Body of Land; this novel begins…

…. as a blog. I’m going to blog at least part of this novel A BODY OF LAND from here in Los Angeles, after attending a conference at LA EcoVillage last weekend where some of the issues I address are being lived out in real time, on real soil with water…

(http://laecovillage.org/2018/03/06/the-soul-of-soil-and-the-ecocity-future-of-los-angeles-sat-sun-july-14-15-2018-at-l-a-eco-village/ )

Feel free to leave a comment or question about this work in the dialogue box below.   And so it begins:

Foreward

Call it a protracted war or you can call it peace.  Most likely you won’t speak of it at all.  You wouldn’t think of it probably if I hadn’t brought it up just now.  It wouldn’t otherwise be noticed.  I’m not exempting myself from this not noticing tendency.  These things happen, keep happening, and I wound up here in this little intentional community with some chickens in the middle of Los Angeles, and it all feels rather random.  Oh yeah, there’s a postage stamp featuring one of the buildings mentioned in the novel; truth’s stranger than fiction.

To put this in historical perspective, though, even if none of the people in the story here are historical figures – I’ve made it all up – they found the bodies of some people dead there at the end of the revolution in Grenada in US body bags.  I know that was many years ago, several wars ago.  I’m just telling you, I read about it in the newspaper, not the same newspaper I was working for when I did the story about the murder trials.  I had a hell of a time getting them to let me do that story at all.  No one was interested, they said.  The rescue mission, or U.S. invasion as it was called depending on who you were talking to, was over and now the Middle-East is the news again.  But here in Los Angeles someone is still following that old war and this should be noted.  Jot it down in your notebook just to satisfy me:  Some bodies were found in an unmarked grave, in U.S. body bags.  I’m just saying…

But this story here isn’t about the Grenadians:  From the get-go, I said it:  let them tell their own story.  They have, in fact, done so.  Several different accounts.  You might want to read their accounts.  All I’m saying is that all these years after the revolution they finally found some bodies and the body bags were U.S. army issue.

I was there at the trial of the accused, and the Americans were all over the place.  At one point the judge called for a recess because the testimony could not be heard above the racket of U.S. helicopters overhead, right above the courtroom.  It was a practice maneuver.  What the hell were they practicing for?  All that’s happened since?  Maybe they learned a lot on that little field trip, about how to control the story.  Okay, but about the bodies.  During the trial the accused wouldn’t answer because they were, in turn, accusing the Americans of orchestrating the whole thing, including the trial (and in retrospect that doesn’t seem far from the truth. )  Here, in a court of law they were accused of murder and also of burning the bodies.  No one said anything different, no one said that this isn’t what happened, couldn’t have been what happened, not if these bodies were finding eternal rest (or whatever) in U.S. body bags.  Someone could have said something, even if the accused had in fact murdered these people and had just left the bodies for the Americans to find, left them there in the sun – I’m sorry but it could have happened – or left them in the morgue, then someone in the U.S. Department of NMWCSJ (Not Messing With Another Country’s System of Justice).  Someone could have come forward during the trial of the accused and said, “Look, these guys might have done the murdering – that’s for your jury here to decide – but for the record, we disposed of the bodies and you’ll find them here.”  It would have given the families some peace.  It would have been setting the record straight.  No one said any such thing.

No one came forward to speak the simple truth.  It makes you wonder, doesn’t it?  No.  No one is wondering, well, except a few people, the families involved, families and friends of the accused and of the dead.  The latter wanted to claim the bodies when they were eventually found, even after all this time.  Okay, that’s another story, another element for another record.

Okay.  Did you know that this most American of words, ‘okay’, is probably derived from an African word used in the markets in the south of what is now the U.S., a mercantile expression that is passed on from mother to infant.  It involves continental shifts, the most simple expressions, as in:  Let’s just finish these biscuits, okay?

