Embrace failure? Go ahead and try

Every once in a while, somebody asks me something about my most recent novel, The Glass Character. In its most blatant and perhaps rudest form, it goes something like this. "So. Just how many dollars do you make per copy sold, and how much does that add up to over, say, a year? How much do you earn per annum?"

Maybe the person is thinking about writing a book. Perhaps they will sell millions of copies and become immensely rich. In every case, I have "earned" in the minuses, so I am not sure what to say to these people to avoid utterly humiliating myself.

How can you possibly earn in the minuses? I'm still trying to figure that out. It must be a whole new definition of failure, which is something that we are (of course!) supposed to wholeheartedly embrace. 

And if I share this lovely fact with some other writer, what I generally get is some version of, "Oh. That's never happened to me."
As  I write this, I can feel an avalanche of advice coming on from writers who, unlike me, know how to do this.  I once asked one simple question,I think about how you get your books into Chapters/Indigo stores, and got THOUSANDS of words of "advice" on every conceivable aspect of writing and publishing. 

I thought - and in this situation, anything I think is apparently wrong - isn't this just a little bit of overkill? Why is this person treating a third-time novelist like a complete novice, and expecting nothing but gratitude?  Here's what you "should" be doing, and here's what you "should" be doing, etc. etc. etc. (because you're obviously doing it wrong). I realize now that this was an extreme example of gratuitous advice, but what irks me about this kind of situation is the utter lack of understanding that this could be anything but a great and even selfless generosity.

When am I going to smarten up, and either "win" at this godawful game or go home? Right now I would rather have my fingernails pulled out than try to publish again. It's the godawful isolation, the loneliness and the sense of being ineffectual, while everyone else skips around with royalty cheques in hand. By the way, what does a "minus" cheque look like anyway? Is it sort of like a black hole in space? 

I am sick of being chipper about the book. It has now been out for a year (and this is kind of like unwrapping the bandages from my wrists, if you know what I mean) and have had no reviews, NONE, except for one sort-of review in a online magazine from Winnipeg that doesn't strike me as very literary. It was written by a 30-year-old standup comedian who, by his own admission (in a published article in the Globe and Mail, no less) admits he's unambitious, unemployed, a general layabout, and feels the world owes him a living. He also said he was only writing the piece for the cheque.

But what's even more interesting is the fact that he made exactly the same amount as me - only my total is in the minuses! As with my other two novels, I bombed so badly, sold so few copies that I ended up in the hole. Am I okay with this? You tell me.

I don't  know what happened, because my first two novels got nearly universally glowing reviews, even in publications in the U. S. which had never been sent a copy. The Calgary and Edmonton papers interviewed me, I got a full-page spread in the Montreal Gazette (complete with full-color author photo!), and the Vancouver Sun said I should be a contender for the Leacock Award. Both my hometown papers interviewed me at length and put out big spreads. The second book was favorably compared in the Globe and Mail to the work of Nobel-winner Alice Munro and Oprah pick Anne-Marie MacDonald.

My first publisher, whom I very much enjoyed working with, phoned me breathlessly to say, "Margaret, it's a miracle. We've never had so many reviews for a novel, even in places we didn't send copies to, and they're all positive. We can't believe it!" A miracle being a supernatural event not caused by human beings. Then she went on to say that my sales were worse than any book they had ever published before.

What happened? You tell me. Maybe I'm just too old and don't know what I am  doing. An act of love has become an act of poorly-executed, even disastrous commerce. 

I don't know how to invite myself to writers' events and seem to be getting no help from anyone. It seems as if you have to know some sort of bizarre secret handshake, like a Freemason. This did not happen before. They asked me. But because it got no reviews, my book does not seem to exist. It does not exist because it got no reviews. And so on. Begging is undignified and destroys my morale. Not having my emails answered is worse, giving me the impression that I don't exist, or, at least, I don't exist in their minds (or they would rather I didn't exist). 

I've sent out multiple copies of the novel to people whom I thought might be interested. I might as well have dropped them into the fucking Grand Canyon. The waste of money, the hundreds of wasted dollars isn't the half of it: it's the waste of hope, the wasted years of creative effort, out the window. If a story doesn't get told, it ain't a story. Isn't that true?

