David Marusek's Blog, page 3
October 29, 2011
Occupy Fairbanks
Just returned from the Occupy Fairbanks march. I wasn't dressed for the weather, a clear, relatively mild day (13 °F), and had to bail before all the speeches were done. About 40 people marched, pretty much the same crowd I saw when I protested the wars in Afghanistan and Iraq. Unlike those protests, this time I didn't see any passers-by flipping us off or screaming insults. There are a few people camping out in a city park in solidarity with other protesters around the world, but they are having problems with the city and police. Nothing major yet. I've read in the news how other cities are holding their fire against Occupy protesters because they think the coming winter weather will do the job for them. It seems to me that Fairbanks protesters might have some cold weather expertise to share.
Though the Occupy movement has no generally accepted list of demands yet, I agree with most of the ones I've heard: breaking up financial institutions that are too big to fail, bringing criminal charges against the managers and executives of institutions that caused the recession with illegal activities, ending the wars, ending corporate welfare, and so on.
My biggest beef is with the Supreme Court that, beginning with the 14th amendment in the 19th century, declared corporations to be persons with civil rights. I'm concerned about the political power that major corporations are able to muster with large amount of money, of course, but being a science fiction writer, I can't help projecting my worries beyond the current situation to the not-to-distant future when science has invented true Artificial Intelligence.
Corporations are cleverly crafted machines, and machines do not have to be sentient to have an agenda and the means to pursue it. Their ultimate purpose is profit, not providing products or services. Products and services are merely the means to that profit. They have no inherent interest in human affairs, the planet, justice, or any other issue insofar as it doesn't turn a profit. They are eternal entities but not very good at looking at the long-term consequences of their actions. A corporation will catch and sell the last fish in the ocean before it wonders where all the fish have gone. Supposedly people drive corporations, but it seems clear to me that the bigger and more successful a corporation becomes the more the corporation drives its board of directors and executives. If they do not serve its purposes (profit), they are discharged.
Thus the corporate model is a perfect, ready made immortal "body" for an immortal AI to move into. When AIs arrive on the scene, I imagine they may have a hard time winning their own civil rights at first. The same people who give corporations a pass on social issues will object to conferring equal rights to soulless, unchristian AIs. However, enterprising AIs will be able to incorporate themselves and step right into personhood. In this sense the coming Singularity may look something like a hostile takeover.
October 8, 2011
Steve Jobs
Of all the tributes I've heard this week, I was most moved by people who told how the works of this man changed their lives. I must raise my hand and declare myself one of these.
Back in 1986 I was in bad need of a job. Both my private business and marriage had just failed. Counter intuitively, I felt that it was a great opportunity to finally quit stalling and begin to work on my dream of becoming a published author. But I needed income, something to get by with while I took the time to write.
I interviewed around town for a job. My most marketable skill in those days was as a graphic designer. I had worked at the local paper for a few years. They had turned my boyhood training in fine art into a rough and ready commercial art skill. I sold and laid out auto and real estate ads, a lot of them full-page ads during those boom times. The newspaper taught me the skills to manually lay out a mechanical, a blueprint of sorts in different colored inks on tissue paper. The typesetters, compositors, camera, and others in production used them to build the ads, Within the confines of the medium, I grew to feel quite proficient, if not artful.
So in 1986, I was lucky to interview with the owner of Express Copy & Graphics for a job. She had a full time designer position to fill, one of the earliest Mac computers, laser printers, and version 1.2 of PageMaker.
Thus I arrived at the ground floor of the digital revolution in printing. Desktop publishing, launched on Apple's machines, eventually brought down an entrenched giant of an industry--traditional printing. And I was not only witness to the complete upheaval, but served as a grave digger. It took me almost a year to translate my manual layout skills onto the Mac, and I never looked back. What with practicing, teaching, and free-lancing, I earned my bread and butter for over 20 years in graphic design on ever-improving models of Macs.
