Everyone who’s anyone will be there . . . so read on!
The three notebooks I wrote the first draft of The Piano Teacher in, and the first page. Such a long journey.
On May 7 at Shelf Life Books in Calgary, I will be launching my novel, The Piano Teacher. Beyond launching a single book in a sense I will be launching a new incarnation of myself, this time as a novelist, adding to but not necessarily replacing other incarnations which have included, to date, musician, playwright, journalist and educator. (I may be missing a few.)
I suppose one way to stay young and humble and hungry is to leave your comfort zone and try something new. (Isn’t that what the Lulu Lemon bags tell us to do?) It’s always a bit scary and there is no real safety net but the risk of failure and public humiliation is not new to me.
Over the course of my writing career which includes to date 15 plays and almost 300 newspaper columns and numerous and various magazine articles and poems, I am quite used to sharing my failures along with my few successes.
For me, hell is not failure; hell is to stop trying new things.
I found the writing of the book to be straightforward enough. It’s written in the first person, in the form of a diary, so in a sense it’s an extended monologue – very extended, in fact, it’s about 70,000 words.
I wrote it mostly in Caffe Beano in the three small journals pictured here with a mechanical pencil. Yes, it’s true, I still prefer to hand write my first drafts when time allows. After I had filled the three notebooks, I was fortunate to receive an Alberta Foundation for the Arts grant to transcribe it from those handwritten journals into my computer which was a labourious but productive process.
The only part of the journey that was difficult and even unpleasant was finding a publisher. Being an award-winning playwright seems to offer little advantage when looking for a publisher for a novel.
I only showed it to two people in this regard, and both times I got the same response, that it doesn’t have a broad enough commercial potential. Quite frankly, I was proud of that, and maybe I’m arrogant (because I’m too old to be naïve) but I think the writing holds together well enough and because it’s about a classical musician, a concert pianist, and because I assume the classical music mob is one that actually likes to read, I think I’ll be ok.
I have no illusions that I’ll make a million bucks, but I’ll at least have a work I am proud of and that I created purely on my own terms.
And so I just said “Fuck ‘em. I’ll do it myself.” And so I am, through my own boutique publishing company, B House.
I have written about B House before on this blog (see, for example, Publish and Perish in my archives). Our biggest difficulty in the past (one of many, I assure you) has been with distribution. I think I have solved that problem by having it printed in two different ways.
Locally, as we have been doing, it is being printed by Blitz Print and those are the copies that will be available at my launch May 7. Over the summer I hope to get copies to other independent book stores in Calgary (Pages and Owl’s Nest) but by and large if you’re in Calgary and wish to buy a copy, your best bet is to go to Shelf Life Books on the corner of 4th Street and 13th Avenue SW.
At the same time, the book is also available on line through Blurb.ca or Blurb.com depending where you are in the world. (As is my play Queen Lear. Other titles will be made available in this way over time. At least that’s the plan.)
If you would like to buy the book on line, simply copy and paste this link and order away:
Beside providing you with hours and hours of entertainment, it will obviously make a nice present for your child’s piano teacher, or for Aunt Mable, or for the mail man, etc. etc.
Sorry, but one has to engage in some shameless self promotion from time to time.
As I was writing this post, I heard from my dear friend Morag Northey who informed me that she is going to bring her cello and grace us with some music at my launch. Morag created the musical score and performed the role of the cellist in my play Queen Lear at the Urban Curvz production a few years ago. Her support for this novel of mine means more than I can say.
If you’re in Calgary, I would love to see you at Shelf Life Books on May 7 at 7:00 PM. There will be wine and cheese and Morag and music and I will obviously sign your copy of the book – who knows, it might be worth something some day.
And wherever you are, I would appreciate your support through my online sales. Contrary to popular belief, we artists don’t live on air. It’s nice to eat.
Thanks for reading!
As I prepare to launch my novel The Piano Teacher next month, the old playwriting career has shown a sudden spike in activity, this time over in Russia.
