Harnessing the Heart – Short Story

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Video Reading

[This is a Direct to Web story]

I try to avoid the thought, ‘This isn’t so bad.’ Because that might lead me to the admission that ‘it’s kind of nice’, which I’m sure would be misinterpreted. The procedure is meant to be purely clinical. An elderly man, in a sterile room, having patches of his body shaved so the receptors of a heart monitor can be glued to his sagging torso. My sentiments are strictly in the ‘like-being-around-young-people’ category, but the specifics of our situation, the semblance of intimacy, make me nervous.

The nurse’s hands move with a precision that suggests there’s no room for error here. Scrape, scrape, the plastic razor removes the short and curlies from five points of contact: two on my chest, three on my upper abdomen. Then she rubs the ointment on, peels the parchment from each of the receptor’s pads, and sticks them onto me, so they hang there like leeches.

It’s hard, under the circumstances, to keep the conspiracy theories from manifesting. ‘What exactly might they be listening to, through this harness that’s fastened to my skin?’ Those suspicions intensify when I realize the metaphor of ‘leeches’ doesn’t quite describe the species that will be clinging to me for the next 24 hours. They’re more like tentacles of a five legged octopus, whose neurones connect to a little black box the size of a mobile phone I’m to carry around with me as the creature sucks data out of my body.

‘What can you learn about a person by listening so intently and unremittingly to the beating of his heart,’ I wonder.

When she’s done with the techie stuff, the nurse shows me a ‘Patient Diary’, which she will later insert into a plastic zip-lock envelop that has the warning ‘BIOHAZARD’ emblazoned on it in both official languages. I’m to insert the scribble of my diurnal, minute-by-minute notes into a pouch on the outside of the envelop, the heart monitor and harness into the zip-locked compartment behind, then hand my pulsed record in to the ‘ambassador’ at the hospital entrance, who will make sure it finds its way to where it needs to go.

My record keeping must be curt. There are three columns to the diary: one to log the time, another to name my activities, and a third to list any symptoms I might experience. Activities might include ‘walking the dog’, symptoms things like ‘shortness of breath’.

The example are appropriate, I will discover. You really don’t know how boring your life is until you are asked to record the minutia of your days. If they’d cited an example like, say, ‘Wing Suit Flying!” or ‘Formula 1 Racing!’, I would have felt even more inadequate than I did before this bloody stroke added a knife-edge to my existence. ‘Shortness of breath’ wouldn’t even come close to describing the heart pounding rush of zooming through the alps at 200 kph, skimming over jagged granite teeth within centimetres of my life.

“Every decision entails risk.” I can hear Herbert pontificating over a pint of Dark Matter on the Sawmill’s patio. “You might get run over, deciding to cross the road,” he would say. Then add, in that nuanced, pain-in-the-ass mode of his, “Even in a crosswalk.” With Herbert repetition is sort of like the rivets and welds that hold a ship together. His logic has structure, you get exhausted just thinking about how you might dismantle the unassailable integrity of it.

“But happenstance doesn’t add zest to my risk-taking!” I want to shout at him. He’d have some kind of answer for that. I can see him smiling smugly, casually taking another sip of his beer, while I try to calculate the significance of a ‘mini-stroke’ on the future tense of my life’s story. “I didn’t decide to have a stroke!” I would complain.”So how can you call that ‘risk-taking?”

I know Herbert would have an irrefutable answer. One that would make perfect sense, even though it might be… would almost certainly be… perfectly wrong. That’s the thing I like most about Herbert, his ability to reason to wrong conclusions from almost any point of view. He’s like Socrates on steroids, his brain a network of unassailable algorithms that yield their own truth because they are based on false, hidden premises and mysterious assumptions. He makes me feel sane.

When I got home from the hospital, I made my first Patient Diary entry, aware of the octopus clinging to my flesh, monitoring my heartbeats as I struggled to enter the time. Everything I do with my right hand is a struggle now, especially writing. That’s how I knew something was wrong in the first place. Leanne asked me to write down an email address she was reciting during a phone call, and my hand couldn’t form the letters. They came out all shaky and crooked, sloping down the page like a five year old’s script.

What the fuck! No matter how hard I tried, I couldn’t get my hand and fingers to manipulate the pencil in a way that looked anything like normal. I pretended not to have heard her, left the room, threw the incriminating envelope into the garbage.