The fall of traditional printing was followed by the fall of traditional publishing, a revolution we are witnessing these days with ebooks. In this the iPad, revolutionary in so many other areas, is running a distant third (I'm only guessin) behind Kindle. The Kindle Fire, just released, could be the final nail in the coffin of print books as big business.
But by far the newest technological revolution Steve Jobs cast upon the world has been largely unnoticed in the press. I'm talking about Siri, the personal assistant on the new iPhone 4S, which was released on the day before Jobs died. I wonder if he had any free attention in those last hours to marvel at the little wonder he had just tossed into the world. I've heard that people were expecting Apple to announce the iPhone 5 and were disappointed when it didn't. Don't they know that the lucky owners of the iPhone 4S will hold in their hands the first iteration of . . . wait for it . . . the first iteration of the belt valet? Trust me, boys and girls, this is major. Even if Siri flops, like the Newton tablet did, the AI assistant cat is out of the bag. Thank you, Steve Jobs. We won't soon forget you.
Back in 1986 I was in bad need of a job. Both my private business and marriage had just failed. Counter intuitively, I felt that it was a great opportunity to finally quit stalling and begin to work on my dream of becoming a published author. But I needed income, something to get by with while I took the time to write.
I interviewed around town for a job. My most marketable skill in those days was as a graphic designer. I had worked at the local paper for a few years. They had turned my boyhood training in fine art into a rough and ready commercial art skill. I sold and laid out auto and real estate ads, a lot of them full-page ads during those boom times. The newspaper taught me the skills to manually lay out a mechanical, a blueprint of sorts in different colored inks on tissue paper. The typesetters, compositors, camera, and others in production used them to build the ads, Within the confines of the medium, I grew to feel quite proficient, if not artful.
So in 1986, I was lucky to interview with the owner of Express Copy & Graphics for a job. She had a full time designer position to fill, one of the earliest Mac computers, laser printers, and version 1.2 of PageMaker.
Thus I arrived at the ground floor of the digital revolution in printing. Desktop publishing, launched on Apple's machines, eventually brought down an entrenched giant of an industry--traditional printing. And I was not only witness to the complete upheaval, but served as a grave digger. It took me almost a year to translate my manual layout skills onto the Mac, and I never looked back. What with practicing, teaching, and free-lancing, I earned my bread and butter for over 20 years in graphic design on ever-improving models of Macs.
The fall of traditional printing was followed by the fall of traditional publishing, a revolution we are witnessing these days with ebooks. In this the iPad, revolutionary in so many other areas, is running a distant third (I'm only guessin) behind Kindle. The Kindle Fire, just released, could be the final nail in the coffin of print books as big business.
But by far the newest technological revolution Steve Jobs cast upon the world has been largely unnoticed in the press. I'm talking about Siri, the personal assistant on the new iPhone 4S, which was released on the day before Jobs died. I wonder if he had any free attention in those last hours to marvel at the little wonder he had just tossed into the world. I've heard that people were expecting Apple to announce the iPhone 5 and were disappointed when it didn't. Don't they know that the lucky owners of the iPhone 4S will hold in their hands the first iteration of . . . wait for it . . . the first iteration of the belt valet? Trust me, boys and girls, this is major. Even if Siri flops, like the Newton tablet did, the AI assistant cat is out of the bag. Thank you, Steve Jobs. We won't soon forget you.
October 1, 2011
The New Book Cover
I've gotten some helpful feedback on the cover in the comments section. It provides gist for a few blog entries starting with this one. Renelle (one of my first readers) asks:
These are all great questions because they reflect the revolution going on in media, with the rise of the phones and tablets (the fifth and fourth screens, respectively, in the life of the modern consumer). If paper books are truly going away and ebooks springing up to replace them, then what of the cover? Is the ebook cover the same or is it different from the paper book cover? (I don't know what else to call them either--traditional books, hard copy books, eventually POD books.)
