Future News

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Occasionally, it’s worth looking back to see how people thought things would turn out.

Years ago I read a piece, “Novelists Predict Future With Eerie Accuracy.”

Fast forward: Were they right? See for yourself. Here is part of the article

The dirty little secret of speculative fiction is that it’s hard to go wrong predicting that things will get worse. But while avoiding the nihilism of novels like Cormac McCarthy’s “The Road,” in which a father and son wander a hopeless post-apocalyptic moonscape, a number of recent books foresee futures that seem more than plausible as the nation’s ambient level of weirdness rises.

Albert Brooks, the actor and director, brought out “2030,” in which the nation’s economy is sent into a spin by seemingly good news: cancer is cured. The bad-news twist: the resulting drain on national resources by an aging population that no longer conforms to the actuarial tables and continues to consume resources at baby-boomer rates, and a rather literal twist on the notion of intergenerational warfare. “I chose not to go too far,” Mr. Brooks said. “I liked having more present in my future.”

In “Ready Player One,” the novelist Ernest Cline extrapolates from the ripples that rising energy prices and climate change send through the economy, and gives us a future where the suburbs die off and many people are packed into in high-rise urban trailer parks, spending their days on an increasingly addictive Internet instead of facing the quotidian squalor. Readers who spend so much time issuing updates via Twitter, Facebook and Google+ that they have forgotten what their spouses look like might see themselves reflected in Mr. Cline’s funhouse mirror. “I did try to envision it as a possible future,” Mr. Cline said. “I don’t see it as a future we’re necessarily headed for.”

Want to know what’s ahead – keep reading!

Want more? You can read the full article here

For Duty and Honor

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Of all the countries that have adversarial relations with the United States, Iran likely heads the list. There are a plethora of reasons why, not the least of which is Iran’s quest to be the dominant power in the Mideast.

How we deal with that threat has always troubled me, as well as how much Iran’s bad behavior America should tolerate.

I used those threads as the high-concept for my most recent novel, For Duty and Honor.

Recently, Rotor Review posted a short review of For Duty and Honor. I believe it sums up the book well. Trust you’ll enjoy it – as well as the book.

The Coronado Conspiracy

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After serving for thirty years as a naval aviator and now almost two decades as a Navy civilian working at a Navy warfare center where we develop new technologies to help our warfighters, I’ve come to develop a healthy respect for the enormous power of militaries and the technologies they employ.

But I’ve also developed a healthy concern for what military power can do if it falls into the wrong hands and isn’t used for just purposes.

Said a different way, the fiction projects I undertake all examine this issue. I try to do this is creative ways, blending plot, character and action.

In The Coronado Conspiracy I wondered: “What if the United States’ most senior military officers were so dissatisfied with the way the U.S. President was taking the country that they engineered a plot to try to have him  impeached? Sound like today’s headlines?

Recently, Rotor Review posted a short review of The Coronado Conspiracy. I believe it sums up the book well. Trust you’ll enjoy it – as well as the book.

 

Sentences First

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Most of us who write are always looking for writing tips. I found some good ones in a recent book review with an intriguing title: “Nailing the Jelly of Reality to the Wall.”

The book the writer reviews is, “FIRST YOU WRITE A SENTENCE: The Elements of Reading, Writing … and Life,” by Joe Moran. Here’s how he begins:

A well-formed sentence, Joe Moran writes in his humane and witty guide to meaning-making, “is a cure, however fleeting, for human loneliness.” We all write more sentences now than ever, but how hard do we think about the shape of these etheric objects? A good sentence is a considerate gift; or maybe it’s an easeful, mapless walk with your reader, through a new city — but it might also be a high-wire act (audience agog for disaster). Moran’s book contains many such metaphors for the sentence, and at least one for figurative language itself: “Metaphor is how we nail the jelly of reality to the wall.” Is the sentence a transaction, or is it an artifact? Polished performance or open invitation? “First You Write a Sentence” is a “muted love letter” to the form, arguing in its genially opinionated way for sentences that make our lives more democratic and more pleasurable.