‘Drove home’ I scrawled under ‘Activity’; ‘3:20 PM’, under ‘Time’; I had nothing to report under ‘Symptoms’. I could have said ‘Depressed’, but that’s not the kind of information they were looking for. I could have added that it felt like my right arm was dying, that the weight of it tired me out if I insisted on actually using it. That, even if I let it hang limp from my shoulder like meat on a hook, just the sensation of its dead weight fatigued me. But there wasn’t room for that kind of descriptiveness in the symptoms column, so I left it blank.

Leanne got mad at me when I finally told her what had happened. After the chicken-scratch episode, I phoned my doctor’s office and was instructed to get my ass to a hospital and not to drive. I wanted to have some idea what was happening to me before I told Leanne, because she can’t stand uncertainty, has to fill in all the blanks and gaps with plausible explanations, followed up by the likely actions we need to take to deal with her scenarios. I’d have to stop my compulsive snacking, improve my posture, spend less time at the computer and watching TV, walk the dog vigorously twice a day, get rid of my belly fat and body flab… plus do what the doctors told me to.

She lectured me all the way from Chemainus to Duncan on our first trip to the hospital. Scolded about my slovenly habits and secretive attitudes. When she asked if I needed a drive to get the heart harness fitted, I said I’d be okay. “No need for you to sit around the hospital waiting for me,” I advised.

No matter how you slice it, the brain looks like a stalk of broccoli. I’d never seen my brain before, and if you showed me my CT and MRI scans, without any accompanying information, I wouldn’t recognize the folded cortex as my own. But it’s me all right. More me than the photos fading in our family albums, or imprinted in the circuitry of my friends’ mobile phones. Everything I know, or am capable of ever knowing or believing, is right there, in those pictures.

Everything!

Seeing images of my brain, collected by clunking, squawking, beeping, flashing machines, operated by technicians, who didn’t know me from Adam before I stepped into their clinical chambers, and would forget me almost before my moment of departure, confused me. It was like stepping into a house of mirrors…

No that’s not it. More like becoming an insect skittering about in my own neural network, able to see the inside of my own eyeball, then scurry up axions and hop synaptic gaps, until I burrowed my way into buzzing, vaulted chamber of my own brain and could sense the chaotic wonder of its electricity.

No! That’s not it either! It was as though I’d become an electron, aware of every other electron in the universe, and of the fact that I wasn’t an electron at all, but a something indefinable, an essence, a substance at the very core of living energy and matter, that could not be classified as either, or seen through the eyepiece of a microscope, or captured by the whirling cameras of a CT scanner.

If I wasn’t an atheist, I would have classified the experience of truly seeing my own brain as ‘religious’. And perhaps I’m not an atheist, after all, but a spiritual being who wonders, not at a god out there in a place called heaven, but at the ineffable miracle of every living moment.   

Expanding our definition of a ‘book’

My favourite place to read is an armchair, in the northeast corner of our living room, which has one window facing out on our suburban street, another with a peekaboo view of Stuart Channel and the Salish Sea.

Most often I have a hardcover or paperback opened in front of me, either held up in my hands or propped on my lap. It’s a comfortable portrait, most would recognize instantly, and most readers would sanction.

It fits our notion of what a book and, by extension, literature should be.

The Mural Gazer  Direct to Web novel invites readers to ‘Buy-In’, an example of rethinking the concept of a ‘book’.

The flaw in that picture, however, is the word ‘most’. If most of the people show up most of the time for an activity that happens most every day, it won’t be long before most people aren’t showing up at all.

Literature is too important to allow incremental slippage. Books Unbound is not about denigrating what remains the most popular literary medium, a position printed books will occupy for a long time to come.

It’s about imagining new ways of writing and sharing, ways that broadcast storyteller’s voices and, by extension, the reach of literature.

Our stories have to unfold in places where readers go. To me that means books that are dynamic, interactive and versatile, presented to ‘audiences’ on social media, websites, in video readings and book trailers, episodically in eMagazines, and…

In ways that promote literature in its vital role as the art form that challenges readers to experience their worlds from new, diverse perspectives.

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The Underwood Blues

Let’s jettison last century’s anchors

Well into retirement age, it’s time for me to ask what I want to achieve in this final phase of my literary career? What it means to be a 21st Century writer? It’s never been an easy vocation; and that truism has never been more applicable than it is on the cusp of this New Year.