I love this design by our friend Peter Moller, making one think of an ancient copy of King Lear, complete with finger smudges!
From what I make of it, it will only be a matter of time until I’m like a god over there, they won’t be able to get enough of me. Soon, my photo will grace the wall of every dwelling place, humble or grand, likely hung between Dostoevsky and Chekhov, two of my favourite writers in any language or medium.
I have been fortunate enough to have had my work performed in far off places before (Turkey, for example, and Nova Scotia) and I have come to learn that the further they are away from you, the less likely they are to pay you. But that’s ok, it’s all part of establishing one’s international reputation.
The contract they have sent from the land of Putin and Pussy Riot is especially puzzling. In fact I’ve never seen anything quite like it. To wit, the theatre has licensed the play – which is my play Queen Lear, translated into Russian a few years ago by a woman named Galina Kolosova who is a friend of Joyce Doolittle, for whom I wrote the place in the first place, but in English, obviously – to stage the work beginning on April 25 for one performance a month for a duration of three years.
I like the three years part, but once a month? I can’t think of an equivalent in the Canadian theatre. One performance a month! How is that even possible?
It gets better. In the land of subsidized theatre, the average ticket price is only a dollar or two. The theatre seats 100. My royalty is 6% of that, which according to my math will work out to about $6.00 per month. But for three years.
Like I say, it will only be a matter of time till I’m like a god over there.
Still, it is flattering always to have your work produced, especially in exotic climes such as this, and of course as strange as it all seems to me from this side of the pond, I wish them the best of luck with it.
The dream is that a director or producer from a theatre that performs a little more frequently than once a month in a larger theatre, such as the Moscow Art Theatre where Chekhov and Stanislavski used to hang out, will see it, love it and mount their own production. As unlikely as that might be, it would now seem to be in the realm of possibility, at least.
One can always dream, right? It goes hand in hand with the enterprise of writing plays.
By the way, if you’re interested in obtaining a copy of Queen Lear, at least in English, I’ve published it through my publishing company B House with the online printer known as Blurb, website http://www.blurb.com or in Canada, http://www.blurb.ca.
Any sales will be greatly appreciated, as obviously my royalty money is a little thin these days.
Anyway, it’s all good, I’m not complaining. But one of these years, would it be too much to ask to get a production where I make a shitload of money? Just once? Would that be asking too much?
Someday, friends. Someday.
Thanks for reading.
The Beatles won’t let me share Back in the USSR, so here’s this instead . . . .
When I began writing for the Calgary Herald, my publisher Peter Menzies told me there are over 300,000 people from Saskatchewan in Calgary, and so just treat it like it’s Saskatchewan’s largest city, which I did. Shamelessly.
The demise of FFWD, Calgary’s entertainment weekly for the last nineteen years, is both lamentable and predictable – and probably disastrous for arts groups in all areas in terms of promotion through the weekly listings – let alone providing an informed critical response to the work on stage.
Looking back at arts coverage over the last 20 years, it’s been a slow and steady and deadly decline.
I arrived here in 1994, chaperoning my play Some Assembly Required at Alberta Theatre Projects’ now-defunct playRites Festival. At the end of that run (“the hottest six weeks in winter!”) I was given a stack of clippings – previews, reviews, insights, interviews from a variety of papers and magazines including previews and reviews from the Globe & Mail and whole-page spreads from The Calgary Herald. It added up to an impressive pile of paper, a couple of pounds worth, probably.
That was just what had come out in print. Add to that several television interviews and spots on CBC Radio – which continued over the years thanks to the unflagging support of Caroline Smith – and one felt that the work and, assuming it happened more than once, one’s career, were taken very seriously in Calgary.
Thanks to the work of many great journalists, not to mention publicists from all the theatre companies, I was able to become something of a big deal during my ten years at ATP.
In 1997 a publication called The Calgary Straight came into existence. I had always been attracted to the idea of writing some kind of column, and one evening at an artists’ soiree organized by Bart Habermiller, who at the time was the City of Calgary art guy, I met the Straight’s editor, Patricia Robertson.
