Archive for July, 2008

Where in the World is Lara Lakes Jordan? (TQP0055)

Posted in Adam Lipschutz with tags , on July 16, 2008 by braak

I haven’t seen the sun rise in a really long time. It’s strange, I often find myself awake at that hour and yet I hardly ever poke my head out the window to see it. I just face the ceililng of my bedroom with the vacant hope that I might be able to dream some of the rest of my night away. I remember all of my favorite sunrises, those phenomenal moments when you feel everything is just a little bit less real than real. I haven’t done that in a very long time.

Instead, I am poking around the Internet reading yahoo news articles. I just finished reading an official Associated Press article by a woman named Lara Lakes Jordan and I learned that members of foreign extremist groups are getting jobs as school bus drivers, but that the FBI is unconcerned with the situation.

I don’t understand how the FBI showing a lack of concern about the ethnicity of bus drivers counts as news. I have no concern about the ethnicity of bus drivers. If the FBI suggests that that might be unwise I might look into the matter a little bit. But when the FBI and I agree that something is not a concern I don’t understand what remains left to discuss.

Why would she publish this story? Is her objective to frighten people? If so, why? What does she have to gain? I think one of two things is possible. One is that she is involved in some kind of plot to undermine various institutions, such as the hiring policies that lead to getting jobs as school bus drivers. She publishes these technically true, albeit innuendo-laden, stories that get people murmuring about homeland security and terrorism and all kinds of civil unrest ensues. All the while Lara Lakes Jordan stands atop a dimly-lit balcony softly giggling from behind a martini glass.

Or, Lara Lakes Jordan is a member of a secret society and she needs to send coded messages to her agents in the field and her journalism career is just a front towards that end. Now, you may be asking “Why does she need to publish these messages where they will almost certainly fall into the hands of enemy forces instead of just mailing them to the agents’ homes?” Well, the only plausible answer to that question is that Lara Lakes Jordan has an irrepressible flair for the dramatic.

The sun is probably up by now. If I remember to look this up several days down the line, I might remember try to follow up on this Lara Lakes Jordan. Maybe I’ll try and scan her text for hidden phrases and clever double meanings. Or next time I will do something else completely. And then I will write about that.

Super-Advance Review Power! Neal Stephenson’s "Anathem" (TQP0054)

Posted in Chris Hsiang, poetics with tags , , on July 15, 2008 by braak

[This review is brought to your by special guest contributor Chris Hsiang, who I like because he has the same first name as me. The review will appear in a slightly different form in Dispatches From the Border, the newsletter for Borderlands Books. <http://www.borderlands-books.com/about_newsletter.html> --ed]

The irreverent polymath Neal Stephenson is the author of such popular science fiction novels as Snow Crash and The Diamond Age. He has a devoted following of readers attracted to his exciting cerebral explorations of science and society with a witty rock-’n'-roll edge. His last two projects, Cryptonomicon and The Baroque Cycle trilogy, were seen by some to be historical fiction with only a few science fiction elements. His latest novel, Anathem, is more firmly planted in the science fiction genre as it is the first of his books set on another planet.

Human civilization on the alien world Arbre has a seven-thousand year history punctuated by cycles of collapse and rebuilding. At the novel’s beginning, technological development seems to be very near our own but with some remnants of much more sophisticated science millennia old. Our narrator Erasmas, or Raz to his friends, is a young member of a cloistered monastic order of men and women dedicated to understating the Universe through rational thought and scientific method. The brothers and sisters, or “fraas” and “suurs,” of his order have been chosen to stop a potential devastating threat to their world. At first glance one might suppose this book to be The Name of the Rose in space, but this would be an error. Anathem is not as fast-paced as Umberto Eco’s novel (!)–and very significantly–the members of Erasmas’ order are not religious. In fact they view any spirituality or mysticism with great distaste and suspicion.

The “Cartesian Discipline” developed from something very similar to Pythagoreanism which enjoyed a healthy following in our world until the Second Century CE. This reviewer has spent a few late-night bull sessions wondering what would have happened to Western civilization if instead of Christianity it was shaped by a bunch of people who were Really Into Triangles. Apparently, Neal Stephenson has had similar musings. Life within the walls of these scientific monasteries resembles a university with eager hip students engaged in constant dialog with their eccentric ivy-covered professors. Indeed, the first third of the book is mostly a steady stream of intense academic arguments. I thoroughly enjoyed getting to know and admire Raz and his young friends while being immersed in the rich and meticulously developed cultural history of Arbre. It’s a bit like the Encyclopaedia Brittanica written as a coming-of-age story.

Like all Stephenson’s previous novels this book is packed with a wide variety of scientific and philosophical concepts. Some readers might be turned off by his long esoteric passages about Platonic mathematics or quantum physics. To correct this he has moved three of the longer lectures to the back of the book. These appendices—or “calca” as he has dubbed them—are quite entertaining and educational, but the story can be enjoyed without them. It’s still a very dense read, but those of us who already love Stephenson’s work know there will be plenty of action and humor. You will thrill to scenes of rotary-winged aircraft, mountaineering, bad cell phone manners, martial arts, spacecraft, huge earth-shattering kabooms, and the frustration that comes from three -thousand-year-old folding tables.

Another sticking point with Stephenson’s novels has been his endings. I have been a big fan of his ever since I read The Big U in ‘86 but have always been disappointed by his vague and frankly unsatisfying denouement in each of his books. It may be after all the detailed world-building he lavishes upon his writing he simply doesn’t want the story to end–I know I didn’t hurry to the last page. The ride along the way was too much fun. The end of Anathem works better than his previous books, so he is still learning and improving. We can certainly expect further excellence from this mad genius.

