Playing With the Fuji X100s

Posted May 7, 2013 by fencer
Categories: Art, Awareness, Culture, Photography

For years I’ve taken photos primarily as material and inspiration for painting in watercolor or pastel.  Or so I’ve told myself.

But I’ve noticed that I have become more interested in photography itself as a medium.

It’s an odd medium in that everybody can do it well.  Everybody can push a button and take a snapshot.  And there’s software galore, such as the apps on iPhones and iPads which do wonders with the photos those gadgets take, for instance.  The world is overwhelmed with images.

So why would I want to take more?  Part of it is that I look at older photographs, say by Fred Herzog, and see how some humble moment is captured that looms larger just because we see it now, and it carries a patina of its time.  (It’s funny for me in the present moment to try to take such a photo when the patina always seems invisible.  Humble and spontaneous seem to be the best guides.)

Perhaps I can take a photograph or two like that.

Another thought is about documentation of one’s life, unique yet unexceptional. No matter how mundane, it’s still a life and a camera can be a companion in rooting out its nooks and crannies.  It’s like stories otherwise forever untold, although photos are more like fragments than narratives.

But beyond any serious notion, I like to play around with images.

Over the years I’ve had modest cameras.  The only SLR cameras I ever used were in my days as a reporter/photographer for a variety of publications.  At one newspaper I remember I was supplied with a utilitarian Pentax, a 50mm lens and a wide angle, and that was certainly adequate.

x100s In the digital age, I’ve used a Panasonic FZ50, with its one piece long-zoom lens, and more recently an Olympus XZ-1 compact camera with a crystal clear f/1.8 lens.

The latter little camera set me up for wondering about “wouldn’t it be nice to have a professional level camera.”  Although I couldn’t really afford, or justify, the many thousands required for such a high quality machine, I have shelled out a lesser amount for what some professionals apparently consider a good back-up camera, the Fujifilm X100s.

It’s an unusual camera, while appearing to the casual observer like nothing much.  It imitates the rangefinder style of the extremely expensive Leica digital cameras.

The X100s has only one lens, 23 mm which when multiplied by 1.5 due to its digitalness, corresponds to a 35mm film camera.  This one f/2 capable lens takes dynamite photos as can be seen at many sites on the web such as The Verge, Mike Kobal’s blog and especially Zackarias.com.

It seems to be the ideal street photography camera: silent, fast, and attaining good images at high ISO.  (Although I sometimes wish it had the rotating LCD display on the back that my FZ50 has which allows photos taken without seeming to point the camera at the subject.  But the X100s is certainly less aggressive in appearance than a big-bodied, big barrelled SLR.)

It has many options including auto bracketing with different exposures, 3-stops worth of ND filter, manual focus, and various film simulation modes which give JPEGs of that type without affecting the base RAW file.  Many find the JPEGs to be of such good quality they often don’t bother with processing the RAW.

Since I purchased the camera, we’ve travelled by ferry to Victoria on Vancouver Island here in British Columbia, and I’ve taken a few photos in Richmond, Greater Vancouver.

This particular blog format is not really conducive to displaying photos – besides being more designed for text, it favors the vertically oriented over horizontal.  However, here are a few from my new toy…  (you can click on them to get a slightly better view sometimes).

JPEGs Just Cropped and Resized

f/7.2, 1/900 sec, ISO 400On the Victoria Ferry Crop RS

f/2.0, 1/60, ISO 200
Victoria Trip 003 Crop RS

f/5.6, 1/950 sec, ISO 200
Victoria Trip 059 Crop

And with a tighter crop to show the quality of the lens –
Victoria Trip 059 Crop Tighter

f/5.6, 1/240 sec, ISO 400Victoria Trip 008 RS

For some reason, I liked the curve of this chair leg at the Empress Hotel in Victoria and took this whimsical shot….
f/2.0, 1/60 sec, ISO 3200
Victoria Trip 042 Crop RS

f/2.0, 1/50 sec, ISO 400Victoria Flowers

Lightly (Usually) Processed from RAW

f/5.6, 1/150, ISO 800
Horse and cart RS

f/5.6, 1/160 sec, ISO 400
Barn in a Field

f/5.0, 1/75, ISO 200
Dog and Tree

f/5.6, 1/80, ISO 200
Street Girl

f/5.6, 1/100, ISO 400
Skytrain Passengers

This last photo appeals to me greatly, which my wife for instance, who is actually more of a photographer than I am, doesn’t like at all.  I like the overabundance of detail, as if the perceptual screens that edit reality into more manageable bits have slid away for a moment.   The trees lean over the water below.
f/4.5, 1/60, ISO 200
Trees over brook BW

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Note:  The photo of the Fujifilm X100s comes from: http://www.techradar.com/news/photography-video-capture/cameras/best-compact-camera-2013-34-reviewed-963985

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Weird, Wonderful and Watch Your Back

Posted April 4, 2013 by fencer
Categories: Art, Awareness, Culture, Environment, Internet, Politics, Science Fiction

How weird is money?

As a gift this year for one of my brother’s birthdays, I gave him $100 trillion dollars.

You might think this was perhaps overly generous, but it only cost me $9 Canadian for that denomination of Zimbabwean currency.

Image

Zimbabwe in Africa in June, 2008, under the dictatorship of Richard Mugabe enjoyed an annual rate of inflation of 11.2 million percent.  The country abandoned its currency soon after and uses the US dollar and the euro to get by.

How did this come to be?  In the end, it reflects the lack of credibility of the regime.  And there were so many bank notes produced for wars and corruption they lost any common sense of value.

In the 1920s, the Weimar Republic in Germany underwent a similar inflation with its money, although one of the causes there was the insistence by the victorious nations that Germany make economy crippling reparations for WWI (and thereby set the stage for Hitler’s rise to power).

There is said to be hyperinflation currently in Iran due to sanctions, although some economists dispute this.

Geopolitics aside, the tactile reality of the Zimbabwean trillion dollars banknote in my hand and its accompanying lack of substance provides me with a little meditation on the nature of money.

Oh….  Sorry, I like to just sit around and contemplate these things without necessarily reaching any conclusions…. I muse about Money as a modern god with economists as high priests, about what really does carry value, about all the artificialities we as humans rely upon for our sense of worth.

It’s interesting to note that bitcoin, a “decentralized digital currency”  is starting to come into prominence. It’s not your everyday currency: there is no central bank or organization but a distribution network based on the internet.

