“Time to break with long-standing tradition. No room for humility, maintaining artistic ‘Purity’ and all that bullshit. Gotta get with the program, boy! Right now, you have the profile of a blind mole and you gotta do something about it, capiche? So, let’s hop to it…”
That’s the publisher part of my brain, giving me a good dressing down. Lately that impatient, cigar-chewing entity has been making his presence felt, insinuating his way close to my psyche, whispering his poisonous advice.
Unfortunately, it seems I’m starting to listen to him. I’m behaving very much out of character and as evidence I offer up the following:
First, I’ve entered a couple of my books for literary prizes.
I know. Spooky, isn’t it? I usually have zero interest in such things—couldn’t tell you who won the last Pulitzer or Booker or what have you. But my publisher got his way and I popped four copies of The Last Hunt off to the judges of the Western Writers of America’s “Spur” Awards and a similar number of my New & Selected Poems to the folks behind the Saskatchewan Book Awards. Rather dubious bids to draw attention to my work, I thought, but those misgivings were completely disregarded.
Second point: I’m submitting a tale to the annual “CBC Short Story Prize”.
Sherron sent me the guidelines for this year’s competition and my Muse, with uncharacteristic glee, supplied me with a 1450 word offering that I’ll be mailing later today (just ahead of the deadline). Weird. Not only am I sending them a tale, I’m also paying a $25.00 “administrative fee”, a practice I’ve always derided in the strongest terms. “Ripping off writers,” I snorted. “Isn’t it supposed to be editors paying authors, not the other way around?” Etc.
Something’s going on. The problem is, I’m an independent author and publisher. There are two sides of my personality to satisfy and right now they’re pretty much at war with each other. The writer in me has no interest in shilling his books, evincing a distaste for the kind of shmoozing some of his colleagues do, trying to curry favor with the Powers That Be. The publisher persona, however, insists these books we’re producing cost money and, besides, they’re good books, why not do what we can to get the word out? It’s not about greed, it’s about securing a decent readership for well-crafted stories of obvious literary merit…
Ah, he’s a clever bastard all right. And he’s been winning a few minor skirmishes of late, exploiting his new found sense of authority. He was delighted when I sat down at my desk and commenced a brand new tale for the aforementioned short story contest.
Until he read the final draft.
“It’s not…not…and too…there isn’t any…” Spluttering, unable to finish his sentences, incandescent with fury.
And the author in me rejoicing, enjoying the spectacle. Waving the printed sheets of paper teasingly, skipping away while his counterpart screams and gesticulates…
Another terrific short story in the can.
Too bad it doesn’t stand a fucking chance of winning.
The other day I received an inquiry from a chap in Jamaica (gotta love that world wide ‘net) regarding my play “The Break: Ten the Hard Way”.
It’s a a drama composed of ten monologues, employing a wide range of perspectives, radically different characters reacting to the impending end of a relationship.
“The Break”, like so many of my projects, started out as a writing exercise. I wrote one monologue and another character, another scenario, immediately presented itself. I didn’t know what to do with “The Break” once I’d finished it…and then, by chance, I caught an interview with two young Saskatoon actors, recent graduates of the University of Saskatchewan drama program. I noted their names and contacted them. Sent them the script and some time later “The Break” made its debut at the Refinery Theatre in Saskatoon, Josh Beaudry handling a very grueling acting assignment brilliantly.
I always thought this one would make the perfect “Fringe” show so, Josh, if you’re ever interested, lemme know.
CBC Radio producer Kelley Jo Burke also excerpted some of the monologues on her “Sound XChange” program.
I was delighted by the reactions this piece elicited and I’m pleased to be able to present it to you, for free reading and downloading.
I’m certain some of these voices, at least, will sound very, very familiar to you…
Go to the “Rarities” page (above) for your free copy
or click here for the free PDF of The Break
Recently, Milan Kundera raised a few hackles in the Czech Republic by refusing to return to his home and native land to attend a conference devoted to his work. Mr. Kundera stated that he did not wish to contribute to a “necrophile party” made up of academics and scholars, discussing and debating his work.
He also said, even more provocatively, that he considers himself a French writer and writes exclusively in that language.
Take that ye cultural nationalists!