Neal Stephenson is like your very favorite teacher. You learn everything you’d ever need about a subject from his thoroughly engaging manner. Then he shows you concepts you never suspected and leaves you hungry to learn even more. At over 900 pages, Anathem can be intimidating. but I strongly recommend you immerse yourself in the world of Arbre. As you finish you’ll look around and realize the universe is much bigger than you realized—which is fine because your mind has expanded as well.

NTS’ The Bacchae is a big piece of crap (TQP0053)

Posted in Braak, poetics with tags , , on July 14, 2008 by braak
I read in the newspaper that the newly-minted National Theatre of Scotland was doing a production of The Bacchae that starred Alan Cumming as Dionysus. The play, written by infamous ancient Greek tragedian Euripides, is about the god of Drunken Sexy Party Time showing up at Thebes and causing what is known in popular parlance as “a ruckus.” I thought to myself, “hey, this looks like it’ll be a good time.” And I hopped on a bus and went to the Lincoln Center Festival in order to see it.


I should have known better. I should have realized when I saw the blurb in The Times, and someone said, “Whatever you were expecting from Dionysus, Cumming’s androgyne rock-god will blow you mind.” This is suspicious: I don’t think it’s possible to read The Bacchae and NOT expect an androgyne rock god. Dionysus is a role tailor-made for Jim Morrison (so much so that Morrison apparently was convinced that he was Dionysus). Androgyne Rock God is EXACTLY what you expect when you read that play, which shows that the guy who wrote the blurb had no idea what the fuck he was talking about.

This production, directed by John Tiffany (presumably of some amount of fame in Scotland) was a great big screaming pile of shit. I mean, it’s not just that it sat there and stank, passively—the play breaks into your house while you’re sleeping, yanks you out of bed, marches you into the street, and just starts screaming “SHIIIIIIIIIIT!” so that everyone in town can hear it. I’ve been in the shower since I got home, I still don’t feel clean.

Firstly: someone needs to tell the Scots that the only exposure we really have to their accents is through Groundskeeper Willie. If you’re going to do a play full of Scots in America, you need to be mindful of that: it is very hard to take Dionysus seriously when he says things like, “ZOOS was may fatherrrr. LEETning was may MEDwayf!”

But worse than that, Alan Cumming (who did a very respectable job as Nightcrawler in X-Men 2) didn’t even show up for this play, preferring instead to deliver his performance from Edinburgh via a very long-distance telephone call. The only time he does anything whole-assed is the very first scene, where he’s lowered in upside-down with his little gold a-line skirt hanging over his head, so all we can see is his naked butt. Nudity! It’s edgy! AREN’T YOU FUCKING THRILLED!?!?!?!?

Oh, wait, sorry: “AYRN’T YOO FOKKING THRELLLED?”

That seems to be the motto of the whole production. John Tiffany (remember that name, and shun it if you can) just keeps haphazardly tossing design elements and direction together in a way that is inconsiderate of each other, and shows that he clearly misunderstands every aspect of this play from top to bottom.

HOMO-EROTIC SOOBTEXT! FOKKING RAYT, AY? Yeah, really, they were Greeks, get over it. I know it’s a golden calf to people that work in the theatre, nowadays, but the “I’m afraid I might be GAY!” boundary is actually the LEAST relevant line that The Bacchae is supposed to cross. For fuck’s sake, guys, not every play is about latent homosexuality. Some plays actually deal with themes that are MORE IMPORTANT.

LOOOK, THERES BLAHK WEHMEN! FOKKING RAYT, AY? Yes, John Tiffany, you made all of the Bacchantes black, and had them sing gospel music. Because it’s religious! Also, because black people are all primitive and tribal and shit, and their aboriginal African roots mean they like to do voodoo dances for Dionysus in the moonlight! I should probably let this go, maybe they don’t have a whole lot of black people in Scotland, so Tiffany didn’t realize how stupid and kind of offensive this was. But I can’t! Why?

THE BACCHANTES AYR OHL WEERING RED! FOKKING RAYT, AY? The Bacchantes are all in red, Oscar de la Renta-looking evening gowns with feathers and sequins and shit. Tiresias (John Bett) and Cadmus (Ewan Hooper) come out to do their dance for Dionysus dressed in tuxedoes; they do a little soft-shoe under a spot-light (in a number that begs for Puttin’ on the Ritz, but is instead performed to the entirely forgettable crap faux-rock-gospel-jazz that underscores the whole play). The problem with this, of course, is that formalwear is the OPPOSITE of Dionysus.

I’m not one of those guys that says everything has to be on stage like it says in the script. If you’ve got a good idea and you want to say something interesting, fuck that script in the ass, man, I don’t care. But Tiresias and Cadmus say that they want to wear flowers and faun-skins for a reason—the Bacchantes are described as being naked, or wearing just snakes and flowers, for a reason. It is because Dionysus represents the opposite of civilization; he is anti-civilized, and so his presence directly opposes all of those mores and forms that define the civilized world (i.e., clothes). What was your reason for putting them in red evening dresses, John Tiffany? WAS IT THAT YOU’RE RETARDED?

STOP PAYIN ATTENTION TO THEMES, YOU FOOKER! The play continues to fall apart:

As the Bacchantes put on coats and double as messengers and soldiers in the play!—a technique that can be used to great effect in almost any play EXCEPT The Bacchae, as part of the point is that the Bacchantes and the Thebans are directly at odds with each other.

