Does Snoot Trump Fun?

Rant-PalahniukI recently reviewed on this site, Palahniuk’s Rant: An Oral History of Buster Casey, which I liked enough to consider nominating it for group study, but I hesitated because it’s so vulgar: both puerile and prurient. A long-running joke, repeated a dozen times, is about how a sensitive person, after performing cunnilingus, can tell what the woman has eaten over the last three days, right down to which brand of ketchup she used on her French fries. In one variant of the joke, the linguist, so to speak, warned that the vagina indicated very high cholesterol. The joke was funny the first time because of its outrageous originality. I’m not above prurient humor. But it wasn’t funny enough to retell so many times. Rather, it became a writerly tic, vulgarity for the sake of vulgarity. Likewise, the recurring rape theme in the novel seemed gratuitous.

So why did I hesitate to nominate the book to my group? The book club comprises a group of serious writers, and many of us have been together five years or more. Our goal is to improve our writing by reading interesting books, usually ones that count as “literary.” Whether we like a book or not is irrelevant. The aim is to extract techniques and themes we can learn from and steal. So we’ve read some bad books, but examples of badness can be goodness.

Still, how can I recommend a book for November featuring mayhem, disease, rape and oral sex, when in September we discuss Woolf’s Orlando, and in October, Gould’s Book of Fish, by Richard Flanagan? I don’t think anybody in my group is shy about sex or violence in literature, but I’m wondering if Rant is more interested in pandering to an unsophisticated reader than in exploring the art of the novel. But that sounds snooty. The better question is, can writers learn from Rant? It offers an interesting narration strategy, but I don’t know what else. We can do our own vagina jokes. We might be better off with Vonnegut or Pynchon.

Palahniuk – Rant: An Oral History of Buster Casey

Rant-PalahniukFunny, Imaginative, and Vulgar

This is my first Palahniuk novel, and to my surprise, I enjoyed it. Surprised because it’s not the sort of thing I normally like, a hodge-podge of urban punk, violent, humorous, sci-fi, horror of an experimental thing. It defies easy categorization. But I kept turning the pages and eventually fell into the rhythm and enjoyed the characters, the voices, the writing, and the ideas.

I’d say the book is mash-up of several ideas and themes I’ve seen elsewhere, from Fight Club (which Palahniuk wrote — I saw the movie), to (strangely) John Irving’s A Prayer for Owen Meany, and with doses of William Gibson’s Neuromancer, Katherine Dunn’s Geek Love, the Mad Max movies, Orwell’s Animal Farm, and some kind of a time-travel story based on the “grandfather effect,” and the idea of parallel universes (maybe like the movie, Predestination, which was based on a Heinlein story).

The tale, the eponymous “oral history,” is told through short comments and anecdotes recorded by a large cast of players, as if in an anthropologist’s field notebook. There are dozens of characters, lots of different points of view, though only a few distinctive voices. It’s a fascinating way to tell a story.

The writing is witty, both erudite and vulgar and always clever, definitely strong enough to keep the pages turning even in the absence of a clear plot line. Many themes appear, as you might guess from the list of allusions above, and this rambling through literary space can leave the reader disoriented.

Strong, recurring themes are the search for identity in a society divided between the “haves” and the outcasts; and the idea of having and holding a secret treasure (the treasure of personal identity? That’s just a speculative reach). None of the themes are well-developed. There’s a vague religious theme of martyrdom and resurrection, and also a rape theme that I thought was gratuitous and which brought the tone of the whole project down, but hey, it’s Palahniuk.

I’d like to recommend it to my book group because of its imaginativeness, and because there’s a lot for an aspiring writer to learn from this one, but I hesitate, because Rant is so weird, and so vulgar. Maybe I’ll do it anyway. What the hell.

Palahniuk, Chuck (2007). Rant: An Oral History of Buster Casey. New York: Random/Anchor, 319 pp.

Characters Awakening

the-time-machine

I’m happy to announce that my characters are awake again and chattering like children in a playground. I knocked out a short chapter and now I sit at 41K words, just past dead center.