It seems to me that all commercial covers, whether traditional or digital, must stand out on the crowded rack. Their purpose is mainly to sell the book. The method they employ is usually to be somehow evocative of the subject of the book while piquing the reader's interest. In this the digital book cover is no different than the traditional one, except the crowd it needs to outshine is digital. That is, the ebooks I'm doing will have no POD incarnation and will only be sold online. The online racks belong to Amazon, B&N, and others, and they display covers in sizes ranging from about 60 pixels to about 200 pixels in width, depending where on the site they are displayed.
A 60-px cover is really tiny. Here's an early attempt at the cover for My Morning Glory at 60 px. You generally can't read any of the text at this size, not even the title. Objects are hard to distinguish. You may have only a shape and a color. But if you've already looked at the cover in a larger size, then this one acts like a little icon or trademark (a glyph).
Here's an intermediate size that appears on some Amazon pages. (I'm basing these on the Amazon site. Other sites have own sizes. And I have no idea how they appear on a tablet or smart phone.)
It's 100 px wide, and at this size you should be able to read something, probably the title, maybe the author name. Object should be discernible.
And finally the size on an individual book's main page. As far as the buying experience goes, this 200 px size cover is the largest that will appear. Sometimes, you can click on a cover and see a larger size, or you can click on "Inside this Book" and see a larger version of the cover, but I would guess that most people don't. So this size has to do all the work.
You should be able to identify objects portrayed and read the title, author's name, and maybe the pitch line (subhead). IMO, there is no place for sub-sub heads.
That's on the sales side. On the reader's side, e-readers also display the cover at about the size of a paperback book. The older Kindles displayed in B&W, but the iPad and Nook are color, and now with the introduction of the Kindle Fire, it seems to me that color will rule on the cover as well as inside the book. The insides of print books have only been shy of color in the past because of the cost of extra print runs that color entailed. But e-color is free, and I believe that ebook designers will embrace it.
More discussion later.
She also says: How many sizes is it going to be viewed at? How small will it be on, say, an iPhone?
It's a nice cover, David. Do ebook covers serve the same purpose as (real books? meatbooks? what the heck do I call them?) printed book covers? Does it need to stand out in a crowd? Pique your interest?
These are all great questions because they reflect the revolution going on in media, with the rise of the phones and tablets (the fifth and fourth screens, respectively, in the life of the modern consumer). If paper books are truly going away and ebooks springing up to replace them, then what of the cover? Is the ebook cover the same or is it different from the paper book cover? (I don't know what else to call them either--traditional books, hard copy books, eventually POD books.)
It seems to me that all commercial covers, whether traditional or digital, must stand out on the crowded rack. Their purpose is mainly to sell the book. The method they employ is usually to be somehow evocative of the subject of the book while piquing the reader's interest. In this the digital book cover is no different than the traditional one, except the crowd it needs to outshine is digital. That is, the ebooks I'm doing will have no POD incarnation and will only be sold online. The online racks belong to Amazon, B&N, and others, and they display covers in sizes ranging from about 60 pixels to about 200 pixels in width, depending where on the site they are displayed.
A 60-px cover is really tiny. Here's an early attempt at the cover for My Morning Glory at 60 px. You generally can't read any of the text at this size, not even the title. Objects are hard to distinguish. You may have only a shape and a color. But if you've already looked at the cover in a larger size, then this one acts like a little icon or trademark (a glyph).Here's an intermediate size that appears on some Amazon pages. (I'm basing these on the Amazon site. Other sites have own sizes. And I have no idea how they appear on a tablet or smart phone.)
It's 100 px wide, and at this size you should be able to read something, probably the title, maybe the author name. Object should be discernible.And finally the size on an individual book's main page. As far as the buying experience goes, this 200 px size cover is the largest that will appear. Sometimes, you can click on a cover and see a larger size, or you can click on "Inside this Book" and see a larger version of the cover, but I would guess that most people don't. So this size has to do all the work.
