. Augustine, FL
January 18, 2012
blast in the past
Serendipity in the bookshelves! I went haring off into my history / oversized books section looking for Foster-Harris’s The Look of the Old West, and although I didn’t find that, or haven’t yet, I came across a book I’d completely forgotten about, which I evidently bought at the Strand in New York, in 1999. Remember George MacDonald Fraser, of Flashman fame? He wrote a fascinating nonfiction book, The Hollywood History of the World.
It fell open to the chapter “New World, Old West,” where Fraser laments the modernization of dialogue in Westerns. He says “ . . . the convention [of macho dialogue] is so well established that I should hesitate to try to work into a screenplay the recorded exchange between Wild Bill Hickok and John Wesley Hardin in 1871:
‘You can’t hurrah me. I won’t have it.’
‘I haven’t come to hurrah you, Mr. Hickok. But I am going to stay in Abilene.’
Kind of delightful to come across, since Gay and I are currently watching the postmodern Hickok in Deadwood – or rather, we were until the episode we saw last week, where he drew aces and eights and folded.
(There’s a clip of that scene at http://www.youtube.com/watch?v=g0t1UmOL_Iw )
Oklahoma Joeblast from the past
plowshares
Does it not say in the Bible "Ye shall beat thy swords into plowshares, and thence beat thy enemy to shit with the plowshares"?Gay forwarded this interesting article on color perception. http://www.lifeslittlemysteries.com/2... I enlarged the two samples and did see the mixing phenomenon, yellow-blue more strongly than red-green, and it was more prominent when I used only one eye. It seems to me that what you’re seeing is not a true color, but rather a superposition of a color with the sensation that the eye creates when its complement saturates part of the visual field. Like if you stare fixedly at a red thing for a minute and look away, you see a greenish ghost of that thing. The color-mixing illusion seems to blend the ghost with its complement. Googling, I find all kinds of fascinating diagrams and vocabulary buzzing around these notions, but right now don’t have time to study them. I want to come back and look at them especially with respect to the so-called “iridescent” watercolors that I’ve used, sold by Daniel Smith. I think they use some similar principle.Joe
January 16, 2012
slogans
I have won a kind of secondary immortality in this headline from truthout:
The Crash and Burn Future of Robot Warfare: What Seventy Downed Drones Tell Us About the New American Way of War
“Crash and burn” was the wry motto of the robot warriors in my movie-not-my-title ROBOT JOX. I took it from a greeting between motorcycle riders in Daytona Speed Week.
Joe
January 15, 2012
Aieieieieie!
Gay found this amusing bit of movie lore –
The Wilhelm scream:
JoeJanuary 14, 2012
fancy eats
Yesterday Gay and I went out into the blustery cold just two blocks, to the nearest restaurant, and enjoyed light Japanese/Chinese fare there. Came back and I did two panels: “Do we need a new definition of literacy” (answer: yes and no) and “You are responsible for your own career.” Writing career, of course. Both of them went pretty well.
Jim Minz, a Baen editor, took us out to dinner at what I suppose is Raleigh’s best restaurant, and indeed it was impressive. The Second Empire (I can’t find out which empire that refers to), it’s a century-old Victorian mansion with quiet spacious dining rooms. The food was expertly prepared and impeccably served, although the dishes were more complicated than they had to be.
Examples: For my first dish I had Butter Poached Maine Lobster and Yukon Potato Phyllo Cigar with ewephoria Gouda, pickled beet carpaccio, roasted butternut squash compote over fennel and snow pea salad with corn and lemongrass vinaigrette.
That would have made a meal, actually. But then came Crispy Pan-fried Chesapeake Bay Striped Bass over grilled prosciutto ham, grain mustard spaetzle and Brussels sprouts, malted saffron leeks, smoked cauliflower slaw with red cherry and poblano jus.
With it I had two glasses of a refreshing bright Pinot Gris. Then split a desert with Gay along with a small glass of ruby port. Yum. Good company and good eats.
JoeJanuary 13, 2012
in the frozen North (Carolina)
January 11, 2012
a can't-agorical imperative
Do you ever get annoyed by characters on teevee holding a pistol sideways to shoot, because that’s more cool than aiming? Good little article on it at http://en.wikipedia.org/wiki/Side_grip. (Maybe we don’t want it to become common knowledge, though; I’d just as soon have hoodlums get their education in such matters from idiotic sources.)
Shooters call the deviation from vertical “cant,” I remember from an article in American Rifleman that I read more than fifty years ago. Guns were not allowed or even discussed in my house when I was growing up, but a friend’s father was an enthusiastic hunter, and I would read his magazines avidly. The memorable title of that article was “You Can’t Cant.”
(There’s probably been an article in a home-makers magazine entitled “You Can Can.” Or was that in Journale Danseuse?)
Joe
Joe Haldeman's Blog
- Joe Haldeman's profile
- 2191 followers
