Saturday, February 6, 2010

There Goes By the Neighborhood

Once it was about pot. People were out for their routine walks on the streets or the forest trail, and when they would meet, they would exchange the information like ants transferring food: someone had some really good pot down by the river. The news worked its way off the streets and into people’s homes, and as the afternoon wore on and people finished chores, they came out as if answering a summons. The random walking of earlier in the day became a coherent migration toward the river, toward that set of rocks where the good pot was said to be.

This time it was about ice. Svetx and I met Debbie on the river and she told us. She had seen Jack that morning hurtling past her house on the street at 90 mph, his boot heel dug in and his gloved hand dragging, trying to turn that toboggan in the curve before smacking the curb. After the curb it was Larry’s truck, parked on the street because his drive was impassable, that had to be avoided -- but Jack missed this and managed a sharp turn the other direction, onto the access road for one final plunge before the long flat coast on the parking lot for the old mill. Later, Micah had gone under Larry’s truck and hit the curb, but apparently she was okay -- she was back sledding a few minutes later. Anyway, everyone would be at it again that night, because the temperature was going to drop again to 19 degrees. Black Ice Sliding. 8 pm. The winter answer to summer’s Full Moon Tubing.

Svetx and I had missed the day’s sliding, but this would be our chance. We took a nap. We made sure we started on dinner early enough to eat it in time. We drank coconut rum to help conceal the potential pain. We had no toboggan, but we were hoping for a loaner.

Soon after 8 pm we heard screams of delight, so we put on the boots again and walked to the sliding party. People we had seen in daytime now had faces in shadow under hats and hoods. Others came up from the dark run and dropped plastic toboggans onto the ice and said, breathlessly, “Who’s next?”

It was us. I climbed in, and the toboggan wanted to start its slide before Svetx could get in between my legs. Then we were off with the barest shove. Good speed came right away, the gouged ice beneath us giving a hard Moroccan massage to our butts.

Passing the first house on each side, already, it felt too fast. I tried to jam my outstretched heels into the ice, but they hardly made a difference. It would be a brake early, brake often situation.

We passed the house where once lived May who worked at a biodiesel plant but told me that a huge room full of algae would only generate a teaspoon of oil in a day. I told her it depends on the strain of algae and the growing conditions, but she didn’t seem to believe me.

The road steepened and I felt, for the first time, that I should not be dong this. We had angled toward the curb, too, and my heels weren’t helping. I leaned to the right, and that helped a little. I told Svetx to lean right, and this did turn us better. “Straight,” I said, trying not to turn us past center toward the other curb.

We passed the tiny house on stilts, hardly bigger than a deer blind, half of it a screened porch, the other half probably one room, which was built by the artist who lives in it and whom nobody ever sees. It’s high up the bank from the river so I don’t know why it’s on stilts, unless she was worried about snakes getting in, a concern I would have too.

Then was the house where lives the woman who has a PhD. in carnivorous cats and says that the ones at the Carnivore Preservation Land Trust could easily climb the fences and get out, but stay in because they don’t know this. Her husband had tried to get his Scion out earlier that day, but once it left the bare patch of gravel where it had been parked, it’s front drive wheels could not climb up onto the top of the ice layer. So he drove it back to the bare patch and declared he wasn’t going to work the next day.

We were veering too far right, so I had us lean left briefly. We passed close to cars parked along the right, and we were set up poorly for the coming curve. I jammed both heels down harder, thinking again that we should not be doing this.

There came the house Svetx used to live in, with its mildew which activates and blossoms, invisibly, all summer, in closets, behind walls, in shoes; and where, this time of year, the tiny wood stove must be run nearly constantly to barely keep one room warm. Svetx, working late hours, would come home and head directly for the electric blanket, hardly bothering to heat the house. The current residents stay home all day and keep that stove fed.

There came the area of road where we had seen Rascal tearing up a fresh, glistening carcass earlier that day. The frozen remains could have been one of the myriad of bumps rubbing our butts.

The curve was approaching, with the next neighbor laughing from the safety of her dark front porch. Earlier that day she had gouged a bare patch in the ice just in front of her front walkway, nonsensically. This was next to the curb, not really a hindrance to sledders, but still, why had she bothered?