She invited me to submit an article. I did. It got published. And so I was on my way. Or so I thought.
Very shortly after that, Patricia took exception to the way the paper was being run and quit. (She made what could be call an “ethical decision.” Remember those?)
Michelle Greysen stepped in and took over. Following a chance encounter at Stage West (!), she asked me to write a weekly column. I thought my journalistic ship had finally arrived. I even went so far as to buy a little notebook to keep track of all my fabulous ideas for possible columns.
One day around this time I went into the old Roasterie 2 in Kensington to write down some of these bright ideas in my little notebook, and there was Michelle sitting at one of the back tables with an open bottle of Baileys in front of her. It didn’t seem hopeful, and it wasn’t. The home office (Vancouver’s Georgia Straight) had pulled the plug on the fledgling venture in Cowtown. She invited me to drink to the memory of the Calgary Straight. We had a drink and that was that.
The Calgary Straight folded in 2002 after a 5 year run, sadly just at the point it was starting to turn a profit. As sad and frustrating as it was for the people involved, it wasn’t a great surprise, I suppose, and it didn’t matter that much in terms of the big picture because around this time The Herald was going strong with Martin Morrow, Bob Clarke, Stephen Hunt et al; Lisa Wilton and Louis B were over at The Sun, and FFWD had an extremely strong presence – and some very good writers like Nikki Sheppy and eventually Martin Morrow who went over to FFWD following the acrimonious strike at The Calgary Herald.
It was around this time that my photo graced the cover of FFWD. (I think I was on there a few times, but this one in particular stands out in my memory.) To prepare for my 15 minutes of fame, I went to a hairstylist who spent hours getting my eccentric hair to behave itself. The hair ended up being rather high, I thought. Making matters worse, in the photo I was wearing some kind of velveteen jacket. The effect was that I looked, how can I put this delicately, a tad effeminate.
I asked my friend and advisor in such matters, Bob White, if he thought that photo made me look gay. He looked at it for a moment and said, “No, it doesn’t make you look gay. It makes you look like a woman! Like a dowager from the 1870’s!” Or words to that effect.
I made a situation that arose as a result of that cover the subject of a Spoken Word performance at an event titled “Smart Men, Hot Words.” Or was it “Hot Men, Smart Words?” Either way, I thought the organizers wanted something hot and sexy. Turned out I was probably wrong. (You can find it on You Tube if you’re desperately bored. For the record, I did not really masturbate in the washroom at IKEA, but I digress . . .)
With my matronly visage gracing their cover, I wondered about pitching the idea of a weekly column to FFWD. I ran the idea by Bob White (my advisor on such matters) and he suggested I try The Calgary Herald first. (Bigger audience, more pay, etc.) As it happened, Ashley Menzies, daughter of Peter Menzies, then publisher of The Herald, was in my Saturday morning playwriting class at ATP. So I asked her one day if she thought her dad would be interested in going for a beer with me. She laughed and said that her dad had asked her to ask me if I’d be interested in going for a beer with him.
Don’t it go to show that it ain’t what you know but who you know?
A few days later at Ed’s on 17th, Peter and I met over a couple of beers and some chicken wings and my weekly column with The Herald came into being. I told him I didn’t know anything about journalism. It didn’t phase him. He gave me only one rule: don’t write like anyone else.
I went on to prove that I didn’t know the first thing about journalism almost 300 times over the next 5 years. Some 250,000 published words. In fact, I even outlasted Peter who got the old heave-ho a couple of years into my cyber-residency at the paper.
And then, one fine day, The Herald went into the dumpster. My editor called me one morning and told me it was over for me and many of my fellow free-lance writers and photographers. He actually wept when he told me this. It was a black day.
I was sad that it had come to an end, but on the other hand, closing in on 300 columns, I was finding it increasingly hard not to plagiarise myself. Obviously, The Herald is still being published, but it’s a shadow of its former self.
