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Muse Rides Again

Max Greenstreet in Ireland (self-portrait)

(This article appeared in the Anderson Valley Advertiser February 2013)

“I decided that it was not wisdom that enabled poets to write their poetry, but a kind of instinct or inspiration, such as you find in seers and prophets who deliver all their sublime messages without knowing in the least what they mean.” Socrates

From the age of twenty-one until I was fifty, with only a few brief respites, I wrote many novels, most of them never published. The first dozen or so novels I wrote were related to the kind of poetry Socrates is describing when he says, “…who deliver all their sublime messages without knowing in the least what they mean.” I wrote in a state of enchantment without knowing in the least what I had written until I came out of my writing trance, gathered up the pages, and read the words that had spilled from my pen. By the age of thirty-five, I had managed to publish four of those inspired novels, and then for reasons known and unknown to me, I was unable to convince publishers to take any more chances with my books; and shortly thereafter those marvelous states of enchantment ceased entirely to take me over.

“Do not quench your inspiration and your imagination; do not become the slave of your model.” Vincent Van Gogh

As Van Gogh warned, I then became a slave to my model, which is to say I feverishly tried to think of what would make saleable novels, and I slaved away for years writing dozens of half-baked uninspired works that literally made me sick. Yet I continued to compulsively work at novel writing because I defined myself as a man who writes novels, which self-definition was how I knew, sort of, what I was or thought I was; and I desperately wanted to sell another book because I thought such a sale might save my marriage and cause my friends and family to like me again.

But my marriage collapsed before cosmic largesse might have prolonged the inevitable, and in that state of collapse and emotional free fall, the muse suddenly dropped in on me for the first time in many years and gave me Ruby & Spear, which, despite my not having published anything in a decade, was quickly bought by Bantam and brought me sufficient bread to move from the rubble of my marriage to my next camping spot, Berkeley, where I once again fell prey to trying to think up my next saleable opus, which behavior inspired my muse, the bringer of enchantment, to disappear once more.

So at the age of fifty I had a real humdinger of a breakdown accompanied by a severe depression that brought me face to face with the question: what’s with the compulsive novel writing, buster? And in the throes of my misery, I spotted a book I had been schlepping around for fifteen years but had never opened (the only such book I have ever owned) entitled Severe and Mild Depression by Silvano Arieti and Jules Bemporad, two erudite psychotherapists, their tome full of case studies of depression.

“But I’ve never really been depressed,” I said, as I leafed through the book. “Until now. Well…maybe for those little whiles between writing novels, but that was just post-partum blues. All the great writers talk about their little depressions between novels and plays.”

Then I happened upon Arieti’s case study of a compulsive novel writer, a summing up of that writer’s life that might as well have been my biography, including precise and detailed descriptions of my unhappy and unhealthy relationships with my parents, my failed marriage and failed relationships, and my decades-long compulsive attempt to try to write a successful novel. There was even mention of this writer’s early spontaneous and inspired works giving way to intellectually constructed imitative dribble. And, as was true of me, this man had not previously exhibited any outward signs of being depressed.

I read this case study as if watching a time-lapse movie of my life. I was fascinated and horrified and excited to find out what this guy/me was doing in a book about depression. Well, according to Arieti, this guy/me had been running ahead of a murderous depression for his entire life, and the source of this killing depression was his parents lifelong withholding of love from him while simultaneously denigrating his creative impulses and his desire to be an artist. And in order to cope with this painful lack of love and support and the resultant feelings of worthlessness, this writer came to believe that if he could only write a massively successful novel, he would be lifted out of his hellacious life of failure into a new reality in which he would finally be happy and his parents would love him.

“Inspiration exists, but it has to find us working.” Pablo Picasso

So I decided to see what would happen if I stopped writing novels. I had long known that whenever a play or screenplay or short story began to write itself through me, if, in my compulsive way, I tried to force that inspiration into the form of a novel, my state of enchantment would vanish. Which told me it was not writing I needed to quit, but the writing of novels.

And for the first year or so of not writing a novel, I was, indeed, very confused about who I was and why I was alive because I no longer possessed the identity that had been my mask and shield and raison d’etre for the previous thirty years. Eventually I embraced a more complicated and satisfying identity; and one day when I was fifty-four, I found myself writing something without thinking about what words I might write next, but rather seeing the story unfolding and writing down what I was seeing, knowing only that I’d been grabbed by something good and I wanted to read whatever that something turned out to be. So I hung onto the pen for twenty pages, then made a cup of tea and sat down to see what I’d written.

“Uh oh,” I said, speaking to the invisible ones, “this quite obviously wants to be a novel and I don’t write novels anymore. Remember? I’m okay without them now.”