At the calm heart of Moran’s rhetorically affable book is an idea of adroit aplomb. He thinks a sentence should slide down the gullet like a clam, hardly touching the sides. His own prose is much like this. Unlike many writers on style, he doesn’t get carried away with examples; those he provides tend to be by masters of the almost invisible art of elegantly simple diversion. The mind and ear enjoy, but don’t get snagged on, the language of William Tyndale’s English Bible, Thomas Merton’s essays, the recipes of Elizabeth David. The sentences Moran likes derive from the loose, Senecan style perfected in the 17th century by the likes of John Donne, rather than ones from the stiff, hierarchical period of Samuel Johnson a century later. The best modern sentences resemble Donne’s, with simple statements upfront, then a pileup, if need be, of clause upon appositive clause, clarifying, elaborating, potentially without cease — but casually, too, always ready to end.

Want more? You can read the rest of the piece here

A Novelist for the Ages

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This summer we lost one of the icons of American literature, Toni Morrison. Lovely obits have been carried in national – and international – media.

But it was Ross Douthat’s recent op-ed that caught my eye. He explained the enormous impact she had on all of us. Here’s how he began:

Toni Morrison was a great American novelist who was also a Great American Novelist. This means she had a special form of celebrity, an oracular status, and also that she was embraced by the tradition that regards novels as keys to interpreting America — insisting that you must read Morrison (and Ellison and Wright and Hurston) to understand the black experience, just as you must read Hawthorne and Melville to understand the legacy of Puritanism, or Faulkner or Cather to understand the South or West, and so on down the high-school English list.

So her passing raises the question: Is she the last of the species? The last American novelist who made novels seem essential to an educated person’s understanding of her country?

That question won’t be answerable for decades — the time it took to exhume, for instance, “Moby-Dick” and “The Great Gatsby” from their temporary graves. We can’t know how Morrison’s reputation will change, or the reputations of her peers or the status of their art form. The American novel was supposed to be eclipsed long ago by movies and television … and yet it proved resilient enough that, coming of age long after TV, I was still imprinted with the idea that novels were essential cultural ground, as important as Spielberg or “The Sopranos.”

But something has changed in the cultural status of the novel in the time I’ve been a reader, the years between Morrison’s canonization and her passing — and maybe especially the years since social media and the iPhone first arrived.

Check out this link to read more

Murder, She Read

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Who reads about true crime? The statistics don’t lie. And Kate Tuttle explains WHY in her essay. Here is just a snippet:

A 2010 study found that around 70 percent of Amazon reviews of true-crime books are by women (compared with books about war, where 82 percent of the reviews are by men). Something is going on here, but what? Men, the statistics tell us, are involved in violent crime — as perpetrators and victims alike — in much larger numbers than women. When women are connected to crime, we’re much more likely to be victims or survivors. Perhaps our fascination with these stories stems in part from wanting to learn from them. If a woman escaped her attacker in this particular way, we think, perhaps I could too.

At the most basic level, true crime satisfies that little-kid desire to see beneath the surface of everything. As a child, I was often ashamed of my curiosity, which always seemed to go in socially unacceptable directions. I’d reach for a stick to explore a dead fish at the edge of a pond. I yearned to learn taxidermy. Grown-ups smiled when I said I wanted to be a doctor when I grew up, but I knew better than to tell them my main motivation: I wanted to see everyone naked. As a teenager, I liked nothing better than testing my ability to withstand upsetting things.

Want more? You can read the full article here

La Jolla Writer’s Conference

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Want to get your book published and read by a wide audience? The La Jolla Writer’s Conference is the premier writing conference in San Diego and books up fast. Hear from the professionals who can jump start – or accelerate – your writing journey.

Memoirs!

Books George Galdorisi

Over the past fifty years, different kinds of books have gone in and out of vogue. What was popular as little as ten years ago is now completely passé.