Some people actually view it as an investment, but the Bitcoin open-source developer defines the system as an “experiment.”  It is quickly becoming influential.

One recent headline reads: “Bitcoin Prices Blasts Through $100, Driving Speculators Wild.”

Artful renditions of childhood’s weird creatures

These are probably more an adult’s darker elaboration of the simple line-drawings that we made as kids, but there’s still a truthful element about that scary monster under the bed.

In an article by Rian van der Merwe, I discovered Dave DeVries’ The Monster Engine project.  It was initiated by an impulse to make his niece’s drawings come to life, as DeVries does for various comic publications.

monsters3.jpg

The whole gallery is on view at The Monster Engine website….

The wonderful Global Village Construction Set

Moving on to the wonderful, we come to the open technological platform of the Global Village Construction Set.

It reminds me, in a way, of my own feeling about the 1911 Encyclopedia Britannica as a way to restart Western civilization, if we should ever want to.

But the GVCS as it is known provides a likelier shortcut: plans for  fabrication of the 50 different industrial machines that it would take to create a comfortably modern environment from scratch.

They include such machines as the 3D printer (which might be invaluable in the assembly of some of the other 49), the 50 kW wind turbine, the dairy milker, the hay rake, and the laser cutter.

Lifetrac2The whole enterprise is being developed by a network of farmers, engineers and supporters.  They are working to make the plans for all these machines available to everyone.   (For a short video on what they’re up to, see here.)

If you’re into TED talks, there’s a four minute intro there.  (TED being a non-profit organization dedicated to bringing out ideas on Technology, Entertainment and Design.  It’s kind of a wonderful thing too, actually.)

The wonder of pee power

In line with this same innovative frame of mind, an article caught my attention about four young girls from Nigeria who are working on developing an electrical generator which runs on piss.

Their idea is to use an electrolytic cell to crack the urine into nitrogen, water and hydrogen.  The hydrogen is purified through a water filter and goes into a cylinder which pushes the hydrogen into another cylinder with borax (readily available) to remove moisture.  The hydrogen can be then used to power the generator and provide six hours of electricity for every litre of urine.

This might be a more worthwhile startup idea than Facebook….

Nine-year-old Socrates in a backyard

You really should go look at this post by Robert Krulwich who writes on science on the National Public Radio website: it’s about a conversation a friend of his had with a 9-year-old boy in a Washington backyard patio which the friend felt compelled to put on video.  The boy’s mother nonchalantly mentions that the lad is “interested in cosmology.”

In the video, the young one has a refreshingly large view of things, beyond his years.  Towards the end of his remarks, I am taken by the saving grace of his or any other person’s thought process, a position of freedom and essential equilibrium: “But then again, I might be wrong.”

With this ‘don’t know’ mind he wiggles and fidgets like the fourth grader he is, while he discusses with obvious passion the clear ideas that come to him about life, the universe and destiny.

The first human holy place?

gobekli-full_35417_600x450

I am fascinated by antiquity, and human history (or what we are able to know of it) as it fades into pre-history.  I think such artifacts as the Antikythera Mechanism, and sites such as the first known religious structure at Gobleki Tepe in Turkey, reflect the possibility of complex human civilizations reaching much farther back into those prehistoric mists than current scientific wisdom is willing to allow.

At Gobleki Tepe, with structures dating back to 7,000 years before the Great Pyramid, the site has been described as “massive carved stones about 11,000 years old, crafted and arranged by prehistoric people who had not yet developed metal tools or even pottery.”

The archaeologist who discovered the site, Klaus Schmidt, feels certain that this is the first human holy place.   He has said, “We are 6,000 years before the invention of writing here.”

Schmidt is advocating a different model of civilization based on what he has found at Gobleki Tepe.  Rather than civilizations of sufficient development producing such a remarkable and sophisticated structure, it was the urge to glorify their sense of the sacred which led the ancient hunters and gatherers to create civilization.

To build this site required a great concentration of materials, people and organization.  Sociocultural changes come first, then agriculture in this view.

It’s just that I find a certain arrogance in such statements as: “At the time of Göbekli Tepe’s construction much of the human race lived in small nomadic bands that survived by foraging for plants and hunting wild animals.” [From the article in National Geographic.]

On extremely limited data, inference and supposition, all of pre-history is constructed for us in this way.  Perhaps there’s more and different that hasn’t been discovered yet.

The National Geographic article goes on to say:

“Discovering that hunter-gatherers had constructed Göbekli Tepe was like finding that someone had built a 747 in a basement with an X-Acto knife.”

And from another site:

“The unique method used for the preservation of Gobeklitepe has really been the key to the survival of this amazing site. Whoever built this magnificent monument, made sure of its survival along thousands of years, by simply backfilling the various sites and burying them deep under, by using an incredible amount of material and all these led to an excellent preservation.”

Almost like a time capsule….

The Watch Your Back part

In line with the dangers of the coming surveillance society (as I remarked upon some time back  in Subversive Fiction), I came across a recent news item or two on spyware called FinFisher being marketed by a European software company called Gamma International.

According to Wikipedia, the “surveillance suite is installed after the target accepts installation of a fake update to commonly used software.”

This is software ostensibly being offered to law enforcement agencies and other government organizations.  Unfortunately, Egyptian dissidents who helped overthrow Hosni Mubarak found that Egypt’s savage secret police had a contract with Gamma International.

Activists in the Persian gulf kingdom of Bahrain were targeted by the software and FinFisher servers have also been found in the authoritarian regimes of Turkmenistan and Ethiopia.

“It’s installing a backdoor on your computer to record your Skype conversations and go through your email,” said a recent report based on Canadian research.

Very recently, a French based journalists’ organization called the company one of the “five corporate enemies of the Internet.”

The software is now being used in Canada by someone or something, as servers hosting the software have been found here.  Such servers are also found in the United States among 25 other countries.

If you like science fiction….

In an effort to end in a more imaginative place, and as a reward for any reader who makes it this far (if they like science fiction), here is a link that includes the 6 minute and 26 second short film R’ha.

In that brief time, we are given a fully realized story and quite amazing special effects for such a small scale production.  It’s in high-definition and I recommend sizing it for viewing as large as you can.

It fits in the wonderful category, although it has its share of weird as well.  I like the alien….

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Notes on images, from top down:

1) My photo of the Zimbabwean currency….
2) From The Monster Engine site.
3) The low-cost, multi-purpose, open-sourced LifeTrac tractor.
4) An artist’s re-creation of Gobleki Tepe.

