Walküre, Excerpt #3

An excerpt from the journal of Ezekial

Summer, 1934, North Carolina. 

“Well fuck a sheep thats a nice bit of stonework there.” She wiped her forehead with a  gloved hand leaving a granite streak a mile wide, admiring her work. “You got a little something there on your forehead miss” I was trying to be helpful, something I should probably stop doing.

“You call me miss again and I’ll tear you a new anus with a steam-powered masonry drill- And what’s this I conveniently have at my side? What could that possibly be-“

“It’s a masonry drill, no need to belabor the point there.” She put her gloved hands on overalled hips and held her pointed chin high. Ah hell, its been too long and it looks like I’ve gotten rusty. “Sorry miss, I’ll leave you be-“

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A Story That Needs to be Told, Part 1

I’ve struggled with this.

I have Stories I want to tell, Stories I am able to tell, and Stories I want to tell, but can’t. This one falls into the third category.

But to set the stage, you need to watch this…

Legend has it that John Wayne himself had to be physically restrained from dragging her off the stage

In 1973, at the 45th Academy Awards, Marlon Brando won best performance. Instead of accepting the award, he sent up Sacheen Littlefeather to deny his Oscar. This was far from the beginning, and far from the end. But if I am going to start in the middle, it might as well be from here.

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Why I Stopped Watching “Red Band Society”

I have never found a more perfect example of how misplaced direction and intent can ruin a show.

For those who don’t follow Network Television, Red Band Society premiered this fall with a promising pilot that centered around the inhabitants of a children’s hospital.

I find a small amount of Irony in the fact that these kids with Cancer, Anorexia, Congenital Heart Defects, and Cystic Fibrosis will have a happier ending than their show will. But don’t get me wrong, I’d be very happy with a happy ending. But when you place characters in a position of adversity, especially one as adverse as being a mostly parentless dual-citizen minor without health insurance, then you expect them to be dealing with something more serious than the Love Triangle they found themselves in.

This was the root of the problem. Out of all of the stories that could be told about the state of medicine in the US, or dealing with your own mortality before society legally considers you an adult, they instead chose to have the cheerleader fall for the tooth-pick chewing bad-boy.

It was as if the reality of their situation was superseded by what someone thought kids would find important. You could have taken these same exact plots and moved them to any other location and all you would have had to change  “Cancer” to “I didn’t get the iPhone I wanted for christmas”.

But this is a common theme in most of these “Youth Dramedy” shows, isn’t it? The inability to let children have Adult problems? And when they do, A La ‘Secret Life of the American Teenager’, there is the assumption that someone who is 16 (Who can be tried as an adult in most states), can’t face their own problems.

What is absolutely (and very hyperbolically) killing me about “Red Band Society”, is that every single production element is spot on. The show looks gorgeous, every single one of the actors is great, and the writing, when it is allowed to be, is fun and inventive. This show failed on only one front: It didn’t challenge anyone.

These are children who are fighting for their lives in a healthcare system that is likely bankrupting their parents. An Underweight young woman who is fighting her own Mental Illness surrounded by people fighting very physical illnesses; A Cheerleader with a cocaine addiction; a young man whose cancer has been neglected in favor of folk medicine. You can’t tell me that the show they wrote was the only one they could have written.

We deserve better.


What God, Chapter 5

Another Chapter! Chapter 4 Here

I knew that crime scene. I’d seen it before, spread over a loading dock in an alley in midtown. A scene I left chasing a man who was running from the scene. He was covered in blood. A man who I fired at and accidentally hit a lady further down the alley. She later apologized for getting in my way. The bullet is still in her collarbone, and she baked me a  cake to say sorry.

The worst part was that the body disappeared when I got back to the loading dock.

So I took a squad car back to the precinct and I stopped on the highway to grab a bottle of water out of the trunk. I was getting lightheaded. I’d have to twist some balls to get the blood-work off of the scene by tonight. Its not that I didn’t appreciate what the techs did, I just wanted to have some real evidence to follow before I started chasing ghosts. Ghosts seemed to like long car rides anyways.

“I don’t want you to start looking into this” Misha was right, of course. My only stake in this investigation was supposed to be the murder of Adam Kraden.

“But there is too strong a chance that it could be linked.” She knew I wasn’t wrong.

“Michael, you have a pad of paper that doesn’t say anything and-“

“It says-“

“It doesn’t mean anything!” It didn’t mean much, but it meant something.