Martin Morrow moved to Toronto. Nikki Sheppi and the writers I had come to know at FFWD scattered to the winds. Patricia Robertson moved to Saskatchewan where she is continuing her own writing career. Michelle Greysen is in Lethbridge writing up a storm and selling real estate. Recently, Caroline Smith retired from the CBC. There are a few brave souls like Stephen Hunt at The Herald soldiering on, but all in all, with the end of FFWD, you would have to think that arts journalism in Calgary is hooked up to the machines in intensive care, if not in palliative care.
After a few years of not writing for The Herald, I missed it, and started writing this blog, which is much like my column was. I’m not sure how many people used to read my column in the paper. I do know exactly how many read this blog, and where in the world they are reading it. (This morning, for example, I see I have had readers from Canada, The US, Russia, Brazil, Germany, Estonia and Portugal. My daughter Hanna lives in Portugal, so that explains that one. But Estonia? Maybe I’m big there, who knows?)
My thoughts on the death of my friend Michael Green last week were read by several thousand people from around the world, mostly in Canada and probably mostly in Calgary. Not exactly viral, but I hope it was of comfort to those who read it.
Because here’s the thing: I don’t get paid for this. All of us artists in all disciplines are finding it more and more difficult to actually get paid for the work we do. Ironically, digitization which potentially brings our work to vast audiences has made it less likely that we ever get paid properly, if at all, for what we do.
The rules of the game have changed. I don’t trust anyone who says they know where it’s all leading. Really, we have been caught out like the scribes in the days of Gutenberg. We have sacred skills that technology has rendered not meaningless, but virtually worthless.
And so, RIP, FFWD.
Interesting times, indeed.
Thanks for reading! Here’s something I found on You Tube this morning . . .
Photo by Brian Jensen
Like so many others, I was shocked and saddened to learn of the passing of Michael Green in a fatal accident in Saskatchewan earlier this week. He was a gift, really, taken away too soon and so suddenly. Although Michael and I were friends for 20 years, we never had the opportunity to work together. We had been meeting with a producer on a rather ambitious project, and had high hopes for creating a show for 2017 together, but now, alas, that will never be.
There were three others who also lost their lives in this terrible accident: Michele Sereda, who was an old friend and even former neighbour from Regina; Blackfoot Elder and film maker Narcisse Blood — I know it was my great loss not to have met such a great man; and finally, Lacy Morin-Desjarlais, a Saulteux artist from Saskatchewan. To all of the friends, family and colleagues left to mourn the untimely passing of these four beautiful souls, I offer my heart-felt condolences and most sincere sympathy.
Now, it wouldn’t fall to me to write any kind of official tribute for Michael. As friendly as we were for so long, there are many other who knew him better and are far more qualified to talk about his dazzling life and many, many accomplishments.
However, at the spontaneous gathering held at the Big Secret Theatre on Wednesday, I kept thinking of a story of his that to me says so much about the kind of man he was, and that’s what I’m here to share.
Here’s how it went down . . .
A couple of years ago, on a warm summer’s evening, a few of us, including Johanne Deleeuw, Tim Williams, Kate Newby, Cam Ascroft, a few others and myself had gathered at the Auburn Saloon with the express purpose of drinking some beers and generally shooting the shit. After we had been there for an hour or so, Michael wandered in, got himself a drink and joined us.
He told us that a couple of nights earlier, he had been sitting in his back yard with a friend, smoking a joint and having a couple of drinks when suddenly, out of nowhere, a police helicopter flew in, hovering directly overhead, making a hell of a racket and generally scaring the hell out of them.
If that weren’t bad enough, after a minute or so, it turned on its powerful spot light and shone it right into Michael’s little yard, illuminating him and his friend in a stark and very bright, even blinding, light.
I don’t know if it’s on account of my own tendency to suffer from rather intense feelings of paranoia whenever I smoke up, but if that had happened to me, I’m sure I would have taken refuge inside my house, turned out all the lights and probably hidden under my couch.