We were close to the right and would be inside on the curve. I would have preferred to have been on the left and then aim for the inside as we entered it, but this was not to happen. A dark wall of trees loomed ahead on the outside of the curve, with that hard curb somewhere at its base. I thought again that I should not be doing this. I could break my arm, and then I would not be able to work. To avoid crashing, we would need to lean hard, but without knowing how much the toboggan would skid, how would we know when exactly?

Just lean. We did, sideways, all the way, with our shoulders dragging ice, practically bailed out of the toboggan altogether. We slowed a lot, more than I wanted, but coming up straight again, we had made the curve and just missed a truck parked on the right. (Later a member of the Paperhand Puppet Intervention complimented us on making a graceful turn. Coming from one of those folks, that means a lot.) We leaned again, straightened, bottomed-out, and did not try to turn into the access road to the mill parking lot. Instead we coasted up toward the left and crunched to a stop behind another pickup truck there. Our blood recollected itself toward our heads because we were reclined backwards now, and as long as the folks on the next run had enough control to not crash into us, it would be easiest to simply lie back the rest of the way and stay for a while.

Continue . . .

Saturday, January 16, 2010

This Gives me Peace

I think about this past slow year and I panic. Going into it, I knew I would not be making much money, and I accept that. The problem is, I fear I have not developed myself enough personally in the extra leisure time. Sure, I write, but I know I could be doing more and better stuff, and I don’t focus nearly as well as I should; and even if I do think I make momentary accomplishments in writing, overall, that endeavor will remain a daunting, yawning pit for my time and self-esteem.

In ballroom, my partner and I have received some valuable coaching which has really opened us up to more intensive, better-styled moving; but dancing feels like a side-show in my life, something I can progress fairly well in, but which is not so distinctive to me.

Then I remember this other thing I’ve done this year, and I feel some peace. Southland of the Heart.




This independent feature movie was made piecemeal on weekends, about half of all weekend days since August; was captured mostly on my Sanken CS-1, run through cables in my hands and under pots beneath my fingers, stored on flash memory in the camera along with Ken’s footage, which always blows me away when I get a chance to see it long after it's been shot. I learned the dialogue and swung the boom with it, kneeling on gravel or standing on two desks if I had to, dodging the curveballs of accidental and intentional improvisation as best I could, and getting burned occasionally. I griped about background noises, I asked diner owners to shut down their giant freezers and their computers, I bitched about electrical cables running through doors from the outside and necessitating letting noise in. Sometimes I held up production to find a better mic position, or asked for another (and another) take to have a chance to boom boom it better. Sometimes they gave it to me, and sometimes they said “tough shit.” But the director and actors have been genuinely appreciative and complimentary of the audio. This strokes my ego. I need a community of people stroking my ego from time to time. This is what gives me peace.

And the movie is coming out pretty well, if I may say so.



I had known Southland’s director Todd since January of 2008 when he shot another director’s, Nic’s, Nightlife, for which I did the audio. (On Vimeo, the video has a sound/video synch problem which seems to be the fault of the website). Both Todd and Nic make several movies a year on weekends, and they are getting good at it. Over a year later, in April of 2009 I had purchased my own sound equipment package and was not working enough to really break it in -- or to break myself in on it, as they say. So one day I happened to be in the car with Todd while driving to work at a conference for this conservative think-tank, and I asked him if he had any projects coming up. He said yes, in two weeks, he would be shooting a short, Mary and Jennifer, which is currently not available for viewing.

While shooting that short, there was a moment when, kneeling on the tile floor of the kitchen, I noticed the hard set of Jennifer's face in my peripheral vision past the tip of the microphone, and I thought, “damn, she’s on time.”

In the following weeks I was thinking Todd could do a lot more with those characters. And I was thinking that I liked his style of directing, in which he would go to the actors and have a short conversation in a low voice, like, “You know how when you’ve had an argument and you’re close to apologizing, but you still are holding back, not giving it up yet . . . .” He would speak quietly with them, then go back behind camera and leave the actors to make it sing.

In June of this recession year, he called me and told me what I was thinking he should do. He was going to make a feature movie with the two characters, and asked if I could work on it for no pay. I had few prospects for paying audio engagement, so I said I certainly could, as long as I could dump him at the last minute if paying work were to come up.

It only came up on two days, and one of those days, I raced back from shooting an ACC PSA with the basketball coaches in Greensboro to work late into the night on Southland.



Now it’s January 2010, and people keep asking me, “Isn’t that free movie done yet?” I say it’s the never-ending story. No, it’s still not quite done. We have a couple serious dialogue scenes to do, and this coming Monday, MLK day, we are doing a light-dialogue day. But it will get there. And it will be good, if I may say so.