I began my working career as a reporter, hammering out stories on an Underwood typewriter; I’m writing this introspective on my laptop, standing up in my dining room, occasionally interrupted by the ‘Ding!’ of another email landing in my in-box; I could just as easily be thumb-writing in ‘Notes’ on my iPhone, in the middle of a busy intersection or at a socially distanced café.

Conclusion: The world has changed. If we writers don’t adapt to the blizzard of social and technological innovation that’s whipping round us, we will lose our vital role as voices in the storm. In a future post I want to go into more detail about just how vital the role of literature is, and how sorry a loss it will be, if we fail to rise to the challenges of the times, but for now I’m going to map out how I want to go about adapting to our new reality, not the why of it.

The cover screen from The Mural Gazer, my second D2W novel

I’ll begin with my oft-repeated, favourite saying: Writing isn’t about writing. It’s about delving into meaningful experiences and sharing those adventures with appreciative audiences. And it’s not about ‘books’ in any clearly defined sense of the word, it’s about insinuating our ways into the minds of audiences.

Please note the use of the world ‘audience’ instead of ‘readers’ in that last paragraph. Ultimately literature comes down to books in some form or another, of course. But my minimalist definition of a book is: A code of squiggles and dots on a series of pages or screens; or a vocalization of those squiggles and dots into words and sentences, which any creature other than a human would interpret as the grunting and growling of an animal suffering terminal indigestion.

The allure of literature, its special place in the arts pantheon, is its symbolic delivery. Every reader or listener has to make up the presented story in his or her own imagination. Until then, books are inert lumps of masticated wood and ink on library and bookstore shelves, or confusing assemblages of wires and circuits in peoples briefcases and pockets. Reading and its derivatives are creative acts as much as the art of writing.

Alas, getting people to choose reading over the plethora of other media available to them has become an increasingly hard sell, especially if you define literature as a subset of entertainment. Think about it! A hundred and fifty years ago there were no radios, no televisions, computers, video games, the Internet, virtual realities, movie theatres – and so on. Candle light story-telling, live theatre, and parlour music or pub songs were the free-time activities people turned to, and books the only transportable repositories of thought and entertainment.

That unique portability has long-since been overwhelmed by powerful broadcast media, and I believe authors and publishers are increasingly going to have to seek out niche audiences, and find affordable, widely dispersed channels for sharing literature in this crazed new world. Books are going to have to connect seamlessly to digital media and keep up with the fast paced bursts of attention modern audiences give new ideas.

Learning how to effectively use new media has become part of my creative process, and I hope to share my successes and pratfalls as I go. I don’t see digital technology as a replacement for ‘books’, but as an essential adjunct. My upcoming edition of The Boy From Under is my third run at what I have dubbed Direct-to-Web publishing, the first edition (now offline) was my inaugural run. My second effort is a novel in progress, The Mural Gazer.

I’ll celebrate if, late in life, I can become a crotchety advocate of new media as the neural network for modern fiction and creative writing… Heck! I’ll celebrate even if my only achievement is to get literary types to stop using Underwood typewriters and quill pens as their trademark symbols in this frenetic here-and-now!

CraigSpenceWriter.ca

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Rote is the past-tense of write

Why write?

Words are such fascinating things! So versatile. So nuanced. So ultimately… meaningless? That thought comes to mind as I attempt a review of my 50-plus years as a writer. I occasionally analyze what has become for me a habit, and as I begin a rewrite of my novel The Boy From Under, I feel it’s time for a look through the microscope and see where this impulse lives in my DNA.

There are two views through this microscope of mine: the pro and the con.

As a pro, I have achieved states of being I would never have experienced otherwise. I have surprised myself with inspired moments, and done my best to share emotional and intellectual highs and lows with readers. I’ve felt the verbal pyromaniac’s joy at igniting imaginations. I have made words work for me, pulling long trains of philosophical reasoning up steep hills and down dangerous grades. I have had meaningful fun.

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As a con, I have dragged my reluctant carcass to its work station, as if I had a ball and chain attached to my ankle. The urgent clatter of my keyboard has drowned out any real sense of celebration, as I hurried to file another story, making sure the facts fit whoever’s case I was trying to make. I have become lost in wildernesses of uninspired words drivelling toward ‘The End’ or, in forgotten journalistic jargon, -30-.