But not so with Michael Green. Once he had sized up the situation and was reasonably sure he was not being abducted by space aliens, he picked up his phone, dialed 911, and when they answered, yelled, “I’M THE GUY IN THE LIGHT!”
After an intense conversation with the operator, he was actually patched through to the officer in the helicopter, to whom he repeated, “I’M THE GUY IN THE LIGHT!” Adding, “WHY THE HELL ARE YOU SHINING YOUR LIGHT IN MY YARD?! I’M TRYING TO HAVE A CONVERSATION WITH MY FRIEND! SHUT IT OFF!”
Amazingly, they did just that, they turned off their light and flew away.
Michael had us all in stitches telling that story, and ever since I heard him tell it, I always thought it said so much about him:
“I’M THE GUY IN THE LIGHT!”
It’s so fitting on one hand, and yet, those of us who knew him would surely suggest he wasn’t, after all, the guy in the light. He was, in fact, the light itself. The source.
He radiated a pure, dazzling, multi-coloured light that shone on all of us who were fortunate enough to know him. It shone on audiences of One Yellow Rabbit performances and the High Performance Rodeo for the better part of three decades. It shone all throughout the City of Calgary at hundreds of events during Calgary 2012. Most recently, it shone on the lives and illuminated the stories of our First Nations People who have been shrouded in darkness far too long.
In fact, that’s why he was in Saskatchewan in the first place, to explore the possibility of creating “Making Treaty 4” along the lines of “Making Treaty 7” which he helped produce here in Alberta.
Such a bright light he was. For many of us, the world became a little darker, a little dimmer with his passing.
He will be missed.
Thanks for reading.
The lights of Calgary shone yellow for One Yellow Rabbit on Tuesday night. I shamelessly stole this photo from Facebook. If it’s yours, please let me know and I’ll give you credit!
It began with The Brothers Karamazov which I lugged home from the second hand book store one day, it was a Saturday afternoon. This was years ago, but I remember thinking nothing else would do. Never mind that it was my third copy of the book, the third I could think of. Never mind I’d never read the other two, having given up in despair around page 24 both times. This one would be different. On the cover, The New York Times Book Review promised: “One finally gets the musical whole of Dostoevsky’s original.” I needed that. I needed the musical whole.
Feverishly, I read 24 pages then put it aside. The trouble was, there was no place to put it. The bookshelves had long been filled. Not just filled like they were meant to be, as they were when I was young and happy and the days were sweet. Now there were piles of books stacked on their sides along the shelves so you couldn’t even see the ones in behind them, let alone reach one if you needed it. I needed a new book case, desperately, but the thought of going to IKEA filled me with self-loathing and disgust, so no new book case had been procured.
The Brothers were set down on the carpet between the book cases and the coffee table in my living room. It was meant to be a temporary measure. And yet it sat there for several days and soon the entire room seemed to be organized around it. I thought of my mother who had worked so hard to put me through university, what would she think of this errant book just lying there on the carpet? Such thoughts filled me with shame and many a night I went to my poor bed and cried myself to sleep thinking of mother and the rest of the family I never saw any more. I knew deep inside that none of them would just leave a book sitting there on the floor like that. Day after day my shame and grew and my confidence began to crumble.
One day not long after, perhaps weeks, maybe months, I had stopped washing so it was hard to differentiate one day from another, I went to my favourite coffee shop where all I could afford was a cup of hot water. I couldn’t actually afford hot, so settled for lukewarm. I looked down, as I always did in those days, as looking up was too painful, and there on the bench beside me was a copy of Kafka’s The Trial. My heart raced. I felt feverish. Sweat poured from the palms of my hands and the soles of my feet. Like a condemned man, I took the book in a trembling soggy hand and stashed it into my greasy satchel and furtively made my way back to my cheap lodgings.