I hope I will always be able to experience times when the actors really nail it -- when they cry and act like they are experiencing the biggest kick in the gut of their life, and they pretty much convince me of this -- and I have the mic right in position, not a little off-axis but right in there, to not just hear it well but make a little extra tickle of immediacy in my headphones -- and the noise from outside is at a lull, and nobody’s stomach growls, and I look over at the director and assistant director and gaffer standing at the monitor and see tears brimming in their eyes too, and know that a lot of things are working out at once -- and feel peace.

Continue . . .

Monday, January 4, 2010

Toward a Better District 10


Avatar might be the movie James Cameron has wanted to make since he was a boy, but District 9 is the sci-fi movie I have wanted to see since I was disappointed by E.T. when I was 14. District follows the notion presented in Philip K. Dick’s statement, paraphrased here (I can’t find it online right now): You could be broke, and your wife could leave you, and still . . . aliens could come through the roof and get you. In a general sense, I take this to mean that aliens can come and become part of the messy milieu of life. They don’t have to be lithe, exotic creatures in silver suits. They don’t have to have a meaningful message for humanity. They don’t have to be here to conquer. Maybe we don’t even have to know why they are here. And what happens between the humans and aliens can be just as ordinarily degenerate as what happens between humans.

In District 9, aliens have come to earth -- Johannesburg, South Africa to be exact -- and become part of the social problems that plague this and many other parts of the world: overcrowding, slums, refugees, crime. The aliens are the new base on the pecking order of racism, with all races of humans speaking against the alien presence, using arguments we’ve heard and still hear from separatists -- that “It is for their own good,” that “they don’t belong here.”

The South African government wants to move the aliens from their current shanty town in Soweto to a refugee camp farther outside the city. The movie focuses on one obsequious bureaucrat, Wikus van de Merwe, who heads the process of going door-to-door and serving the aliens their notices.

What I see as the power of this movie is its raw and “realistic” presentation. Living in the shanty town, aliens are repeatedly shown digging through garbage, hacking animals to pieces for food, drinking and eating out of discarded containers. There are language and cultural barriers (though, remarkably, Wikus and some humans understand the aliens, and vice-versa) and misunderstandings ensue that lead to violence. When aliens don’t comply immediately with the humans’ demands, they are forced to their knees with hands behind their heads, forced to sign documents acquiescing to their eviction; and, when an alien does sometimes retaliate and throw a human aside, that alien gets blown away by the humans. One can not help but sense the parallels to our door-to-door operations early in the Iraq war; and a friend commented that these scenes from District 9 looked like a documentary he had seen on vigilante groups that patrol our border with Mexico and harass Latin Americans, apparently trying to provoke reactions against which the vigilantes can retaliate.

One wonders why the aliens let themselves get pushed around as much as they do, and this leads to some of the deeper issues in the movie. The aliens do have, after all, powerful weapons. Why not use them against the humans, when clearly their own self-defense is justified?

What the aliens do use the weapons for is currency. With their weapons, they buy, on a black market set up by a Nigerian criminal gang, cat food. The aliens are addicted to this cat food and hand over weapons readily in exchange for it while the humans are fascinated with the weapons and acquire them greedily.

We all know humans love weapons. Weapons provide the quickest way to power here on Earth. But the aliens loving cat food? This is incredible to me. Does this mean the aliens are not power-hungry? Is it that weapons are so commonplace for them, and easy to build, that they view them as a basic commodity, as we view the cat food that we trade to them?

(The aliens may feel safe selling the weapons to the humans since the humans can’t use the weapons. Governments and corporations and the Nigerian gang all hope for the day when they can make the weapons work; but for now, all they can do is acquire them and study them.)

Through the entire movie, nothing more than a desire for cat food is revealed of the alien population’s motives. We never learn why they came or if they even want to leave. I question whether they even know they are living in a slum. I mean, if they don’t know that weapons are awesome, and that cat food is nothing special, would they even know to prefer Spoleto to Soweto?

(Svetx suggests that the aliens were lost on the way to Spoleto and ended up in Soweto. Maybe they typed it into their Garmin wrong.)


Since I saw District 9 last spring, I have held it in nearly the highest esteem I have for any movie. I raved about it to my friend who, just the other night, called us over to watch it on Blu-Ray, the second viewing for myself and Svetx.