“Oh, but this is a great story, Todd,” said the muse in her gorgeously non-verbal way, “and we’d really like you to write it, but not compulsively. Just as it comes to you.”

Which is what I did. And though that novel Bender’s Lover was never published, it pleased a good many of my friends and ushered in a new era in my life in which I might write anything in any form because I am no longer constrained by thoughts of what I should or shouldn’t be writing. Here for your enjoyment is how Bender’s Lover begins.

Four months ago—the ides of June—I was in Lorna’s wildflower shop ogling a maroon Sierra Shooting Star while awaiting my haircut, when I fell into conversation with an intoxicating woman who said she was looking for something to cheer her up. This woman, small and lovely and full of purpose, was torn between an Azure Penstemon and a California Harebell, and it was over this Harebell—the brightest blue I’ve ever seen—that we found ourselves marveling at the mood-enhancing qualities of flowers in general, Harebells in particular.

As her initial suspicion of me, based, I believe, on my unruly hair, gave way to a noticeable appreciation of me, based, I think, on my ability to speak in complete sentences, I was on the verge of inviting her to partake of further investigations, when she reared back and asked, “So what do you do?”

I almost replied, “Well, this morning I woke from a wildly erotic dream, masturbated, showered, had two cups of a fabulous black tea, petted my cats, played the piano for the better part of an hour, talked on the phone to a whiny friend for ten minutes and then lied about someone being at the door so I could hang up, gave a piano lesson to Ethel Zawarski, an accomplished atonalist, and then I called my whiny friend back and confessed I’d lied to her about someone being at the door. Why did I feel compelled to confess? Because I hoped to forestall the unseen powers from rioting against me.”

Instead I said, “I’m a piano player.”

“O! for a muse of fire, that would ascend the brightest heaven of invention.” William Shakespeare

As it happens, I have not written or been writing a novel for several years now, and I had begun to think I would never write another novel, which would have been fine with me. I no longer define myself as a novelist, though writing is still a big part of my life. I think of myself as a person, husband, friend, gardener, cook, self-certified prunologist (pruner of fruit trees, Japanese maples, and the like) writer, musician, artist, and earthling.

But a few weeks ago, I woke to a charming voice in my head telling a story I very much liked the sound of. So I gave myself to the tale, and ere long it became clear the story being told to me was not a short story, nor was it a novella. I am now a hundred pages into whatever this opus turns out to be, and I remind myself on a daily basis that if I never finish writing this tale, life will still be worth living, the earth will continue spinning around the sun, and the countless miracles composing this astonishing reality will go right on composing. And I also remind myself that if I do finish this tale, it will be my great pleasure to read the whole thing and share it with my friends.

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Big Data

(This article appeared in the Anderson Valley Advertiser April 2012)

“Mathematics are well and good but nature keeps dragging us around by the nose.” Albert Einstein

A wintry April day—rain, cold, our two woodstoves hard at work translating matter into energy so we may carry on in comfort. Yesterday we celebrated the idea of spring, if not the reality, with the delivery of four cords of firewood from Frank’s Firewood of Boonville, so now several days of stacking wood are upon us. I am graduating from my seventh Mendocino winter, and Frank’s fantastic firewood has kept me snug and warm through every one of them. Thank you, Frank!

Yesterday also brought an email from a friend with the subject heading Data Plague, with a link to an article from the New York Times about Big Data, a hot topic in the world of computer science and technology. Big Data is the incomprehensibly large amount of raw data piling up from all electronic activities that leave digital traces, including scientific research and social media. For instance, every minute of every day some forty-eight hours of video are uploaded to YouTube: the equivalent of eight years of content each day.

According to the Big Data article, many people in government and academia and private industry are interested in mining this rapidly growing data universe, and President Obama has earmarked 200 million dollars for his Big Data Research and Development Initiative. And just last month the National Science Foundation awarded 10 million dollars to Berkeley’s A.M.P. Expedition, which stands for “algorithms machines people,” a team of U.C. Berkeley professors and graduate students working to advance Big Data analysis.

As usual, no one asked my opinion about any of this, but here are my thoughts on the intrinsic and extrinsic value of Big Data. Once upon a time there was this emperor, see, and he wasn’t actually wearing any clothes, but because he was the emperor everyone had to pretend he was wearing clothes even though he wasn’t.

“The man ignorant of mathematics will be increasingly limited in his grasp of the main forces of civilization.” John Kemeny

Stacking firewood, one might surmise, is something like trying to make sense of Big Data. There on the driveway (in cyber space) is a huge jumble of firewood (pile of data) composed of many separate pieces of wood (bits of data). Over time, I will get all that wood neatly organized in eight or nine stacks in the woodshed, and over more time I will burn those stacks to heat our home. Meanwhile, the Big Data geeks will try to organize their ever-expanding pile of data bits (measured in petabytes, one million gigabytes, and exabytes, one billion gigabytes) and then…and then nothing.