One reason I was able to do that is because the two droids are off-stage right now, pursuing their missions, so I could focus on the humans back in the lab. They’re devising a new AI strategy that does not involve a third android. (I can say no more). But I’ve got to get the droids back on stage right quick or it will seem like another novel has suddenly sprouted. I’m a little foggy on exactly where I’m going, but that’s not unusual in a first draft.

Meanwhile, I’m trying to up my sci-fi bona fides. My first android story, which, incredibly, snagged an agent, was an accident. I’m really not a sci-fi writer. Nor do I read the stuff. I wrote that novel as an exploration into human psychology, and used an android as a device to create a non-human contrast. Writing sci-fi was the farthest thing from my mind. But when I was done, I had a main character who happened to be an android, and I had accidentally written a sci-fi novel.

Now I feel I should be more up-to-date with the world of sci-fi so as not to be a total fraud. I developed a list of recommended “hard” sci-fi novels and I found a few of them at a used bookstore today. I wish you could buy a package of reading hours to go with each book. I’ll copy my study list below.

I had two interesting realizations in the bookstore. One is that I actually have read some sci-fi, classic stuff, like Clarke, Heinlein, Bradbury, Asimov, and so on. I had forgotten that I avidly read sci-fi for a few years in high school. So I’m not a virgin after all.

The other notable experience was a sense of intimidation. All those authors, so many books, so many ideas. I felt like every possible sci-fi topic that could be written on, has been – repeatedly. The only angle of uniqueness I might have is that I am exploring inner space rather than outer space. The final frontier?

After what I saw today, I definitely will not be addressing any cutting edge topics in physics, astronomy, chemistry, materials, biology, evolution, gravity, space or time. Everything’s been done, done, done. As a psychologist, I’ll stick to what I know. The inner world is anyway vaster and far less explored than the outer one. And I don’t have a faster-than-light problem.

             My study list for hard sci-fi:

  • Rendezvous With Rama, Arthur C. Clarke
  • Foundation, Isaac Asimov.
  • I, Robot, Isaac Asimov
  • Tau Zero, Poul Anderson
  • The Thought Readers, Dima Zales.
  • Red Mars, Kim Stanley Robinson
  • The Color of Distance, Amy Thompson
  • Ringworld, Larry Niven
  • The Mote in God’s Eye, Larry Niven & Jerry Pournelle
  • Revelation Space. Alastair Reynolds
  • Rainbows End, Vernor Vinge
  • A Fire Upon the Deep, Vernor Vinge
  • The Diamond Age, Neal Stephenson
  • Cryptonomicon, Neal Stephenson
  • Downbelow Station, C J Cherryh
  • Cyteen, C.J. Cherryh
  • Use of Weapons, Ian M. Banks
  • Lilith’s Brood, Octavia Butler
  • Accelerando, Charles Stross
  • Blindsight, Peter Watts
  • Starfish, Peter Watts
  • Beggars in Spain, Nancy Kress
  • Dragon’s Egg, Robert L. Forward
  • Diaspora, Greg Egan
  • Manifold: Time, Stephen Baxter
  • The Forever War, Joe Haldeman
  • Everyone in Silico, Jim Munroe
  • Synners, Pat Cadigan
  • Spin, Charles Wilson
  • The Quantum Thief, Hannu Rejaniemi
  • World War Z, Max Brooks
  • The Mars Trilogy, Kim Stanley Robinson
  • Incandescence, Greg Egan
  • Eon, Greg Bear
  • Moving Mars, Greg Bear
  • Einstein’s Bridge, John Cramer
  • The Moon is a Harsh Mistress, Robert Heinlein
  • Altered Carbon, Richard K. Morgan
  • Ancillary Justice, Ann Leckie
  • Fiasco, Stanislaw Lem
  • Mission of Gravity, Hal Clement
  • Startide Rising, David Brin
  • The Martian, Andy Weir

 

Conference Hound

BloodhoundI enjoyed the Mendocino Coast Writers Conference, got some good feedback on my work, met some  interesting people, learned a few things about myself and the writing life.