Here’s a bit of advice: If you love a movie, maybe you don’t want to hear the director’s commentary. We only listened to part of it, but in his commentary, director Neill Blomkamp reveals the insensitive way he constructed the Nigerian gang.

On my first viewing, I could have deemed the portrayal of the Nigerians as racist. But given the level of detail throughout the movie, and given the fact that all the humans in the movie are self-centered opportunists -- not even our accidental hero Wikus is admirable -- I accepted the Nigerians as a reasonably accurate portrayal of an aspect of human condition that would occur in an alien slum.

Lots of people do think the portrayal of the Nigerians is racist, as a quick Google search will tell you. In the movie, the Nigerians believe in witchcraft and eat aliens’ bodies on the presumption that this will enable them to use the aliens’ weapons. There is also mention that they run a prostitution operation for the aliens. This is definitely a negative image of the Nigerians. But the white South African government officials and their business and science cohorts are essentially doing the same thing -- using and abusing the aliens to get command of their weapons. I say this could be one of the valuable themes in the movie.

But then there’s this: in his commentary, the director admits that he could find no Nigerian actors to play those roles. And, he says, none of the non-Nigerians playing Nigerians could speak a Nigerian language. So, the gang leader, the witch doctor, and other gang members are all speaking whatever native African languages those actors know, and they are not actually understanding each other. Subtitles solve the problem for the viewer, telling us whatever the director actually wants us to hear. I’ll guess that most people in the world watching the movie can not tell the difference. But as my friend who bought the Blu-Ray said, “Surely they could have found some Nigerians to portray the Nigerians.” And then, as Svetx said, “Then they would have had someone who knows the culture and what it’s really like.”

In a movie that I want to celebrate for its “realistic” portrayal of race and alien relations, and human motives, this sloppy treatment of the Nigerians is a serious disappointment.


So how could the director have done better, or do better when the time comes to make District 10?

First, the prostitution could easily have been tossed out of the movie. This was, as I said, a brief mention; and given the vast differences between human and alien anatomy, I doubt that there would be enough interest to keep a prostitution racket going.

Second, the witchcraft was not even necessary for the plot. As it stands, the Nigerians capture Wikus, who is growing an alien arm because of an accidental encounter with alien DNA, and attempt to eat his alien arm. This drives Wikus to escape using the fancy alien weapons that only he among humans can use. Essentially the same scenario could have been achieved if the Nigerians, instead of trying to eat him, were to confine him and force him with torture to use the weapons on their behalf. (Torture is still a negative portrayal, you say? Sure, but in this scenario they’d be on par with the United States of America.)

In his director’s commentary, Neill Blomkamp says that he portrayed the Nigerians this way as a joke, and he apologizes to them (all Nigerians?) and anyone else who is offended by it.

Here is what I say. Neill, meet me at camera three. For District 10, there’s no need to joke like this. We are all humans together in your story. Your movie is not afraid to show us humans the bad news about ourselves. We are all power-hungry, lying, cowardly bitches -- with aliens thrown in. So, show us like we are, and be reasonably authentic, so that if anyone complains that you show Nigerians or anyone else as crooks at all, you can more honestly say that you are holding up the mirror, and it’s up to us what gets reflected in it.

I’ll finish off with a little more praise for your movie.

I love the faux documentary style. I love how the camera floats like my uncle shot it, and the acting is largely improvised (as you explain in your commentary), and somehow you “painted” in alien creatures while keeping it all spontaneous.

I love how you portray many layers of character in some of the interviews. Wikus wife, for instance, shows us a little bowl he had made for her. She says she sat on it (implying some disregard for Wikus’ feelings) and then says that all Wikus’ presents for her were taken away for the investigation . . . but then she made them bring them back (meaning she may have newfound respect for her husband given what she suspects he is going through).

I love that we never learn what the aliens were doing here. I love that, when the humans first blowtorched their way into the alien spaceship, the aliens were huddled in there, covered with feces perhaps, striking a parallel to factory farm animals.

Basically, I love your movie, But you can, and should, be more thorough, when you are trying to portray serious subject matter and make serious points.

Continue . . .