But it's your fault, Margaret. Don't you ever forget that you bungled it in some mysterious way that everyone else is able to avoid. And you're not supposed to "learn" this, but just know.

I no longer care about what will happen because no one will see this anyway. They never do. I am tired of the whole goddamn Facebook popularity contest and how many "likes" I get, all the simpering profile pictures with hair gently streaming in the artificial wind, and the phony modesty, feeling so "humbled" by winning a major award, followed by the usual "oohs" and "ahhhs" of the sycophantic Greek chorus who secretly want to kill them with envy. Fuck it. 

One day well over a year ago I got a phone call from Rich Correll in L. A. saying he was very interested in the book. This was more than a year after I sent some excerpts to an address I wasn't sure was valid. Rich Correll was like a second son to Harold Lloyd, almost one of the family, and was his filmographer and is in every documentary about him.

When we talked, he told me he thought a feature film about Harold's life was long overdue. My God, this was what I had been thinking about from the start, and now a major Hollywood director agreed with me! Could it be he was seeing potential in my work? An adaptation? A SOMETHING?

I wasn't just excited, I was walking on the ceiling! How could this BE? How could Rich Correll be interested in my work? It was like getting a phone call from Jesus. Well, it can't be, folks, because he stopped answering my emails some time ago, and like an idiot I don't know why. In fact, to this day I don't even know if he got his complimentary copy because I haven't heard from him. Like an even worse idiot, I phoned him and left a message last week. He didn't call me back. It was last-ditch and I feel vaguely ashamed that I did it, but Jesus, Rich Correll! I wrote a whole post on him and about how I felt he might be the key to blowing this novel out of the backwater it's stuck in. I just never get the message, do I? Do I? My stubbornness, my refusal to give up is pathological, even poisonous. Certainly it is not a sign of health, as it nets me exactly nothing.

Losing interest is just fine. I am not referring to losing interest. I am referring to having a blank intractible silence open up where the interest used to be, so that I automatically fill it in with what might be the truth, in a hundred different poisonous ways.

I need information to get me out of this. "Your book sucks, it's offensive, it's inaccurate, I hate how you portrayed Harold, (or, worst of all) it bored the piss out of me and I hate you for writing it" would be better than this. One three-word email: "I've lost interest." ANYTHING would be better than this. For, like my book, now I don't exist either, or I am not deemed worthy of a reply. 

I can't deal with it. Help me here. But no. I know it already, I know what no answer means.

Now I will tell you something really stupid, or at least now I know it's stupid. I used to worry this book might bother someone in the Lloyd family, who were badly burned by an insensitive and poorly-written thing Richard Schickel wrote to fulfill a contractual obligation. So I let them know I was writing a novel about him (though I never quite got past the front desk). I didn't do it to avoid a lawsuit, which wouldn't happen anyway. I didn't do it to avoid "stepping on anyone's toes". I didn't do it so I "wouldn't get in trouble". I did it because I love Harold Lloyd and I care what his family thinks about any book written about him. 

But as with everything else, I'm not on the radar. Oh. Did somebody say something? Sorry, no, I must be mistaken.

Why is it I am ALWAYS dumped on my head? What is it I'm doing so wrong? Is the book really weak, or even a piece of shit? Once in a while I think, well, what else could it be? But I surely didn't think that at the time. God, at the time it was nothing short of a rebirth. I didn't think I'd ever write again, and I was so disabled it was unlikely I'd even want to try.

But that is a whole 'nother story, and if you think THIS one is hard to tell, that one is plain impossible.

Oh, I realize I shouldn't even be writing this, as it's taboo to say what you really think, but I am at the point that the loneliness and isolation are killing me and I wonder if I care any more who (if anyone) sees this. I wanted this so badly for so long. I am being punished by the gods, it seems. And if you think this is bad, you should see the paragraphs I just deleted. 