It wasn’t the best conference I’ve ever been to. There were lots of fairly elementary topics, though it never hurts to review. It was a relatively cheap conference and I enjoyed the scenery.

The scenery was especially stunning along Highway 1, the Pacific Coast Highway, or “PCH” as the locals call it, or, as the cognoscente referred to it, “The Pat Brown Memorial Organ Donor Highway,” because of the insane drivers on the hairpin turns who seem unable to color within the lines. It’s one of the most beautiful highways on the planet and cowboys in pickup trucks and SUV’s are speeding on the verge of losing control, for reasons I can’t fathom. If they were in a hurry why didn’t they take the I-5 or the 101? (In California, highway names are much more than identifiers. They are always prefixed with a definite article, “The 5,” The 101,” and so on, I think to allude to the deeply shared cultural importance of driving. )

I’m a writing-conference hound. Every year I turn my vacation into a conference adventure. It beats walking around a strange city to gawk at architecture and eat in overpriced restaurants, for no reason at all. The conferences are an excuse to travel, a chance to learn, and I like talking with writers, who are consistently more interesting than other classes of people one often meets while traveling.

However, I did cancel my reservation for the San Francisco Writer’s Conference in February. (http://sfwriters.org/  )  I had signed up earlier on the prospect of meeting a flock of agents there. I’ve got five novels in the can, working on the sixth, and it became apparent  that I needed to start getting serious about marketing. However, since I signed up for SFO, I have, improbably, become “agented” and I want to give that situation a chance to blossom without making things complicated. There’s always time to go back to the well later.

Anyway, the SFO conference is not so much a workshop situation as a “writing fair” that features professional connections (much like the AWP), and besides, I’m California’d-out for a while. Plus, the SFO Museum of Modern Art, one of my top favorites, is closed for reconstruction, removing another draw for visiting.

So now I’m looking at a series of online conferences at Backspace.com. (http://www.backspacewritersconference.com/about/ ) They look well organized, have good reviews, are workshop-focused and cost only $225 for five days, with professional and peer feedback, and, as always, the chance to meet editors and agents. I’m tempted by their upcoming conferences on the mystery genre. I workshopped a mystery with some success at Mendocino. Another conference is on the literary genre (a contradiction in terms). I do have a novel in a drawer which I think counts as literary. This would be one way to find out.

The risk-to-benefit ratio of Backspace looks low. Timing will make the decision. I need to get back to my androids, finish that sequel, before I dive headlong in to revisions of earlier works. Backspace is a revolving series of conferences so if I miss the upcomings this fall, they’ll be back in the spring.

Right now, my androids are all in “sleep mode.”  Like them, I can’t remember anything about anything. Tomorrow I start the long, slow process of re-awakening them, and myself.

 

The Freshest Horse Manure

WaffleI should really set a novel in Bakersfield, CA, as the reality stretches beyond my imagination.  It is a strange place, largely agricultural, but also an oil town, with at least one major refinery and many, many grasshopper pumps in the fields. I saw a pomegranate orchard for the first time. How many pomegranates do we really need?  There are signs all along the highway, actually in the fields, complaining about the drought “caused by politicians,” as if, before agricultural water was restricted, there was no drought. I can’t even imagine that mindset. Drought? What drought? I have all the water I want, so everything must be fine. You’d have to be twelve years old to think like that, wouldn’t you? Or is that an insult to 12-year-olds?

Other signs ask, rhetorically, “Is growing food a waste of water?” Of course the answer depends on “which food?”  If it’s alfalfa, to feed cattle, then, yes, an enormous waste. If it’s corn, to make ethanol, then yes, huge waste. Spinach and potatoes, no, we need those. Pomegranates, I’m not sure. I like them, but would the world be materially worse off if we didn’t have them?