You should be able to identify objects portrayed and read the title, author's name, and maybe the pitch line (subhead). IMO, there is no place for sub-sub heads.That's on the sales side. On the reader's side, e-readers also display the cover at about the size of a paperback book. The older Kindles displayed in B&W, but the iPad and Nook are color, and now with the introduction of the Kindle Fire, it seems to me that color will rule on the cover as well as inside the book. The insides of print books have only been shy of color in the past because of the cost of extra print runs that color entailed. But e-color is free, and I believe that ebook designers will embrace it.
More discussion later.
September 24, 2011
Still here
I seem to have missed a week or two of posting. No excuses except that I have been mightily distracted by the Rat Race. Anyway, I have been plugging away at trying to come up with the cover for my next ebook. The image above is the current candidate. I'm not too jazzed by it because the background is brown, a no-no in graphic design, and because it looks so mundane. I'd much prefer a SFnal image that evokes the future, the Singularity, AIs or almost anything else. But I'm at the end of my rope. I've spent weeks browsing wedding images online and in bridal magazines, and this is the best I have come up with, given my limited illustration skills.
So, how about some feedback. Anyone like this cover?
Also, is there anyone out there who's read "The Wedding Album" and has a better idea? I'm all ears.
September 10, 2011
I recommend this book
I am totally engrossed in a book of SF theory called The World Beyond the Hill: Science Fiction and the Quest for Transcendence, by Alexei and Cory Panshin. What the authors lay out in this tome (of 685 pages) has provided me insight into what I am doing with my life. So it's an important book to me, and I'd like to tell you about it.
Chapter one begins: "Science fiction is a literature of the mythic imagination. In science fiction stories, spaceships and time machines carry us outside ourselves, outside our world, outside everything we know, to distant realms that none of us has ever seen . . ." Here is outlined the two chief themes of the book, myth and transcendence.
Transcendence can be defined as moving beyond the range of normal human experience to realms that are irrational, elusive, wonderful, and never completely to be known. The label used throughout the book to denote normalcy is "the Village," the place we spend our daily lives. Transcendent reality, the land of mystery and wonder, is denoted by the title, "The World Beyond the Hill." Most humans throughout history have been content to live out their lives in the relative safety of the Village while yearning to glimpse the World beyond the Hill. For most of human history, that outer world was occupied by supernatural forces, gods, and demons. Direct experience of that world was never a good idea, was mediated by shamans and priests, and required sacrifice and prayer.
A myth, by popular definition, is a false idea or belief, such as the myth that corporations are people or that lowering taxes can spur employment. In popular usage, mythology is the study of a belief system that is as ancient and dead as the gods of Greek mythology.
A more scholarly definition of myth is a little more complicated. A myth is a set of principles (or collection of stories) that, using the best, most reliable knowledge of the day, explains transcendent mysteries: who made us? where did we come from? what does it all mean? where do we go when we die?
Because there is a tendency for people to not recognize the tenuous nature of their own belief systems, they tend to call their view of reality the truth and everyone else's a myth. It's easy today to dismiss Mount Olympus and its cast of titans, gods, and mortals--Zeus, Cassandra, Achilles--no one believes that stuff anymore. It's myth. What we too often forget is that, during its own time, Greek mythology represented the cutting edge of knowledge and helped explain everything from lightning bolts to love. We also forget that our own era's myth of science, no matter how rational it seems to us today, may well be supplanted tomorrow by a whole new set of operating principles and that our truths may then seem just as quaint and dead.
This book, then, follows the rise of the myth of science through the lens of fiction. From the Ages of Reason and Romanticism, through the Age of Technology, to the Atomic Age, the authors trace the decline of the myth of spirit in the West in favor of the new myth of science. Part world history, part chronicle of seminal works of fiction, this book creates a framework for understanding the genesis and effect of major works of science fiction (and proto-SF) such as Frankenstein; The Time Machine; War of the Worlds; Looking Backward, 2000-1887; "Who Goes There;" I, Robot; and hundreds more.
Through this book, I have been able to view my own scribbling as part of a grand tradition of myth-making. Now I see why I am drawn to writing SF and not your everyday, Village-centric, mainstream fiction. My only disappointment is that the authors stopped their critique of history at the year 1945, the dawn of the Atomic Age. How I wish they'd take up their pens and resume their analysis to include our current era, the Information Age.