I’m just saying okay: so it goes.  So it goes and they all live happily ever after or not, meaning they do or don’t live and they are or aren’t happy, and their stories lead to this story I’m finally putting out there years after the fact.  Decades now.  After friends and family put up with this.  The Toronto Star paid to do the reportage, the Canada Council gave me a grant to write the first draft and the Ontario Arts Council gave me a grant to finish the book, thank you all very much.  We’ll start again now, here, we’ll start with Vida and her children and we’ll get to the rest eventually, and I wind up here to this nice little place we’ve got here in LA with some chickens but mostly people.  Some dreams come true, but you have to dream them first, and then you have to wake up.

Introducing KENNY IN INFINITY

“There is nothing out there but light,

The would be artist said

As usual just half right. There’s a touch of darkness, everyone knows,

on both sides of both horizons.

Prescribed and unpaintable…”

Charles Wright,  “Lives of Artists”

 

The original inquiry I’m blogging here began where my novel, No Words for Love and Famine, left off: the main character fell between the cracks of words which is silence.  She embraced the quiet, apparently to give up writing altogether, while the author took this project in another direction, to another silo: academic philosophy.   “Kenny in Infinity; or Why it Takes Popcorn to Make Movies a Sacrament” was the project title.

My premise:  Movies in particular and digital media more generally (with rare exceptions) entail only our distal senses – sight and sound –  where the objects sensed have no direct physical contact with who is perceiving them.  In the olden days of celluloid, if you saw a filmed sequence of food being prepared and served there was actual light hitting actual chemicals that produced physical phenomena, celluloid photos and audio tapes, that were physically handled and glued together.  There was some “chain of custody evidence”, to use the legal term, even though was no process to capture the smell of the food, or to allow the viewer to feel or taste the food.  (There were experiments to include smell as part of the film-screening experience – more about that later.)

With digital media it’s an act of imagination between filmmaker and audience all the way down.  There’s information without any direct experience.  The information about the scene is captured as bits and bytes by the camera and audio apparatus, reconfigured, then presented to an audience who reimagines the whole experience.  In short: we make all this shit up, the audience in collaboration with the filmmakers, a secondary collaboration because a previous collaboration occurred on the set, sound studio or documentary location where the information is recorded.

A year into my philosophical investigation I changed my mind about the title and the proposition it entails.  I became convinced that the proximal senses – touch and taste and smell – work with the more distal senses that movies employ – sight sound and kinesthesia, movement.  Our experience is all of one piece.

Now I want to revisit the original premise:  The cacophony and the avalanche of images, as much as I love the whole mess of it, is obviously not the same as being there with the proximal and distal senses fully engaged with the thing itself. The media experience is a total experience as well, but it’s a different experience, truncated.  We’re missing something – various tastes and smells and textures, although the couch potato senses the soft cushions, the smell and taste of the popcorn.  Those sensations are distinct from that object of attention – the media images and sound.  That’s a good thing.  If the said couch potato, aka audience, is not absorbed by the movie or game it’s probably a bad movie or game, stale popcorn or a lumpy couch.

I can be accused here of nostalgia, this longing for an integrated sensory experience, unmediated.   The first time I articulated this, I was trying to explain the concept of unmediated experience to a group of students who were staring above their screens, looking at me with zero comprehension.  I decided to offer an example in our immediate environment but everyone’s hair had product in it or was colored, the floor was carpeted with unnatural fibers, the sunlight filtered through glass and fiberglass shades.  The food items people pulled out of their backpacks were almost certainly genetically modified if not processed.  There wasn’t anything I could use as an example of unmediated experience, so I concluded:  We have to go camping.

“This is my body,” Jesus said, taking bread and breaking it.  Ancient practices: we should be used to this by now, one thing being something else altogether, so what’s new about digital media?

Marshall McLuhan made at least one good point: “All experience is 100%.”  Our online experience, where food has no smell or taste, nevertheless a feast for the eyes, satisfies.  It’s the space in between the digital code that fascinates me.  I was dissuaded once that there is no ‘nothing’ in code, that code is all there is.  I don’t accept that, or at least I want to revisit that now.