As Pentheus (Cal MacAninch) embraces his inner-diva! It’s CAMP, girlfriend! Don’t you just LOVE it? Haha, camp makes me want to fucking kill myself. We’ve been over this, basically, but let me add: Pentheus is the tragic victim of the play. You’re supposed to feel sorry for him. You’re supposed to empathize with him. But Dionysus gets all the jokes, and Pentheus is a clown in drag. Stony, crook-bodied performance aside, the catharsis of Pentheus’ death is borne out by neither script nor direction.

As Agave (Paola Dionisitti) enters, mercifully not sporting a hilarious Scottish accent! But spoiling the effect by channeling Faye Dunaway in Mommy, Dearest (OHHHHHHHHHHH PENTHEUUUUUUUUS! IIIIIIIII AM IN A TRAAAAAAAAAAGEDY!).

As a giant lighting grid is lowered down to shine at the audience and blind us! This could have been a neat effect, except for the fact that it looks like the last scene of Chicago. The one serious moment of the play is ruined by the expectation that Cumming is going to hop back out onstage with a tepid version of “Hot Honey Rag.”

Everything is terrible. The actors aren’t very good, except maybe for Alan Cumming, who might have been all right if he’d bothered to show up. The costumes, the themes, the direction—John Tiffany has no idea what the hell he’s doing. The National Theatre of Scotland’s production of The Bacchae has all the intellect and artistry of the version by the theater department of the West Skokie Regional Community College.

What’s more amazing is that the play appears to be getting universally good reviews; from The New York Times, The Philadelphia Inquirer, Variety. The Inquirer piece (written by Toby Zinman, of all people) goes so far as to say “Euripides, the great subversive dramatist, would be pleased.” Euripides would choke on his fucking bile if he saw this play. Euripides was subversive, yes, but he still fucking thought he was writing a tragedy.

John Tiffany: you are fucking banned. David Greig, for writing your shitastic and grievously ignorant script: you are banned. Toby Zinman: I’ve had enough of your shit; you’re fucking banned, too. YOU’RE ALL GOD-DAMN BANNED!

Alan Cumming: you’re getting a reprieve—just this ONCE—because I really like Nightcrawler, and it was awesome when you teleported around and kicked that guy.

–braak

Short Fiction Friday: From "The Life of Linus Feathersmith" (TQP0052)

Posted in Braak, Short Fiction with tags , , on July 11, 2008 by braak

Oh, delicious readers–because I am very busy, rather than giving you a typical short fiction piece, I am going to provide this excerpt from my second novel, The Life of Linus Feathersmith. This is a working title. I might not keep it. Anyway, enjoy.

The next day at the Border’s there was no mention of anything strange or untoward in town the night before. No one had heard anything about machinegun fire, there were no newspaper articles about strange battles with demonic monsters on anybody’s front lawns. It appeared, for all intents and purposes, to be a day exactly the same as any other day. I wondered, again, if maybe I had imagined the entire episode. The one piece of information that niggled my ordinarily quite practical brain was the fact that Ethan was scheduled to work that day, and he was inexplicably unaccounted for. He hadn’t even called in sick, and Ethan was a notoriously reliable employee in that regard.

However, what really made that day remarkable was the fact that it was the day when Ted finally flipped his shit. It was well known that flipping your shit happens to everyone that works at the bookstore, sooner or later. Statistically, every individual spin in Russian Roulette is its own event; I know that I shouldn’t be surprised if you spun it a thousand times and never landed on the loaded chamber. There’s really no such thing as sooner or later. But, I also know that, sooner or later, everyone flips their shit.

I was in the reference section, alphabetizing the dictionaries when it happened. It’s not as straightforward as it sounds; it turns out that anyone can make “Webster’s Dictionary” and sell it. So, Random House’s Webster’s Dictionary has to go after Harper-Collins’ Webster’s Dictionary, but before Webster’s New World Webster’s Dictionary. I admit that by the time I got to the illustrated Webster’s Dictionary, I’d stopped arranging them by publisher and just started arranging them by height.

One of the fluorescent bulbs that lit the reference section was wonky. It made a buzzing sound and blinked rapidly, like a strobe light. No one at the store was certified to change the bulb, and we couldn’t turn the light off because it was on the same circuit as the cappuccino machine in the café. I was mildly afraid of getting epilepsy, but management determined that that was a preferable outcome to being unable to serve foamy coffee drinks to irate book-browsers.

I could hear Ted talking to customers at the register while I worked. It was Children’s First Book month, and Ted was dutifully asking customers if they’d like to donate one, three, or five dollars to help promote children’s literacy. He said it exactly like that:

“Would you like to donate one, three, or five dollars to help promote children’s literacy?” I don’t know why people were only allowed to donate odd dollar amounts.

He asked every customer, even if they were just buying a two dollar magazine. Sometimes, people gave a dollar, once in a while three or five dollars. Usually, they just said “no.” Occasionally, they said, “No, thank you,” as if Ted had been offering them candy.

Ted had been at the register for hours by this point. He’d asked hundreds of customers if they wanted to give a dollar to help some poor inner-city kid buy a book, so he could learn to read and pull himself up by his bootstraps, and get a hand-up but not a hand-out, and other uplifting clichés.

“Would you like to donate one, three, or five dollars to help promote children’s literacy?”

“No, thank you.”

“Would you like to donate one—”

“No.”

“Would you like—”

“No, thank you.”

“Would—”

“No.”

“Well, why the fuck not?”

There was a moment of silence, then. I paused, a dictionary held painfully above my head, waiting to hear what would happen next. “Are you opposed to children’s literacy?” Ted asked, unexpectedly vicious. “Do you have some problem with helping kids learn how to read?”