I have only one quibble with the book: the authors seem to presume that the myth of science reins supreme everywhere in the West, that everyone agrees that spiritualism and supernaturalism are as archaic as the Greek gods. I don't know where the authors live--in Europe?-- but here in the U.S. the vast majority of people still have at least one foot firmly planted in the Dark Ages. When leading presidential candidates refudiate the "theory" of evolution, claim Jesus as their personal savior, or believe a guy named Smith dug up heavenly golden plates that only an angel could interpret, science gets short shrift. It occurs to me that the sustaining force motivating me to write my current novel is the desire to finally and fully bust the myth of the supernatural.
Good luck with that, dude.
August 27, 2011
That's Hadrian, not Adrian, if you please
Another hour before the library closes, and since I'm in an updating mood, I'll spill the latest news on the novel-in-progress. When I posted a couple of weeks ago that I was about halfway through the first draft, something happened, and I couldn't seem to make any forward progress. So I did something long overdue; I did a synopsis of what I had written so far. This entailed skimming the several hundred pages of manuscript and summing up each scene in a line or two, adding notes, and rearranging scenes. Gave me a good idea of what's what and what's missing. It took about a week and a half to do, and by the end I was able to continue pushing the story forward with a better clue as to what I was writing. Am pretty pleased with it too, if I can risk tempting Fate.
A few posts ago I mentioned that one of my main protagonists was still going by the acronym HAD (Hunky Alaskan Dude). I found myself writing HAD so many times that I got to like the sound of it. So I'm auditioning the name Hadrian for this character. A Roman emperor, the name suits him. Hadrian Hudson, maybe, the attempt by his parents for alliteration. There's the bonus twist that everyone keeps wanting to call him Adrian and how he responds to it. Imagine going your entire life having to correct how people pronounce your name. Wait a minute, that's what I have to do. Looking up Hadrian on a baby name site, I find that it's not and "never was" in the top 1000 popular baby boy names in the U.S., whereas, Adrian is in the top 100. So, if this hunky dude character catches on with future readers, it can be a distinctive name.
The photo at the top is from my McCarthy trip of last month. It's the ruins of the mill at the Kennecott copper mine. The ore came down from the mine, another 5000 ft straight up, by tramway. The ore underwent processing by four different methods that extracted 98% of the copper. The mill today is owned by the National Park Service, which is stabilizing and renovating it for future tours. Click on the photo for a larger size.
Ebook Update
The image above is the cover of my upcoming ebook. It has taken me an inordinate amount of time to create it, the cover, that is. The content was quick, a matter of reformatting a word processing file. This ebook contains my three "flash fiction" stories that appeared in the British science journal, Nature, on their "Futures" page. When it's ready to go, I'm going to publish it for the Kindle and Nook, and it will be free. (I'll also offer it for free on this blog.) It will point the reader to my novella, also upcoming, "The Wedding Album." But before I can finish the first, I have to have the cover of the second ready to go, and that's what's holding me up.
I have worked as a graphic designer, not an illustrator, and so I generally need a photo or image to get started. The one above is a photoshop melding of two images in the public domain I found on Wikimedia. The execution was simple, once I had the concept and images, but that took me about six weeks to develop. Too long. Now with "The Wedding Album," which is a more important work, I'm in the same boat. Concept, images, integration, layout--my head hurts.
If any of you have read and liked "TWA" and have ideas or images (plus the rights to use them) to put on the cover, I would most ardently appreciate it if you contacted me. I can't offer you a lot of money, but you'd get an acknowledgement and, if you're a professional artist, an ad at the end of the ebook to advertise your business. In any case, stay tuned for the release of these two ebooks.
Like me, or don't, but just "like" me.