I lay on my couch in mortal agony, subsisting on saltines and vinegar, and read the entire book without a break. When I was finished, I hardly knew my own name. Without thinking, I set The Trial atop The Brothers Karamazov before I swooned and fell into a treacherous sleep.
It was later the same day I tired of reading a piece on monopedomania in The New Yorker and set the magazine on top of The Trial. The next day, a letter from the phone company threatening to cut me off (again) went on top of the magazine. In the laundry room I found a copy of a biography on Steven Tyler which I mean to get to someday, but for now, it sits on top of the nasty letter from the phone company, beneath a slightly damaged Penguin Pride and Prejudice.
Something sculptural and loathsome and demonic was forming in my living room. Day by day, book by book, bill by bill, magazine by magazine, the tower rose from one foot, to two feet, to six feet, until I had to stand on my tip toes to jam a Pizza 73 flyer between the top of the pile and the ceiling.
By now, the tv was obscured from my favourite place on the couch. A second tower was growing up beside the first, grounded with a two volume set of impressionistic art. Before long, it too reached the ceiling, and a third tower began. And a fourth. And a fifth. You get the idea. Soon my entire apartment was a series of precarious piles of paper and I found myself scurrying around in this maze of my own creation so that I began to feel more like a rodent than a human being.
One night, as I sat in my local bar, nursing a flat beer, my eyes yellowish with fever, reading a stale Paris Review, despite my best intentions I was joined by a local harlot who rubbed my thigh and suggested we return to my hovel for a night of passion. I had been without passion that involved a second party for so long that I unthinkingly said yes. Up the stairs we climbed to my grim dwelling place. She was afraid of elevators. I can’t blame her.
I opened the door to my apartment. She entered and saw the towers of paper rising to the ceiling. She shrieked, causing a percussion that, as if in slow motion, started the crumbling and deconstruction of the towers. Like dominoes they began to fall, drawing the attention of the neighbours and the building manager and soon we heard the wail of sirens in the distance.
I scurried out the kitchen and onto the fire escape, climbing down to the alley where I began to wander disconsolately in the rain. This was weeks ago. I wander still. The only possession I managed to salvage from the ruins?
The Brothers Karamazov . . .
Thanks for reading!
Eugeniuscorp®©™ was recently officially endorsed (for the 12th time!) on LinkedIn in the area of Event Planning. This was taken as remarkably good news in a year that otherwise has been off to a regrettable beginning. To say the administration of ECorp was surprised at the nod it received in this particular area would be an understatement, given that generally speaking we are unable to plan with any exactitude when we will get out of bed in the morning, let alone what we will do with ourselves once we are, as they say, up and at ‘em.
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Thanks for reading!
All dressed up and nowhere to
Someone wrote that on Facebook the other day and it has stuck with me ever since: I want my pre-Internet brain back.
I don’t think I even hit “like” on it, which I feel a certain amount of remorse about now. Oh well, another item for the great list of remorse that I lie awake at night pondering and reviewing.
A couple of years ago, I wrote a post about Nicholas Carr’s excellent book The Shallows: What the Internet is Doing to our Brains. (Nothing good, alas, dear reader, as you may have suspected.) You can find that post by typing Life With No Computer into the little search box on the left side of the screen.
I wrote that post two years ago and haven’t thought a lot about it since. At some level I have, no doubt, willfully kept it from my mind. I know I spend too much time on the computer. I’ll bet you might be able to say the same, dear reader. If you’re reading this, you may have become aware of this post on Facebook, or you may have received an email notification, or you may have even been Googling something else and just come across it.
Chances are you are looking at this blog with Facebook lurking just below the surface, with your email open at the same time. If you’re like me, you might well be listening to music and even carrying on a text conversation on your phone. And you may even be watching a game on tv or a film on Netflix.
It all adds up to a tremendous amount of distraction. We get so used to it that it’s really a small miracle that we can concentrate on anything at all for any length of time anymore.