There is the code and it creates an experience that is already past by the time we recognize that we are having an experience.  The anticipated future is an expectation at best, maybe pure fantasy.  The present moment cannot be experienced as ‘present’ before it’s already past.   So…. the structure of the present is without structure even as it is present in consciousness (in which is it is past).  But we do live.  So Kenny slipping out of the specious present, this present that we can’t represent, makes perfect sense.

“Oh no!…”  There he goes again.

Please feel free to leave your reflection/comments.

 

Body of Land

There is a cautionary tale behind this blog:  a night spent long ago with the poet Mazisi Kunene.  This part of the story I’d forgotten until just now.  The poets were droning on and I was appalled at the pretentiousness, but my publisher was the organizer of this reading and I was sitting at her table.  It seemed there was no escape.  He offered me an escape.

He told me how this lapse into inauthenticity, this extravagant display of inauthenticity we’d just witnessed, was a problem for North American artists.  As soon as you achieve any fame or notoriety you begin creating for and through that persona.  I told him I have totally escaped the trap by achieving absolutely no fame nor notoriety, but he shook his finger at me, warning, “It’s always a danger.  Always!”

The manuscript begins with another insight he shared in one of his epic poems:

“Death is an illusion, a transformation,

Whose truth is revealed to those who keep alive their bonds.

Through sacrifice the living continue to commune with the dead,

Yet how lucky we are they do not break through the gates of silence;

We could go insane from the challenge of two uncertain worlds.”

Mazisi Kunene, Emperor Shaka the Great

Sexual Mercy available NOW

Sexual Mercy is out, the novel I wrote with award-winning Canadian Writer, Paul Savoie.  Available at Amazon.com

Sexual Mercy by Roberta Morris and Paul Savoie
Heidi, a phone sex operator, with her housekeeper housemate Dom, struggle to make ends meet in Silver Lake, Los Angeles, recently designated by Forbes as “America’s Best Hipster Neighborhood” The two women discover a winning formula when they combine their talents to create a dominatrix housekeeping service. As their client list grows a young suspicious housewife, Katy, phones the service expecting to confront her husband’s lover. Instead she sees opportunity for herself, as way out or possibly a way to save her marriage. Sexual Mercy is a story about transgressing boundaries in order to make sense of our lives.
The authors’ photo is by Tim Bourgette who just welcomed his second son, Arlo Joseph, into the world this week.  The cover is designed with beautiful art,  “Arched Through Blue Sky” by Susan N Stewart.

 www.SNStewart@me.com

 

To start a new one or complete an unfinished novel? That is the question

Here’s a snapshot of this writer’s process.  I can’t decide.

The pleasure of a blank page seems enticing, though it’s not completely the case that the page is blank.  There are several hundred pages of materials I’ve been collecting to incorporate into this story:  Let’s Keep in Touch.  It’s a correspondence between two women over thirty years when correspondence comes to mean emails, then texts and tweets, then a surprising face-to-face encounter.  I’m revisiting some of the themes here I played with in No Words for Love and Famine, and with all those notes and snippets of text I’ve already written it seems more a matter of cutting and pasting than writing.  And…

Hollywood Fables is so close to being complete.  It is a novel I set aside because of a fluke accident in real life.  While the novel is completely fictional, something occurred in real life that I’d already written, something that is pivotal to the plot.  I hate it when that happens.  It was so creepy I put the manuscript aside.  It’s time I complete this novel.  But…

Maybe I can write the new one in the morning and work on revisions of the other in the afternoon.  But…

Maybe I should run away from home, climb onto a fishing boat and head for the artic.

I love the actual process of writing; it’s just that getting started is sometimes difficult.  Similar to meditation, there’s a weight to the solitude one has to lift in order to begin.  Weight training.  That’s what is required here.

PAUL SAVOIE WON THE TRILLIUM AWARD FOR BEST FRENCH TITLE – ALICE MUNRO FOR ENGLISH TITLE

     
Bleu-bémol     

 

 

Paul Savoie, Toronto, Bleu bémol (Éditions David)

Inspired by music, Bleu Bémol is composed of assonances, rhythms, musical phrases, and improvisations that outline the beginning and the end of everything that matters. Paul Savoie delves into the different dimensions of “blue”: the colour, a mood, that zone of being that enables him to pierce the gray or to go through crystal, two of the pathways that give shape to his imaginary world.