I read a piece in the Globe and Mail by Russell Smith who said writers should not blame themselves for a huge shift in the global economy. Maybe. But some authors, as others point out ceaselessly, are doing just fine, which is I guess supposed to make me feel better.

I just get tired, is all, of being entertaining, which nets me exactly twelve readers anyway, sometimes. Or not. What a futile enterprise this all is! And it has gone on for seven years, from the first moment the idea hit me like a brick on the head. Harold Lloyd - I would write about Harold Lloyd!

I will not do this to myself ever again, no matter how badly I want to, as it's obviously too late for Harold after less than a year. My tiny window of opportunity has already slammed shut, and guess who is responsible. 

I loved him, I did this for love, I still love him, and the silence (no doubt mysteriously caused by me) is bloody deafening. And by the way, I am NOT saying, "Oh, I wrote such a crappy book that everyone is ignoring it". I still think it's the best thing I have written or am likely to write, and it far surpasses the first two in complexity of story line and characters. Though I also realize that there may be no one else on earth who thinks so.

We're supposed to embrace failure. Right. I have embraced it three times, and all it has done is publicly humiliate me and kick me in the head. What is worse, I don't dare speak of it to anyone, when all I really need is a human being who will listen to me. No advice, no corrections, no "gee, that never happened to me".  All I know how to do is be a writer, but no one told me there was an imperative to be a "successful" writer (i. e. move copies). Publishing is a business, it's there to produce and sell books, and not only is there nothing wrong with that, I think it's absolutely great. Authors couldn't exist without it. But it is becoming increasingly obvious that for me, it was not meant to be. About all I can do to deal with this feeling is try to walk away from it and do something else. Sometimes, it almost works.

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Bentley finds my wool stash (and lies down on it)

"You had me at hello"

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Pastorale by Gabriel Pierne

This is just a few minutes of rapturous beauty. It's a group I've never heard of, but I hope I hear more of them. I first heard this piece on an LP called Pastorales in the 1960s - we played the grooves off it - and since then I've been trying to piece the album back together. This is the best version I've found of this lovely melancholy piece.

The group is Tempest Winds Chicago. More, more, I want more!

NOW IT CAN BE TOLD: Bob Dylan wrote all of George Gershwin's songs!

 

Sooooooo! You think George Gershwin was an original, do you? You think he was the genius of that place, y’know, that alley with all those tin pans lying around? You think he wrote hundreds-a great songs like Mammy’s Little Baby Loves Shortnin’, Shortnin, and Mairsy-Dotes? WRONG. He stole from everybody, just like every legendary composer who ever lived.

This exposé will intersperse my unique revelations about Gershwin and his times with comments from that unassailable fountainhead of true lies, Wikipedia. The author uses it all the time to lend an aura of veracity to her completely fictitious essays and to casually bend facts to her own inclinations. Pay attention!

Gershwin was influenced by French composers of the early twentieth century. In turn Maurice Ravel was impressed with Gershwin's abilities, commenting, "Personally I find jazz most interesting: the rhythms, the way the melodies are handled, the melodies themselves. I have heard of George Gershwin's works and I find them intriguing.” The orchestrations in Gershwin's symphonic works often seem similar to those of Ravel; likewise, Ravel's two piano concertos evince an influence of Gershwin.

Gershwin asked to study with Ravel. When Ravel heard how much Gershwin earned, Ravel replied with words to the effect of, "You should give me lessons”. It was never made clear what kind of lessons he meant.  In fact, there is little evidence that Gershwin even understood French and had no idea what Ravel had just proposed. “To me,” he was quoted in the press, “it all sounds like Hinky Dinky Parley Voo.”

In spite of the fact that their attempt to meld their talents failed, the composers had something in common: they both died of brain tumors. This is proof that extended periods of composing causes the brain stem to harden into a hockey puck. Either that, or medical science is wrong and tumors are catching.

Some versions of this suspicious "you should give me lessons" story feature Igor Stravinsky rather than Ravel as the composer; however Stravinsky confirmed that he originally heard the story from Ravel, at one of those salons where they waved at each other and went, “Wooooo-hooooo!” Other accounts differ. In fact they differ so wildly that, as with most musical anecdotes,  it probably never happened at all.