What I’m getting at, here, is writing for me as a way of life. Whether I’m up or down, I have no choice, I have to write, and in my more introspective moments, I do what I’m doing now: write about writing. I hope you won’t hurt yourself laughing, but the following image is a partial visualization of what I’m writing this moment. I sometimes sketch my thoughts before setting them to words, a reminder of why I chose literature rather than the visual arts as my goto discipline…

The point I’m trying to make, sharing that ‘idea map’, is: There should be way more spinning round in my head as I’m writing than I can possibly include in a story or article. My choices should be excruciatingly and wonderfully difficult. There should be plenty left over for future instalments!

CraigSpenceWriter.ca

The Speed of Light

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A theory of special relativity for the soul

Surely there’s enough room in the universe for everyone who has died.

That’s a relief, I suppose. It means there might… just might… be a heaven out there, even a god, who only need occupy a tiny corner of the 13 billion light year breadth of measured space and time… and who knows what lies beyond the known, how far we’d have to travel in our transcendental spaceships to reach the ever expanding membrane of infinity.

Language can say things it’s impossible to comprehend. Thirteen billion light years, for example. Uncle Franklin tried to describe the speed of light for me once. “If I flicked on a light switch, here in Chemainus, say at the tip of Bare Point, you’d see the beam – it’s a wave, actually, but for the sake of argument, let’s say you’d see that beam in just over a second, if you were standing on the moon, say in the Sea of Tranquility… one-point-two-five-five seconds to be exact, that’s how long it would take.”

Uncky Frank couldn’t have understood that most nine year olds wouldn’t have a clue what the heck he was talking about, of course. Or what the speed of light had to do with my father’s coffin, making its slow progress down the centre aisle of our church, borne on the shoulders of six strong friends and relatives. He was just trying to describe, after the fact, the theoretical speed a soul could fly according to his own theory of special relativity.

Mum and Dad used to laugh at Uncky Frank and his ‘weirdo theories’. “He should leave the science to Einstein, and stick to building houses,” Dad said. “He’s good at that.”

“His inquiring mind takes him to strange places,” Mum agreed, as if Uncky Frank’s brain was a poorly trained Pitt bull yanking him around on its leash.

They loved him, though. He was everybody’s favourite uncle.

“Your dad isn’t very far away, once you know ‘C’,” he said, sitting beside me at the wake. “That’s the constant that stands for the speed of light in a vacuum,” he added, when I gave him a puzzled, pleading look. “Three hundred thousand kilometres per second.” He smiled benignly.

“How far is it from your head to your heart?” he persisted. “Show me.” I put my left hand over my heart; my right on top of my head. “That’s how far away your dad is from you, always,” Uncle Franklin said. “He’ll never leave, and – at the speed of light – he’ll be with you in an instant, whenever you need him.”

Uncky Frank had a complete set of the Encyclopedia Britannica, on a special shelf next to his favourite armchair. He’d read it every evening, as if it was the world’s longest novel, from A to Z with occasional side-steps to look up an incomprehensible word in another article, then another word in the explanatory article, and another, and another, and so on.

“Unless someone’s reading it, these are just lumps of masticated wood, glue and fake leather, gathering dust,” he told me once. “Knowledge doesn’t reside in books. Squiggles on a page don’t mean anything until someone reads them.”

To his dying day Uncky Frank claimed to be an atheist. I visited him near the end. Gaunt, pallid, and weak as he was, he still smiled and gazed at me with his pale blue eyes. He could tell what I was thinking, and put his left hand over his heart; his right on top of his head. “That’s how far away from you I’ll be, if you ever need me,” he said.

I tried not to show it, but he laughed. “Just cause I’m what you call an atheist, doesn’t mean I don’t believe something. A few more days, and I’ll be gone, but I’ll live on in your memory,” he smiled benignly.

“And when I die?”

“You’ll live on in the memories of your friends, your colleagues, your family. And I’ll be a smidgen of that, which is enough for me.”

Uncky Frank bequeathed me his set Encyclopedia Britannica. I browse them from time to time, but there’s no reference to any history of mine in there, just antecedents. The speed of light hasn’t changed, though, and the time it takes a beam to get from Bare Point to the Sea of Tranquility on the moon.

End Note:

Writing is rarely a linear process. For example, this video has a typical pedigree. Yesterday I was working on Episode 43 of The Mural Gazer. In this scene Buddy paddles out onto Cowichan Lake, teetering on the brink of suicide. There, he encounters the spirit of Hong Hing, the Chinese merchant, bootlegger and gambling den operator, depicted in Chemainus Mural #4, who is tying to dissuade him. Although he’s alive and talking, Hong Hing is decked out as a deceased, oriental patriarch, and he’s floating to the forever-after on the mirror-calm surface of the moonlit lake.

