Author: Marcus

  • Cory Doctorow at Powell’s

    Cory Doctorow at Powell’s

    Cory Doctorow gesturing as he addresses a seated audience from behind a lectern. He's wearing a black face mask and signature glasses.

    I had to race downtown after an exhausting day the minute I got off work to make it to Powell’s Books, and I was late for the start. Cory Doctorow is in the middle of a book tour for his novel The Bezzle, and he had already started a short lecture when I arrived in the Pearl Room on the 3rd floor. After the talk, he took a few audience questions and sat down to sign books. One of them was mine. Does that sound cheesy? I feel like it’s a little grandiose.

    But there’s something special about meeting artists, creators, makers I admire. I’ve been lucky to say a brief hello to many of them—Ray Bradbury, Neil Gaiman, Harlan Ellison, Bob Odenkirk, Kristin Bell, Neil Finn—when I got over my anxiety and managed to say something. That gets easier with time, the more I do it.

    For this moment, it was easier because I’d already met Doctorow once (I’m not counting random social media exchanges), when he came into the Trader Joe’s I was working at because it wasn’t far from USC where he was doing a fellowship.

    He took my fresh copy of The Bezzle, asked me who to make it out to, and made short work of it. I had time to tell him that over the last 20 years he’d become my favorite writer. He told me it was very kind of me to say so, and I thanked him for being an inspiration to keep making, creating, and actually FINISH projects, rather than just start them. And then, as I took back the book and was backing away, he said, “well, starting projects is good too!”

    This is a magnanimous thing to offer, and still considering it. In a time when I still struggle to fulfill my pre-, mid-, and post-pandemic resolution to Be Kinder to Myself, it’s both humbling and encouraging. Maybe I’ve only finished a few things, but only things with a beginning get to have an ending.

    The title page of The Bezzle, signed by Cory Doctorow. It's inscribed, "For Marcus — behind every great fortune is a great crime"
  • Having Re-Read Lord of the Rings

    In late fall of 2023, I decided to focus on finishing the task I’d started late the year before and abandoned: a close reading of Lord of the Rings. Previously, I’d read in chunks and in referenced fits. That is, I’d see a video or read a friend’s text about some LotR aspect and want to look it up, and in a fit of compulsion, web search the item and go down a rabbit hole of linked references. Occasionally, I’d even read the passage in the book.

    But a close re-read, one where I’d try to savor Tolkien’s rich words and vivid imagery, well, my scattered internet-honed senses kept putting that off. It was finding Andy Serkis’s lovely, orotund narration that got me to knuckle under and commit to the project. Part of this reading was by audiobook, part by ebook, and part by my crackling copy of the all-in-one Red Book of Westmarch: the Houghton-Mifflin monster that shouldered aside the fractured trilogies next to it on the Tolkien shelf.

    I highlighted a number of passages as I went, some just for me and a few that I thought were more generally relevant. One thing made more clear this time was that elves are not so aloof or haughty as they’re often made out to be. They can be plenty lighthearted, but as immortals, and mostly hundreds to thousands of years old, they probably have few surprises left out there in the world.

    ‘And it is also said,’ answered Frodo: ‘Go not to the Elves for counsel, for they will say both no and yes.’
    ‘Is it indeed?’ laughed Gildor. ‘Elves seldom give unguarded advice, for advice is a dangerous gift, even from the wise to the wise, and all courses may run ill.’

    ~ The Lord of the Rings, Bk. 1, Ch. 3

    Frodo is honestly a little bitchy here, but Gildor takes it in stride. Legolas does the same quite a few times for Gimli, who wears his bigotry on his sleeve until he’s forced to confront it because Legolas just decided he wanted a grumpy hothead for a pal.

    And this reading deepened my affection for Legolas. My mother was a Tolkien fan almost from the time Lord of the Rings was published, and she collected his other works as they were methodically released. Legolas was her favorite character, and I finally have a better understanding why, now. He’s unfailingly kind and steadfast. He’s thoughtful and a supportive friend. He’s cultured and wise, too.

    Legolas stirred in his boat. ‘Nay, time does not tarry ever,’ he said; ‘but change and growth is not in all things and places alike. For the Elves the world moves, and it moves both very swift and very slow. Swift, because they themselves change little, and all else fleets by: it is a grief to them. Slow, because they need not count the running years, not for themselves. The passing seasons are but ripples ever repeated in the long long stream. Yet beneath the Sun all things must wear to an end at last.”

    ~ ibid., Bk. 2, Ch. 9

    How could I not appreciate such incisive cultural self-analysis? That’s trenchant, that is.