I’m in East Bakersfield, the “good section” of town, or at least newer. Everything here is recently developed. The air smells very strongly of horse manure, that’s how “natural” it is out here. And a train runs somewhere nearby every couple of hours, wailing its horn. I enjoy that.

Unfortunately I have great difficulty understanding the dialect here, especially among the young people. I know it’s a variant of English, but I have to guess at most meanings. Nearly all consonants are weakened.  A waitress asked if I wanted “cream-sure,” which I deduced was cream and sugar, with the “and” omitted and the  “g” completely disappeared. I declined, just to be on the safe side. I know language evolves over time, but this is a hyper-evolution that’s leaving me behind.

I’m heading to Kingman, AZ (portal to the Grand Canyon), then home tomorrow. I notice it’s 108 degrees in Phoenix today. Must be Arizona.

I’m off now to start my day with my “free” breakfast of Cheerios, waffles! and screaming babies, with Fox News blaring on the TV.

 

Dinner Wimp

Banquet hallLast day of the writers’ conference at Mendocino, CA. I was workshopped today.

What thrilled me about the critique of a chapter from my detective novel is that they bought the world. Lots of comments and suggestions were made about the characters, what they should say, how they should act, how they were motivated, but nobody questioned the scene. It was cops in a cop-bar talking about cases and exercising the status hierarchy, blustering, bluffing, and conning, all to perversely communicate their respect for each other. Everybody totally bought the characters, setting, tone and mood. They were inside my world, kibbitzing about wallpaper patterns. That was my victory.

The most significant criticism, which I could not immediately address, was why my MC was so angry.  The anger came through, but not the reason why. He’s angry at being dissed by his father in a public setting, but that just begs the question: what’s that all about?  I have the backstory, but it’s not on the page, and I don’t want all that on the page yet. So that will be a challenge to my writing skill to sort that out.

At lunch I sat with John Lescroart, internationally famous author of courtroom thrillers. His latest, “The Fall,” is the 16th in his series featuring detective Dismas Hardy. He’s written 25 other novels, 17 of them New York Times bestsellers. I’ve read at least one, maybe two of his novels because he’s always shelved next to John LeCarre, fave thriller writer. I can’t remember a thing about Lescroart’s books except my reaction was vaguely positive.

And so this authorial superman is sitting there sipping ice tea, reading “Diary of a Wimpy Kid,” entranced by it.

“This is really a fascinating story,” he explained. “Every time this kid tries to do something, somebody else has already done it. So he’s completely ineffective, but not for lack of trying.” He was poring over the book page by page, absorbing the pictures, the details. Who knows how that story structure will appear in a future Lescroart novel. Or maybe he’s thinking about a graphic novel. He didn’t say.

This afternoon I took a great couple of hours on writing for screen vs writing for stage from poet and screenwriter Indigo Moor. We wrote sketches from his prompts. It was revelatory.

I went to the book-signing and grand farewell banquet, had a beer, bought a book (from Moor), chatted up some agents and editors, and sauntered into the still-empty dining hall. When I saw the circular tables (10 chairs to a table) and the ominous speaker’s podium, microphone at the ready, and smelled that heavy, moist, oily smell of food in chafing dishes on a buffet table, I decided, first, to sit by the door where I could slip out easily, then realized there was no way I could do that, so I turned in my beer bottle and preemptively escaped.

In the abstract, such events sound worthwhile. Eat and talk to interesting people, how bad can it be? Then you actually talk to a few people and you realize you’ll be shoveling rice while hearing the details of somebody’s memoir, and the prospect of the next two hours seems daunting. I’m a bad literary citizen. I accept the shame.

Tomorrow I drive through North Coast wine country to Vallejo. In three days I’ll be back at my desk, reuniting with the androids, where I belong.

 

The Ocean is Free

OceanMy writers’ conference is moderately interesting so far. Fortunately, I am autodidactic, which means I never met a person I couldn’t learn from. This conference cost a third of what the Taos conference cost last year, and I’d say that is proportionally correct. The “gala” welcome banquet was a buffet line featuring deviled eggs served on paper plates. Of course, the Pacific Ocean is huge, fabulous and free.