I’m on aqua incognito for this description, so I started researching Chinese funerary traditions online, a fascinating glimpse into the rites of an ancient culture.

At the same time, I have been trying to get my head around Immanuel Kant’s metaphysical theory of Transcendental Ideals. Although that’s not the kind of subject matter you can throw undiluted into a novel, as a thematic undercurrent, I believe speculative philosophy enriches stories. And the rites I was learning about the Chinese belief in an afterlife, particularly the burning of Joss Paper and representations of things the deceased need to be happy in their new world, evoked by association Kantian proofs of god, heaven and immortality.

There’s no logic to the sequence that lead to The Speed of Light, but its origins do trace back to The Mural Gazer.

A throw-away life?

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From The Mural Gazer, Episode 56, News Style. Buddy Hope contemplates ending it all.

Thanks for checking out my first video post of Today’s Writes. This excerpt is taken from Episode 56 of my novel in progress, The Mural Gazer. At one level, it’s a philosophical but very personal take on suicide – not as a desperate act, but as the rational decision by a man who’s grown tired of living. So I don’t see it as a discussion of suicide per se, so much as an existential, inner conversation on the value of life without meaning.

Protagonist Buddy Hope is more sad than desperate. Sad, because purpose and meaning have drained out of is life, and the thought of continuing seems cowardly. He has arrived at this ‘to be or not to be’ moment, not in Shakespearean torment, but almost dutifully. The twisted irony of his circumstance is: his purpose in life has become to end it.

And what about those he’ll leave behind?

That becomes the real question. And Buddy doesn’t have an answer. He’s written his note. Said oblique goodbyes to his estranged wife, children, lover, and friends Bernice and Harry. But he knows his leaving will be a painful shock to them, and they will be left to struggle with the question: why? To wonder what they could have done to save him.

So another conundrum confronts him: Buddy realizes he has to commit a cowardly act, if he wants to discontinue his cowardly existence. His only consolation, if you can call it that? The belief that people will have to patch the fabric of their own consciousness with shared memories of him, and that mourning might, in a convoluted way, bring them together.

Is that a vain hope?


Today’s Writes are excerpts and reflections on some of my works in progress. They are an opportunity to share, and an invitation for people to participate in my story telling. Thank you for being here.

The Mural Gazer: My Direct-to-Web experiment

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TheMuralGazer.ca

Direct-to-Web is more than just a digital format that allows me to distribute and share books cost-effectively and in an environmentally sensible manner, it’s also a way of opening up the boundaries of literature to new possibilities.

I’ve written 35 episodes of the The Mural Gazer, now, and have developed a format that works. But I’m only just beginning to appreciate some of the possibilities D2W offers. The most immediate pluses for readers and authors:

  • A D2W book can be read on a mobile, a laptop or a desktop computer. No special devices or programs necessary, other than access to the internet and the web.
  • Audio readings of a D2W story can be bundled with the print edition, so audiences can read or listen depending on their situations or preferences.
  • The cost of a getting a D2W book into readers hands is a fraction of print or eBook editions because there are hardly any distribution and printing expenses.
  • A D2W novel can be the modern equivalent of a serial, published episode by episode on the fly.
  • Graphic elements can be incorporated into the Direct-to-Web experience.
  • For those who want to lessen the environmental impacts of producing and distributing books, Direct-to-Web offers a much more sensible format than conventional publishing.

Those are immediate benefits of Direct-to-Web. Some of the possibilities that go beyond what is normally expected of literature, and which I haven’t even begun to explore:

  • Audience interaction. An author can communicate with his audience while he’s writing a book, and remain in contact after a book is published.
  • Side-stories. Links can be included in a book that will take readers off on side journeys. The possibilities of this feature for subplots, or excursions to actual settings, or… are enticing.
  • Collaborative opportunities. Musicians, visual artists, photographers, actors, all kinds of arts disciplines can be brought to bear on a plot or theme. Again, the possibilities are limitless and fascinating.

So, much as I like to see The Mural Gazer as a direction literature needs to go in, I’m pretty sure my vision is dwarfed by the reality of the medium I’m so excited about! Of course print editions of books are going to be the mainstay of most readers for some time. But I’d be surprised if mid-21st Century readers are toting paper and hardcover editions around with them; in fact, I’d be surprised if literature occupies anything other more than a shrinking niche in public consciousness if authors and publishers don’t develop the potential of Direct-to-Web books.