Still more astonishing is that world of rigorous fantasy we call mathematics.” Gregory Bateson

Eight years of Youtube video uploaded every day? That’s 240 years per month! Joe points his phone camera out the bus window as we make our way through Chinatown. Okay. Cool. Click, click. Uploaded to Youtube. Here are Margaret and Binny eating ice cream. Good. Click, click. Uploaded to Youtube. Ralph’s three-legged cat named Popsicle is eating a mouse. Ew! Click, click. Uploaded to Youtube. Becky’s Great Dane Buffy rolls on something dead. Hardee har har. Click, click. Uploaded to Youtube. Here are millions of videos of people looking into their cameras and making silly faces. Yes! Click, click. Uploaded to Youtube. And here is Zigmund Olafson, pulling down two hundred grand a year (of taxpayers’ money) as Permanently Visiting Professor of Theoretical Cyber Whatever at U.C. Berkeley running 1700 centuries of such stuff through a super computer in the basement of ADE (Algorithms Digest Emptiness) and after nine months of data digestion and crunching and analysis discovering that…kittens and puppies are cuter than heck!

“We’ll judge our success by whether we build a new paradigm of data.” Michael Franklin, director of A.M.P. Expedition.

A new paradigm of data? Puh-leez. How about a new paradigm of excellent and affordable healthcare for everybody? How about a new paradigm of equitable taxation? How about a new paradigm of funding our parks and schools? How about a new paradigm of peaceful resolution of conflicts? How about a new paradigm of closing all the insanely dangerous nuclear power plants and insulating our homes and solarizing every viable rooftop? How about a new paradigm of generosity and love? Oh, no. What we need is a new paradigm of data. And just what might that new paradigm of data look like? We have absolutely no idea, but we’ll let you know if we think we’re successful in building that paradigm after we’ve spent hundreds of billions of dollars, you know, feeding digital stuff into really fast computers. Okay? Cool. Click, click. Uploaded to Youtube.

“I don’t agree with mathematics; the sum total of zeros is a frightening figure.” Stanislaw J. Lec

Of my many unhappy experiences with publishers, one of the saddest had to do with a chunk of data that followed me around like the Hound of the Baskervilles and is no doubt following me still. This chunk of data suggests that my second, third, fourth, and fifth novels did not sell many copies. Never mind that the various publishers involved did absolutely nothing to promote or distribute my books, and in most cases suspended all support for the books before they were published. No, the data says the books did not sell, which translates in corporate parlance to “Todd does not sell.”

Being reminded of this damning data every time I approached an agent or publisher, I nevertheless continued to try to interest mainstream publishers in my work for many years, with and without the services of literary agents. Of course, agents are privy to this same database, and so I was a pariah to most of them. But eight years ago, shortly before moving to Mendocino, I succeeded in interesting an agent in representing my novel Bender’s Lover, a metaphysical love story comedy thriller set in San Francisco and having to do with music, friendship, and power. I warned this agent about the damning data that was following me, but she seemed undaunted. “After all,” she said, “those sales figures are over twenty years old and this book is so good that…”

She sent copies of my tome to fourteen editors in New York, eleven declining to consider the manuscript because of the aforementioned database. Three said they would give the book a read, and lo a miracle occurred (or so we thought.) A senior editor at Viking went mad for the book, called my agent with a fat offer, and asked that we all get together for a conference call the next day, which we did. My oh my, did we have fun, a ménage á trois love fest during which we designed the cover and cast the movie and read aloud our favorite parts from Bender’s Lover; and for the next forty-eight hours I believed the curse had finally been lifted from my career and I would at last be allowed to ascend to my rightful place in the pantheon of American novelists.

This delightful editor’s last words to me were, “I don’t anticipate any problems, since I have carte blanche here, but as a formality I do have to run this by a couple people in Sales and then I’ll call you with my formal offer. I cannot tell you how excited I am to be getting this book. It’s going to be huge.”

Alas, Sales nixed the deal because the data says Todd doesn’t sell, never mind how old the data or what the data is based on. Never mind anything except the raw little numbers, which in truth are miraculous for being more than zeros.

My agent’s voice was trembling as she gave me the sorry news, and then she took a deep breath and said, “So…under the circumstances, I don’t think there’s really any point in our continuing to work together. Do you?”

Cue the howling hound!

And that is just one of many reasons I do not care much for data, big or small.