    The slogging point was the same: most of Books 3 and 4, The Two Towers, the middle of the middle. But I had a better time having decided to read slowly this go-round, and even when it felt endless, Tolkien’s skill at describing his world just grew and grew. I gained a better sense of who Sméagol really was, and new admiration for Faramir.

    Not if I found it on the highway would I take it I said. Even if I were such a man as to desire this thing, and even though I knew not clearly what this thing was when I spoke, still I should take those words as a vow, and be held by them.’

    ~ ibid., Bk. 4, Ch. 5

    I lost all hesitation when I got to that point, where Sam and Frodo leave Faramir and his men at Henneth Annûn, reunite with Sméagol, and start the final leg of the journey to Mt. Doom. It was hard not to hurry from there to the end.

    I’d forgotten how much we get to understand Sam, and how wise HE became through the story—one of the farthest and richest arcs any of the characters experienced, if not the biggest. It’s honestly a comfort (and a joy) to be with him as Frodo begins to wither under the weight of The Ring, his wounds, and his tortured sense of responsibility. Sam lends us strength of will and spirit even as he does the same for Frodo.

    From the long climb up the mountain stair through the horrors of Shelob and the nastiness of the orcs of Cirith Ungol, Sam keeps his head (mostly) and keeps his loyalty front and center. And we get meta narrative gems like this:

    ‘I used to think that they were things the wonderful folk of the stories went out and looked for, because they wanted them, because they were exciting and life was a bit dull, a kind of a sport, as you might say. But that’s not the way of it with the tales that really mattered, or the ones that stay in the mind. Folk seem to have been just landed in them, usually – their paths were laid that way, as you put it. But I expect they had lots of chances, like us, of turning back, only they didn’t. And if they had, we shouldn’t know, because they’d have been forgotten.’

    ~ ibid., Bk. 4, Ch. 8

    For all the joking that’s been done about having the eagles take The Ring straight to the volcano and be done with it—and whether it would or wouldn’t have worked—I bet Gwaihir would’ve tried if Gandalf had asked him sincerely. I’m more inclined to believe that now, in light of the passage that stirred me most in LotR this time, that choked me up a bit. It was the open, unquestioned bond between the Lord of the Eagles and his longtime wizard BFF as the latter asks for help in searching for Frodo and Sam on Mt. Doom’s lava-oozing slopes:

    “Twice you have borne me, Gwaihir my friend,’ said Gandalf. ‘Thrice shall pay for all, if you are willing. You will not find me a burden much greater than when you bore me from Zirakzigil, where my old life burned away.’
    ‘I would bear you,’ answered Gwaihir, ‘whither you will, even were you made of stone.”

    ~ ibid., Bk. 6, Ch. 4

    This was a thoroughly enjoyable re-read, and I’m already thinking about when I might want to do it again. I have a shelf full of unread books (be fair, two shelves), though, so maybe not for a year or two, at least.

    Useful References

    Two sources helped when I needed to look up people, places, & things. One was my battered, coverless The Complete Guide to Middle-Earth, by Robert Foster. The other—used way more often—was the Tolkien Gateway

    My main inspiration to start the journey once more was Adam Roberts’s LotR Re-Read, which he documents vastly more than I’ve cared to do here, with references to other criticism and analysis in 6 parts, one for each “book” Tolkien split LotR into.

    The algorithms handed me a ton of Tolkien-related videos once I’d looked up a couple things. Herewith, some favorites I came across in my recommendations:

    Top 10 Middle Earth Misconceptions – Tolkien Untangled

    Why Lord of the Rings LIES to you — Tolkien’s unreliable narrator

    Tolkien’s Incredible Map of Middle-Earth – Mapster

    Why couldn’t Sauron sense Bilbo? – In Deep Geek

    Tolkien’s unpublished Epilogue to The Lord of the Rings

    There’s no way Tolkien was speaking English here

  • Pause, Unpause

    It’s taken longer than I intended to get back to posting, but since the pandemic began, and still, time is more fluid for me than it used to be. As always, there are half-finished projects piling up in the wings, not yet ready for the stage.

    hand-drawn pause/play symbols

    For now, I’ve added a music section and started it off with my Best-Of annual lists. I usually don’t finish them until after the new year, partly because my listening playlist is massive and partly because I’m perpetually tardy like that.

    I started seeing live music again. Since the start of fall I’ve experienced three amazing live acts, all in relatively small venues: Geese, Ariel Posen, and Big Wreck. All were wonderful, but I was practically giddy being able to see Big Wreck for the first time. Ian Thornley is the last founding member, but since he’s both singer and principal songwriter, BW’s evolution has been steady and seamless. He’s part of my overstuffed pantheon of songwriting, singing, AND guitar heroes. It’s become cliché to say “they’re better live!” but in a performance context, it’s true for them.

