The Glass Character

Tuesday, March 8, 2016

My Day

It went kind of like this.

The worst doesn't happen - except when it does

http://www.newyorker.com/magazine/2016/03/14/behind-the-trump-phenomenon

Herein is a link to a pretty good piece in the New Yorker about the Trump phenomenon. I don't know if I have anything more to add. My husband, who is far more politically astute than me, said "he's the best thing that ever happened to the Democrats" and "he will leave the Republican party in ruins, so they will have to rebuild out of the rubble and become a viable party again." Let's hope he's right.

I get frightened at the things that are happening, but if I say much about it I'm a party pooper, fearful, a depressive, and blah blah blah. I am a human being in fear because of what I see all around me. And yet. I am mindful of the fact that when I wrote a starkly honest post about these fears, I lost four longtime followers within a few hours. I didn't even know my followers followed me, but apparently they do when the message is too dire, then decide to hang up the phone. Does this hurt? What do you think? I love my readers, even if I don't know them, and abandonment is always hard.

The worst doesn't usually happen, except when it does (Hiroshima, Nazi Germany, Hurricane Katrina, and all the school shootings that I can no longer keep track of - and this is by no means a comprehensive list, just what popped into my brain in the first few seconds). Am I tempted to despair? You bet I am. On a personal level, I cope by cleaving very closely to my family and all its beloved aspects, my 40+-year marriage, and even - gulp - my writing, though I just received some news that makes me wonder if I should laugh or cry.

The Glass Character, the novel I have created a whole blog for, a whole Facebook page for, and to which I surrendered my hope and my heart, sold three copies in all of 2015. This is not just a failure, this is a literary catastrophe. To sell this number, you'd have to post vitriolic, insulting tirades every day telling everyone they're full of shit and should not go near my book. It is barely possible, but it says so right on my royalty statement, which is several hundred dollars in the red. I literally owe my publisher some pretty big bucks for failing on this level.

I'm trying to figure it out. I wasn't going to say anything. Everyone says, of course, that failure is no disgrace, that it is a badge of honour because "you tried" and learned something and should just try, try again. OK then: if it is indeed no disgrace, here goes, I'm going to write about it right now!

From observation and personal experience, however, I think the opposite is true. I have observed that failure blights your personal vibe and renders you unwashed, a pariah, box office poison. It does. You have to play it down. One costly mistake can be the end of everything. I've written about this before, risking party-pooperhood again.

I'm going to excerpt something I sent my publisher, because this blog is my refuge now and the only thing I am going to be writing for any sort of public consumption from now on.

"I’ve been going over and over this issue in my head and wondering whether to address it will make things better or worse, but leaving it alone will be too painful for me, so I guess I had better make an attempt.

I received my royalty statement yesterday and saw that my novel sold three copies in all of 2015. This seemed like an impossibility to me, either a mistake or probably the worst sales record in publishing history. I did not expect my novel to break sales records, as my other two novels were modest sellers in spite of outstanding reviews. This novel, for whatever reason, did not get reviewed at all and did not get many of those all-important five-star blurbs on Amazon because I was not able or willing to enter the barter system (I’ll five-star yours if you’ll five-star mine) in order to procure them.

I am saying this not to be defensive or apologetic, and I know in the long run it won’t make any difference, but to say I can just brush off this magnitude of failure in my life’s work is unrealistic. I don’t know why, but perhaps because of sheer loneliness I just have to say something. One can’t reveal this kind of thing publicly because in this era of social media, one must always save face and put one’s best foot forward, and this face is just about the worst I’ve seen! You have to be a success to be a success.