Some claim that Gershwin was a time-traveller who showed up in Bob Dylan’s closet in 1962. Dylan's early faux-rockabilly style was a complete failure in Dinkytown,a very small pioneer settlement in Minnesota where none of the residents were more than 2 inches tall. At the time, Dylan was playing a pink plastic electric guitar with gold sparkles in it that he ordered out of the Sears catalogue.

“I want to study with you,” stated Gershwin, citing his complete lack of expertise in writing popular song.

“Hey man,” Dylan replied (though it is doubtful these are his exact words: citation required). "We can't study together. I already dropped outa high school."

“I don’t have any hits,” Gershwin claimed.

“I don’t either, man.  I'm still singin' Buddy Holly songs."

"Sing one for me, o legend of your times."

"Goes kinda like this.

I believe it to my soul you're the devil in nylon hose
I believe it to my soul you're the devil in nylon hose
For the harder I work the faster my money goes

Well I said shake, rattle and roll
I said shake rattle and roll
I said shake, rattle and roll
I said shake rattle and roll
Well you won't do right
To save your doggone soul

"I note that the tune is somewhat monochromatic."

"Say what?"

"It's all one note."

"Yeah, easier to remember, man. I have to write my changes on my sleeve."

"And the lyric has a certain primitive energy. After all, Cole Porter did allude to a glimpse of stocking."

"Well I ain't makin' a livin' at it yet. Too busy obliteratin' my middle-class upbringing and fabricatin' my image as bum ridin' the rails with Woody. But things are lookin' up. I’m screwin’ this girl named Baez and she's goin' places."

“Maybe I should’ve approached Schoenberg.”

“Yeah. He’s a good plumber, man.”

“Do you mean he plumbs the depth of the human soul?”

“Dig it.”

(This is a good example of how a completely inane remark can be twisted around to reflect future genius.)

But his collaboration with Dylan was not to be (sorry about the title, I changed my mind as I wrote this), nor did he ever work with that other guy whose name is so hard to spell. So he began to steal from other rock legends, notably Bruce Springsteen, whose remarks are not on record.

But the vandalism didn’t stop there. Gershwin's own Concerto in F was criticized for being related to the work of Claude Debussy, more so than to the expected jazz style. The comparison did not deter Gershwin from continuing to explore French styles. The title of An American in Paris reflects the very journey that he had consciously taken as a composer: "The opening part will be developed in typical French style, in the manner of Debussy and Les Six, though the tunes are original." Others claimed he used the term American to give the piece a veneer of cultural relevance while he sucked all the juices out of the French impressionists. Later Leslie Caron (French!) dumped a bucket of sexuality over the whole thing like whitewash, which is all people remember anyway.

Aside from the French influence, Gershwin was intrigued by the works of Alban Berg, Dmitri Shostakovich, Igor Stravinsky, Darius Milhaud, and Arnold Schoenberg. He also ripped off Beethoven, Brahms, Schumann, Cole Porter, Richard Rodgers and Irving Berlin (his chief rival, who never learned to play the piano and was in fact tone-deaf).  He also asked Schoenberg for composition lessons. Schoenberg refused, saying "I would only make you a bad Schoenberg, and you're such a good Gershwin already." Gershwin’s reply was, “Awwwwwwwwwwwwwww.”  (This quote is similar to one credited to Maurice Ravel during Gershwin's 1928 visit to France – "Why be a second-rate Ravel, when you are a first-rate Gershwin?" He then hit him up for a loan.)

The  “first-rate Gershwin” remark which every composer in human history claimed to have uttered first has in fact been attributed to Gershwin himself, or perhaps his longtime walking companion Giorgg Greshvinn.

Meanwhile, Gershwin’s ghostwriter Mannie Maneschevitz turned out a semi-hit called Second-rate Gershwin, later made popular by Barbra Streisand in Funny Girl.