Wednesday, December 30, 2009

My Kid Could Have Written That

How many pairs of glasses does it take to watch a movie these days, anyway? Going in, I hoped previews would still be playing, because we were late. But when I saw the intentionally blurred double-vision images on the screen, I knew we were in to it already. I tried to watch without the glasses, but that was impossible. I had to keep them on and cope with the artificial feeling of paper cutouts set at varying distances in front of me, like the layered images in a Viewmaster or targets at the shooting range. You could tell that everything in the frame had a discrete distance classification: there would be the foreground image, like maybe some seed pods lazily floating; then the middle-ground images, like maybe the characters in the scene; and then the background, which was usually a single flat plane like a normal movie. I would have preferred the whole movie to be on a single plane so that I would not have been thinking about the 3-D effect. When someone in the seats ahead of us got up to go to the bathroom, he looked like he, too, was a part of the movie. Indeed, some objects in the movie looked closer than the real people in front of me, and this makes me think of combining live-action with 3-D cinema. Let’s remake Rocky Horror so that it blends better with its simultaneous re-enactors.

I heard that this is the movie James Cameron had wanted to make since he was 14. I believe it. With a planet called “Pandora” and the precious metal called “unobtainium,” it seems like he wrote it more like when he was 4 and did not revise it since. The alien Na’vi are portrayed with the same lack of nuance, with obvious elements of African and Native American hunting, dance, spirituality, and medicine mixed to achieve generic foreign-ness. If you wondered where banal world music comes from, it is probably James Cameron’s Pandora.

A friend said it would have helped to see some kind of exchange in the alien society -- a place where they are gambling, or paying taxes. “Like the cantina in Star Wars!” Svetx said. Indeed. The basic grit and grind of life. As it stands, you think the Na’vi do nothing but pay homage to nature and hunt, hardly a believable or even interesting existence.

People are marveling at the special effects, but wasn’t the flying more exciting in the Superman movies of the ’70’s? The battle more exciting at the end of Star Wars episode IV? Who can forget the quick character development of showing each fighter pilot in his cockpit talking on his intercom?

In more recent history, I remember almost being moved to tears by two awesome movie battles: The battle on the fields of Pelennor in Return of the King, for all its orchestration couched in desperation and forboding; and the middle of The Incredibles where it showed the family working together with all its awesome powers unleashed. There was nothing so satisfying in Avatar.

There is one thing I do admire about this movie, and that is it’s own paradoxical nature. It is the feel-good blockbuster of this holiday season. But what we feel good about is the pagan nature-creatures triumphing over a U.S. military that is essentially working for a large corporation. Anyone who has looked at a newspaper headline in recent years surely can’t miss the parallel to U.S. involvement in the Middle East. I expect this movie to draw fire from war supporters as well as fundamentalist Christians. Looking on the Internet now though, I can’t find scathing reviews from a Christian website. If anyone finds one, please let me know. If there really are none, then maybe the Christian Right does not notice the connections to our foreign policy, or doesn’t think this is what our foreign policy amounts to. In that case, in a seasonal action blockbuster, what’s not to like?

Continue . . .

Friday, November 13, 2009

The Bible Does Not Mention Sex Videos Either


Carrie Prejean is saying thatbreast implants are not un-Christian because the Bible does not mention them at all, and thus, they are not forbidden.

Now, I don't claim to be a Christian. And I'm no Bible expert. But I think it's safe to say that another thing the Bible does not mention is sex videos. So why is Prejean claiming she made her sex video before her conversion to Christianity? (Her then-boyfriend counters that it was made after her conversion.) If it's not mentioned in the Bible, then, like implants, it's not forbidden. And it's not like God isn't watching anyway, sex video or not!

But back to those implants. While the Bible does not mention them specifically, Timothy 2:9 - 2:11 from Bible Wiki says "In like manner also, that women adorn themselves in modest apparel, with shamefacedness and sobriety; not with broided hair, or gold, or pearls, or costly array; But (which becometh women professing godliness) with good works. Let the woman learn in silence with all subjection." I would not call breast implants modest or associate them with shamefacedness; and with a price of $4000 to $10,000, I would call them "costly array." On the other hand, the next passage in Timothy says, "But I suffer not a woman to teach, nor to usurp authority over the man, but to be in silence. For Adam was first formed, then Eve." This could be taken to mean that, since beauty pageant officials forced Prejean to get the implants, that she was obeying this authority of a man.