Hanging Out In Shanghai

Posted March 2, 2013 by fencer
Categories: China, Culture, Photography, Travel

I travelled once more to China with my wife this year for Chinese New Year’s, visiting my wife’s parents and relatives for the brief period of just over a week.

The week of Chinese New Year, this year from February 11, and the week preceding it is a time of travelling chaos in China.  The whole country is on the move.  Children of all ages are expected to visit their parents wherever they may be. International students and others from abroad must return to visit their families, so flights are crowded.

But we made it there for the rounds of constant banquets and socializing, which is a nice trick for me since my Chinese is only of the most rudimentary kind.  There was a lot of gesturing going on, and occasional words of English and French to help along the way.

For a camera this time, I took along my fairly new Olympus XZ-1, which is basically a bunch of electronics in support of a pretty fine lens (down to f/1.8) for a compact camera.  I played around in Photoshop for some of the resulting photos.

This first photo is in one of the downtown areas with the typical masses of residential apartment skyscrapers moving into the distance.  The smog in Shanghai is much less of a problem than the infamous stuff in Beijing, but is still present.  (I was pleased to see blue skies in Shanghai while we were there.)

This downtown location has what amounts to a private garden in the midst of the surrounding apartments.  There are a lot of gated residential areas here.

Shanghai Downtown and Park

The next photo is the interior of an older Shanghai hotel where my wife went (with me in tow) to order a select menu of dishes for one of the banquets.

This is an intense matter, I observed, for Chinese, and especially for the women who pour over menus in great detail looking for just the right items for the occasion.  Notes are made, discussions with hotel staff ensue, crucial decisions are made.

The weather was just above freezing when we were there, and like most places the lobby was not heated.  A chilly breeze blew in the door when anybody entered, and all the hotel staff in the lobby wore heavy winter coats.  But then the sun came out….

Shanghai Hotel

Of course, getting around in Shanghai is most easily done by taxi.  The next photo is from the backseat, on the driver’s side.  A common complaint of taxi drivers these days, my wife says, is that business is down due to so many people buying their own vehicles (and as the frequent traffic jams display).  There was a marked difference from even a couple of years ago in how often one could find an available cab.

Usually in the Shanghai cabs, from the backseat position on the passenger side you’re looking a small TV screen with ads for watches or liquor cycling over and over again.   On the driver side, I noticed the ad like a seal shown here in the lower right corner.  It proclaimed that Chrissie Chau, one of the Top 100 Sexiest Women in the World would be appearing at a nightclub called Richbaby in March.

This amused me.  In a country of approximately 750 million women, to be in the top 100 sexiest is surely a staggering achievement.  How are such things measured?  And who does the measuring?  Apparently in this case the magazine FHM (formerly For Him Magazine) has taken on this massive if arrogant chore.

Shanghai Taxi Back Seat

I’m fascinated by city alleys anywhere…. they always give me a sense of off-stage life.  Particularly in China, the alleys intrigue me, since especially in the older areas they were how most people used to access where they lived.  Shanghai as it modernizes has lost a lot of that old alley culture, but it still persists in many parts of the city.

OLYMPUS DIGITAL CAMERA

One day we went to the  Qi Bao area of Shanghai, which is an older heritage part of the city, I guess you could say.

It was a day off for many people, so the streets were jammed.  On the way to one of the main streets sat this musician playing for his supper.

Shanghai Street Music Linear F2

There were shops selling knickknacks, bakery goods, dried fruit, paintings and much more.  Here’s an example from one of the knickknack stores… an ersatz stage with strange players.

Shanghai Knickknack Shop

This is an area of picturesque canals as well.

Qi Bao Canal

I was happy to catch this shot of a boy enjoying a snack.

Shanghai Boy Eating

Besides alleys, I find doors evocative, the symbology of leaving and entering, of thresholds and openings and privacy.  Here’s one….

OLYMPUS DIGITAL CAMERA

And finally, a shot that’s been manipulated to look as timeless as possible, of a Qi Bao canal and its bridge:

OLYMPUS DIGITAL CAMERA

That’s it!

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An Experiment With Time — An Appreciation

Posted January 12, 2013 by fencer
Categories: Awareness, Book Review, Culture, Remembering, Science, Science Fiction

An Experiment With Time — by J.W. Dunne.  A & C Black Ltd., 1929, 2nd Edition.

Or say that the end precedes the beginning,
And the end and the beginning were always there
Before the beginning and after the end.
And all is always now.

                – T.S. Eliot

Eternity in love with the products of time…
               – William Blake

Time is nature’s way of keeping everything from happening at once.
– Ray Cummings

Many years ago when I was 11, our family moved to a valley in northern British Columbia halfway between the interior town of Prince George and the city of Prince Rupert on the coast.  We moved into a log cabin that we had seen before only in photos, which measured perhaps 30 feet by 24 on the interior, with a rough plank floor.  It had been carefully built in the early 1900s, and still stands today.

Our first winter there in 1962-63 was one of much more snow, and colder below-zero degrees Fahrenheit temperatures, than we were used to in our former home in northwest Washington State.

We installed a big wood-burning cook stove, I remember, before the cold season began in earnest.  All our belongings in their boxes and cases and trunks were piled high in the middle of the cabin, including a very old Victrola wind-up phonograph cabinet.  It could play my dad’s Josh White and old foxtrot dance 78s with dull steel needles carefully inserted into the playing head.  My father, and much less so my mother, had a vision of us making our way as modern pioneers in a place that lacked electricity, telephones and most of the usual amenities.

I think it was one of the best things that ever happened to me.  My two younger brothers and I were given the treasures of space, the wild outdoors, productive chores, and real and imagined adventures in a landscape that seemed to receive us willingly.

My parents set up their bedroom at one end of the cabin.  That space also received shelving that extended along the entire end wall, up and down around the window cut-out there with its new double panels of translucent plastic sheeting, and for a short distance along the walls on either side.  It was a little tricky to build shelving on the half-rounds of the interior log shapes, but Dad managed it.

Books and more books

A lot of the pile in the center of cabin were boxes and boxes of books, and as they were placed on their shelving, the pile began to shrink a little and we had more room to move.

The books were mostly hardbacks, and it’s evident to me now that my parents put a lot of thought into what they brought with us.  There was an extensive amount of English literature that boys might like, with works by Robert Louis Stevenson and Mark Twain, Stephen Crane and Ernest Thompson Seton.  We brought us with a set of My Book House, an educational series containing fables, fairy tales and adventures graded for different age levels.  My father made sure to bring a complete set of the famed 1911 version of the Encyclopedia Brittanica. There was much more, fiction and non-fiction, including pamphlets and booklets about such contemporary concerns as radiation and nuclear war.