I had an informative meeting with an editor from Fuse Literary, who had detailed comments on a chapter I had submitted. The comments address “polishing,” nothing structural or characterological. He said he liked the chapter, but apparently not well enough to ask for a full. However, he suggested that when it’s “polished up,” I send it to his colleague who handles mystery, and I could use his name. That counts as an invitation to submit.  So, small victory there. I take ‘em where I can get ‘em.

When I do go back to that detective novel, I’ll fix it up and send it to my current agent, who is a sci-fi guy, but you never know. Today that same chapter gets workshopped in the master class, so I should get further perspective on it. Meanwhile, my androids are languishing. I just cannot get enough time or head-space to get back to them. They should be aware that I think about them every day. Maybe they’ll have surprising things to say when I get back.

Mendocino Coast

MendocinoI’ll be appearing next at the Mendocino Coast Writers’ Conference in Fort Bragg, CA. That’s about 150 Miles north of San Francisco, right on the ocean. For someone from Tucson, it will be a cooling off of 45 degrees F. I brought flannel shirts and a windbreaker. I’m sure the locals will find that funny.

I chose the conference because of the location, the modest cost, and an instructor I think I’ll like, David Corbett, author of a useful craft book, The Art of Character, which I reviewed earlier.  The three-day workshop has 12 students, so I’m not sure how much workshopping will actually get done in 18 classroom hours. Maybe an hour per paper?

I submitted a chapter from my hard-boiled-detective novel, so it’ll be a rather severe head-twist to get out of androids and into detectives. I think the android work has been successful (to the extent it has been) because the natural voices of the characters are close to my own natural voice (I am half android). The detective however is entirely human, and I’m going to need help developing that character and finding his voice.

I’m not going to review the chapter I submitted until I must, so I can keep working on the androids as long as I can. I’m struggling with a plot turn right now and it’s hard to concentrate while on the road and in hotel rooms, accumulating laundry, eating bad food, always tired.

One more day in Los Angeles with family duties, then I slalom through forest fires to the College of the Redwoods, and hopefully there, have revelations.

Interstellar Travel Made Easy

SpacecraftAn interesting and well-written article at NBC news discussed the recent discovery of earth-like planet Kepler 452b, sometimes dubbed, “Earth 2.0.”

http://www.nbcnews.com/science/space/could-human-beings-ever-reach-earth-2-0-n399956

Apparently, Earth 2.0 is rocky, moderate in temperature, and could harbor liquid water. It might even have an atmosphere. Unfortunately for would-be travelers, it’s 1400 light-years away. Traveling at the speed of the recent New Horizon craft that photographed Jupiter, it would take 28 million years to get there. That’s awkward, because as a species, we have only been alive on this planet for one one-hundredth of that time.

Better engines could conceivably achieve 5% the speed of light, cutting travel time down to 28,000 years, but that’s still longer than the entire history of human civilization. That long ago, we hadn’t even invented farming yet.

This is the problem of space travel. The distances are vast, travel times are long and the hazards great. We are slow-moving, fragile monkeys who live only a hundred years. Interstellar space exploration is simply beyond our reach.

Sci-fi writers traverse this impasse by inventing fantastic ships and engines such as Star Trek’s warp drive, or by exploiting exotic physics, such as wormholes, which could only be accessed if you flew directly into a supernova or a black hole, obliterating yourself. There is no realistic scenario in which interstellar space travel will ever be feasible. Under prevailing assumptions, anyway.

But what if we re-think our assumptions? Travel is moving the human body from one spatiotemporal location to another. Why do we want to do that? To explore, to perceive and understand new worlds. Schlepping the meat around is not the goal. That’s only an unfortunate necessity. So don’t focus on that.

What we really want is to perceive and understand. Can we do that without transporting biological units over space and time?  We already have done so, which is how we know about Earth 2.0. We have perceived and understood and haven’t even left home (by much – Kepler is in nearby orbit).