Gershwin’s dog was also named Gershwin. An Irish setter, the dog caused confusion on Tin Pan Alley, where he often drank from a tin pan, and in the salons of Paris where he had his fur foiled (he was actually a black lab). Gershwin was sometimes heard to exclaim, “Good boy, Gershwin!”, which was mistaken for arrogance on his part. Later one of his rivals George Greshwin wrote in the Henbane Times, “That new song Gershwin wrote is really a dog.”

Then again, there is Oscar Levant’s most brilliant, mind-blowing, searing quip ever, better than anything he ever blurted out on To Tell the Truth or Hollywood Squares: “An evening with George Gershwin sure is boring.”

Russian Joseph Schillinger's influence as Gershwin's teacher of composition (1932–1936) was substantial in providing him with a method of composition. (Author's note: Wikipedia wrote this atrocious sentence, not me.) There has been some disagreement about the nature of Schillinger's influence on Gershwin. After the posthumous success of Porgy and Bess, Schillinger claimed he had a large and direct influence in overseeing the creation of the opera; Ira completely denied that his brother had any such assistance for this work. A third account of Gershwin's musical relationship with his teacher was written by Gershwin's close friend Vernon Duke, also a Schillinger student, in an article for the Musical Quarterly. (And so on, and so on, and so on. Time for a new paragraph.)

Porgy and Bess caused controversy in 1936 when it was retitled The Watermelon Review. Featuring only white actors in blackface, it was raided and permanently closed by the police when the burnt cork melted off the actors’ faces, revealing the shocking fact that white people had appeared in a black opera. Gershwin’s suggestion that the opera be restaged with black actors was met with stunned silence. A modest revival featuring Al Jolson playing all the characters (singing such tunes as Mammy, You is my Woman Now and Sum-sum-summertime) resulted in a record number of rotten tomatoes being thrown at the stage, to a possible depth of 3 feet.  The star of the very first talking picture The Jazz Singer was quoted as saying, “This was another Jolson triumph”, before going off to make a movie called The Jazz Singer II: Yes, It’s Crap, but It’s Got Sound.

During another time-travel episode in 1967, Rolling Stone magazine attempted to analyze Gershwin’s plagiarism but quit after page 3 because they couldn’t get a good cover photo. Oscar Levant kept standing in front of him.

What set Gershwin apart, aside from his overbite, his strange-looking skin rash and a propensity for screaming in the street, was his ability to manipulate forms of music into his own unique voice. He took the jazz he discovered on Tin Pan Alley into the mainstream by splicing its rhythms and tonality with that of the popular songs of his era. In musical circles, this is known as “stealing”.

Although George Gershwin would continually make grand statements about his music, he believed that "true music must reflect the thought and aspirations of the people and time. My people are Americans. My time is today.” Today didn’t last very long because his brain exploded 15 minutes later. He also dissed Toscanini for pretending not to have heard Rhapsody in Blue. “I can’t believe it,” Gershwin remarked. “He must have stuck bubblegum in his ears.” This statement appears in Bartlett’s Quotations on page 96 (citation needed: this whole article is complete bullshit!).

CODA. As usual, screwing around with images is both more fun than writing, and much more time-consuming. Thinking about Buddy Holly and his black-framed glasses, the kind that are once more coming into fashion, I wondered how Gershwin would look with Dylan's eyes, and vice-versa. The results were unsettling.

Of course I never got a perfect match because their facial shape is so different, but what struck me is that the eyes were almost interchangeable in the quality of their gaze, their intensity, focus, and almost scary self-possession. Nothing has ever thrown Bob Dylan, not even being booed for ten years for singing Sunday School songs, and Gershwin similarly knew he was great stuff and that no one could equal him.

Gershwin was tragically cut down at 38, and everyone assumes he would have gone right on pouring out hit tunes and classic operas and things. Such might not have been the case. He may well have been a sort of Chaplin figure, a sad elder statesman unable to adapt to dramatically changing times. Fascinatin' Rhythm wouldn't play well even in the era of Vic Damone and the Rat Pack, let alone today. The people who listen to Gershwin now are mainly senior citizens, or musicologists making yet another one of those dreary PBS specials in which they dust off the progeny of the progeny of somebody famous in the 1920s. Plus a few high school students being required to perform the popular music of a century ago just for extra band credits.