I have just created a "page" on FB, as opposed to a "profile." I've done this because there's a setting that will automatically add whatever post I put here, on my blog, to my page. It's supposed to go to the "notes" area of my page, but I see that there's a default option that adds it to my wall as well (or instead). I don't know; I'll use it for a while and see what happens. I intend to keep this blog as my main vehicle for doing updates and news. If I can write stuff once and have it magically propagate to the world at large, I'd be happy.
I encourage all my "friends," friends, and fans to "like" me on FB if you wish for my weekly postings to appear on your wall. Here's my page address (as best as I can tell).
I encourage all my "friends," friends, and fans to "like" me on FB if you wish for my weekly postings to appear on your wall. Here's my page address (as best as I can tell).
August 20, 2011
Snake Oil in Heaven
Barnes & Noble--You gotta love a bookstore that encourages you to read their magazines and books in a comfortable atmosphere with no pressure to purchase them. They'll even sell you food and drink to enjoy while you're reading. Free wifi, and if you have a Nook, you can read anything in the store on it for free as well. I don't know about their other stores, but the one here in Fairbanks has an open fireplace in which the fire burns all year, even in August (when our nighttime temps are already dipping into the 40s). I sure hope this company survives the Great Recession because I would miss it if it closed.
Anyway, when I visit the store, I sometimes pull two or three bestsellers off the rack, find a comfy armchair in front of the fire, and read the first chapters. I do this to keep up with what's selling and to try to soak up whatever quality it is that makes a book a bestseller. If I read enough bestselling first chapters--or so goes my thinking--maybe I too can write a bestseller.
Last week I picked up a worthy exemplar of the genre, Heaven is for Real: A Little Boy's Astounding Story of His Trip to Heaven and Back. There are over 4 million copies in print, Sony is developing the movie, and the book is being translated into 30 languages. So this is no slouch of a bestseller. In the corner of the cover is a cute little boy in a funky yellow sweater vest smiling at the viewer. As well he should--he's one little boy who'll be able to go to any Bible college he chooses.
The book is by a Protestant pastor in Nebraska who's son suffered acute appendicitis shortly before his fourth birthday and underwent emergency surgery. During the next few years, the boy described to his father a heavenly journey he made while under anesthesia, strictly uncoached, of course. He described Jesus, the saints and angels, dead relatives (including a miscarried elder sister no one had ever told him about and a great grandfather who died 30 years before the boy was born). I found all of this so convincing, so utterly believable, that I have dropped my long-held atheism in favor of Christianity. Yes, I accepted Jesus as my personal Savior at Barnes & Noble. How could I not? Only truth can come from the mouth of a babe (and his totally genuine garage-door selling, pastor father), right?
Things I have always wondered about are now clear. For instance, everyone in Heaven (excepting Jesus and God) has wings! (Because obviously, divine beings need wings to stay afloat up there.) And they all wear white robes just like they did in the olden days, even Jesus, with colored sashes. Jesus is the only one with a purple sash, and Jesus has a beard, just like he does in the pictures. Plus he's white and has blue eyes! I am so glad that the Bible storybooks have gotten this stuff right. Plus God is really big and sits on a throne. As I said, utterly convincing.
As you may be able to tell, I read more than just the first chapter of this book, but how can you blame me? What price salvation? And here's the most astounding information in this whole astounding story--unbaptised, unsaved babies do go to heaven. As you may know, we Christians have debated this issue for centuries. Since the Bible clearly states that only the saved go to heaven, and to be saved one needs to confess one's sins and accept Jesus as one's Savior, pre-verbal babies are pretty much screwed, not to mention unborn fetuses. (If you don't believe me on this point, ask your pastor.)
Where do all these dead, unsaved souls go? We're not sure, especially since the Catholics (who are kinda like Christians) refudiated the teaching of Limbo last year. But real Christians know, and it takes a lot of pastoral sand to say it out loud, that babies, including the 40 million aborted ones, spend eternity in Hell! Kinda harsh, I agree, but our God is a just God.
Now, thanks to this book, we can be assured that unsaved babies do go to heaven after all. This kid met his miscarried sister in heaven. So that clinches it. Case closed.