The customer, a fat, upper-middle-class housewife with a faux-animal print coat and inordinately large sunglasses replied heatedly, “I pay my taxes—”

Ted was having none of it. “Oh, you pay your taxes? You pay your taxes! Hey,” he called, turning to the other customers in line, who stood to the last with their jaws dropped down to their chests. “Hey, everybody, did you hear that? She pays her taxes! She pays her taxes!” He turned back to the woman, and there was violence and vehemence in his voice, markedly uncharacteristic of Ted. “Are you going to tell me about taxes? Are you going to tell me? I make seven dollars and twenty-five cents an hour. I have to pay a fifth of that to taxes. I have to pay a federal tax and a state tax. I have to pay your stupid township’s stupid ‘privilege tax,’ a hundred dollars every year for the privilege to work in your town. And you’re telling me about taxes?

“You know what? You’re right. Fuck those kids. Fuck ‘em! Fuck ‘em, right? If they really wanted to read, they’d be stealing books. If they really wanted to get an education, they wouldn’t wait for a handout! If they were decent human beings then they wouldn’t expect some wealthy, lazy housewife to give them a leg up. Fuck ‘em!”

The woman had turned quite red in the face at this point. She touched the side of her sunglasses repeatedly, but did not remove them. “I don’t…I never…I’m never shopping here again!” She threw her purchase to the ground, and prepared to storm off.

“Oh no!” Ted shouted. Shouted, loud enough that people could hear it outside. “Oh, no! You’re not walking out of my store. Do you hear me? You’re banned! You are banned from this store. If I see you in here again, I swear to god I will break your god-damn jaw!” With that, Ted seized the scotch-tape dispenser with such sudden force that the woman shrieked in panic and fled.

For a slow, stupid time, no one said anything, struck dumb by the display of fury. Then, after a moment, a shaggy-haired man with a tweed coat—waiting in line to purchase a number of John Lescroart paperbacks—began to applaud. After a few seconds, Ted found himself on the receiving end of a standing ovation.

Later that day, Border’s Corporate came to get him. I think. I don’t know for sure, because I didn’t see it myself. I was in the inventory room when Barbara came back to tell me about it. I was opening boxes and sorting the product that I discovered therein.

“Did you hear about Ted?” She asked.

I opened a large, brown box, deftly cutting the packing tape with a razor blade. “No. What about him?” There were two more brown cardboard boxes inside.

“These guys came, right after lunch. They pulled up out front in a black van. They had suits and everything.” Barbara lowered her voice. “I think they were from Corporate.”

“And?” I asked, taking out one of the smaller boxes and opening it.

“They asked for Ted; they said they wanted to give him some kind of service award. They were going to take him out for lunch.”

“That’s crazy,” I told her. “He’s already eaten lunch.” Inside the smaller box was another cardboard box. This one was wrapped in plastic and had a price tag on it.

“I think it was a trick,” she told me. “I don’t think they were really taking him to lunch.”

“So, what happened?” I asked, taking out the plastic-wrapped box.

“He got in the van.” She said.

“And?”

“That’s it.”

I read the tag; the box sold for nine dollars and ninety-five cents, plus tax. I wanted to know what happened to Ted, but I knew that I would probably never find out. I never saw him again after that day, and no one else had as clear a memory of him as I did.

After a hundred conversations in which no one seemed to remember Ted, I was half-convinced that I’d made him up and forgotten about it, like I sometimes do. Until one day I thought to ask Michael how we dusted the tops of the shelves. Trapped and panicked, he admitted that Ted used to do it.

After saying the name, “Ted,” Michael immediately became shy and furtive, and refused to discuss the topic of dusting with me ever again, preferring to assign the task to someone that would ask fewer questions.

I Have a Crush on Number 5 (TQP #0051)

Posted in Jeff Holland with tags , on July 10, 2008 by braak

Admittedly, a weird one today, brought on by the good people at Penny Arcade. They ran this comic strip:


And sadly, this had a remarkable amount of resonance to me. See, since I was a kid, I’ve had a tendency to imbue inanimate objects with a certain amount of personality.

We had two different sets of silverware in our drawer when I was growing up. And when I’d set the table, I’d make sure the older-model forks, knives and spoons got set alongside the newer ones.

Even at the time, I knew it was lunacy. I was 13 years old, so technically, I knew better. I knew silverware didn’t have feelings, per se, but dammit, they were old. And as far as I was concerned, they had earned their due.

So yes. Teenager who had a bit of fellow-feeling for neglected silverware. Shut up.

Fact is, it ventured a lot further back, to Schoolhouse Rock.

Schoolhouse Rock is the reason I remember my five times-tables, but not my six. Five had an awesome, jazzy song to go with it, while six was pretty forgettable. It had a direct result, as the first time I got caught cheating, when Ms. Guiser quizzed me and I had a cheat sheet for 6×6 and up cleverly hidden in my palm – and god, did I have a crush on Ms. Guiser. I think you could trace a lot of my psychological issues to my feelings of disappointing Ms. Guiser…anyway.

Eight was downright suicidal to listen to. “Figure Eight” is a beautiful song, when you’re in your twenties. But I first heard it when I was a child, and it made me want to slit my damn wrists even then. Thanks a lot, ABC, for making me turn 8 on its side and see it “as a symbol for infiniteeeeeee.” (That was a bit heady for me, when I was just trying to learn the damn times table. Now you got me pondering the unknowables of the universe….)