Exploration mainly involves juxtaposition of the sensory systems with an environment, then mental processing to find meaning in the resulting sense data. If the senses are supplemented with instruments, such as eyeglasses, radio antennae, microscopes, and telescopes, so much the better.

But there are limits to sensory exploration when the environment of interest is 1400 light years away. Since we can’t go there, what else can we do? We can add imagination to our kit of exploratory tools. Why does exploration have to be only sensory? Humans have the gift of a fantastic imagination. Why not use it?

I propose a new kind of interstellar voyaging called “arrive-only” travel. You never leave home, but you do arrive there, using your imagination, constrained by whatever sense-data you have. In other words, we deploy our best science-fiction writers to imagine arriving in the new world and the experiences we would have there.

Traditionalists object, “That would be made-up stuff, not exploration but imagination.” But is that a clear distinction?  Anyone who has studied perception can argue that most of what we perceive is mentally synthesized (e.g., Noe’s Action in Perception) and any epistemologist who has delved into the foundations of empiricism can demonstrate that objectivity is socially constructed (e.g., my Scientific Introspection).

Perception and exploration in general are already products of the imagination. Most people don’t realize that because they are strait-jacketed by presumptions about objectivity, truth, facts, perception, representation, absolutism, and many more unexamined assumptions about the relationship between mind and world.

We are unable to accomplish interstellar travel because we have too-tight constraints on our thinking about it. Once we reformulate our ideas, we can enjoy the benefits of arrive-only travel, which does not require moving hamburger over impossible distances. The speed of thought is faster than the speed of light. The barriers to interstellar exploration are removed!

I know, you’re thinking, that wouldn’t be the same — imagination versus “the real thing.” But that objection misses the point. The “real thing” is already imagination! I’m just proposing adjusting some parameters. However, I realize that most people are so deeply, irretrievably committed to biological embodiment that this idea cannot be understood.

Never Look Up

TerminatorAlmost halfway there, at 35,000 words, and still worried. I just drafted chapter 14 of my novel-in-progress. Fifteen has to take a sharp turn so that’s why I’m stalling. Usually I conceptualize moves that take a couple of chapters to play out, but when I get to a major turn, I have to step back from the trees to see the forest again. And that’s where the trouble begins.

The last couple of chapters have been very talking-heady. I move the characters around, put them in interesting restaurants, have them walk down city streets, sit in a living room, but it’s still talking heads. Always in the middle of a novel, readers and writers alike complain of saggy pace.  Is it time to have a man with a gun appear in a doorway?

The reason for all the talk is that the characters are discussing/arguing about the nature of consciousness. It’s the humans vs. the androids, and that’s the whole point of the novel. If I wanted a straight adventure story, I would have gone all Terminator by now. But this is supposed to be an epistemological exploration, because that’s what interests me and that’s who I am.

When my agent (love saying that!) agreed to represent my first android novel, I was surprised, and confused. “How will you sell it?” I asked him, “It’s so intellectual.” That novel was also an epistemological inquiry. He didn’t seem fazed, and who am I to question a professional?

I haven’t heard a peep from him since that day, so naturally, my mind wanders to the worst scenario: total defeat. Rejection letters still trickle in on that manuscript, which I sent out last May. They say, “Sorry, couldn’t get into it.”  What I take away is, “Too intellectual, not sentimental enough, too much talking heads, not enough action, flat characters, piece of crap.”

And here I am writing in the same style again. Am I digging my own grave? And yet, I wouldn’t be doing it if one person out of 50 agents hadn’t said, “Yes, I can sell this.”  It only takes one. And I wouldn’t be doing it if I didn’t believe I have something original to say about how the mind works. On the other hand, nobody cares what I think.

This is why you don’t want to lift your eyes and your thoughts too far from the chapter you’re working on. If you look up from the work, all you see is scorched earth and desolation. So it’s best not to look up.  I’m going to finish this thing because I can. If it ends up moldering in a drawer, at least I got it out of my system and I can say I have experience in writing a sequel.