A couple of years after that first winter, and indeed, after my father died of a stroke, I remember pulling down and opening for the first time J.W. Dunne’s An Experiment With Time.  It was obviously an older volume and I was idle and curious.

Before I describe more of its contents, which opened an enquiring 14-year-old’s mind to the possibility of wider vistas, let me give you some details about John William Dunne himself, a quite interesting figure.

JW Dunne and flying machines

Born in Ireland in 1875 of Anglo-Irish aristocrats, at the age of 13 he imagined a flying machine that needed no steering.  According to Wikipedia, he became very interested in the flight of the Zanortia seed which would have a bearing on his future career as an aeronautics designer during the very early days of flying.

But first he joined a volunteer calvary regiment which fought during the Second Boer War. In poor health, he returned to England, and began to test his tailless airplane designs, encouraged by family friend H.G. Wells.  He invented a stable tailless airfoil with swept-back v-shaped wings, following the design of that seed of his youth.  He produced both monoplane and biplane versions.  The pilot rode at the very front. The whole thing, in one of his later designs, was pushed by two propellors.

Eventually the airplanes became well-known and received a limited extent of commercial interest.  But it turns out that planes of great flying stability are not particularly maneuverable, especially for military purposes.  His designs were bought out and modified slightly.  One such became the first Canadian military aircraft.

Dunne was able to retire and live on the income from his various patents.  As an avid fly fisherman, he wrote a book on that subject.  He also wrote on politics, advocating in 1938 a body similar to NATO to replace the failed League of Nations.

He became interested in dreams and the nature of time after having several dreams about major disasters before they actually occurred.  He began studying his dreams in a systematic way, and began the speculations about the nature of time that comprise his book, first published in 1927, An Experiment With Time.

Science fiction and reality

So this is what I picked up and read from our bookshelves with some amazement as a teenager who constantly devoured science-fiction.  At that time Analog Science Fact & Fiction magazine was a favorite, and for a short period in the 1960s was published as a slick larger magazine size before reverting back to the smaller digest format.  During that time, it published many stories about telepathy, teleportation, precognition and occasionally time travel under the influential, and controversial, editorship of John W. Campbell.

The teenage version of myself was amazed and tickled that this old book sitting in our home for years actually took some aspects of what appealed to my wildest imagination, and considered it seriously.

Although the precognition in dreams idea is interesting and I wouldn’t reject the possibility, given all the anecdotal experiences — it has never happened to me.  (But then I remember dreams only rarely.)  Dunne’s theory of time intrigues me more.

Dreaming becomes an entry point to the study of the human perception of time, as Dunne speculated, because it is then that our usual sense of the unidirectional flow of time is able to loosen and broaden. Past events and future ones may be equally amenable to dream perception.

Basically his idea is that all moments in time are taking place all at once, if you can imagine taking an eternal point of view.

Infinite regression

He uses the idea of infinite regression to illustrate our limited perception of time’s nature. Time is a series that it is necessary to be out of in a second series in order to observe it, and in yet a third series or time in order to perceive that.  According to Dunne this leads to an infinite regression of a series of times that span forever, like looking at a reflection of ourselves holding a mirror infinitely into the distance.

Dunne went on to devise an elaborate mathematical theory to support his ideas, which he called Serialism.  He described his ideas in considerable more detail in another volume, The Serial Universe (1934).

Now I don’t know if all this is close to reality or not, but it at least opens the door to considering that the arrow of time may not be so simple after all.

How were Dunne’s theories received?

In science, the astrophysicist Sir Arthur Eddington wrote to Dunne agreeing with him about his idea of Serialism.  In 1981, the science journal New Scientist published a positive review of the book. Paul Davies, though, in his book About Time: Einstein’s Unfinished Revolution dismisses Dunne’s arguments, Wikipedia says, as “entertaining.”  In a 1998 letter to the New York Times, mathematician Marc Groz noted that physicist Stephen Hawking’s concept of “imaginary time” was predated by Dunne.

In literature and philosophy, Dunne had a greater impact, if anything.  However, both H.G. Wells and Jorge Luis Borges criticised Dunne for turning time into a spatial concept. Borges also said in an article on Dunne in his book Other Inquisitions 1937-1952 that:

“Dunne assures us that in death we shall learn how to handle eternity successfully. We shall recover all the moments of our lives and we shall combine them as we please.  God and our friends and Shakespeare will collaborate with us.

“With such a splendid thesis as that, any fallacy committed by the author becomes insignificant.”

J.B. Priestly and C.S. Lewis, and even Tolkien, used Dunne’s ideas in their work, and Dunne was also said to have influenced T.S. Eliot, as can be seen in Eliot’s quote above.

Time as music

Dunne asks us to think of our experiences as keys sounded upon a piano keyboard, and to consider that we experience time as the sequential playing out of a piece of music.  If we were to somehow loosen that sequential perspective we might find, as Dunne writes in one of his later books, Nothing Dies:

‘”The whole range of musical composition lies before you, and this with an instrument, the keyboard of which is a lifetime of human experience of – every description. Do not fear or shirk the experience. The more varied it is, the finer becomes your instrument, and the richer the possible effects. There are great notes to be produced. – There are sombre tones. And there are other players operating other instruments giving the possibility of orchestral effects – effects which must increase in complexity and magnificence as agreement is reached between more and more performers; until, I am now scientifically certain, the Hand of a Great Conductor will become manifest, and we shall discover we are taking part in a Symphony of All Creation. The magnitude of your own share does not matter; for the smaller it may be, the better you will hear the whole. But, to hear that symphony, while playing your own part therein, is absorption.”

Well, I’m not completely sure on that.

But I do like to think that the cabin of my boyhood, the best of the times around it, and the discovery of Dunne’s book are still out there in the grand symphony of it all.

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Some further notes…..

First, the images from top down:

1) One of Dunne’s airplanes, with its swept back wing design modelled upon a flying seed.

2) A diagram to illustrate Dunne’s idea of regression, although the regression only goes a couple of steps….

I’ve found Dunne’s books, An Experiment With Time and The Serial Universe available online for view in pdf form.  Others of his later works, variations of the same subject, long out of print are being sold as ebooks for minimal price.