But one kind of book has remained popular – often wildly so – over the past half-century. That genre is the memoir. There are many reasons why.

But there are so many choices. Where to you start? Wouldn’t it be great if someone compiled a list of the best memoirs?

Someone has. The New York Times’s book critics select the most outstanding memoirs published since 1969.

There is something here for everyone.

Check out this link to find a memoir to read in the waning weeks of summer

Hold the Obits!

Opinion The Comeback of the Century The New York Times

Over the past decade, countless obituaries have been written for books. Many were convinced the printed book would soon suffer the same fate as the dinosaurs.

Hold the obits!

The printed book is making a huge comeback. I had been aware of this in bits and pieces, but am grateful to Timothy for helping with some perspective. Here’s how he began a recent op-ed:

Not long ago I found myself inside the hushed and high-vaulted interior of a nursing home for geriatric books, in the forgotten city of St.-Omer, France. Running my white-gloved hands over the pages of a thousand-year-old manuscript, I was amazed at the still-bright colors applied long ago in a chilly medieval scriptorium. Would anything written today still be around to touch in another millennium?

In the digital age, the printed book has experienced more than its share of obituaries. Among the most dismissive was one from Steve Jobs, who said in 2008, “It doesn’t matter how good or bad the product is, the fact is that people don’t read anymore.”

True, nearly one in four adults in this country has not read a book in the last year. But the book — with a spine, a unique scent, crisp pages and a typeface that may date to Shakespeare’s day — is back. Defying all death notices, sales of printed books continue to rise to new highs, as do the number of independent stores stocked with these voices between covers, even as sales of electronic versions are declining.

Nearly three times as many Americans read a book of history in 2017 as watched the first episode of the final season of “Game of Thrones.” The share of young adults who read poetry in that year more than doubled from five years earlier. A typical rage tweet by President Trump, misspelled and grammatically sad, may get him 100,000 “likes.” Compare that with the 28 million Americans who read a book of verse in the first year of Trump’s presidency, the highest share of the population in 15 years.

So, even with a president who is ahistoric, borderline literate and would fail a sixth-grade reading comprehension test, something wonderful and unexpected is happening in the language arts. When the dominant culture goes low, the saviors of our senses go high.

Want more? You can read it here

Iraq Misadventure

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Volumes have been written about America’s misadventure in Iraq. Those books vary in quality as well as readability.

I recently read one that was insightful and made me think. My interest was stirred by a book review of Michael Mazarr’s new book, “Leap of Faith.”

Mazarr’s subtitle, “Hubris, Negligence, and America’s Greatest Foreign Policy Tragedy,” likely tells you where his book is headed, but here is more from the review:

The operative word in the title of “Leap of Faith: Hubris, Negligence, and America’s Greatest Foreign Policy Tragedy” is the last one: tragedy. Drawing on extensive interviews with unnamed “senior officials” as well as recently declassified documents, Michael J. Mazarr attributes the United States invasion of Iraq in 2003 to good intentions gone awry. Here is an example of “America’s worthy global ambitions” that went “terribly wrong.”

The Iraq war was not a tragedy. It was more like a crime, compounded by the stupefying incompetence of those who embarked upon a patently illegal preventive war out of a sense of panic induced by the events of 9/11. An impulse to lash out overwhelmed any inclination to deliberate, with decisions made in a “hothouse atmosphere of fear and vulnerability.” Those to whom President George W. Bush turned for advice had become essentially unhinged. Iraq presented an inviting opportunity to vent their wrath.

The handful of officials who shaped policy after 9/11, writes Mazarr, a political scientist currently with RAND, were “not evil or pernicious human beings.” Instead, Mazarr credits them with acting in response to a “moralistic sense of doing the right thing.” Viewed from that perspective, “the Iraq war decision was grounded in sacred values,” even if the evil and pernicious consequences of that decision continue to mount.

Want more? You can read the full article here