But even by that point I’d already figured out the personalities of the Big Numbers, 1-10. And it was all based on their look. That’s right. Even as a child, I had a certain aesthetic feel for numbers (which sadly, did not result in any kind of intuitive math skills). Here is how they broke down for me then, and honestly, how I still think of them today:

1 – He’s first. He’s number 1. Slim and simple. It’s a good place to be and he knows it.
2 – 2 isn’t in the spotlight as much, but he’s a stronger utility player than 1 could ever be. After all, in multiplication, 1 just disappears totally – it’s all about the other guy now. But 2…look at all the stuff that happens when you multiply by 2 – and he’s there like half the time. 2 is pretty high-profile. But he’s not cocky about it, because any ego he has is tempered by the understanding that everyone pays more attention to 1.
3 – The weird uncle of the group. Every time 3 shows up, the discussion’s about religious rituals or random deaths. 3 would like to be friendly and mainstream like the 2 and 4 he’s surrounded by, but…there’s just something…off…about 3.
4 – Sturdy and reliable, but not what you’d call interesting. Family units and car tires. This is what 4 is. Not a lot of pizzazz.
5 – 5 is a stud. Look at it – half sharp angle, half smooth curve…5 is the Cary Grant of numbers (and, as mentioned, also the most up-tempo “School House Rock” song).
6 – A dopey chubbo who will never fit in. 6-12-18-24-30-36…if Scrabble were played with numbers, this would be a bad Scrabble hand. And standing next to 5, 6 knows he’s never going to be picked first to go the dance. But I may be biased, since I tie 6 in so thoroughly with a formative childhood trauma.
7 – In a better universe, 7 would be as cool as 5. But there’s just something visually wrong with it. It might be that it’s an angle-number like 5, but facing to the left like curved 2 and 3. Something unusual about 7. But that could be appealing to a lot of people. 7 is probably really popular with college-age math students.
8 – All curves, 8 is a sexy number. Much like 4, 8 is sturdy, but there’s an elegance to him that his “little brother” can’t pull off. Plus, if you get an 8 out of 10, what do they call it? “Respectable.” Can’t go wrong with 8.
9 – As the comic implies, 9 is seething with jealousy and resentment at not being 10. So close. Soooo close, and yet, it will never be 10. You’d hate 10 too, if you were 9.
10 – 10 doesn’t even think of himself in the same class as those lower digits. 10′s kind of an asshole, but you really do need him, so what’re you gonna do? Use twice as many 5′s? I doubt it. The 5′s just not into that, baby.

What does all this mean? It means respect the numbers, man. There’s a poetry in mathematics.

And in sequence – as I see them, at least – there are also frightening, soap opera-ish personal conflicts going on with each of them.

Hmm.

Of course! It’s so obvious to me now. See, if you look closely, you can see the work of the freemasons all over the – wait, did you hear something?

OH GOD, THE DOOR! WHO ARE YOU PEOPLE?! DON’T TOUCH THOSE – THEY’RE…VITAMINS! I NEED THEM, FOR BRAIN-THINKING! GET YOUR HANDS OFF- NO, DON’T TAKE MY KEYBOARD, THE PEOPLE NEED TO KNOW NUMBER 5, SMITE THEM!

Attention, misguided readers: Please ignore the previous post. The author will be indisposed for some time. Getting…help. Yes, that should do nicely. “Help.”

Hot Yoga in the Naked City (TQP0050)

Posted in Adam Lipschutz with tags on July 9, 2008 by braak

Dear Reader,

I am up for absolutely anything. I have done almost nothing in the five weeks since I performed my crazy solo-thesis-project-contraption- thinger, and now I do almost nothing. This is a great shame because I have both a wide spectrum of interests and gaping expanses of available time. My trouble is that I have no idea how to find things to do myself. Every time that I step outside of my front door in search of something to do, without fail I walk down to the Rita’s Water Ice stand on Main Street, decide I don’t want any of their flavors and then walk back home. So I find something to do at home, which is usually to play Wii. If life were left entirely up to me the only thing that would ever get done would be video games.

So when a friend of mine invited me join her in her non-Wii activities, I excitedly agreed. It’s a good thing that I remembered to ask what it is we were doing, otherwise I would have been woefully unprepared for what was to come, which was more than 90 minutes of “hot yoga.” “Hot yoga” was not a completely foreign concept to me–that is I had heard of it, but had no idea that people actually did it around here. “Hot Yoga” is basically like normal yoga, in rooms that are intensely heated very much in the same manner as the sweat boxes that they always used to toss people into in old prison movies.

“Wear as little clothing as possible” my roommate advised me just before I left. Which troubled me because it wasn’t exactly sure what is the minimum required amount of clothing. My backpack was full of all kinds of clothing types that I thought I might need. I had two T-shirts, a pair of sweat-shorts, a change of socks, my yoga matt, a bottle of water and a towel, just like Ford Prefect would have done. As it happens the towel was indispensable.

The man behind the desk at the correct yoga studio (would you believe that there are two separate yoga studios on the same street corner?) told me that since this my first day I should sit in the back of the room and on the window side where it was cooler. However, when I entered the room, I saw it extended back into a huge long rectangle with no visible back or front. On side was lined with mirrors so I took that to be the front, but by the window sat the furnace which was the source of the oppressive heat so already everything is confusing. Surely that was not the cool spot. So I wound up in the middle of the room with my back immediately to the instructor.

The instructor was this cold stern Irish woman whose name I can’t remember, and she described the postures that she wanted us to take with this eerily soothing Orwellian voice. I remember her walking up behind me and then asking the class to “please lay your towels (everyone else had also brought towels) on your mats and to stand on the far edge of your matt.”