    Smaller venues give one a chance to have a more intimate experience, not to mention it’s usually much cheaper, so most of us can see more shows. I do love a recording with great production and layered sounds, but live performance isn’t just a connection to the performers, it’s a link to our shared cultural past, reaching back thousands of years to when music, dance, art, and storytelling could only be experienced in the moment, face-to-faces.

  • Geese!

    I’ve been obsessed with the new Geese album, 3D Country, this past week. It’s like this crazy stew of Lynyrd Skynyrd, Kings of Leon, the Doors, and X. But then again, not quite. They are their own thing, which we all should aspire to be. The friend who linked me to their record offered Steely Dan as a part of his musical genetics analysis. And there is some of that, truly. Early Steely Dan, at least, is a big part of the feel, but there’s a bunch of other stuff piled on, layered over, until all these comparisons are really just hints and handwaving because you have to hear it to get it. They have that NYC band confidence, but seemingly no superiority complex. It’s honestly thrilling to listen to music that sounds new, I mean really new.

    3D Country album cover
    3D Country

    There’s something compelling about the self-indulgent production—at once everything-but-the-kitchen-sink and stripped down presence—juxtaposed with a punk-like carelessness toward arrangement. Geese are tight, and there’s plenty of craft on display. But it’s a bit like Jimmy Page in Led Zeppelin: a barely-controlled chaos of notes that feels like someone musically falling down the stairs at first, but somehow comes across as deliberate and skilled. Everything feels both cavalier and purposeful.

    Cameron Winter’s vocals are thrilling throughout this consistently good album. He hardly delivers a line the same way twice. He goes from tender to shredded shouting to throaty affectation in a blur of abandon. It seemed to me as I was listening for the first time that an AI visualizer or audio generator would never have come up with anything so strange, singular, wonderful, and essentially human. Talk about your barbaric yawps.

    I just read an article about AI in the music industry (apologies for the paywall; Reader version on Firefox worked for me), and it contains the customary hand-wringing alongside the usual open-ended questions: what does this mean for the future of music? Should musicians despair? But, honestly, my reaction is “meh.” It’s not that it doesn’t suck to assume that labels and the few remaining bloated corporate amoebas that have absorbed all the smaller ones will try to use “AI” to crank out more cheesy merchandise. But everything I’ve heard so far is bland or directionless. For lack of a better term, it’s generic. If people are worried that it sounds pretty good, my knee-jerk reaction is that it’s because—as in every era—there’s so much homogenized fluff that’s trying to sound like the other fluff.

    But there are always the amazing gems out there. There are always the chocolate-covered strawberries amongst the piles of under-ripe and mushy decaying ones. It’s like generated art. It was amazing at first, but even as it’s become more polished, lots of it is starting to look more or less the same, and rather lifeless. Blandified. AI isn’t making anything NEW and COOL, just pretty versions of some styles that exist. I don’t want to be dismissive, but I followed several AI art subreddits to watch as it evolved, and I’m getting bored irritatingly soon. Maybe I’ll be surprised, but I’m losing confidence. This is the essential problem of AI, and of technology as a whole: it’s all a big maybe. It’s not an inevitable linear increase in ability and quality. New methods and processes can rise quickly but stall, for a long time, or indefinitely. Consider virtual reality, fusion power, and self-driving cars—or the ever-present fantasy of alt.cars.flying-real-soon-now (that’s right, USENET refugees, I see you).

    It’s easy to be dazzled by the rapid rise in ability of AI art generators. It’s also very hard to know how capable it will get. One thing that nearly always holds about the future is that it’s impossible to predict with relative accuracy, and the further out one tries to see, the less likely it gets. History is littered with futurists who failed to divine the future. There’s just as much reason to speculate that this tech is following a logarithmic curve that rises quickly but soon levels off, and no one knows if we’ll actually reach the asymptote. At least with what’s been produced so far.

    And so we have Geese! This band sounds like the future, that’s how fun and exciting it is to listen to. I feel vindicated again in my firm stance as a kids-are-alrighter. They are simultaneously unpretentious and ambitious. Both new and cool. The band casually spins out uncategorizable, crazy cool mashups of styles. Something humans can do best, and may always.

    [Edit 7-23-23: Geese are Cameron Winter, Gus Green, Foster Hudson, Dominic DiGesu, Max Bassin]

  • Hello world! Again!

    This is the shiny new warehouse for Marcus Harwell’s work online. Apologies if this is disappointing.

    I’m working on getting things up and running, BRB