Hair: An Old Family Story

My friend Chaos on Twitter just told a story that reminded me of this tale from my youth.

Disclaimer: If my uncle Bob or my cousin Scott should happen to see this, please do not mess this story up with the facts. This is a Family Story, which means that, if it deviates from what actually happened, so what? Unless, of course, the truth is even better.

There are a few bits of background you need to know: First, it is impossible to describe the degree of idiotic passion (on all sides) caused in the ’60s by how long a boy’s hair was. Seriously. Being told that so-and-so was suspended because his hair was below his collar didn’t rate a raised eyebrow. Second, you must understand that, while my family was all the way over on the Left, my uncle Bob, though never a conservative, was hardly a leftist. Indeed, he was the owner of a home-building company, lived in Mendota Heights, and was the proverbial “pillar of the community.” At least, that’s how we Brusts always viewed him (though, to be sure, there was a high degree of respect and a fierce and lasting affection between him and his sister, my mother, that continues between our families to this day).

So, as the story came to us, my cousin Scott–Bob’s oldest–was sent home from school because his sideburns were too long, and Bob was asked to come in and see the principal. Well, Bob delayed meeting him for a day, then another, then another, until, when he finally came in, this conservative, well-dressed, well-to-do pillar of the community had grown his sideburns down to his jawline. At which time he walked into the principal’s office, smiled at the poor befuddled man, and sweetly inquired as to what the problem was with his son?

We always adored uncle Bob.

Post-script: Today, Scott is a public defender in East Armpit Missouri, helping those who need it most desperately, and also donates his time to helping the inmates at Guantanamo. If you raise ’em right…

Incrementalists song lyrics–not by me

So, yeah, the following just showed up in my inbox–a set of lyrics by songwriter Mark Simos based on The Incrementalists by Skyler White and me. I am, let us say, geeked.

 

The Incrementalist

By Mark Simos

I was never good at good
I always believed in better
I somehow understood
The spirit lives in the letter
If there are devils in the details
There are angels dancing too
There in the tiny circle
Of the work that is given us to do

Oh I dread each morning’s news
Of our latest stupid cock-up
Sometimes this unholy world
Seems but a prototype or mockup
Yet the deepest of my blues
In their bitter azure measure
Hold some seed of mercy furled
Never rendered unto Caesar

Grand solutions I suspect
I’m a cautious incrementalist
Reciter of Confucian analect
And if I could just invent a list
Of all the tragic endings I would change
Pursuing sources and not side-effects
You know, it’s funny—funny strange—
But I’m not quite sure what I’d do next

And so I take things day by day
Asking only—is it better thus?
And thereby I avoid the ricochet
Of hope’s more ambitious blunderbuss
For it’s when we reach too far
And let the drama get the best of us
That we lose where and who we are
Still the stars have not yet seen the last of us

©2014 Mark Simos/Devachan Music (BMI)

Mark is a professor in the Songwriting department at Berklee College of Music, and a songwriter who’s had more than a hundred cuts with artists including Alison Krauss and Union Station, the Del McCoury Band, Ricky Skaggs, Doyle Lawson and Quicksilver, the Infamous Stringdusters, and Australian rocker Jimmy Barnes among others. He’s also an avid reader of SF, with a particular interest in time travel.

This song lyric was inspired by a “song seed” he found in the book: “I’ve never been good at good…” He writes: “One thing I loved in The Incrementalists was the notion that a secret society of semi-immortals might do their work with small, minor tweaks rather than big interventions. I tried to capture a bit of that spirit and outlook in the lyric.” Mark details the techniques of song seed catching in his new book with Berklee Press/Hal Leonard, Songwriting Strategies: A 360º Approach.

You can follow Mark’s musings on songwriting at his blog:
http://songwriterscompass.wordpress.com/

Amazon’s Latest Crap

A good summary of Amazon’s most recent bullshit can be found here.  It’s a good enough summary.  I just want to make a couple of points.