“Excuse me” I asked “Is this the back of the room or the front?”

“Uh, I’m sorry…what was that?” she asked back.

“”Is this the front of the room or the back?” I asked again.

“Yes just please lay your towel on your matt and to stand on the far edge of your mat.” she told me again. So I guess I was stuck there.

Everyone knows that yoga promotes intense physical flexibility, but it requires intense mental flexibility as well. Not only do you have to be able to know your right side from your left side (an ability bereft to our humble chronicler), but you also have to do so while your arms and legs are wrapped around each other several times over. When you are told to pull your right foot with your left over your other shin, while both of your arms are pulling on your left calf; it’s like one of those tangled telephone wire puzzles that they put on the back of cereal boxes. And to make matters worse the instructor kept correcting herself saying “right” when she meant “left” or “inhale” instead of “exhale” or “Szechwan” instead of “Hunan.”

The other thing about the instructor that made me feel very suspicious was that she kept saying things like “this is supposed to be very painful.” And she would say it in the feebly cool operator voice, the exact same way each time as though she couldn’t hear any of the shrieking. Like a fool I made a point of doing each of the postures without stopping for a break, except to take a sip of water which after a few minutes became nearly hot enough to power a reactor. Of course, every time she saw me take a sip of water she would make us all do a posture in which we were told to “relax,” which was actually far worse than a posture that was supposed to be painful. She would do something like wind our right foot back around the pelvis and then grapple along the opposite earlobe, and once we managed to get there she would say, “Now relax for a moment.” I mean it, I will totally give a dollar to anyone who can smoke an entire cigarette while “relaxing” in such a pose. While it’s true these “relaxed” poses never made me feel like my tendons were going to snap or my back splinter like plywood, but all the same it was only easier to relax in these poses in the same way that it is easier to relax in thumbscrews than it is in an iron maiden.

So I left the studio, perhaps to return or perhaps not. It all depends on if I can hitch another ride. In any event, I am still up for absolutely anything. Anything cool that you are doing. If you yourself are in need of something to do you can always come hang out with me. I have two controllers. [He's only got one game, though--ed.]

Things That Bug Me (part of 1 of….a lot, probably) (TQP0049)

Posted in Braak with tags , on July 7, 2008 by braak

I was in the Dunkin’ Donuts the other day, and I saw a sign that said, “Coffee Is Our #1 Priority!”

It’s true that Dunkin’ Donuts has some good coffee, but, on the real guys: you’re called Dunkin’ Donuts. Doesn’t that lend at least a little bit of insight as to what your #1 priority should be? For fuck’s sake, there’s a reason you’re not called “Coffee and Dunkin’ Stuff.”

Worse than that, though, is that while I was in the Dunkin’ Donuts, I saw a second sign that was encouraging me to purchase one of their personal pan pizzas.

Why would I do that? Why would ANYONE want to do that?

If coffee is their top priority and donuts (presumably) are their #2 priority, that makes pizza, what, third on the list? At the very least–I’m assuming that “a clean donut-eating environment” is on there somewhere, too.

Why am I going to buy pizza from a place that admits that it’s not their first OR second priority? Like it’s some food item that they’ve got, but they only make it or devote any attention to it if they’ve got some time left over after that little fat guy with the moustache finishes making the donuts, and all their coffee urns are full.

Dear Dunkin Donuts: You know that there are places where pizza is the FIRST priority, right? Places that specialize in creating and providing pizza for their customers–rather than tacking it on as an afterthought to all of the other things that they give a shit about?

No one wants to eat your grease-fried little coffee-ground covered pan pizzas, assholes. Just stick to what you’re fucking good at.

Fiction Friday: Cally’s Last Gasp; Or, "The Way To Go" (TQP #0048)

Posted in Jeff Holland, Short Fiction with tags , on July 5, 2008 by braak

(Posted by Jeff Holland)

“To die, knowing your reputation has preceded you into the great beyond.”

Cally Memphis turned the phrase around in her mouth again.

“In Philadelphia, of all places,” she added casually to herself.

That somewhat grandiose declaration had been stuck in her head for a while now. More than ever, recently.

The young writer from the college newspaper came to her home. He had questions, of course. A young writer eager to hear tales from an old one.

Not that old, she reminded herself. A little over fifty, yes, but still pretty, if people hadn’t been lying to her. And if they had, she knew she was old enough to take the compliment gracefully all the same. Didn’t really matter. However she looked, she still had stories to tell.

Did she really rob a bank when she was in her twenties, before the royalty checks from her first book started rolling in?

No sense ruining that illusion, she decided, and so coyly dodged that “robbery” can mean so many things.

Are her books really banned in some European countries?

Only some parts. The parts of Europe no one in their right mind would want to visit, anyway.

How many times had she been married, anyway?

Just a few, she told the boy dryly. The details of her marriages, she decided, were off-limits, for now. Over the last few years, she had come to miss them all, in terribly different ways. The asshole. The rich man. The first love that found her again, many years later. And now that she knew she wouldn’t get to offer a decent goodbye to any of them…yeah. She missed them all.
A couple hours of pleasant conversation with the young writer from the college newspaper. She enjoyed the time to casually speak just a little bit more about her work. She tossed him anecdotes that he found fascinating, told him about famous people she’d crossed paths with over the years. And because she was feeling honest that day, knowing what was to come, she admitted to him a few of her fears, her regrets.