Interpretations aside, I think we all know exactly what breast implants are for: enhancement of sex appeal for personal gain. While some Christians claim that another aspect of sexuality, homosexuality, is a choice, I think we can all agree that breast implants are a choice. In fact, Prejean says it's a personal choice. So I say to Prejean: St. Anthony the Abbot gave up all his personal possessions; for you, the path to wisdom lies in giving up your breast implants.

Continue . . .

Thursday, November 12, 2009

The Ocean

Sit back and relax. Here is one big 8 minute wild track of the ocean, composed of several smaller clips recorded for possible use in Todd Tinkham's Southland of the Heart.

Continue . . .

Choppers!

Two Blackhawk helicopters fly over the beach during shooting of the final scenes of Todd Tinkham's Southland of the Heart.

Continue . . .

Thursday, November 5, 2009

Three Relations

There were the big grocery stores, like Harris-Teeter, with all their food (except for produce) in packages. Then came Whole Foods where bulk food is in bins and you package it yourself. Then came Trader Joe's which is like the bulk food aisle at Whole Foods, but the food is pre-packaged for you.

There was classic literature where morals and basic tenets espousing God and patriotism were expressed; then there was modernism where long-held beliefs did not necessarily prevail, and post-modernism which broke structures into pieces and played with them. Then there came Stephen Colbert who uses the elements of post-modernism to reconstruct a classical character espousing God, morals, and patriotism again.

There was art that depicted, as drawing or painting on flat surfaces, 3-dimensional images; and there were 3-dimensional sculptures made of flat paper. Then there was Picasso whose work looks like he took pieces of paper from 3-D sculptures and glued them back onto a single plane, bringing renewed flatness to what had once been 3-dimensional.

Continue . . .

Wednesday, November 4, 2009

Did you hear about Sarah Palin's new treatise on values?

It's called "Gouging Roe." Honk!

Continue . . .

Thursday, October 29, 2009

To the Guy on Facebook Worried about Islamofascism:

Your rant was right out of the playbook for right-wing demagoguery. I had not known a Facebook wall comment could run so long. I can scroll my screen for several pages before reaching its end. Here's just a sample:


. . . Political "solutions" are only temporary and only give the jihadis time to regroup for another attack. 1400 years of islamic history prove this. The koran tells them it is acceptable under islamic law to break treaties when to their advantage. The command to spread islam by all means, including murder trumps all in islamic law and thought.

So the only choices we have are to keep trying to help those in Afghanistan who say they want a reformation for the purpose of instilling western democratic values in hopes that our values will change the thought patterns of those muslims, and maybe even have them reject islam, or pull all our people out and bomb every islamofascist base that shows up on our radar. If the liberal "infidels" we protect by doing this don't understand the need for such bombings, tell them to shut up and be glad we are protecting them. . . .

I spent enough time on my facebook response to you that I'm putting it here too:

On the other hand, our very presence in Afghanistan brings some monetary flow to the Taliban:

http://enduringamerica.com/2009/10/07/afghanistan-as-us-increases-troops-pentagon-aid-flows-to-taliban/

And a bridge we have built aids the opium trade:

http://www.newser.com/story/63045/us-built-bridge-supports-afghan-drug-trade.html

I know that bridge and business building in Afghanistan are very well intended, but my point is, we don't foresee unintended consequences.

Also consider, as Steve said, leaders of two factions of Taliban, Hekmatyar and Haqqani, were once allies of the CIA in fighting communism. During Charlie Wilson's war, the U.S. also fomented fundamentalism in the Middle East because religion was seen as a deterrent to communism. Nowadays, we borrow from a communist country, China, which, in fact, fought against us by proxy in Vietnam, in order to fight jihadism. Does that make sense?

Continuing the cycle of aiding, now, our future enemies, it is suspected (and likely true to some extent, I say) that Taliban fighters have gone through military training provided for Afghan forces by the U.S. and Nato:

http://www.tomdispatch.com/post/175116

I sincerely thank David's cousins for doing the hardest and most risky work of serving in our military. My criticism is for our policy makers who are certainly not working as hard as our soldiers, but should be. After fighting two wars in the Middle East for longer than we fought in WWII, the only thing that is certain is that you and I will have to pay for it.

Continue . . .

Tuesday, October 13, 2009

This Came Out Pretty Well



I dig working with the coaches. Bobby Bowden's voice alone makes me want to take up football so I can play for him, and Coach Cutcliff is very amiable and natural on camera.