Though due to health/family/financial constraints I was unable to put together a major book tour, which would have involved trying to get myself invited to events when no one had heard of my work, I did do what I could locally to promote the book and had a successful and very enjoyable launch. I set up a Facebook page specifically for the novel and have kept it up, and have been writing a blog called The Glass Character since 2010. I had gained a number of contacts, or I hoped I did, in the silent film world, and approached them with the book to see if there was interest. This included Gerry Orlando (who runs the San Francisco silent film festival), Jeffrey Vance (Lloyd biographer), Rich Correll, a Hollywood film producer/director who knew Harold Lloyd personally and who phoned me out of the blue from Los Angeles to tell me he loved the excerpts I sent him and wanted to see the whole book (never to hear from him again – he stopped answering my emails), Kevin Brownlow who is the world’s foremost expert on silent film and was generous enough to write a blurb (the one person who has been good to me and kept up a correspondence), the Lloyd family, including Suzanne Lloyd who is CEO of Harold Lloyd Entertainment, a few other HL biographers, and – well, is there much point to this? Obviously it was futile and led to no interest at all. And I am aware the whole thing was long-shot: I am not naïve about it.

I know the publishing world has changed a lot, and I must not be a publicity genius or this never would have happened, but three copies. Though there is a lot of lip service paid to “failure is good, it’s great, it’s how you learn”, it is socially stigmatized and shameful. It actually is, and the repercussions can be fatal to a writing career, especially if your books tank at the box office three times in a row. If you somehow manage to pick yourself up and go on to great success, it looks fine on your resume, you’re seen as the comeback kid and praised, but that’s not going to happen here because I can’t and won’t go through this again.

I don’t know what I was expecting here, but I will tell you I feel really badly that you took such a bath on this. You ended up seriously in the hole with me, and it feels awful. I will pay back what I owe, and I am not kidding, I will do that if it will help, bad as it feels. I know that’s not what is done, but I will do it because this is probably an unusual case and small publishers are struggling hard enough as it is. An author should not “earn” minus hundreds of dollars for her book – it is either funny or baffling or just heartbreaking. I do not ever intend to offer my fiction for publication again, I mean anywhere, as I am unable to detach myself from “how it did”, though I guess I am supposed to.

I don’t know how to play this game, obviously, if that’s what it is, though I know it shouldn’t be. Canadian literature is honoured worldwide as being of the highest quality. I cannot forget that my first novel received over 25 reviews, almost all of them very positive, and that my second novel Mallory was favorably compared in the Globe and Mail to the work of Alice Munro, a Nobel prize-winner. OK, am I bragging here or just scrambling for points? I shouldn’t do that, obviously, and yet I shouldn’t NOT do it. I didn’t do enough of it or I would have sold more than three books. There is something so awkward about being self-serving enough to push your book aggressively, because it is seen as just so un-Canadian and you can expect a lot of putdowns for it. Yet at one and the same time, if you don’t do it you’re missing the boat.

I have to tell you that writing this novel, which now must be its own reward, was one of the best experiences I’ve had in my writing experience (I guess I can’t say career). Having it accepted by Thistledown was nothing short of thrilling, and I had high hopes for it. I appreciate the faith you had in me to give me this chance. It had been a long time since my last book came out, however, and in that time I had unwittingly morphed into a dinosaur, with my past work seen as almost a liability: I was that fatal thing, an “old school writer”. It seemed that suddenly everyone was an author, and some real crap was hitting the fan (Fifty Shades, etc.) and becoming bestseller material. Since I wasn’t sure how to navigate these waters, I did what I could and sold three books and now wonder how that even could have happened.

It’s a little late for a post-mortem, I guess, or what I could or should or couldn’t or shouldn’t have done. But it is too bad I had to agonize about whether I should even speak to this or just zip it up, keep it to myself and try to carry on. This is embarrassing, if not humiliating, and I do have my pride. There is no way to win this at this point, or contemplate what I might have done or should have done or shouldn’t have done, and it is really a very disappointing way to end my fiction-writing career, but here it must end. The other day I made a passing reference to “writing another novel” and my husband got a look on his face, not just pained but anguished, and said, “Margaret, please, please don’t do that.” He was being truly supportive of me in saying this.

