StoryHack is the magazine that accepted my story this past summer. Bryce Beattie, the editor, was a refreshingly responsive and professional contact. He did a fine job editing me, too, making things better without undoing my voice. (Cirsova rejected the same story, but its editor P. Alexander was another wonderfully responsive contact.)

Anyhow, StoryHack #1 is out. Buy it on Amazon (to give the publisher money). Review it on Amazon (to increase its rank). Read my story Some Things Missing From Her Profile and be amazed by my superlativiosity. Go, now!

P.S. It's awesome to be in the inaugural issue. Yes, there was a proof-of-concept issue #0, but being in #1 feels nice.

So, on Netflix, I'm watching The Blacklist, that show starring James Spader. Generally it's just cool and outrageous. Like most modern TV, though, it can't merely deliver its clever plot but must also deliver an Approved Point of View.

It is particularly annoying when Reddington, an amoral killer, goes on some dogmatic rant about, oh, religious intolerance of sodomy. The writers, in their own real lives, hate (or at least must seem to hate) such intolerance, and so they can't help but depict their "hero" as doing the same — even if it makes him, at least briefly, a mouthpiece instead of a person.

Sadly, though, I experienced a more dispiriting moment in the show. Dogmatic rants at least indicate the writers are aware that they are taking positions. What happens when the rot is utterly unconscious? 

In one episode, children who are retarded and mentally afflicted are being given, by their parents, to a loony witch-like woman. The parents are essentially disposing of their children. A member of the FBI task force, speaking of Ethan (one of the children) and his mother Jeanne (who disposed of him), says:

Ethan apparently requires around-the-clock care, medical therapy, speech and language therapy. In fact Jeanne quit her job to be Ethan's full-time caregiver.

Notice the feminist worldview. Ethan required so much care that Jeanne had to quit her job. And for what? To become Ethan's "full-time caregiver."

Or as we used to say: his "mother."

The writers find it obviously tragic that Jeanne had to prioritize being a mother over being a wage slave. A woman is defined by having a job, after all; and caregiving is just an assignable task. There was no rant; no speech. Just a remark — almost casual — by a character explaining the situation.

Indeed, the rot has settled in.

There's a misalignment in The Wizard of Oz.

What is its moral? "There's no place like home." Dorothy has found herself in a land over the rainbow, and yet her ultimate desire — the fulfillment of which she asks of the Wizard — is to return to Kansas. Near the end, Glinda prompts Dorothy to articulate the lesson that she, Dorothy, has learned; and Dorothy replies:

If I ever go looking for my heart's desire, I won't look any futher than my own backyard. Because if it's not there I never lost it to begin with.

This lesson, of course, accords with the narrative facts that the Scarecrow, the Tin Man, and the Cowardly Lion each already had the thing he sought. The Scarecrow was already brainy; the Tin Man, full of heart; the Lion, courageous. And Dorothy, in Kansas, already had the place most free of trouble: her home with Aunt Em and Uncle Henry. 

"There's no place like home" has certainly stuck. The phrase is a commonplace. And yet, in the movie, what is the initial counter-sentiment? That there is a better place "somewhere over the rainbow." And this does not persist as merely a phrase. This sentiment was given a song, a song used in the opening and closing thematic music, a lovely song that has been counted among the most popular and greatest songs of the 20th Century.

Nobody sings, à la Dorothy, "There's no place like home." There's nothing to sing.

In other words, the delusion that grips Dorothy, that there is a place where troubles melt like lemon drops, away above the chimney tops, where skies are blue and dreams really do come true, is given the tremendous, emotional weight that only song can impart. While, on the other hand, the truth she finally discovers is presented in a brief speech — which, while not necessarily platitudinous, is certainly nothing worth humming.

This is a great danger in creating a work: That something tangential — or worse, contrary — to your theme is given a greater prominence, a better presentation, a more memorable form, than the point you are trying to make.