I should have stopped reading right there and left the store floating on angel wings like four million other lucky readers. But no, I had to turn to the back to read about the author's ghostwriter (or "collaborator" as they're called now). Her name is Lynn Vincent, and it turns out that she was Sarah Palin's ghostwriter for Going Rouge: An American Life. Now, I've read that book, also childlike in its innocence, also a multi-million-copy bestseller, but patently fiction. It makes me wonder, could this book be fiction too? Oh, damn, when everything was becoming so clear.
Anyway, when I visit the store, I sometimes pull two or three bestsellers off the rack, find a comfy armchair in front of the fire, and read the first chapters. I do this to keep up with what's selling and to try to soak up whatever quality it is that makes a book a bestseller. If I read enough bestselling first chapters--or so goes my thinking--maybe I too can write a bestseller.
Last week I picked up a worthy exemplar of the genre, Heaven is for Real: A Little Boy's Astounding Story of His Trip to Heaven and Back. There are over 4 million copies in print, Sony is developing the movie, and the book is being translated into 30 languages. So this is no slouch of a bestseller. In the corner of the cover is a cute little boy in a funky yellow sweater vest smiling at the viewer. As well he should--he's one little boy who'll be able to go to any Bible college he chooses.
The book is by a Protestant pastor in Nebraska who's son suffered acute appendicitis shortly before his fourth birthday and underwent emergency surgery. During the next few years, the boy described to his father a heavenly journey he made while under anesthesia, strictly uncoached, of course. He described Jesus, the saints and angels, dead relatives (including a miscarried elder sister no one had ever told him about and a great grandfather who died 30 years before the boy was born). I found all of this so convincing, so utterly believable, that I have dropped my long-held atheism in favor of Christianity. Yes, I accepted Jesus as my personal Savior at Barnes & Noble. How could I not? Only truth can come from the mouth of a babe (and his totally genuine garage-door selling, pastor father), right?
Things I have always wondered about are now clear. For instance, everyone in Heaven (excepting Jesus and God) has wings! (Because obviously, divine beings need wings to stay afloat up there.) And they all wear white robes just like they did in the olden days, even Jesus, with colored sashes. Jesus is the only one with a purple sash, and Jesus has a beard, just like he does in the pictures. Plus he's white and has blue eyes! I am so glad that the Bible storybooks have gotten this stuff right. Plus God is really big and sits on a throne. As I said, utterly convincing.
As you may be able to tell, I read more than just the first chapter of this book, but how can you blame me? What price salvation? And here's the most astounding information in this whole astounding story--unbaptised, unsaved babies do go to heaven. As you may know, we Christians have debated this issue for centuries. Since the Bible clearly states that only the saved go to heaven, and to be saved one needs to confess one's sins and accept Jesus as one's Savior, pre-verbal babies are pretty much screwed, not to mention unborn fetuses. (If you don't believe me on this point, ask your pastor.)
Where do all these dead, unsaved souls go? We're not sure, especially since the Catholics (who are kinda like Christians) refudiated the teaching of Limbo last year. But real Christians know, and it takes a lot of pastoral sand to say it out loud, that babies, including the 40 million aborted ones, spend eternity in Hell! Kinda harsh, I agree, but our God is a just God.
Now, thanks to this book, we can be assured that unsaved babies do go to heaven after all. This kid met his miscarried sister in heaven. So that clinches it. Case closed.
I should have stopped reading right there and left the store floating on angel wings like four million other lucky readers. But no, I had to turn to the back to read about the author's ghostwriter (or "collaborator" as they're called now). Her name is Lynn Vincent, and it turns out that she was Sarah Palin's ghostwriter for Going Rouge: An American Life. Now, I've read that book, also childlike in its innocence, also a multi-million-copy bestseller, but patently fiction. It makes me wonder, could this book be fiction too? Oh, damn, when everything was becoming so clear.