     
Paul-Savoie   Paul Savoie is one of Canada’s most prolific authors, writing in both French and English. Originally from Saint-Boniface, Manitoba, he has lived in Ontario since the early 1970s. He has written more than 20 works, including several collections of poetry, stories and translations. His book of poems, Crac,won the Trillium Book Award. Involved in the arts community for more than 25 years, Savoie also composes music for piano.Publisher’s link: http://editionsdavid.com/products-page/livres/bleu-bmol 

Co-author Paul Savoie is finalist for Trillium Award

Friend and co-author Paul Savoie (Sexual Mercy, the novel) has been nominated for this years’ Trillium Book Award/Prix Trillium for Bleu bémol (Éditions David).   This is a prestigious award, and Bleu bémol is inspired, both as a literary piece and inspired by music.

Congratulations, Paul.  I’m looking forward to the awards ceremony; your work is always a pleasure, and writing with you makes writing a double pleasure.  Our effort, Sexual Mercy, will be released this October.  Here’s the synopsis of the book and you will find all the titles nominated at the Trillium Book  if you click here.  And see what his publisher has to say about this book:

Bleu-bémol  

 

 

Paul Savoie, Toronto, Bleu bémol (Éditions David)

Inspired by music, Bleu Bémol is composed of assonances, rhythms, musical phrases, and improvisations that outline the beginning and the end of everything that matters. Paul Savoie delves into the different dimensions of “blue”: the colour, a mood, that zone of being that enables him to pierce the gray or to go through crystal, two of the pathways that give shape to his imaginary world.

Paul-Savoie Paul Savoie is one of Canada’s most prolific authors, writing in both French and English. Originally from Saint-Boniface, Manitoba, he has lived in Ontario since the early 1970s. He has written more than 20 works, including several collections of poetry, stories and translations. His book of poems, Crac,won the Trillium Book Award. Involved in the arts community for more than 25 years, Savoie also composes music for piano.Publisher’s link: http://editionsdavid.com/products-page/livres/bleu-bmol
Bleu bémol
Éditions David Paul SavoieCollection : Voix intérieures – poésie Public cible : Tout public Pages : 96 Date de parution : Nov 2012 Format : 12 x 22 cm Code : DAV262 ISBN : 978-2-89597-279-2 Prix : 17,95 $

Inspiré de la musique, Bleu Bémol est constitué d’assonances, de rythmes, de phrases musicales, de mouvements libres qui tracent le début et la fin de tout ce qui est essentiel. Paul Savoie y approfondit les différentes dimensions du bleu, la couleur, l’état d’âme, cette zone d’être qui lui permet de percer le gris ou de traverser le cristal, deux voies qui façonnent son imaginaire.

Par-delà la symbolique du bleu, véritable porte d’entrée pour redécouvrir le monde et son intimité, l’auteur de CRAC (Prix Trillium 2006) explore ici le cheminement passionné de deux êtres l’un vers l’autre.

Écrire l’amour comme on compose un blues, en choisissant une série d’accords, en multipliant renversements et progressions, en déstructurant le rythme, en atteignant autrement une musicalité. Ici, le blues n’est pas le spleen, tout au plus nostalgie. Déposés comme autant d’improvisations s’appuyant sur des cadres thématiques définis, les poèmes de Paul Savoie évoquent la femme aimée aujourd’hui, hier, mais aussi autrefois (une grand-mère qui a sans doute instillé chez l’auteur amour des sons comme des mots), n’hésitent pas à mâtiner les harmonies en y insérant quelques notes étrangères, qui démontrent leur pertinence et leur beauté en se résolvant. Si le recueil prend quelques pages avant de révéler sa pulsation, il finit par nous rejoindre de façon subtile, presque organique. Une délicieuse petite musique, de nuit ou d’après-midi.