It has long been my belief that a writer is a stateless citizen, an individual who inhabits no country and is beholden to no particular culture, gender, creed or race. To identify oneself as an “American author”, “Czech author” or what have you, is to fly in the face of the kind of universality true authors seek to achieve through the power and originality of their work.
When I make my rare public appearances I often have to provide a short bio so I can be introduced to an audience or gathering and I struggle mightily to compose something that isn’t embarrassing or misleading. Earlier this year my wife adapted a couple of my short stories into theater pieces that were performed at a function here in the small city where we live. I think the M.C. at one point called me a “local author” and I shrank down in my seat. Is that all I am? A local author? A Saskatchewan author? Even a Canadian author?
Christ, I hope not. After twenty-five years of beating my brains out and destroying my fingers and shoulders and lower back, I’d like to think I have higher aspirations for myself than that.
Nossir, I want to be read not only locally, not only nationally but around the entire fucking world. I want my books and stories and essays to be devoured and enjoyed by future inhabitants of the Martian colony. I want my collected works taken on the first flight to Alpha Centauri. I want my prose to survive long after places like “Saskatchewan” and “Canada” cease to exist.
Isn’t that what all artists of worth strive for? Immortality, an appeal that persists centuries after their bones have turned to dust. And that is also why I struggle so hard to preserve the integrity of my work, not allowing some bowdlerized or aesthetically gutted version to supersede and supplant the real thing.
I honestly wouldn’t change places with the likes of James Patterson or Stephanie Meyer for all the filthy lucre in the vaults of Fort Knox. Their work won’t survive the next twenty years, let alone the uncounted eons that lie ahead. No, let them choke on their money and watch as their books go out of print in their own lifetime.
It’s funny: this past week I commented on the on-line site for CBC (our national broadcaster), responding to a short feature devoted to Robert Charles Wilson. Mr. Wilson has managed to secure something of a reputation for himself as a SF writer, even snagged a Hugo Award for one of his novels. Frankly, I find his prose merely workmanlike; he is yet another SF scribbler (like Jack McDevitt and Robert Sawyer) who has cashed in on a modest talent for stretching neat ideas into over-long novels and, in the process, made a tidy living for himself. It’s a situation that’s pretty much endemic in SF but those guys are more guilty of that particular sin than most.
The folks who responded to my initial post comported themselves like typical, moronic SF fans. They made all sorts of assumptions about me and indulged in numerous pointed, personal, ad hominem attacks, opining that I was merely jealous of Mr. Wilson’s commercial success.
I made the mistake of trying to debate with these “minions of fan-dumb” and earned more vitriolic attacks for those efforts. Fuck it, I thought, and signed off without posting the really nasty parting shot I had composed. It would have been a waste of time. These are the same vacuous shitheads who are lining up in droves to see “Star Trek XXIV: The Quest For Profit” and the latest comic book adaptation, wearing out their thumbs on their game consoles. The only heads they have on their shoulders are blackheads from all the junk food they cram into their maws so they can stay up all night watching the “Lord of the Rings” movies back to back and wrapping “Fallout 3″. Fuck them. No way I’ll lie down with those pigs.
No, I’m bound for the stars. I write for posterity and to preserve a literary legacy that I hope will last as long as there’s a single, discerning reader out there who longs for something off the beaten track, a work that reminds them what it means to be human, the attendant hopes and accompanying foibles. A man or woman lonely, isolated, seeking the companionship of a long-dead author whose devotion to the printed word transcends time and vast distances and alien, hostile farscapes.
Keep your trophies, baubles and bullion.
I serve a higher calling…and make no allowances for those whose lack of courage and faith causes them to choose low roads and demean the gifts they have been so generously granted.
As promised, I’m posting the longer version on my radio play “The First Room”. The version that aired nationally on CBC Radio’s OutFront program was drastically reduced and while it still packed a wallop (largely thanks to Kelley Jo Burke’s peerless production), the piece was originally intended to be thirty minutes long.
Here it is, The First Room, full-length and in all its glory. I’ll leave it up to you, dear Readers, to decide which of the two (long or short) you prefer.
A quick mench that CBC Radio producer Kelley Jo Burke just dropped me a line, letting me know that my short story “Matriarchy” will be airing on her Saturday afternoon SoundXChange program (February 28th, 5:00 p.m. on Radio One in Saskatchewan).