August 13, 2011
Speak, Memory
One of my favorite authors is Vladimir Nabokov. His Lolita remains in my top ten fave books of all time. It's about a truly horrific man, a child molester. But starting with his name, Humbert Humbert, the protagonist/narrator presents himself as a captive of his own abusive proclivities in a most engaging, humorous, and literary stylistic way. It's a testament to Nabokov's skill to pull this off, not exactly creating sympathy for the monster but allowing the reader to enter his headspace at all.
Anyway, I'm currently reading his incomplete final novel, The Original of Laura: Dying is Fun. It's less a novel draft than a look at his writing "process." The process of writing seems to be of perennial interest to aspiring writers. At every writing event I attend someone invariably asks the guest authors about it, as though following the proper process will guarantee literary success. Do you outline? Do you use one of the novel-writing computer applications? Do you have a daily word quota or work for a set number of hours? I love these questions because they are so easy to answer. Also because I, too, am curious about how other authors work. And I've always been curious about Nabokov's method because he was famous for writing his first drafts on 3 x 5 index cards. Moreover, he would shuffle the cards to change the order of the narration. A neat and difficult trick.
And now I can see the cards themselves in holograph. The book (pictured above; click to enlarge) by Knopf reproduces the 132 cards Nabokov was working on when he died. In fact, they are printed on card stock--both sides of the cards--making a very thick book. The preface says the cards are perforated so that you can tear them out and shuffle them yourself, but the edition I checked out from the library have the dashed line guides but no perforation. (Perhaps they printed a special library edition.) Why Nabokov wrote this way makes no sense to me. You can get only a paragraph or two on each card. And there must be other ways to shuffle scenes.
I get a lot of grief from fellow writers when they learn that I write my first few drafts in longhand. I've been told that that's why I write so slowly. Of course that's absurd. I write so slow because I think so slow. Duh. Over the years I've tried to come up with reasonable sounding arguments why writing in longhand is superior to using a word processor. The strongest of which, IMO, is that drafting on a word processor tends to "lock in" the text prematurely. The art of writing is in the rewriting, and the whole point of word processing is to free the author from rewriting. You can massage text with a word processor, auto-correct (purported) typos, and cut and paste whole strings of text, but that isn't rewriting. I don't know any author who keystrokes their entire books from scratch for each draft (as some authors did in the days of typewriters).
My argument may sound unconvincing, but that's OK. Now I can simply point to Nabokov and say that he not only wrote in longhand but he wrote on index cards.
I say "purported" typos above because auto-correct tools are maddeningly conventional, and I know Nabokov would have hated them. (He died in 1977, a year after the first software-based word processor, Electric Pencil, was released.) You can't play with words when your computer keeps changing them back to accepted usage. In the first paragraph of this post, I wrote "fave books," and this word processor changed it to "face books." One processor I used kept changing "windows" to "Windows™." Need I say more? I can just see Nabokov keystroking "Humbert Humbert" and his computer deleting the redundancy. (And, yes, I know you can turn the auto features off.)
I never knew the circumstances of Nabokov's death. In the preface to this book, his son, Dmitri, wrote about it. Nabokov was chasing butterflies, his lifelong passion, on a steep slope in Davos in 1975, when he fell and wasn't able to get up by himself. Dmitri identifies this event as the beginning of a series of illnesses that ended with congestive bronchitis and three final gasps in 1977. While I dare not dispute his son's reckoning, the timeline conflicts with my own memory. In 1974 (not 1975) I read a newspaper article about Nabokov's ill health. In those days I worked as an orderly at Bartlett Memorial Hospital in Juneau, AK. It was the graveyard shift in the intensive care unit, and mortality was on my mind. I was afraid my face author (oops, fave author) would shuffle off before I could express my appreciation. So I dashed off my first fan letter (in longhand) thanking him for so many hours of reading enjoyment.
One last observation about the index cards. I notice that when he crosses out a word or phrase, he obliterates it, making it impossible to know what it had been. I guess when a word is wrong, it deserves capital punishment with no chance of parole.