Thistledown gave me an opportunity here, perhaps a roll of the dice, but for that I am still grateful in spite of how it turned out. I hope this isn’t seen as a rant, which it is not meant to be, but a cri du coeur, just something I had to say because not saying it was killing me. I do appreciate your reading this, and I don’t ask for you to try to make it better, but I guess I just had to say it.

Again, I am grateful for the chance to work with you."

Why do I do this, publicize and broadcast such a jaw-dropping failure? Because I'm sick of hiding it. As Bob Dylan once said, "When you ain't got nothin', you got nothin' to lose." (He also said "he not busy being born is busy dying," and today I'm not sure which one I am.) It's true. I'm not trying to "gain" anything here either. Maybe it's a bit of a cautionary tale, however. I do think I'm a good writer and don't need to be bolstered. But I have long believed that a storyteller needs an audience. We don't expect a concert pianist who has trained for ten years to play in an empty hall, but when writers want readers, they're seen as egotists. If they DON'T get that readership, they're seen as failures.

I love the book world anyway, because I love books, damn it, damn it all, and now here I am near tears. Everyone keeps saying "but only the format is changing, books will always be books". Books will always be books if they are READ, but if they aren't read they're objects lying around the house, just things to be dusted, or - worse - pulped. My second book was recently pulped, meaning that no copies now exist of it, nor ever will. It has turned back into a tree, which is maybe some kind of backhanded magic.

I can't unwrite. I can't untell. I can't unwish. I can't undream. I can't unhope or go back to age eight and say to that eager little girl, "no, Margaret, you can't write books, not because you 'can't' but because no one will ever read them."

But I can stop, and I have stopped already, I won't do this any more. I guess I will still feed this blog because, for the most part, I enjoy doing it. It's a form of play for me, of recreation, and (sometimes) a way to rejoice or lament or just write about something I really care about. Sometimes I get ten views, sometimes (well, once) 100,000, but I'd keep on even if I got three views a year. Or, probably, none.

So that's something, isn't it? Is the dream still alive? No, it's dead, and now I must bury it. I will never again be a published novelist. Is there a smaller number than three copies a year? Two? One? Zero? I don't think I can get anyone on-board with figures like that.

But since I need to write to survive psychologically, that part of it will go on. When I look back on my life right this minute, all I can remember is sadness, sorrow, slights, people being dismissive or contemptuous or saying mean things to me, tears and embarrassment. I can't remember any of the good stuff because I'm in a mini-depression over the three copies. No one has to read this, however! But it's out there, hanging in the wind like some strange, dream-shaped chime, a glass chime with glass characters that reflect my all-too-breakable glass heart.

Dancing mania: they laugh! They dance! They scream!

Ye-e-e-e-s, it's that wacky bunch of Pentecostals, the Kenneth Hagin gang! They dance! They laugh! They scream! They roll around on the floor! It's hard to believe that religious people can behave this way, but it sure looks like they do. To me it has a kind of sexual component to it that I can't quite put my finger on. The Shakers, known for their complete abstinence from all sexual activity (which is why the sect died out quite a long time ago) used to whirl around and dance madly when overtaken by the Spirit, but it was not quite like this. Nothing else is quite like this. This is a bunch of adults acting like idiots, behaving more immaturely than toddlers who generally have far better self-control. The idea is that God is filling them with the Holy Ghost to the point that they start to flail around involuntarily, but I don't believe it. Most of it looks faked. There are people who get up and dance around and then go and sit down again, their part of the performance over.

My favourite moment is around the 9:03 mark, where a guy rolls down the stairs, leaving a gun sitting on the step behind him. Obviously it fell out of his pocket as he was holy-rollin' along like that. Personally, I'd be scared of an evangelical who was armed. And wouldn't it be interesting to do a weapons count in this crowd. How many are exercising their Constitutional right to bear arms? All the time, I mean, even in a religious meeting? But maybe they need to be armed here more than anywhere else.