A book–a novel–both is and isn’t a commodity.  It is in the sense that, given a stack of the same book, it matters not at all, to anyone, which one the reader buys, and it is produced for exchange.  It isn’t a commodity in the sense that it is subject to all of the strange combinations of changing tastes and fads and social dynamics of the moment as a film or a sculpture or a record or a painting, all mediated through the author’s skill, taste, and perception.  A publisher, therefore, is caught in an interesting bind.  In order to make a profit and continue publishing books, the book must be treated as a commodity–as a mass produced item that fulfills a human want and that has an exchange value.  In order to get a good product, the book must be treated in some measure as a work of art–authors are idiosyncratic, and a good publisher will fill certain positions with people who are skilled in getting the best work out of these strange beasts (having editors and production people who actively love the sorts of books being produced is kind of cheating, but it seems to work).

Here’s the thing: As consumers, we know that businesses exist to get us to cough up cash and don’t give a shit about us as people; that’s the nature of the beast.  But we don’t like to have our faces rubbed in it.  We would like the guy at the store or on the other end of the customer support line to least pretend he cares about us.  In the same way, as writers, we don’t like having our faces rubbed in the fact that, to make a living, we have to produce a commodity.  We (okay, I, but I’m not the only one) care deeply about the stories we tell, and believe that we can tell stories that will move and delight, and thrill and even sometimes enlighten our readers, and that this is, above all, why we do what we do.  We don’t like to be reminded that we’re just a piece of a massive money-making machine, and that while we and our agents negotiate furiously for how much of the pie we are going to get, above us are massive corporations that are arguing even more furiously, and nastily, and about how much of the pie they are going to get.

This is not, in my opinion, a moral issue.  Amazon is doing what it does because it is a corporation and only cares about the bottom line, like any corporation.  There are no heroes in this.  But it is very much a practical issue.  If Amazon succeeds, many writers who are, at present, making a living as writers, will have to augment their living doing other things, and this will mean they will write less, and I will have less good stuff to read.  It is also a personal issue; many of the people being fucked over, or in danger of being fucked over, are friends of mine.

I’ve stopped buying books from Amazon; I think this will make exactly no difference.  I have no confidence in consumer pressure against an organization the size of Amazon (I have even less confidence in the US Government’s anti-trust investigators).  So, no, I do not see a solution.  I hope I’m wrong, but it looks like Amazon can pretty much do whatever it wants, and readers and writers are simply going to have to deal with it.  Like I said, I hope I’m wrong.

 

Trigger Warnings: Can Someone Fill Me In, Please?

I’ve just caught bits and pieces of this discussion on Twitter, and am mystified.  I hadn’t been aware that was a controversy, and I’m still not sure what it is.  I mean, if someone were to say to me, “You must put trigger warnings in your books for anything that might upset someone,” then I can see being pissed off; but, so far as I know, no one is saying that.

I’m clearly missing something in here.  I don’t see why someone choosing to put a trigger warning on something should be a problem, and I’m a little lost trying to find the downside of requiring them on classics.  Well, okay, I admit; were I a student, I’d be slightly–very slightly–miffed to see certain warnings on certain books because it might give away something I’d want to discover myself.  But that doesn’t seem like a big deal.  Also, the proliferation of trigger warnings might be related to the annoying trend among academics and elements of the middle class to say, “If I am upset or hurt, it must mean someone did something wrong, therefore we need to make sure no one does that thing ever again.”  But, even if it is related to that, 1) I don’t see the problem as that big, and, 2) I don’t see trigger warnings as being a big part of that.

The joke, “Trigger warnings are a trigger for me,” is stupid and not funny, and has a tiny element of truth: proliferation of trigger warnings can sometimes be irritating.  Is that enough of a reason to discourage them? I don’t see why.

I’m trying my best here to find a good reason to come out against trigger warning, and, as you can see, not having much luck.  What am I missing?  What are the broader aspects to this?  Why is it a controversy?  The only thing that’s obvious is that there things I’m not seeing, and I’m now officially curious enough to ask.

 

How Do You Know You Know?