“Look at this thing, Misha.” The evidence bag and the pad was between us on her desk. “Kraden was holding this before he died.” I flipped it over, showing her the bloody fingerprints on the back.

“Then tell me what to do about it.”

“Nothing. Not yet.” Misha wasn’t happy. A dead politician and a commissioner who didn’t approve in her choice of detective was enough to make anyone jumpy. For Misha? She was pissed. I didn’t like waiting to drop the worse news on her, but I’d rather she kick me out than spend another hour yelling at me.

“Why,” She pinched the bridge of her nose and measured her words carefully, “The Hell. Are. You. Here.”

“I wanted to let you know that this might be more complicated than the murder,” I heard her mumble a small ‘fantastic’ before I continued, “And also that I am adding the midtown files to this case. The body I witnessed is concurrent with the way Kraden was killed.” I was scared for a second that she was going to lunge over the desk and kill me with a paperweight. She didn’t. I would later wish she did.

“This is my career on the line too. If you fuck up, I fucked up”

“Do you trust me?”

“No, but I believe you.” This wasn’t the response I expected.

Being witness to something like Midtown and then having no evidence to back it up and having no one believe you- It’s an awful thing. You start to become obsessed with proving it. The midtown file was nothing more than my report and some nearby security camera footage.

What I wanted to do was to dig back into it, to link it somehow to Kraden or to find any lead at all. I wanted to make it real. And the worst part about this was that just in the early dark hours of this morning I was driving around trying to make myself finally let go of it. I wanted so bad to let it go. But then I see the parts of Kraden laid around his living room. Now I can’t.

I was back at my desk sipping a cup of coffee for twenty minutes before I even realized I had gotten the file. It was open on my desk. I forced myself to close it.


Devil’s House: For You To Listen To.

Well I guess I’ve strayed into multimedia.

My friend and housemate Scott Key helped me out by throwing a little voice acting onto Devil’s House. I’m pretty damn pleased with the product, and this may be the mode of distribution from here on out.

The first two chapters are currently being hosted on SoundCloud. I encourage you to give a listen. They aren’t yet available for download- but they will be at a later date.

Please listen! Enjoy!

 


Goals and Plans: 2013/2014 Season

I was going to do this whole formal mission statement detailing what I wanted to do with the next year of my life.

And to tell the truth, I got bored.

So I am going to write a bit about the projects I’ve been posting, make a few empty promises, and possibly conclude with a limerick.

 

The first project has a special place in my heart.

What God

I started writing “What God” in my junior year of high school. Its my testament to the fact that if you keep trying to write an idea, sooner or later it will work. Its been through 6 different iterations, From Novel to Novel to TV to Movie back to TV then to This. And I am kind of in love with “This”.

But because I’ve spent so long working on this I know Michael’s whole story. I know what he did in college, how he became a PI, and I know what breaks him. But for some odd reason I started his story near the end. Its currently 15k words, all of which will be available in ebook format when I finish posting them here.

 

The other two projects were spawned from the same idea. A good friend of mine once had an idea: If there was steampunk, where everything was powered by a fantastical Victorian vision of the future, why shouldn’t there be Hexpunk- a world powered by Edwardian superstition. An industry of love potions lighted by will-o-the-wisps.

Devil’s House

Both were written around the same time- and are a great example of how one idea can create many different stories. “Devil’s House” is my bedtime story. Its too long to be a short story and too short to be novella. Its in between worlds- much like its own subject matter. In this I wanted to write something where the language was its own impetus for movement, where the words carried the story and not the other way around. I am hoping to one day develop this into an animated short- but in the meantime I’m having a hell of a time writing it.

 

Last is the Beast. 

Walküre

In my sophomore year of College I finally came to terms with the possibility of pursuing writing (Which I had been doing since 4th grade), as a career. Not one for taking future employment lightly, I decided that I was going to write every single day from then on out. This was the first project I started. For its breadth- it could very well be the last one I ever finish, when I’m 92 and blind.

One of the first things I wrote on this project was the last entry. I know where it ends, and I know where the four soldiers go. All thats left is what will probably be at least 120k words in between. While I look forward to finishing it, I know it will  a decade before I do.