I am at the point in my life now where I don't understand religion at all. And this from someone who was a lay minister and Bible teacher for 15 years. No kidding. But if this is Christianity, then forget it. These are not Christians. They're crazy in the head to begin with, and fork over all their hard-earned money to fuckwits like Hagin. The bizarre thing is that there are tons of "straight" videos of Hagin giving sermons that are, while not exactly my cup of evangelical tea, almost sane. They're in plain English anyway, with no barking or guffawing. He had quite a reputation as a sort of charismatic Billy Graham type, until his ministry took a turn for the supremely silly.

This laughing/flailing idiocy was originally called the Toronto Blessing and took place in a church near an airport. Maybe all the noise drove them to it, who knows. The Hagin videos were made some time in the '90s, and it would be interesting to know where these people are now. How many of them stayed with it. Or if this sort of orgy still goes on, or was it just a fad? I also wonder what happens in the hotel rooms where the participants stay during these big crusade thingammies. I just think it could turn sexual at the drop of someone's pants.

ADDENDA.

Tanganyika laughter epidemic
From Wikipedia, the free encyclopedia

The Tanganyika laughter epidemic of 1962 was an outbreak of mass hysteria – or mass psychogenic illness (MPI) – rumored to have occurred in or near the village of Kashasha on the western coast of Lake Victoria in the modern nation of Tanzania (formerly Tanganyika) near the border of Uganda.

The laughter epidemic began on January 30, 1962, at a mission-run boarding school for girls in Kashasha. The laughter started with three girls and spread haphazardly throughout the school, affecting 95 of the 159 pupils, aged 12–18. Symptoms lasted from a few hours to 16 days in those affected. The teaching staff were not affected but reported that students were unable to concentrate on their lessons. The school was forced to close down on March 18, 1962.

After the school was closed and the students were sent home, the epidemic spread to Nshamba, a village that was home to several of the girls. In April and May, 217 people had laughing attacks in the village, most of them being school children and young adults. The Kashasha school was reopened on May 21, only to be closed again at the end of June. In June, the laughing epidemic spread to Ramashenye girls’ middle school, near Bukoba, affecting 48 girls.

The school from which the epidemic sprang was sued; the children and parents transmitted it to the surrounding area. Other schools, Kashasha itself, and another village, comprising thousands of people, were all affected to some degree. Six to eighteen months after it started, the phenomenon died off. The following symptoms were reported on an equally massive scale as the reports of the laughter itself: pain, fainting, flatulence, respiratory problems, rashes, attacks of crying, and random screaming. In total 14 schools were shut down and 1000 people were affected.

Dancing Mania

Dancing mania (also known as dancing plague, choreomania, St John's Dance and, historically, St. Vitus' Dance) was a social phenomenon that occurred primarily in mainland Europe between the 14th and 17th centuries. It involved groups of people dancing erratically, sometimes thousands at a time. The mania affected men, women, and children, who danced until they collapsed from exhaustion. One of the first major outbreaks was in Aachen, Germany, in 1374, and it quickly spread throughout Europe; one particularly notable outbreak occurred in Strasbourg in 1518, France.

Affecting thousands of people across several centuries, dancing mania was not an isolated event, and was well documented in contemporary reports. It was nevertheless poorly understood, and remedies were based on guesswork. Generally, musicians accompanied dancers, to help ward off the mania, but this tactic sometimes backfired by encouraging more to join in. There is no consensus among modern-day scholars as to the cause of dancing mania.

The several theories proposed range from religious cults being behind the processions to people dancing to relieve themselves of stress and put the poverty of the period out of their minds. It is, however, thought to be as a mass psychogenic illness in which the occurrence of similar physical symptoms, with no known physical cause, affect a large group of people as a form of social influence.