When writing, I have often worried about expending artistry on this or that small scene or second-tier character. I fear my reader will like my villain more than my hero, or find the collapse of my characters more interesting than their restoration. It is a hard thing to make the proper alignment; to best present what should be presented best.

Some contemporary critics of The Brothers Karamazov argued that the devilish points of Ivan Karamazov, as given in "The Grand Inquisitor" section, were more compelling, more substantive, than Alexei's Christ-like response. They argued that Dostoevsky had not really addressed Ivan's points. Dostoevsky replied (perhaps with some exasperation) that the entire novel was the response to Ivan.

One could likewise say that, however compelling may be Somewhere Over the Rainbow, it is countered not merely by some speech at the end of the movie, nor by some brief chant with ruby slippers, but by the movie as a whole. Perhaps. Whether The Wizard of Oz successfully establishes that there's no place like home is a bigger question. I'm not sure it does, beyond somewhat artfully asserting the point. In the end, the writers should have worked a little harder and come up with a compelling tune for There's No Place Like Home.

I know that "there's no place like home" didn't originate with The Wizard of Oz (however much the movie has claimed it). And I know that there is a very old and popular song with that very lyric ("Be it ever so humble..."). And so, yes, the writers, had they written a new song, would have been contending with a standard.

Could they argue they were alluding to that standard, which was possibly more well known in the 1930s, and therefore they didn't need to write their own? I suppose. But the allusion, if any, is weak, and still profoundly overshadowed by Somewhere Over the Rainbow, which resides right there in the work and not in some presumed cultural background.

I've never had a writing career. For a time in the 1990s I had a contract with Simon & Schuster. I produced three books. I never properly capitalized on that part of my life, however. It all faded away. Then I resumed the author's life of rejection after rejection.

Today, though, I can report that I have sold a story. I took one of the stories that was rejected just this past month and submitted it to another magazine. This time it was accepted. I'll give you more details as things develop (not least the name of the fine magazine in question), but for now I'll only say that the story should see print before year's end.

Yes, I'm getting paid, too, a standard and proper rate.

Thanks, God.

So I spent May and a little of early June writing two stories for two magazines, each of which would be reading submissions in June. This blog, which has always been neglected, was thus especially neglected. My daily portion of words went into the fiction.

So I submitted the stories. Both were rejected.

One came close to acceptance and for that I'm grateful. Both magazines were outstanding in their responsiveness. They acknowledged receipt of my stories, kept me posted, and rejected me in a timely fashion. Now, that's not snark. I have spent my life waiting and waiting and waiting for magazines and publishers to get back with me. You put a work on hold while you wait. And it's months and months and months and finally you have to nag... But not this time. It was damn nice to be treated with courtesy.

While I was waiting I did some reading and vidya and a fair amount of real life. I hope to create a better balance and keep this blog alive, somehow. I actually have a couple of ideas for posts, one about the Wizard of Oz and one about Warhammer 40K.

See you in a bit.

I've been listening to Arvo Pärt for quite a while. I'm not sure how I discovered him. He is still alive and still composing. His work, since the 1980s, has been generally focused on the sacred, using chant and polyphony.

I don't know much about music. I know most definitions; I can follow a discussion well enough. But I cannot explain to you the difference between a harmony and a melody — not with understanding. And I cannot distinguish either in a work. I am stupid when it comes to music. Fundamentally I am sub-intellectual. For me, a musical work is either a good noise or it's disposable. 

Whenever I tried listening to Pärt's Passio, it left me cold. It's a setting of St. John's Passion verses. It's about the Passion of Christ and yet, as sound, it caused me no passion.

I shrugged it off. Pärt has always been hot or cold for me. One work is transcendent and always too brief; another is flat and not even worth finishing. So it goes, eh? No oeuvre is consistent; no listener other than fickle.