Lurking somewhere beneath many of the political disagreements I’ve encountered here is the question of faith versus science.  In other words, how is it that we know something?  This question is there when the smug philistine announces that “science is just a religion.”  It is there when the idealist earnestly tells us that our belief in the class struggle is just a matter of faith.  It is there when the postmodernist speaks of “historical narratives.”  It is there when the devotee of macroeconomics assures us that the value of commodities is all in our heads.  It is profoundly there when the supporter of identity politics wishes to replace discussion of objective conditions with discussion of personal experience.

Ironically, this question (epistemology, to call it by its name) is one that Americans grow up believing is something only suitable for academics, rather than something that is at the very heart of how we understand our world, how we interact with our world, how we seek to change our world.   We are taught that questioning our method is navel-gazing.  If we accept that, we are helpless before the method that we pick up from our social conditions (I trust no one will dispute that we pick up a method from growing up, being educated, and living in a particular culture at a particular time and place; if I’m wrong, I’ll go back make this post even longer).

So, how is that we actually know something?  Well, obviously, not by thinking about it.  I mean, you can’t prove the truth of your thought by thinking, right?  That way lies solipsism.  Which means either we are defeated before we begin, or must find another way.

Many, many people, of course, are defeated.  They insist that we simply cannot know anything.  Pragmatism, the belief that “truth is what works,” grew out of the needs of an expanding capitalist economy in the late 19th and early 20th centuries.  It says,  “since we can’t actually know anything, let’s just find a belief system that makes us happy.  Of course, yours will be different from mine, but that’s all right, because there is no truth anyway.”

Another approach is called empiricism, which emerged with the birth of science as a formal discipline and the roughly simultaneous birth of capitalism, and says that we can know facts, and facts only.  In other words, we can count (more or less, and with some conditions) on our five senses to tell us certain things are true, but the connections, the reasons, the laws, are unknowable.  We can know, because it was witnessed, that the sun rose in the east every day of recorded history, so we assume it will continue to do so, but we can’t know it won’t rise in the west tomorrow, because the laws of astronomy and astrophysics that guide the motion of heavenly bodies are merely ideas, which, to the empiricist, means we can’t actually know them.

So, how do we know we know?

Historically, the development of knowledge is a social, not an individual thing.  What I mean by that is, yes, at some point in the past, someone came up with a way of converting motion to heat (fire). But that technique quickly became part of humanity’s body of knowledge.  It was used, tested, and became the basis for further developments of knowledge, until eventually we found a way to turn heat into motion (the steam engine).  Now, whether  you credit the invention of the steam engine to Hero of Alexandria, or Taqi al-Din, or even skip everyone until James Watt, the point is that the steam engine became a part of humanity’s general body of knowledge, and we, human beings, used this knowledge to change the world.  I’m sure I will get arguments about this or that aspect of what it means “to know,” but I trust no one is going to deny that the steam engine has changed the lives of human beings across history and cultures.

Am I off the subject?  I don’t think so, and that is exactly the point.  Let us return to that first mythical woman who rubbed two dry cliches together to consciously produce the first fire (probably after she or someone else had done the same thing unconsciously).  She did many things, at that moment. She generated heat in a controlled way.  She provided the opportunity to gain more efficient nutrition, thus permitting the brain to evolve more into a more powerful and complex organ.  She developed an element of culture that could be taught to others.  And, just by the way, she proved the relationship between her thoughts and the objective world.  Not by her thoughts, but by her actions.  In other words, as it is most often expressed, “Man answered the question of the relationship between his thoughts and objective reality hundreds of thousands of years before it occurred to him to ask.”

What I am suggesting, then, is looking at “proof” in a different way; not as something that exists as a thing inside someone’s head, but something that happens as a social process.

Proof, for human beings, is not individual, it is social.  It is not passive, it is active.  To focus on the question, “But how do I know this is real?” is to begin with yourself, with what’s in your head.   Take it the other way.  Instead of starting with your own thoughts, start with what is around you.  Strive to understand the movement of history, of the natural sciences.  Approach them from the point of view of, “How can we understand the world in order to change it?” Our confidence in our thoughts comes when we have put our ideas into practice and observed the result.  I propose, then, not proof as contemplation, but proof as activity.