Lucie Renaud, Clavier bien tempéré : http://lucierenaud.blogspot.ca/, 21 février 2013

Ce recueil tout en douceur s’inspire de la musique et du bleu pour redécouvrir le monde : « au murmure plus doux que l’eau/ alimente en une cascade tortueuse de lueurs/ le cœur asséché/ au moment de la ruade/ tu subis/ le déploiement de l’aile ».

« Les choix de la rédaction », Le libraire, février-mars 2013, n° 75, p. 14

Le langage de Savoie est concis, les images concentrées, toutes en nuances et en évocations qui suggèrent beaucoup sans en dire long, dans une lente maturation qui, dans Bleu bémol, se marie, croit-on, à un vieillissement, assumé et empli de ravissement, du moins jusqu’à ce que le tissu du temps s’épande sur les amoureux. La phrase est musicale, arrondie d’assonances et de répétitions, ainsi que de pauses régulières, comme si on se prêtait à une promenade nocturne – la nuit que Savoie appelle d’ailleurs la « brunante », avec « l’ocre et les glaises » de ses revenants (p. 60).

Armand Falq, Voix plurielles, vol. 9, n°2, 2012, p. 184-185

 

LA Book Fair gets easier to handle with tickets

It’s this weekend, all of you living in Los Angeles – the Book Festival.

The first time I went to the LA Book Fair I was shocked to learn that there were that many readers in LA, never mind that many people excited enough about books to attend a book fair.  It’s a crazy-crowded event every year, but much easier to get to now that it has moved to USC and now that USC has metro transit right to it’s many gates.

To make it even easier, you can check out all the talks and panel discussions being held, and order tickets for just one-dollar each.  Meet some of your favorite authors or consider some of your favorite topics.  I’ve signed up for something about portraying American Identity (as a Canadian writing in the US this is something I should at least consider!), a panel on journalistic ethics, another on legalizing marijuana, and more.  These tickets give me a chance to find a place to sit down as a rest stop, having strolled through acres of books.

http://events.latimes.com/festivalofbooks/general-information/ticket-info/

 

You’re Beautiful

YOU’RE BEAUTIFUL video interview with the actors

You’re Beautiful! trailer

You’re Beautiful (directed by Lolade Leigh-Thompson, 2012)

Canadian producer/director Lolade Leigh-Thompson and her amazing cast appeared before an enthusiastic audience at the Pan-African film festival in Los Angeles (Feb, 2012) and wowed everyone with their poise and pleasure in this work.

The message is simple – self-esteem for kids is sometimes hard-won.  Overcoming some disfigurement, standing up to bullying, and being loyal to friends might trump what else might be on the middle-school curriculum.  You simply can’t learn much if you feel badly about yourself, or what you did or didn’t do for a friend, until you learn to love yourself and others.  It can’t be said too often, kids:  “You’re beautiful.”

The director, Lolade Leigh-Thompson, sets a fine example for the cast and young audience, bringing out this work.

Enjoy the film, and an interview of the cast on YouTube:

Authenticity

 

Meet William-Henry Ireland, “the original slacker” says the Independent Shakespeare Company.

Last night I saw the last (for now) performance of this amazing one-person play, the one-person actor being David Melville.  He can pull anything off with comic aplomb, perfect timing… And Melville is in his element with this turn around on authenticity.  His character, Ireland, isn’t stealing other people’s work; he’s selling his own under Shakespeare’s name.  Now, he’s no great talent so he’s busted right away, and the more authentic aspect of the story is the father-son relationship, a son trying anything to please a father (if that man really is the father…)

This screams out for us to consider what is authentic, and who cares.  All language is shared, passed on, and held in common.  The Christian scriptures are texts attributed to a particular tradition related to a particular person, not necessarily composed by that individual.  So Ireland is writing in the School of Shakespeare, authentic insofar as he is trying his best to get it right.

Okay, I’m obsessed with this question (see No Words for Love and Famine) but even if you aren’t, and if there’s another opportunity to see this play, GO SEE THIS PLAY!  It really is wonderful.