Well, this past Friday my parish ambitiously presented a complete performance of Passio. It was performed by our usual Sunday chorus and some local singers and musicians, all led by the parish's musical director. I realize that Pärt is not obscure (indeed he has even been appointed to the Pontifical Council for Culture by Benedict XVI) and I don't think my parish is filled with philistines, but the choice of Pärt nonetheless seemed unusual. I was curious how it would play out.

We were given programs and naturally, as the work proceeded, I read along. I had never actually done this with Passio before. These days I tend not to read along with any vocal works, except when I am specifically curious about the words. I seek only noise, after all.

As I read I realized that Passio is not meant to be listened to. Not as music. It is a reading of a text. I can listen to Bach's Johannes-Passion and never know what's going on and still enjoy the glorious noise. If you don't know what is being said in Passio, the musical carriage, the musical adornment, the musical shaping, will sound almost random. It may leave you cold. Its fundamental structure is not a musical form, like sonata; its fundamental structure is spoken Latin. No poem or song is involved.

And so, when you actually attend to the text, the shifts between chorus and soloists and instruments, and between this note and that, make sense. The words are not an excuse for the voice as another instrument; they are the impetus for everything. Only with the words in your eyes is there any music in your ears.

So is Passio even "music"? It's like a musical without any catchy tunes. Whatever specific melodies or harmonies there may be, I'm not tapping my foot or bobbing my head to any of it. Is that just the definition of chant, perhaps? But you can be carried away by Gregorian chant. Passio seems to be something else. It's a text that is not silent.

There must be a name for that.

It's been difficult to find a good SF novel. Most, these days, are beset with SJW imbecility. But I keep trying the samples at Amazon. Once in a while a sample is good enough to prompt me to say, "What the heck, I'll finish this one." Quarter Share by Nathan Lowell was my latest choice.

But like pretty much all the books I have obtained hopefully after a decent-enough sample, QS has proven to be...  well, this one's peculiar. I had been expecting a Hornblower with spaceships and, indeed, QS alludes to Hornblower. And yes, it all begins with a boy (named Ishmael, no less) joining the space merchants as the lowest of the low; and soon he demonstrates how exceptional he is.

But.

His first great demonstration is to make fantastic coffee. You can tell Lowell knows how to make fantastic coffee. Now I, too, know how to make fantastic coffee. And that's fine, I guess. I wouldn't expect our Ishmael to defeat the Galactic Overlord in Chapter 2.

But coffee?

And the entire book becomes How Ishmael and His Galley Mate Pip Figure Out Ways to Make a Profit On the Side. And no, no, no, this is not a tale of endearingly roguish space-boys finagling and maneuvering to squeeze a few credits out of rubes on orbitals. It is rather a series of discourses, soaked in Accounting 101, about market speculation and doing boring stuff with inventory.

In fact, by Chapter 21, which according to my Kindle is 71% into the book, the most profound thing our heroes have done is rent a booth in a flea market in a port of call. With the full blessing, and some investment, of their Captain and First Mate. The paragraphs about the flea-market booth have been a thrill a minute, let me tell you.

The thing is, I feel like I've stumbled onto some sort of niche fiction. Something that appeals to a peculiar, obsessive, crypto-autistic audience — like furry-fic or slash-fic or fic about Hummel figurines. As if there's a sub-sub-category of science fiction called Running a Lemonade Stand.

QS is not badly written, I suppose. At least I haven't stopped reading. But it is so bland. The characters are all so nice to each other and borderline cloying. It wasn't until Chapter 20 and the presentation of a curmudgeonly couple in a nearby booth, that I finally got some characters who conflicted. If your schtick, as an author, is adventure-via-accounting, you really need to compensate with some lively characters.

I feel bad even continuing this book. Hey, I waste time all the time, but wasting time with this book almost seems foolish. What a silly, lightweight, peculiar, peculiar book.

And to think this is the first of six books in a series — a series that is well-regarded! Maybe the series gets more properly Hornblowerish and our hero will combat the Space-Bonapartes, or cleverly conquer a Fort of Space-Spaniards, or something.

But I don't think I'll bother finding out.