Dylan has just hung on by his teeth, tough as an old lizard, his voice completely shot, but unlike 95% of other legends he's a shape-shifter and won't stick to any particular era. Lots of people still associate him with Blowin' in the Wind and "protest songs", but real fans (and I am not one of them: I gave up after Desire/Blood on the Tracks, which I still think would've made a great double album) appreciate the fact that he is still completely unpredictable. He wins tons of awards now, lifetime achievement things, and each medal slung around his neck seems more like an albatross. But hey. . . there's always the Christmas album.

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The Mystery Cat: REVEALED!

Partly out of superstition, and partly out of - well - superstition, I haven't been posting much lately, because my mind is on other things.

Namely, Bentley.

Who's Bentley? you may ask. And since when do we have a cat?

Since Sunday.

When my beloved lovebird Paco died just a short time ago, it was agonizing. She only lived 100 days, and was an absolute delight. I should have spent many years with her. I knew I couldn't get another bird, because if that happened again -

We didn't even have cats on our minds. Oh all right, we did, because my daughter had just adopted Mia, a darling little tabby who stole everybody's heart. I noticed how the whole atmosphere in the house had changed, as if it had been flooded with sunshine.

At one point in my anger and grief over Paco, I said to Bill, "I can't get another bird, I just can't. We might as well go get a cat." This was a reference to the "no more cats" rule we had made after the death of Murphy, the 17-year-old catriarch of the family, in 2007.

Bill especially felt that we'd be too old by the time the cat reached that age, if it ever did. But he said something surprising that changed everything. "We could get a cat." I hadn't meant it literally, but suddenly our thinking began to change. And as we all know, that changes everything.

We decided we would "start the process of looking for a cat". Not rush into anything, of course. We weren't even supposed to be getting another pet at this stage. It was too soon, far too soon, wasn't it? But I began to look into it, research adoption web sites.  My first experience was with a Vancouver kitten rescue agency called VOKRA. I looked at one cat, a very lovely cat indeed, and as soon as I reached out to pet her, she tore a chunk out of me. We both went home from that "viewing" with bloody scratches.

I think sometimes certain organizations are just too idealistic about whether a cat is truly adoptable or not. That one wasn't.

So we decided to try the SPCA, where most people go. I had been looking on the web site for a while, and saw this snagglepuss-like baby cougar, and just HAD to go see him. Right now. He was in Maple Ridge, so it didn't take too long.

It was just one of those things. He was housed in an enclosure about the size of a large walk-in closet, much more amenable than a cage, but still kind of cramped for a cat. When he saw me he jumped down, ran towards me and wound himself around my leg. I immediately picked him up and held him. He relaxed into my arms. He had a soft, plushy coat, and was purring gently.

"This is the cat," I said to Bill. "Are you sure?" "There are no other cats. This is the one."

It has only been a few days, yet it seems longer, and not because time is dragging. It's another thing entirely. This little guy, about a year old, has an incredible history. Someone found him outside, mangled and bleeding. He had been mauled by a dog and had bite-marks on his shoulders. And yet, he is a sweet and gentle cat who loves to be held. So far his worst habit is drinking out of the toilet.

He has substantial gaps in his coat where the dog bit and probably shook him. They might or they might not fill in with fur, but if they don't, they'll only remind me of his valor in facing down a nasty old dog, and (even more remarkably) not becoming nasty himself.

My daughter-in-law Crystal has a way of summing things up. "After he flew down from heaven, that's where his wings broke off," she said. Amen to that.

The Hidden Paw

Who is the Mystery Cat? Stay tuned and find out!

"Forget"

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Leonard Nimoy's finest Star Trek moment

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Leonard Nimoy and William Shatner: the memory of all that

A delightfully goofy interview with two cultural icons. Poignantly, Nimoy's breathing is so laboured you can sometimes hear it, and Shatner protectively puts his arm across his shoulders. The rest of it is just plain hilarious - they manage to avoid answering a single question. Even with illness and frailness, Nimoy was full of joie de vivre, with that marvelous un-Spock-like goofy grin.

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