Only once during the interview did the coughing start up again. She did her best to stifle the fit in front of the writer. When it interrupted one of his questions, when it became briefly but agonizingly uncontrollable, the young writer, concerned, asked if there was anything he could do. After a moment’s consideration, pausing to make sure the fit was done, she regained her composure, lit a cigarette, answered, “Heh,” in a gravel tone, and flashed him a wink. They spoke no more on it. He’d remember it later, and that was enough for both of them.

He left with a notebook packed with evidence of the life and legend of Cally Memphis. He walked out the door of her Center City walk-up, waving goodbye thankfully. She kindly returned the gesture.

With him gone, it was so quiet that she could still hear the sound of her own coughs rattling in her ears. Like those vicious sounds were going to swallow her whole from the inside. To steady her thoughts, she walked to her bookshelf, her collected cacophony of titles, ideas, feelings. Fitzgerald, Sandburg, Gibson, Keats. Gaiman, Shakespeare, Rimbaud, Spillane. Some Memphis in there, too, their spines pristine and unbroken.

Books she had written. Books she’d collected. Books that had been gifted to her. She stared at the first-edition Tennyson and missed her third husband all over again.

And then another coughing fit came upon her.

The feeling was always startling, but never once surprising. Her abiding love of cigarettes had been part and parcel of the Cally Memphis legend – she’d never done an interview without a lit Camel between her fingers, and it had long ago become part of The Image. She’d even bummed one to the young writer, knowing full well she’d just given him a filter-tipped bit of folklore by doing so. He would head into old age telling friends and acquaintances about the day he’d nicked a smoke from the outlaw writer Cally Memphis.

The coughing kicked in harder, let her know it was to be taken seriously. It dropped her onto her knees. Tears streamed down her cheeks, blackness fought itself out of her lungs. And she knew what was next.

She’d written plenty of death scenes. Now she got to live one. Seemed only fair. She crawled to the living room window, and got to see fireworks erupt in the sky. Fourth of July in Philadelphia. A city in awe of its own history, in love with its legend.

She could relate.

Then suddenly, before she even knew how to respond, a hacking fit started so bad it felt like it cracked her spine in two. She fell onto her back, clutching her chest in agony, wanting to tear the offending lungs clean out of her.

And then through the pain, a moment of selfish, beatific clarity. The idea of her own image staring her down. She stared back and smiled.

She stopped trying to reach into her chest, and instead clutched inside her coat pocket. She found a pack of cigarettes, lit one, and even managed a drag before the attack shocked through her fingers and it became a fight to cling to the filter. A battle on two fronts, as she also fought to keep breath inside her.

Outside, in the night sky, she saw the fireworks display bright orange embers, burning hot before turning to ash and falling to earth. Inside, on the floor, she caught a glimpse of the cigarette cherry glow briefly before tipping over and burning out onto the carpet.

The paramedics found her on the fifth of July.

The young writer had returned with a few follow-up questions, got no response, cautiously opened up the unlocked entrance, and found the body of the famed writer sprawled out on the floor. A dead cigarette by her hand and an odd smile on her face.

“To die, knowing that your reputation has preceded you into the great beyond.” It’s a line Cally Memphis wrote in her first novel, never really knowing why she felt like someday it might come in handy.

To die, and leave a body full of stories behind.

Asshole Anthropology (TQP #0047)

Posted in Jeff Holland with tags , on July 3, 2008 by braak

Pity the poor, lovesick nerd-boy. He always had the nagging sense that despite his best efforts, despite the positive assurances of John Cusack movies, the good, quirky nice guy does not, in fact, get the girl. In real life, the asshole gets the girl.

He damn sure didn’t need empirical data to cement that fact.

But science – earning Patton Oswalt’s tagline, “We’re all about ‘coulda,’ not ‘shoulda!’ – went and did a study (and I know not every scientist is trying to cure cancer or anything, but seriously, guys…this is how you chose to spend your grant money?). And it turns out that, yes indeed, in the psychosexual martial arts, the asshole is going to win the round.

Nevertheless, science earns a pat on the back here, for coming up with interesting language to explain just why the bad boy gets to score. Apparently, the “dark triad” of narcissism, thrill-seeking behavior, and Machiavellian manipulation can combine into a kind of evil super-trait that’s terribly useful for luring in short-term sexual conquests.

Since humans are a tribal species – our mental evolution tended to favor the instincts and ideas offering the greatest good for the most people, after all – this should be a poisonous mental concoction. In higher doses, any one of these self-serving traits would mean expulsion from the tribe. But somehow, from caveman days up to the heady times of the 21st century, the right blend of bastardry has resulted in higher levels of sex for its owners.

The study essentially posits that waaaaay back in the day, literally hundreds of years ago (just kidding, folks), while the more responsible cavemen were out hunting and gathering to ensure the survival of their people, there was one asshole caveman who stayed behind to manipulate the cavegirls into sex – because he genuinely did not give a shit about what that might mean for the future of his people. He just wanted to get laid, and had diabolical brain chemistry to make it happen, fuck the consequences.

The irony is that this lack of…well, let’s just call it “give-a-shitness”…might have actually solidified the human race’s claim to species dominance, by impregnating the hell out of the cavewomen, guaranteeing offspring (which, one would assume, the cave-asshole – cave-hole? – had no interest in raising or teaching hunting skills).

The upshot is that every single one of us has “cave-hole” DNA somewhere in our genes.

But if that’s true, why aren’t we all raging self-centered bastards? The theory is, since the “dark triad” is such a volatile cocktail, as one scientist points out, “There must be some cost to the traits,” which would have kept them from becoming dominant among the species.