Along with my little tale will be an offering from someone named Sandra Birdsell. Yes, I thought you’d heard of her and I’m sure you’ll find “Stones” very much to your liking.
Check out the program, click on some of the links because you’ll be able to tune in to all kinds of music and performances. Eclectic as all heck, those folks.
And for those of you who’d like to have a glance at the text version of “Matriarchy”, I’m only happy to oblige…
I love radio dramas. The “theatre of the mind”.
I’ve had the good fortune to write a number of radio plays and, as has been mentioned, one of them just aired nationally on CBC Radio’s “OutFront” program.
But listening to the old stuff is what really gives me pleasure. Recently, I purchased a personal CD/MP3 player and, despite my well-documented techno-phobia, was able to hook it up to the stereo in my office. Thus, over the past couple of weeks I’ve been kicking back after a hard day of scribbling, listening to Basil Rathbone and Nigel Bruce as Sherlock Holmes and his amiable (if slightly dotty) companion Dr. John H. Watson…I also have the complete “Sam Spade” series starring Howard Duff and the four-disk dramatization of Les Miserables, produced and starring the one and only Orson Welles.
Radio, in its heyday, presented news, live sports, game shows and various types of entertainment, from comedy revues to adaptations of classic works of literature.
Now we have “talk radio”, Howard Stern and the shock jocks and “classic” stations playing the same tired playlist of golden oldies. Even the venerable CBC has dumbed itself down in the past five years, desperately seeking a younger demographic and losing its traditional listeners in the bargain.
It breaks my heart when I think of a time when the folks at CBC used to let the likes of Glenn Gould have the run of the place, accommodating his odd lifestyle by letting him come in and record and mix at any hour, working meticulously to create material like “The Idea of the North”, which I managed to snag on long playing record a number of years ago.
The Mother Corp. once had a dedicated radio drama arm in the good ol’ days but not any more. They no longer consider it part of their purview to develop young writers and there is currently no equivalent of “CBC Playhouse“…and that’s too bad.
I have, I confess, a particular soft spot for science fiction on the radio and I’ve been fortunate to find a couple of sites (check out this one and Calfkiller is fun too) where you can find shows like Dimension X and X Minus One, Mindwebs and others. Fun adaptations of classics of the genre by the likes of Arthur C, Clarke, Philip K. Dick, Ray Bradbury, J.G. Ballard, Henry Kuttner, etc. Once I figure out how to create MP3’s of these beauties, I’ll be able to listen to them up in my office as opposed to being relegated to the family computer down on the main floor, where I have to queue up, vying for time with my two sons (both of them World of Warcraft junkies, as well as using said PC for their homework and designing their own computer games). The computer I use for my writing is an old Mac, too old and decrepit for cyberspace, a word processor plain and simple.
The nice thing about the sites I’ve just mentioned is that you can listen to the programs for absolutely nuttin’ and, believe me, you will be entertained.
Listening to a radio drama requires the listener to visualize an entire universe being created purely with words and sound effects. It’s the perfect format to enliven long car trips and commutes. Thanks to the internet, these programs live again, a case where state of the art technology enables us to access an art form that is, sadly, little known and certainly under-appreciated.
I will continue to write radio plays and when the time comes that no one airs them, I will produce them myself, through podcasts. I love the special limits and demands radio drama imposes on writers and can never quite suppress the shiver of excitement I feel when I hear an announcer introducing Lux Radio Theatre’s production of To Have and Have Not, starring Humphrey Bogart and Lauren Bacall, or Petri Wine presenting “The New Adventures of Sherlock Holmes”.
I feel sorry for anyone who’s never heard a really well-rendered radio play. It is an experience not to be missed…and yet so many do.
My radio play “The First Room” has been posted on CBC Radio’s “OutFront” site. You can listen to it by clicking here.
The “official” broadcast date and time (Friday, February 6th; 8:43 p.m.) remain the same but for those of you unable to tune in then, here’s your chance to listen to the finest radio adaptation of my work yet. The recording will likely be archived for a short while so please spread the word to one and all.
Let me know what you think…
(Note: A couple of listeners have complained that they’re having trouble with the RealAudio player CBC Radio is employing. My buddy Phil converted the program to an MP3 and it played like a charm. So if any of you are more, ah, technically enabled, you might want to give that a try.)