There are a couple of fascinating articles about early flight and Dunne’s role in it.  One is on a site dedicated to Lawrence Hargrave as the father of Australian aviation, called Flying Wings.  Another article also covers the History of the Flying Wing at the Century of Flight website.

There are a number of interesting sites on the nature of time in general. One I found, by the research physicist Manoj Thulasidas, is an excerpt about the perception of time from his self-published book The Unreal Universe.  Another is at the Stanford University page on The Experience and Perception of Time.

And finally, I want to leave you with an intriguing mystery (or a shared hallucination) that I came across looking up a few things on the web.

It’s called the Moberly-Jourdain Incident in France in 1901.  Two female academics described what they experienced as a “time slip” and later wrote a book anonymously about what they say happened, which according to Wikipedia, was subject to much ridicule.

You can read what our Mr. Dunne says on the subject since he wrote a note included in their book.

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Bruce Tegner and Self-Defence

Posted November 16, 2012 by fencer
Categories: Book Review, Culture, Martial arts, Remembering

“Self defence is Nature’s eldest law.”
– John Dryden

Bullying has become a hot topic of conversation in my part of the world in recent weeks.  Such a spike in interest and general pontification about its reality among young people is due to a recent suicide by a vulnerable teenage girl after she foolishly flashed her breasts on a social media site.

If it’s anything like when I was in school, so many years ago, being bullied is both a terrible experience and a pervasive fact.  People, especially immature kids, will take advantage of their larger physical size, higher status, or greater power of most any kind to wreak their will on the less fortunate, especially those whom they deem weak or undeserving of respect.

In the long time since my youth, or even five years ago, the sudden pervasiveness of social media, and the myriad avenues of communication they make available have provided more ways for the dedicated bully to make him or herself felt.

It seems to be part of being a social animal, unfortunately.  I remember seeing this, as a boy in northern BC where we had a lot of room, among the litter of dogs — perhaps six or seven — we once allowed to grow up together.  The puppies after a very few months had it in for one of their number.

He was just a little smaller, with perhaps more of a whiny disposition, and his siblings took to ganging up on him without provocation.  The poor thing couldn’t even eat without being set upon.  We tried to protect him and separate him from the worst of the rest’s attention.  But he liked to run with the pack, never mind the consequences.  We hoped the pack would grow out of this obsession towards the runt, but as the dogs grew, he got more savaged.  Eventually the others killed him.

I was fortunate not to have been bullied too much in school.  Although bookish with glasses, I was of decent size and prone to fight back if excessively provoked.  But I tended to hang out with fellow outsiders, you could call them, who did receive more than a little attention from schoolyard bullies.

Perhaps because of this, I did take an interest in self-defense at an early age, and being bookish, of course I looked for writings on the subject.  I also took up wrestling in high-school and built my own boxing ring at home, where, after taking off my glasses, I could spar inexpertly with my neighbourhood friends and acquaintances. So it wasn’t purely a theoretical pursuit for me.

Before Bruce Lee and Chuck Norris

In the days before Bruce Lee and the more mainstream acceptance of martial arts, there were very few books available on karate or judo or on self-defense in general.

One of the few authors who did write such books in the dark ages before martial arts magazines was Bruce Tegner.

He is little remembered now — there is only a very short article at Wikipedia — but in his day during the 1960s and into the 1970s he authored as many as 25 books on judo, jujitsu, karate and even aikido and savate.

Interestingly both his parents were professional teachers of judo and jujitsu.  Bruce Tegner was born in 1929 and his parents apparently began his instruction at the tender age of two years old.

There is a video available here of Tegner and his mother demonstrating jujitsu, although he’s much older than two!  (The other mustached participant in the video may be his father.)

He became California state judo champion by the time he was twenty-one.  From 1952 to 1967 he operated his own school in Hollywood, California and had a number of actors among his students, including Ricky Nelson, James Coburn, and George Reeves.

He choreographed movie fight scenes, perhaps most famously the one between Frank Sinatra and Henry Silva in the Manchurian Candidate (you can see it here.)   Tegner has Silva using one of the common fighting stances from his writings.

He was also said to have taught military police and coached sport judo teams.  By the mid 70s he was teaching judo at several colleges including as an instructor for a criminology program, and continued to write books.  He died in 1985 of a heart attack at the age of 56.

You can read one of his early works, Judo For Fun, at the wonderful Sandow Plus website.

Tegner had a modernist attitude towards the martial arts.  He was more interested in effectiveness than tradition, and in keeping techniques simple enough to be employed by those who weren’t trained athletes.  He went out of his way to demystify the esoteric aura of the martial arts and to downplay any imagined superhuman abilities of black belt practitioners.

Between the popular nature of his books and his lack of awe about martial arts culture in general, he was largely ignored and forgotten by the martial arts community.

But for a teenager in northern British Columbia wondering how best to defend himself, if it came to that, acquiring Bruce Tegner’s Complete Book of Jukado Self-Defense in 1968 provided what seemed to me then, and still does looking at it now, a workable way to dealing with physically aggressive people.  “Jukado” was Tegner’s combined approach to martial arts with elements of Judo, Karate and Aikido.

Even now I retain some of his key concepts.  One is the ‘thoughtful guard’ as if thinking, one hand near the chin, the other in support at midriff, hand near the raised hand’s elbow.  This is particularly useful in ambiguous circumstances where an aggressive person may be shouting but not yet prepared to take a swing. The stance doesn’t show belligerence nor indicate a challenge.

Another concept that I still appreciate is the idea, especially if confronted by a baton or knife, of moving or even jumping to one ‘corner’ and delivering a serious kick to the knee.  This makes so much more sense to me than fumbling around with some ‘technique’ at closer quarters.

The other book of Tegner’s that I have is Stick-Fighting: Self-Defense which I found in a second-hand bookstore decades after the first one.  It covers use of the cane, the yawara hand-stick, umbrella and walking stick.  I must have got it in preparation for my elder years!

There is a place for books such as these on self-defense, but unless one practices some method in a regular way, and finds a way to bring it into your body, all of that information usually flees in difficult circumstances.

For those who may wish to investigate a more modern book on self-defense, I would heartily recommend Attack Proof, by John Perkins, Al Ridenhour, and Matt Kovsky.  This is a very thoughtful, insightful approach to self-defense with topics like “Guided Chaos Body and Mind Principles” and is endorsed by real world police and military types.

Many of the drills they recommend have similarities to the essence of what is also trained in aikido and tai chi.