I hadn’t realized (or admitted?) just how bad it is with me until I went to my favourite coffee shop the other day (Caffe Beano, of course) where I’ve been gamely, even grimly, adding 500 words a day to my new novel.
(“New novel?” you may ask. “What the hell happened to your old novel?” I’m glad you asked. The old novel, titled The Piano Teacher, will be published by my little publishing company in a few months, on the first day of spring. Trust me, you’ll be hearing a lot more about that in the months to come. And now there’s a new novel. Quite simple, actually.)
On any account, there I was at Caffe Beano, coffee procured, notebook out, pencil sharpened (metaphorically speaking, it’s a mechanical pencil actually, a Pentel Kerry .07 in which I use B leads). (These are things you need to know, friends, as far as I’m concerned.)
I found my reading glasses, no longer optional, and felt around for my phone (an iPhone 5S) but it wasn’t in that pocket where I’d found my glasses and it wasn’t in any other pocket and it wasn’t in my bag so that could only have meant it was sitting on my table at home, charging away, while I was at Caffe Beano without it.
OMG! I DID NOT HAVE MY PHONE! I LEFT HOME WITHOUT MY PHONE! HOLY SHIT, WHAT NOW?! DO I GO HOME AND GET IT? BUT IT’S COLD OUTSIDE. OH NO OH NO OH NO! HEEEEEEEELLLLLLLLLLLPPPPPPPPP!
Ok, ok, ok, ok, ok, calm down, it will be all right, it’s just for an hour, we’re not expecting anyone to call anyway, Facebook will take care of itself for an hour, no significant other to text insignificant nothings to us anyway, we don’t need it, come to think of it, why do we think we even need it ever? It’s not like we’re a doctor on call. Or in the fresh bloom of love. Or any bloom of anything, for that matter. Relax. Breathe. Just breathe. In and out. Sloooooowly. We don’t need the phone.
This way, we reasoned, we’ll be able to devote 100% of our concentration on the matter at hand, which is to add 500 words to the new and as yet unnamed novel.
Well, that was the gist of the internal dialogue.
I petulantly scratched a few words onto the page, random nouns unconnected by verbs or conjunctions or prepositions. I fidgeted. I sighed.
I had nothing. I quit and got back home to my phone. No calls. No texts. No emails. No nothing. So why was I even worried about it in the first place?
My brains, I realized, were slowly turning to mush. That’s when I remembered that status update from Facebook: I want my pre-internet brain back.
Thinking back to when I was a teenager, way back in the murky black and white steaming swamp of time lost, pre-computer, pre-internet, pre-VCR, with only two channels on the old Zenith black and white TV with the bunny ears on top, pre-telephone answering machine – you get the picture, pre-everything that could possible distract you, I had fashioned a bedroom studio in my parents’ unfinished basement.
After supper, I would disappear into the basement and spend the entire evening painting, playing my trumpet (the mournful strains of my rendition of Herb Alpert’s Lonely Bull wafting up through the floorboards)(my poor suffering parents finally bought me a mute), writing, reading and doing other things that teenage boys do, which I will leave to your imagination, gentle reader.
A friend might phone, or just as likely not phone. Someone might drop by for a visit. We used to do that in this culture, remember? Actually visit friends. Like, in person. Like, putting ourselves in the same room as our friends. Remember? Whatever happened to that?
By and large, I was capable of spending huge amounts of time with myself, happily engaged in these solitary artistic pursuits, happy as a pig in the proverbial shit.
So what the hell happened?
Computers happened. The internet happened. Cell phones happened. I seem to have bought in, every step of the way.
Now, I want out. At the least I want to feel I am in control. To make even a small change to my dependency feels as monumental a task as quitting smoking, which I have never been able to do. Clearly something has to happen. Maybe it’s as simple as deliberately leaving home, at least now and then, without my phone. Or taking a day away from Facebook. A full 24 hours! It seems daunting.
But clearly, something has to be done.
I want my pre-internet brain back.
Thanks for reading.
Here’s a funky remix of a song that seems to sum it all up . . . .