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Attack of the Blurry Cell Phone Pictures


Over a year ago Svetx and I walked on the Brooklyn Bridge at night. I had just gotten my first cell phone with a camera, so I went nuts. Now the memory allocated by Alltel for my pictures is nearly full, so I have to put them somewhere. So, I give you, the Brooklyn Bridge by Night.



























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My Critique by a Moore

Back on 2005, I attended an artists' colony, the Vermont Studio Center, for a month. They have their regular residents like me, most of whom pay all or 2/3 of their way; and featured residents who are paid by the colony to critique the regulars' work and give talks and hold conferences. As I described in two earlier posts, I was there while Lorrie Moore was there. This post is a self-indulgent description of what happened in my one-on-one critiquing session with Moore. I had sent this only to family when it happened, but now, with readership of my blog at a low ebb, partly because of my lack of posting lately, I figure it's okay to toot my horn a little. I'm putting up these three posts about Moore on the occasion of her release of her newest novel, A Gate at the Stairs.

Visiting writers here meet with us residents in the living room of what they call Mason House, the domain for the writers, though it is not where most of us live or work. The living room is filled with bookshelves and books I have not read, surroundings I found rather daunting until I happened to spot the Philip K. Dick title in the ranks. Still, it was a Dick I have not read.

I went into the foyer and heard the prior person’s conference still in progress, so I went back out to the porch and waited like the piano students on our front porch when I was a kid, and my mom was teaching lessons in our living room.

The writer before me came out, and I went in. Lorrie Moore was sitting at the end of the long conference table gleaming with reflected light from the window behind her. The papers in front of her I recognized as the copy of "Back to the Old Ladies" I had sent in late May. I had not even sat down when she said, “This is a real story, and you are a real writer.”

I said, “Well thank you!” I sat.

“The only thing is . . .” she said. She said the beginning was confusing. Where was Roxanne? In her hotel room or in the desert? I should clear that up. And when did the narrator meet Roxanne’s mother? The same night he danced with her the first time?

“You may have to be flatfooted with the facts. Don’t be afraid to state them plainly,” Moore said.

Then came a harder issue.

“The narrator is in love with Roxanne,” she said. “There has to be more to her to warrant his attentions. More than just her dance moves and her tush, which are beautifully described. She needs to say a little more . . .”

This will be hard to deal with. I have no idea what Roxanne has to say other than what she's already said in the story.

“Do you do this?” she said. “This dance stuff? I was reading, and these details were so alive, I said ‘Wow, he must really do this. . .’”

I said I do.

“This is almost there,” she said. “Almost ready for publication.”

It is revision number 10! How far do I have to go? But alright.

She asked me what I do. Am I in school? So I told her the quick spiel: Audio for video . . . have done substitute teaching, do teach at a community college . . . Durham . . . physics . . . stubborn . . . Duke . . . Batman . . . screenplays . . . short stories . . . present day. (“Batman has a special place in my heart,” I told her. “Really?” she said, smiling.)

“Well, you really understand the form,” she said. “And who are you reading?”

I said that for the past year, I have been reading a lot of, well, um, her. “You,” I said.

She looked away. She had also not really relished someone’s bringing up her collection “Self-Help” as a “must read” for writers, during the group craft talk she gave last Friday. In response, she had said, “No, not Self-Help.”

I named Bernard Malamud as someone whose stories I’m reading now. And Larry Brown, whom I always have to mention, to see what sort of reaction I get.

“Oh, poor guy, he just died too!” she said.

Yes, around Thanksgiving last year.

“He wasn’t old?” she said. No. I said he probably had high blood pressure though. She said she had met him and found him to be a really nice guy. I said I had met him too, and also found him really nice.

I asked if she had read Brown’s stuff, and she said, only a little. I said I liked these fairly straightforward writers like Malamud, Brown, Chekhov. They state things fairly plainly. I said I had tried to write a poetic story this past year, and it had not come together yet, and was also not very well written. Brown was really encouraging to me because, when I would be hung up trying to say something in an impressive way, I would tell myself, “Just tell the damn story,” which I think is what Brown pretty much did too.

She nodded.

She suggested I read Updike’s collected stories, but not the novels, and Alice Munro’s “Lives of Girls and Women.”

I said, “I don’t know what to say about these people who have collections of, like, 200 stories. I’m lucky if I can write one per year, and at that, it still may not come out right.”