And I was glad to find their recommendation, for instance, of what they call the Jack Benny Stance, which is the same as Tegner’s ‘thoughtful guard.’

[Home]

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Notes on photos from top down:

The first three are from an online obituary for Bruce Tegner.

And the last is Jack Benny of course, found of all places on a site called Gutterfighting….

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Of Marriage, Money, Dogs, and the Nahanni Valley

Posted September 12, 2012 by fencer
Categories: Culture, Painting, Remembering, Writing

I did something back in 1989 that I am so grateful for now.  I took the time to sit down with my ailing mother and interview her on tape about her life and our family history.

On two occasions separated by four months I plunked down a simple tape recorder and asked her questions while she lay on her bed/couch, suffering the long march of the form of multiple sclerosis she had, which would take her life in a few short years.

I don’t remember what exactly motivated me at the time, but I’ve always been curious about certain aspects of our family history.  I figured it would be good to get Ma’s memories recorded.

Maybe it was later in the day the second time and she was more tired, but even over the interval from August to December, I hear now how her voice became more quavering.

Those two sessions, originally faint patterns in iron oxide on fragile ribbon, are the only records of her voice, thoughts and feelings that exist.

The reason this arises is that I’ve got a USB cassette deck that can take my old tape recordings like Ma’s interviews and all those years of mix tapes of great tunes and turn them into mp3 files.  So I’ve moved Ma’s voice from tape to digital, although the quality of the recording, not that great to start with, is slightly worse than the original, although one can still make out what she says.

Besides the photos, and the memories I share with my brothers, this somewhat random oral memoir is really all I have of her that means something.

How to get born in Seattle

I started off by asking her how she and my dad got from the University of New Mexico in Albuquerque, where they met and never finished their studies, to Seattle where I was born in 1951.  On the hissing tape my questions sometimes are audible and sometimes not, while Ma’s voice comes through next to the recorder.

She married my dad in 1947.  This was only a couple of years after the Second World War.  Dad fought as a Marine against the Japanese up until the war ended, including on Iwo Jima and other hellholes in the Pacific.  (I’ve written a little about this before.)  Her major was political science and his was art, oddly enough, but I think they just ran out of money to go to school and wanted to try their hand at raising a family.

Money, or rather the lack of it, is a recurring theme in my parents’ lives together.  They never had very much and constantly had to scratch about to find jobs.  Dad had training as a machinist, so they took off from New Mexico with a car and motorcycle in search of work for him.

Their Indian motorcycle with a sidecar broke down almost immediately in Tempe, Arizona.  Without money for repairs, they abandoned it and piled all their belongings into the remaining vehicle and drove very carefully to San Francisco, worried about blowing a tire without the money to replace one.

Finally they made it across the country, and stayed with family at a Junior Five on the coast near the Cliff House (one of San Francisco’s oldest restaurants).  They soon found a place to live in the Mission District.  Ma took a job in Santa Rosa north of Frisco, where she would stay during the week and return on the weekends.  Her job was to develop photographs for a photofinishing business. Her boss was busy running a chicken farm at the same location, and my mother did all the photofinishing.  “It was nice, cool work, since I slopped around in water all day.”

Most of the photo work was mail order, from Guam, from service people. “I can’t tell you how many acres of beach in Guam I developed.”

Dad was off in Alaska on a high-rigging job putting up a big radio tower, although there’s much more to that story, it turns out.

Ma said about the tower, laughing a little, “…which blew down after he got home.”  Quick to defend my Dad, she went on, “Well, he did what they told him to, so…. it wasn’t his fault it blew down!” Still laughing.  It’s always good to be able to hear her laugh again.

My father died of a stroke in 1963, a couple of years after we moved to northern British Columbia.  Ma never married again, although she certainly had relationships.  But in her voice on this recording talking about my father, from time to time I hear a wistfulness, a loyalty to him, hints sometimes of disappointment in their life together, and considerable caring — all the dimensions of a marriage recalled with a bittersweet ruefulness.

After Dad came back from what had been an ill-fated four months trip to the Canadian north and Alaska, and again having difficulty finding work, the couple decided to flip a coin.  Heads to Seattle, tails to Los Angeles.  It came up Seattle.  They bundled up their belongings in their ’40 Ford convertible, including “your Dad’s typewriter and his guns” and took off for the city where I would be born in1951.

Poor in the Pacific Northwest

They found the cheapest housing they could find in the southern part of Seattle, an old motel for a buck and a half a night. “The sheets, they were clean, but boy, were they worn…..”  The latter was said as if Ma rubbed again the thin material between her fingers.

For enough money to survive at first, Dad was forced to pawn the typewriter and his guns.  The aeronautical giant Boeing was the big employer in Seattle, but they kept having strikes.  Dad, desperate for work, scabbed, crossing the picket lines, and earned enough with his first paycheck to get his belongings out of the pawn shop.   He would go on to work for Boeing after the labor troubles were over.

They had a housekeeping room in South Seattle. They ate “a lot of lettuce,” Ma recalled.  She went to work briefly in a store at the Pike’s Place Public Market. She was offended by the way the down-and-out and the elderly, who came in for the cheaper day-old bread and other stale goods at a rear counter were always ignored in favor of  the more well-heeled who bought new product at the front of the store.  She didn’t stay working there long.

For entertainment she and my dad would walk up and down nearby streets, and window shop all the hock shops.  They occasionally bought horse meat for their dinners.  It was cheap: 21 cents a pound, she recalled.  “It was lovely meat.”

My father had ambitions as a writer, too.  After he got his first check from Boeing, and he had retrieved his typewriter and his guns from the pawn shop, he tried to settle down to work on some stories.  But he was too tired from driving and working all day to do any more than write letters.  Ma said, “Steve [my father] wrote a lot of letters.”   That’s a little like writing a blog, I’m thinking now.

In the early 50s housing prices were not out-of-sight like they are now.  After a year or so, they were able to save enough money for a down-payment on an old and little house in a working class suburb of Seattle. But even so it was little more than a shell that they had to finish building themselves.

Dog stories

In that early household was a squalling baby (me), my grandmother who moved in next door for awhile, and lots of dogs.  Both my parents really liked dogs, to excess.

Most prominent in my mother’s memory from that time was a fluffy black and tan mutt named Feo.  She explained, “Feo — it means ugly in Spanish. And he was stupid too. …. Actually he was kind of a pretty dog.  But he was just so damn stupid. He was so cute when he was little.  You can’t take home dogs because of that.”  She laughed about Feo. “I’d forgotten about him. …He was sweet but he couldn’t keep things straight in his head.  When you have smart dogs you know dumb ones.”