What God, Chapter 4

The next installment of What God. [Chapter 3 found here]

Some things don’t bear explanation. Every cop there was wondering who could have managed to tear Kraden apart like that. I was wondering how his wife and daughter could have stood to listen to him scream. 50 people in this house combing it for evidence and only 1 paramedic taking care of the two women outside wrapped in heat blankets

I walked out of the garage, past a few buckets full of sick and a few more expensive cars. Ms. Kraden sat in the back of the ambulance with her daughter. The wife sat with a face of stone, her daughter was beside her shivering and breathing oxygen from a tank.

“Ms. Kraden, I’m detective Grant-“

She even sounded stone, “Someone already took my statement, detective.” I was glad that at least somebody had taken some time away from the bloodbath in the living room carpet. Messes like that tended to occupy the attention of men in my position. I had no wish to spend more time in there than I had to.

“I know. I’m going to ask you to go through it again.” It was the worst part of the job; asking someone to relive what they had gone through. But repeated tellings of the incident can often reveal more than good forensics. Every time you make someone retell a story they process what they saw and and heard, leaving out the unimportant bits and dwelling on the more important ones.

“He came in late. He often did. Because of work.”  Ms. Kraden didn’t believe herself but I let her continue, “He came in. He cursed a bit, I thought he stubbed his toe. I was upstairs sleeping. He then started talking, like he was on the phone. Then he started yelling, something like ‘I didn’t have anything to do with that, I left the company, how should I know’ then the screaming started.” I was marking all of this down when she stopped. I let her breath, studying my notes.

“They said it must have been more than one” It was the daughter.

I looked to Ms. Kraden for permission, but she was staring off into space. “What do you mean?”

“When they were talking there was only two sets of footsteps. My dads and the other persons.” She went back to the oxygen. I couldn’t imagine what she was feeling.

“Did you hear him speak? Did he do anything else? the other man?” But I still had to ask. This was about more than Kraden.

“I only heard the footsteps. It could have been anyone.” She looked terrified, holding onto the oxygen mask like it was the only thing keeping her here.

I let them be, thanking them both. I told them I would keep in touch. It was a lie, but lies are comforting.

We have two scenarios. Either Kraden saw someone he knew well enough to know exactly why they were there, or the attacker delivered their message without speaking.

I went back to the living room and started looking around. A number of techs started trying to call for my attention but I waved them off. “Was there any paper recovered?” I asked the room. None of them answered. “It can be blank, a scrap, almost anything. Hell, I’ll take a whiteboard.” That seemed to help them along. A small tech walked up and passed me a blood-covered pad in an evidence bag. I gloved up, pulled it from the bag and grabbed a nearby pencil. The old tricks still worked. I shaded the top of the pad, the only part that wasn’t soaked in blood. In that I saw a relief of the last thing that had been written there. “Where is She” in bold, blocky print.

I got someone with a camera to document and had the pad sealed back up. I then went outside and threw up.


The Abridged Challenge

Small Talk 

This one is too easy, I swear. I mean, you ask the question, what the hell can make small talk interesting. Well here it is:

Humans evolved as a social species. The development of language is its own fascinating bundle of fascination, but what strikes me about small talk is its purpose. If you meet someone at a cocktail party, especially someone you don’t know too well, you ask them about their job, their hometown, and, of course, the weather (This, in major cities, is relegated to traffic, the urban weather). People look at small-talk as useless dribble, information less nonsense we resort to when we have nothing good to talk about. I don’t usually resort to absolute, but those people are wrong.

A great deal of information about social compatibility is exchanged in Small Talk. It helps to look at small talk as Human Butt-Sniffing. Dogs, when they great each other for the first time. First: they will smell each other’s noses. This serves as an indicator of mood for both animals. Second, they will sniff each other’s asses. Why? to tell the gender, pack status, and cleanliness of the other dog. It is an exchange of social data. Humanity has evolved its small-talk to include the basic social data. Who do you know, what Friends, if any, do we share, how much money do you make, and what kind of a person are you (Do I want to be your friend).

While social posturing and small talk may seem useless, try approaching it with this in mind. It also helps those less socially adept to function in those group situations. When in doubt, ask questions and gather info. People not only love to talk about themselves, but the more social information that is shared, the more of a subconscious connection is felt.

Homework

Right. Everyone’s favorite topic. Homework. THe bane of the weekend and afternoon, scourge of the high-schooler, and joke of the undergrad. A large subject that has been beaten to death by the likes of my peers. So lets take a different tack.