She said Updike has not had anything else to do all his life. She said he keeps writing about his childhood and certain recurring subjects. But the good thing about that, for him, is that he is able to perfect stories about his subjects. “I might be reading, say, the fourth story about this, but I say, ‘this one is perfect.’”

She said quality is more important that quantity. She didn’t seem worried about my slow pace.

She asked what I’m working on now, and I said I was doing a totally new story, plus there was always the one from this past year which I might be salvageable, who knows.

We were together only 20 minutes or so, and our conversation seemed to be coming to a close. She put her incognito celebrity sunglasses on and we stood.

She asked what I had studied in college.

“Wow, physics,” she said. “I don’t meet many physics majors who are writers. A few, but not that many.”

I said, I think we are concerned with mysticism and how the world works. These are similar traits in writing and physics.

Heading out the door into the sunny, crystal clear day, she said her father had studied chemistry and dropped out in grad school. “He had to get a job and went into corporate America,” she said. “He told me once that he had gone into chemistry because his sister had married a chemist, and his grandmother (or mother? Or Moore’s grandmother? I forget) had loved this son-in-law so much, and kept talking about how he was a chemist. So her father had gone into chemistry himself “to win his mother’s(?) love,” Moore said, making a sweeping gesture.

She was heading up the hill. I asked her if she would sign books at the reading, and she said, “Sure, sure.” I told her, thanks for the writing she was doing. “You’re really funny,” I said. She gave a dismissive wave and turned away. “And really dark,” I said. “As you know.” She glanced back one more time, and was gone.

Continue . . .

Watching for Big Algae Oil Production

This past summer there were announcements of expected large-scale algae oil production. I'm watching for follow-up to see if any of these companies are actually making their predicted flow. So far, no confirmation.

One announcement was from CEHMM, a New Mexico non-profit research firm, that planned to have a "large scale demonstration algae farm" in full operation by September 1. No news on whether this is actually happening.

Solix Biofuels has also begun a large-scale demonstration algae farm in Colorado in cooperation with the Southern Ute Indian Tribe. This was expected to be fully operating by late summer. There is no further news on this. One intriguing thing about algae farming is that it can (and should) be done on non-arable land such as the bad land that tends to compose Native American reservations. If Native Americans can create jobs and make profits selling fuel, as they might demonstrate they can in this endeavor, then this would be a healthy turn for them and the rest of our country.

There was also the agreement between SunEco Energy and J.B. Hunt Transportation (a large trucking company whose name you see often on the panels of 18-wheelers) for SunEco to provide algae-grown fuel oil to blend with petroleum Diesel for us in trucks. SunEco claims to be already producing "barrels," rather than "beakers" of algae oil each day. Let's hope this contract comes to fruition.

All three of the above algae companies use open-air ponds for algae production. This is generally the cheapest kind of algae farm to build, but it is likely to have the lowest yield of oil per acre, in part because of the inefficient use of space and the inability to use genetically designed algae. Only native algae can be used in the open ponds.

The U.S. Air Force and Navy have expressed interest in biofuels grown in the U.S. because of the promise of a secure energy supply. They don't want their planes and ships grounded if the Middle East decides not to sell us fuel for plans and ships to use in bombing the Middle East. Toward this end, the Navy has purhcased 20,000 gallons of algae-derived Diesel fuel (and 40,000 gallons of fuel made from camelina weeds) from Solazyme, an algae company that has not fully explained its process, but is known to grow its algae in closed containers using starchy bio-waste to feed the algae.

My current favorite algae company, Origin Oil, has released production models for growing algae oil using its technology (press release here, pdf of presentation here). Like Solazyme, Origin Oil grows algae in closed containers, but Origin claims to have made some creative advances. Their process of quantum fracturing creates tiny bubbles of CO2 and other nutrients to facilitate delivery to the algae cells; also, this quantum fracturing of CO2 aids in cracking the algae cells open to release the oil. According to the company, this method of getting the oil out of the algae greatly cheapens the otherwise very expensive process of getting oil out of algae by pressing it.

Origin Oil's presentation has two proposals: one just for growing algae oil, and another for growing oil while simultaneously using the algae to treat wastewater. The first model shows little profit and, thus, is probably not feasible at this time. The second model shows a more favorable 20% profit. Also note the need for "free energy" in both models in the form of heat. This energy could come along with concentrated CO2 in the form of power plant emissions. So, look for Origin Oil's technology to be first used in cleaning smokestack emissions and/or wastewater, and producing oil as a by-product.

Continue . . .