In that little place in north Seattle, apparently there came to be something of a population explosion of canines.

“I finally said, ‘We can’t handle all these dogs.’ Then I came home one night off the bus, and I heard this wailing and keening. It was Steve crying over the dogs because he had to kill some of ‘em and he was just heartbroken and he was drinking and he was just crying and wailing.  And you could hear him …all …over!”  After that, they both were determined to hold the numbers of dogs down, because they didn’t want to go through that again.

There were other notables in the pantheon of family dogs as I grew up.

For instance, “….somebody who had been mistreating their dog gave us this huge German Shepherd.”  At the same time, my Dad’s dog Mister, a ferocious beast with a stub tail of Chow descent  was also on the scene.  The two of them had to be kept tied up separately most of the time.

Burma, the German Shepherd, I recall well.  I might have been seven or eight, and I remember this animal always regarding me with a strange air.  Abused as she had been, she didn’t take kindly to children at all.  Even adults couldn’t raise their arms in the air around her.  One day, on the farm we eventually moved to in Snohomish County, she and I were outside alone.  The rest of the family were away.  Burma was off her rope, for some reason I don’t remember.

Burma always made me uneasy.  In her previous home, it had been kids who tormented her by smacking her with boards. She began to stalk me, or so it seemed to me on some inarticulate level.  She never growled or showed her teeth, but I spent the rest of that day in a treehouse out of her reach waiting for my parents to re-appear while she paced below.

Finally my parents tried to give her away to a good home.  The first couple who took her, this beautiful enormous white and grey dog, returned her within a day or so.  Burma refused to let the husband into the house.  But finally a savvy older couple did finally take this problem creature on successfully.

Mister, my dad’s dog, an intelligent animal of uncompromising character who loved my father and sort of tolerated the rest of the family, and who had to be kept tied up due to the threat he posed to the general populace, outlived my father.  Ma regretfully had him put down the summer after Dad died.  He was 13 or 14, mythic in his way to my brothers and me.  His departure was an additional numbing echo of change.

My mother sighed deeply after the recitation of all the dog stories.  “More damned dogs than we knew what to do with.”

Their little home in Seattle which I can barely remember as a young child, and where my two brothers were also born, was finally finished inside in eight years, and then traded for a 20-acre farm in Snohomish, a still rural part of Washington State. My parents kept a couple cows, a beat-up old horse, and most memorably, goats.  “Goats are pretty picky.”

They still didn’t have much money, and we had well problems, among other things, that they couldn’t afford to get fixed.

Leaving my father

There would be a couple more moves in Washington before we finally ended up in northern British Columbia.

But while we lived in Snohomish, my mother informed me during our second session, “I left your father.”  Now this was something I hadn’t known.

“He went off shooting guns with a bunch of guys and they were drinking.  And I thought, what if he gets shot in some quarry.  He couldn’t understand that. He’d say, ‘I know how to handle guns,’ and I’d say ‘How about the rest of those idiots….’

“His buddies thought this was just the thing to do on a Saturday night.  …. I came back [in a couple of weeks] after he promised to be good. But we didn’t have any more of those… situations. I like to think he missed me, but he probably missed you kids more.”

Dad’s Nahanni Valley scientific expedition

In 1948, three years before I was born, my father bought shares in and planned, with some buddies from Albuquerque (perhaps associated with the university), an ill-fated expedition to the famed Nahanni Valley in Canada’s Northwest Territories.

Also known as the Headless Valley, this place of spectacular waterfalls, sulphur hotsprings and ice caves was first explored just after 1900 by fortune hunters in an era of gold prospecting fever.

But early prospectors and others who ventured into the area either vanished or were found with their heads removed.  Even a fierce mountain tribe of natives had disappeared years earlier.  The valley took on a dark reputation.

By the late 1940s, there was extensive public interest in the Nahanni Valley.  There were rumours of it being some kind of lush Shangri-La.  The Vancouver Sun newspaper in 1947 sent two reporters to fly over the place.  They reported that it was not some mythical oasis but a rugged and cold wilderness, albeit with a few extensive hotsprings.

Two years earlier, in 1945, the body of yet another prospector in the valley had been found in his sleeping bag without his head.  There were rumours about the local natives, or even Sasquatch, deciding that white interlopers needed to be warned away.

So it was in this context that these guys from New Mexico formed the plan for their “scientific” expedition.  I can imagine that this endeavour was hatched in a bar somewhere over a few beers after reading in the newspapers about the tropical wonderland in the far north.

One of the fellows had a plane, so the group figured that this expedition could get underway in fine style from Edmonton, already well north in Alberta, where they all travelled to begin their adventure.  Unfortunately, the plane didn’t meet Canadian standards and wasn’t allowed to fly in.  Due to the problem with their planned transportation, they ran out of money to supply themselves and to charter a flight to the Nahanni.  And some of the expedition members were too young  and immature, and became less than serious about the expedition after encountering a few of these difficulties.

But they did manage to receive certification as an official “scientific” expedition from, I gather, the Canadian government, before the whole thing fell apart.  By this time Dad became disgusted and hitchhiked across the north, with almost no money now, where he ended up in Anchorage, Alaska.

He continually wired Ma for money, which she had very little of, until finally she sent him a telegram with the message, “Not here.”

He wired back “What did you say that for?”  (That was just before he resorted to high-rigging that radio tower so he had enough money to return to the lower 48.)  Ma said she told him when he came back.

On the recording, the way she described this episode made me laugh, and her too.

[Home]

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Notes on images, from top down.

1) My favorite painting of my father’s — painted in 1938.

2) From May, 1958, my mother with her three sons and my stepsister.

3) The Nahanni Valley, from an adventure website where you can raft for a week on the Nahanni River for only about $5000.  The site doesn’t mention the headless phenomenon.

4) Another painting from 1949, a self-portrait by my father, hitchhiking along the Alaska Highway.

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Architecture of the Novel — A Book Review

Posted August 8, 2012 by fencer
Categories: Art, Awareness, Writing

Architecture of the Novel: A Writer’s Handbook, by Jane Vandenburgh.  2010, Counterpoint, Berkeley.