The main component of learning a skill is repetition, and this is where the homework paradigm comes into play. Sheets of simple math, grammar, spelling. The hundreds of calculus problems that professors will assign to drill the basics into your head. This is where I will take my contention

Tell me if this sounds familiar: An elementary school teacher with 40 kids has 2 hours to teach the basics of adding fractions with different denominators, in between trying to calm the class down and an ill-timed fire drill, she only has 45 minutes to teach some very important fundamentals. After blasting through the materiel, she sends the children home with their math worksheet because she has another 4 furrow days to go this semester alone, and has to keep her curriculum up to speed, or they won’t be ready for the standardized test at the end of the year that dictates how much funding the school gets. So the children go home, not really understanding the materiel, and try to complete it, not knowing how. Some get help from their parents, but most don’t. They try to complete the homework, don’t know how, build bad habits by “Incorrect Repetition”. Learning a skill depends on correct repetition, incorrect repetition breeds incorrect skills.

This is a small diatribe on the fact that we need more educational funding, and some teaching methods need to be changed. But how are we supposed to change education?

Homework is necessary. We hate it (and some don’t), but its true. What needs to change is the nature of the homework. The current paradigm is to lecture in class, and to assign the repetition outside of class. This is effective as long as the students completely understand the method, which they often don’t. It might be more effective if the repetition was guided in class, allowing the students to perform the correct repetition. This also allows you to introduce the idea outside of class, developing critical thinking skills, and intellectual independence. To put it simply, Have a student learn outside of class as much as they do inside of class. Make intellectual exploration a habit outside of the classroom.

Robert Rauschenberg, White Painting (Three Panel), 1951

http://www.sfmoma.org/explore/collection/artwork/25855#ixzz22V4P8YQW

Take a moment to imagine what would happen if a painter from history happened upon this painting. Michelangelo might be intrigued, Van Gogh could be somewhat disgusted at its simplicity, Leonardo would be in awe of its technical proficiency. But all artists before the last 150 years would never have seen a painting like this receive recognition, much less be painted at all.

More than a 1000 years ago, it would have been nigh on impossible to achieve such a smooth and perfect white. The technology didn’t exist. Canvas was rough, oil paints were of poor quality, and keeping it such a pure white would have been next to impossible in most studios. In fact, going back to antiquity, the easiest way to achieve a smooth white was to polish the proper type of marble or granite to a sheen, and hope it doesn’t have any faults or mineral lines. This simple painting illustrates the technical proficiency of our time.

But this painting is more than that. It is an identifier of one of our species’ most unique qualities. Meta-thought. The analyzation of abstract ideas as their own entity. Art was about recreation and imitation, Landscapes, God-forms, theological idolatry. Then, suddenly, Artists started changing their view. They created altered versions of reality. Impressionists, surrealists, abstract artists. Then, somewhere along the line, the alteration of reality was surpassed by art that was completely independent of the world it inhabited. It didn’t mimic anything, it didn’t reference anything, it became art that reflected thought-form. Our reality became our mental construct of reality. And more than anything, this is what makes this very dull, very minimalist painting interesting. How in the world did we get from cave paintings to 3 white sheets of canvas?

Being an Office Receptionist

This isn’t interesting? I mean, it already seems to be to me, but let me spell it out for you, since you asked.

First, look at the prevalence of the service economy in this day and age. If you go back just 200 years, there wasn’t much of an economy around supporting the needs of others. You could carry packages or be a servant. Other skills, like service manufacture, required the creation of physical goods. Nowadays, there is an entire economic ecosystem of people’s whose job it is to coordinate, organize, or communicate. Office Receptionists, who write memos, and fill date-books, are just the tip of the iceberg. Someone from 200 years ago would look at jobs like that, and would likely laugh. “what kind of a job,” Says blacksmith joe, “Requires you to sit and talk to people all day”. But the fact is, without the service economy, we could not survive. As society becomes more complex, we have more of a need for people to organize it all, prevent it from collapsing. Office Receptionists form the basis of modern society.

But then we move on. Office receptionists are not only the cornerstone of modern society, but they also lead lives of intrigue. We are a society that thrives on social interaction, and, to a smaller extent, gossip. I am not lending any credence at this point to general archetypes, I am only using them because we as a society use them. Anyone who works HR or Reception in an office building has a better idea of what is going on in the office than anyone else in that building. This is because it is their job to deal with the people, to organize it all, and to know what to say to who to get what they need. Social information is power.