Visit Margaret's Amazon Author Page!

http://www.amazon.com/-/e/B001K7NGDA

Monday, March 7, 2016

So mild, so pure: TV ads in the '50s

I find that early '50s TV ads make the most intriguing gifs. Advertising style was pretty aggressive then, as nobody quite knew how to marry pictures with sound. Announcers intoned in radio-like voices, with that strange theatrical diction from the 1940s that somehow suggests the formal urgency of wartime.

One of the features of these ads is very (VERY) strange animation, much of it primitive or downright incomprehensible. On very early TV shows, credits were written on some sort of material like canvas and pulled along manually, or cards dropped down with a "flop". All this is of great fascination to me, as I have vague memories of some of the later-'50s ones, though as a small child (infant!), I had no real comprehension of them. Ads got a lot more sophisticated in the early '60s, and by mid-to-late they were sort of quirky and self-consciously nutty/hippie-ish in a painful effort to be hip.

Here is one of those offputting animations from Birdseye. Frozen food was still kind of a novelty then, and the icebox was a thing of the past. There are even a few ads for frost-free refrigerators, which I didn't have until the 80s! I do remember those pans of hot water and the chisel used to hack out 3"-thick slabs of frosted ice that had been there for years. Once I managed to gouge the inside of the freezer and release freon gas all over the place, necessitating a visit from a repairman. Very nasty.

People don't realize how literally in-your-face TV ads were then. Everything was blasted at you, often spinning around like those newspaper headlines in 1940s gangster movies. This ad talks about "blueing" (I think that's how you spell it), which I am not even familiar with, but I think it was an ingredient added when washing white laundry to keep it from yellowing. Cheer was revolutionary in that it incorporated all that lovely blueing, which is even now endangering species and killing fish in their billions.

One of the big obsessions of the 1950s was nutrition/sturdy health and helping your children build strong bodies - eight ways in this ad, but later on, twelve. This is, of course, an ad for Wonder Bread, a product wildly popular in the post-boom era and later satirized as the epitome of Eisenhower-ish blandness and WASP-y insularity/xenophobia. In this ad, a skinny kid, the equivalent of the guy who gets sand kicked in his face, discovers the nutritional wonders of Wonder Bread and begins to stuff himself with it. Soon he begins to win medals in track and field. I am still searching for that iconic (sorry, but it is) ad where the kid grows in height from toddler to adulthood in about three seconds. Haven't found it yet, but it took me ten years to find "Mother, please! I'd rather do it myself!", so it's only a matter of time.

Variations on the theme of nutrition. Back then, people actually did pay attention to what was in their food, but it had nothing to do with additives. In fact, the more additives, the better the product. In this case, Billy's animal friends are blasting messages at him about various nutrients, though very strangely, from the pages of a huge book
.

Billy blinking. These animations could be drawn in a single swipe of the pen, and probably were. Disney they weren't, but somehow they got the message across. In fact, I really like this one. Most gifs aren't that smooth and circular.

This is a real gem, with exceptionally primitive animation. Looks like a background being manually dragged across the screen, with cutout heads superimposed. Palmolive shows up a lot in these ad compilations. The name itself makes me feel ickily oily. I don't know if there was olive oil or palm oil in these products or not, but the name is somehow claustrophobic and "close". Suffocating, almost, and definitely oleaginous. It brings to mind Polly Bergen and her revolting "Oil of the Turtle" products, about which I can find practically nothing (though if I check the internet in a few months, there will be seventeen different sites devoted to it).

I like this, because even though nothing happens in it, it has that shakiness and graininess I prize. I'm not sure why everything jerked up and down like this, but it did. Often there was a ten- or even fifteen-second freeze on a picture of the product at the end of these ads.

I'm afraid I lost track of what product this was, but I thought it was delightfully bizarre. It uses the same animation techniques as Francis the Talking Mule and those "I want a Clark Bar" ads.