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“To start writing a novel is exactly this simple: You allow the scenes from your story, the story that has been bumping you and nudging against you as if it’s emerging out of darkness, to itself begin to control the writing process.  As it begins it wrests the reins of the narrative from you, and you begin to sense your story’s absolutely
amazing power.”  
– Jane Vandenburgh

A lot about writing is just giving yourself permission to go ahead with what you have.

I’m slowly gathering my forces, as I put it to myself, to launch into the actual writing, painfully deliberate and slow as it will be, of a novel I have in mind.

The most encouraging book I’ve read recently about the mammoth conceit of wanting to write a novel is this one by Jane Vandenburgh.  As a novelist herself (of two books), her experience of the act of writing and bringing such a long form together is expressed so that one can almost hear the ringing of distant bells — the auspicious tolling of something new about to be.

There’s a kind of trust required to write a novel… a trust in the process that the ambiguity and the fogginess concealing characters, settings and connections just out of awareness will prove to make sense in the end.  It’s not a trust that’s fully enveloped me yet.

In my thirties, unemployed, I did write a novel manuscript that after two drafts did manage a story of a kind of linear existential adventure in the wilderness.  It wasn’t very good, but after several previous failed attempts to write a novel, that I was able to finish it at all brought a kind of satisfaction that didn’t need to be published.

But the urge to write a novel again since then continued to rise up…. I’ve had a number of false starts, and the always disconcerting sensation of good ideas leading nowhere.  Perhaps I don’t really understand what makes people do the things they do, or am unable to communicate it, or maybe I have no sense of what a good story is, or… well, there’s a fair amount of self-doubt.

I’ve tried outlining, I’ve tried mind-maps, I’ve bought books on writing by the score… but finding a self-sustaining core of developing truth at the heart of the novel has continued to elude me.

In that context, I found Vandenburg’s advice to begin anywhere, with whatever scene means something to you now, as liberating.

“All you need to do is write a scene that lies somewhere in the neighbourhood of what might turn out to be your storyline.  Go do this one immediate and concrete task, spending as little time as you can thinking about it beforehand, and no time at trying to write well.  Make sure the writing doesn’t sound large or grand — and more like something that would be easy to throw away.  … With this simple act you’ve started to write a novel.”

At the start of this process, the scenes, the units of story, take place only in action, reporting the direct witness of the senses…. What one is seeking in this, says Vandenburgh, is a feeling of physical immediacy which brings the story to life for the author, and thus one hopes, eventually for the reader.  We want to find the thread of the narrative that can only be found in an exact time and place.  Summaries of scenes can’t work for this.

And what is a scene, this basic building block?  I think I have two or three books on the subject….  But Vandenburgh helpfully again distills it to its essence:

“A scene is simple and easy to understand: At a certain time and in a specific place, an action has been allowed to happen, an action that plays out before the witness of our senses.”

She advises not to worry about The Beginning at the start, but to just plunge in where a scene comes to mind.  And then write the next one that comes to mind.  Eventually your mad and glorious story will make itself known, and a beginning and an end will come about.

It is better to think of this first draft as a “provisional” draft, she also says.  You’re not bound to anything, yet, other than to feel out the physical dimensions of the dramatic action that comes to us, the story’s moments.

“There is honestly nothing more important to your story at this early stage than its ability to pull its writer into a scene that makes this writer seem a willing participant in it.  You will simply need to live your story’s physical reality in exactly this visceral way for its scenes to do the work they need to do.  They need to get us all to believe in them.  The first person your story must convince is you.”

Her advice is to discipline yourself away from all structural considerations at the beginning, including chapters and outlines.  Don’t import background or worry about plot.

“Your scene often advances itself upon you by its use of a single image…. As we write our scenes via their sounds and sights and physical objects, we suddenly feel that we have entered into the excitement of the narrative present, which feels dreamlike and vivid.”

Now this all sounds very fine, and it squares with my previous struggles with overly conceptual approaches to novel writing.  Some people may need outlines and three acts planned ahead to get themselves going, but I’ve always found those requirements weighing me down. I want to discover the story, I want to be excited and inspired by that discovery, and driven to go on.  So what Vandenburgh encourages feels right, and is very much what another writing teacher Robert Butler also advocates as the best process.

How’s that working out?

So how’s that working out for me so far?  I did write the first scene that that had been coming to me.  That felt good.  But for some of my next scenes I immediately started to drift away from the witnessing, away from bodily, intimate perception and participation into more abstract summaries rather than the hard work of the scene’s felt reality.  I’ve discovered that to write like this requires considerable discipline, both in the unstructured approach and in the need to write consistently every day to get into the right “head space” — to borrow an anachronism from a few decades ago.  I’m still getting myself ready to go, in the procrastinating way I have.

So one may accuse Vandenburgh of being a trifle glib, of minimizing the need for structure and of turning the novel into a mysterious stream-of-consciousness endeavour that’s bound to turn your way.  It ain’t necessarily so, I’m sure.  But this approach does empower, I find, if only by recognizing and accepting and trusting in the chaos that starting a novel engenders.

She does devote a section of the book to plot.  As the scenes begin to accumulate, their sequencing starts to take on more meaning. A quest in some sense starts to become evident.  But:

“The novel-writing enterprise — when you get to plot — starts to sound like a structural impossibility, that it’s an instruction manual you have to write in order to be able to read how to begin.”

But the restructuring and rearranging of the scenes and episodes imagined in their reality will, Vandenburgh says, make the story our own through the story’s intrinsic architecture revealing itself.

What can go wrong?

Vandenburgh says of her writing process: “My greatest strength? I’ve always allowed myself to be wrong for as long as it takes for me to learn the truth of what my book wants to say from the inside out.  I let myself be wrong.  I absolve myself ahead of time; I am forgiven all my lapses and failures.”

There is a lot more of substance in this book than I will examine here:  a section on narrative time and a kind of glossary covering narrative structure.

I like her voice, the lightness and the humour in it:

“This is why you’re going to have to let your story confound the plot, stand up, say whatever is on its mind, tease it, poke it in the gut.  Story dances off, hides in the bathroom at the truck stop and says it won’t come out.  Story makes fun of plot by diving out the window the moment plot thought it had its hands on it.”

And finally, as a last bit of advice from her, here’s a passage summarizing Vandenburgh’s message about the difficult project of writing a novel and respect for what we’re setting out to do:

“We enter the time of our story and look around.  It may seem as wild and as strange as the New World did to the first European explorers.  We look around, entering it respectfully, listening to the voice of those who already live there to find out what the story’s things want to call themselves.

We enter our story as we would a foreign country.”

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