Back to our caveman flashback, this likely meant tribal leaders coming back from a hunt, realizing what Urg The Unlikable got up to with the women-folk, and beat him to death with large clubs. Here in modern times, this has evolved into the practice of “cock-blocking.” Less bombastic, but nearly as effective.

Lots of ways to view this study. On the one hand, it might be important to remember that we have distant ancestors whose cave-hole brains delivered a constant message of “Fuck the consequences, I want me some of that sexin’,” and whatever malignant traits they owned have been passed down genetically through untold generations. To us.

On the other hand, it’s possible that the genes of those cave-holes have been kept in check all this time by the guys who went out for food so they could look after their people. At best, we have their genes, too. At the very least, we have the teachings they passed down from parent to child, from Neanderthal to the Wii-playing tot of modern times. The ones that say “Take care of your people.”

What’s all this mean? Maybe it means the internal struggle between good and evil isn’t nearly as philosophical as we had assumed – maybe it’s encoded in our genetic history. But maybe it means that whether we’re born good or bad doesn’t matter. It’s what we’re taught, that makes us look after our tribe, or decide we just don’t need to care.

- jkh

Math! And Jackasses (TQP0046)

Posted in Braak with tags , on July 2, 2008 by braak

Someone suggested that a study needs to be done about the impact of douchebags on society, and that some method of evaluating their douchiness be developed. Because Threat Quality has all of about six regular readers, I feel compelled to oblige!

Using my decades of training in utter bullshit, I will now attempt to cobble together some kind of equation that can give us an ad-hoc measurement for how much of a douchebag a person is.

We’ll call the basic unit of measurement D (for douchiness!), and I’ll say that it is probably going to be something like a measure of how much the person in question pisses me off. So, let’s take a made up guy, we’ll call him Hypothetical Douche, and try and parse out exactly how much a stupid fucker I think he is.

The first component of Hypothetical’s douche quotient is the basic shittiness of his activities. We’ll call this unit “asshattery,” and we’ll label it “a.” All of these values are going to basically be estimates; I’m just going to plug in some general relations right now, and we can hammer out the specifics later on.

So, Hypothetical’s asshattery is basically going to be made up of the “how bad is it?” coefficient (H) multiplied by the number of times it has occurred. A fellow like, for example, Paul Janka, who insists he’s smarmed the shit out of two hundred women with poor self-esteem (literally, via teh buttsexxx)–would have an asshattery value of 600. I’m listing “using a stupid chick you meet in the bar as a masturbatory tool” as having a “how bad” coefficient of 3, based on this simple measure: saying something asinine has a value of 1. Doing something that’s asinine but doesn’t really hurt anyone (i.e., cutting someone off in traffic; no accident has occurred) has a value of 2. Doing something that’s asinine and does hurt someone has a value of 3.

For obvious reasons, I’m leaving off actual, serious crimes on my value list, but they can probably be computed by the industrious.

Our Hypothetical Douche’s quotient has another component: communicability (c). This is a very specific value, and is subtly distinct from the “fucking spectacle” value, which I’ll get to next. Communicability is based on the simple idea that the more people that know you’re being a douche, the worse you are. So, if you’re being a douchebag in your mom’s basement, even if you’ve got a really high asshattery value (by saying ten thousand asinine things, for instance), it’s not really a big deal because no one knows about it.

But if you’ve got a television show with ten thousand regular viewers, your asshattery is made geometrically worse.

We’re going to say that so far, the equation looks like this: D (douchiness) = (c)*(a). Where “a” = “how bad is it” * t.

Now, there’s the issue of how much of a fucking spectacle are you? Again, this is different from communicability, because it has specifically to do with the number of people who are unrelated and uninterested in Hypothetical that have to put up with his shit. Like, if he’s on the news a lot of times, and so every time I turn on the news, I have to hear about god-damned fucking Ted Hagee, just being a shithead to everyone. I’m not listening to him–there’s no danger of me picking up his ideas. But I still have to hear about his fucking retarded beleifs.

Making a fucking spectacle of yourself makes your asshattery exponentially worse. We’ll give it a value like this: 1 means you have a blog. 2 means you wrote a book. 3 means you have a TV show. 4 means your in the news. These values are cumulative–if you have a blog and a book, that’s 3. You add 1 for every additional instance. So, if you have a blog (1) and a book (2), and have been on TV (4) twice (+1 more), you’re a level 8 fucking spectacle.

This leaves us with D = (c)(a)^F.

Hm.

Here’s something that occurs to me. Theoretically, by doing good things, you could make yourself less of a douchebag. Let’s add a guilt factor in here, that can mitigate your overall douchiness. We’ll say that donating time or money to a charity will give a value of “g,” in dollars–assume, for the sake of argument, that time is billed at $20 an hour.

That leaves us with D = [(c)(a)^F]/(1+g) , where “D” actually equals the amount of money you’d have to pay to starving children in Africa in order to make your god-damned asinine behavior less patently offensive.

I had to add that 1+ in there, because if a guy didn’t do any charity work, that would mean the whole equation would come out X divided by “zero,” leaving us with infinte douchiness. Which is probably technically accurate, but since the point of this little exercise is to distinguish between douchebags, it’d be counter productive.

So. Paul Janka, as we’ve established, has an asshattery value of about 600. He’s got a c value of, let’s estimate 50 people per bar, five bars per week over the course of a year, so….25000. He’s got a website (1), a book (2), and he’s been on TV four times that I know of (7). He does no charity work.

His value for D is therefor…huhm. I’ve got 600 to the power of 10, here, then times 25000.

Clearly, some kind of “gigadouche” unit is in order.

I may have to take this back to the drawing board.

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