The receding Hairlines of Congressional Aids: A Study

Hair-loss, for some odd reason, is inextricably linked with stress. Which, when constantly getting texted pictures of a congressman’s junk on capital hill, is fairly high. Hair loss, in our society, is almost a sign of weakness. One can be bald and still be strong, and one can have hair, but if one is in between the two, we suddenly see weakness.

Its funny, in this way. We have had an African-American president, a Catholic President, and with any luck we are well on our way to having 2 X chromosomes sitting in the oval office. We haven’t yet elected an openly balding president. Can you think of one?

Well, there is Benjamin Franklin, I’ll admit. But he was elected in an era where wigs were the commonplace, and unlike most of the founding fathers, he was shoved far back to the 100 dollar bill, behind all of his peers and contemporaries. His name is even being redacted from history by a few southern and midwest states who don’t like his policies.


The Story in the Story

Every story humanity has ever told, and ever will tell, all come from the same myths, the same basic narratives. Boy finds friend, they find trouble; boy meets girl, they fall in love, they die or live happily ever after. Every that is going to be told has already been told. So how do you tell a story that is worth being heard again?

It is tempting for me at this point to write a list of what makes a story memorable; but the truth is, there are no specific methods. The key, however, seems to be resonance. A story, as should be obvious, needs to have some sort of relation to the person reading it. This can come in the form of an Active Relation, something someone wants to get out of the story, and a Passive Relation, something in a story that, for one reason or another, evokes an emotional reaction.

As always, the line between an Active and a Passive relation is larger and more blurred than “The Greatest CENSORED Hits of Ron Jeremy”. This is also true for how much of each element any one story may contain. Novels that are usually focused more on an Active than a Passive relation are what we have come to refer to as Crime or Detective novels. These are books that we read to try and figure out a mystery, and are actively involved in trying to decipher the plot. A Passive Relation can best be found in almost any comedic novel, where the entire point of which is to create the humorous and unexpected, and therefore inspire a passive relation (i.e. trying to make the reader laugh)

As always, the best road seems to lie in the middle. Well, at least according to my limited world-view. To illustrate why, you need only take the one piece of literature we have probably almost all heard read in monotone by an English teacher; Hamlet. This is a story that creates both an active relation, forcing the audience to determine if Claudio really did kill Hamlet sr., but also is a story, in its most basic form, about a boy losing his father, creating a Passive relation.

But Hamlet is a story we have all heard before, isn’t it, along with most of the stories we are so fond of telling. So how do we get an audience to listen to them? First, you give them something new, a new take on it, and a new perspective. Anything to pique their interest. But failing that, every good story, every story worth listening to, has to be both felt by the audience, and interpreted by them. The perfect moment is when the audience is halfway between slight confusion and emotional devastation when the plot finally resolves. If done right, its enough to leave most people speechless


Oh What a Rogue and Peasent Slave Are You (For Not Understanding “High Art”)

Screw. You. Shakespeare

This isn’t an open letter to good old Bill, mind you, I hold, and have always held, a deep love for all (Most) of the Bard’s works. Even still, screw you, Shakespeare, for ruining shakespeare for me in high school. Its not the words I hate, its not the writer, its not the content, its the way that people read them.

Nothing in the world can possibly be more sexually deadening to me than a perfectly enunciated Romeo and Juliette said in a perfectly iambic metronome. Its something akin to imagining the sweaty effort your parents made that earned your little white tadpole a seat on the 9-month egg express.

The joy of acting isn’t found in the words, its found in how they are said. I am of the firm belief that anyone can be inspired by Henry V’s “St. Crispin’s Day” Monologue, or that anyone can know pain by hearing Titus lament the destruction of his daughter. The power of those words isn’t as much in what they say, its how people say them. That seems obvious, doesn’t it, that the power of the Bard’s words are in how they are said. But we have a habit of taking ourselves out of the equation when it comes to Shakespeare’s works.

The joy in seeing one of Shakespeare’s works isn’t watching a perfectly rendered period reproduction with original accents, its in seeing an actor take words we have heard thousands of times, and saying them so we listen like its the first time. Like that first time that we actually heard the words spoken with emotion, not from a high school teacher, not from a monotone reading, the first time we heard someone actually MEAN those words.