One of the things I notice, as I watch these late at night, is how long they are. Most are a full minute, and some are several minutes (especially car commercials, which last an eternity and all seem the same to me, as if the cars are interchangeable). If that doesn't seem very long, try watching a one-minute ad. Just when you think it's winding up, it starts all over again. We are subjected to anywhere from four to ten ads in one minute now, with some of them lasting mere seconds, jamming ten times the information into our already-overburdened brains.

I'm not saying it was "better" then. Children could get polio and black people were barred from hotels and women were expected to stay in the kitchen and defrost their freezers. Life was simpler and slower, for sure. I've always been able to read at light speed, with the result of feeling like everyone/everything else was moving very slowly around me, as in that Star Trek episode where there were two frequencies. I like the internet because it's hyper-fast, and you can get information about pretty much anything in seconds.

But then I find myself watching these ancient ads and giffing them. I gif mainly because sitting through a one-minute commercial seems interminable. So here, I give you only the best parts! A lot of people simply hate gifs because they only see the dreadful, jerky two-second ones that almost everyone makes. And why? Why make such crappy ones? I don't know. I used to go on a site called Gifsforum - but never mind, it's dead and buried now. When I find old Gifsforum gifs I made years ago, they are epics, going forwards and backwards, at three different speeds, with colour turned to sepia or black and white, and on and on. Special effects. My grandkids can do stuff on their ipods that is light-years ahead of this: put themselves in rock videos with stop motion, lip-synching, kaleidoscopic visual effects, and all sorts of stuff, while these poky little twenty-second movies seem unimpressive.

But they save you time. If you want the nugget of something, gif it. That's what I always say. Squawk, squawk, squawk.

POST-BLOG GLOB. I decided to gif an entire one-minute ad here, because of the unusual clarity of it and because it epitomizes food ads from the era, especially products for children like cereal and bread. Remember Grape Nuts? If you don't, you're lucky. They were hard, granular bullets that were about as appetizing as Purina Dog Chow. No doubt they had no more protein (an obsession with these ads, often pronounced "protean" as if it had mythological powers) than a bowl of wood shavings. But this ad also incorporates the fatigued child being dragged off to eat cereal, which solves everything and makes for a hap-hap-happy family!

Were families happier then? I don't know. I look back on that time as golden, and have dreams of Chatham that are almost ecstatic, though at least from age ten I know I was miserable. Before that, who knows? Milk was delivered by horse-and-wagon, and ads looked something like this. We ate Grape Nuts and got our protean, and built strong bodies, either eight or twelve ways. At least the pace was slower, and people could sit still for a whole 60 seconds at a time.

Sunday, March 6, 2016

Warm tip: a literal translation

(The following are instructions for cleaning a Pusheen stuffed animal, which I am thinking of ordering from a Third World vendor. One of my literally-translated gems.)

[ warm tip]

Maintenance and cleaning method of plush toys

Plush dirty, not easy to clean after washing and easy to curl. A simple method without water.

To the market to buy a bag of large grain of salt (also known as the sun and salt, about 2 kg), home after looking for a clean plastic bag (to be able to

Hold), then take a small amount of Oshio placed in plastic bags, you're going to get rid of inside, the bag mouth department good, began to make

Strong shaking, about 40 times, out of plush toys, the surface sticky salt particle shaking clean, you will find the salt black hair.

Cashmere toys clean a lot of.

This is because the salt itself with a plus or minus, and dirt will have a positive and negative charge, the friction of the friction, the opposite sex, salt

Will the dirt away, the plush toys clean

Will not be lost hair?

Each one is not lost hair, but because the toy is mostly plush fabric, processing will have a lot of floating hair stuck in the above, we send

Before all the workers took it with a vacuum cleaner to suck, but the daily delivery volume is too big, we do not have a bear to suck on a half

Days, so you receive the above number is still possible to have a bit of the hair, as long as the suction or blowing machine with a vacuum cleaner

, also can be outside a good pat on the no, if it is a hair with hand gently pull will fall, and has been falling,

Is not Yo, the hair is not good treatment, floating hair can be dealt with.