Nina Munteanu

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The Language of Expression

September 24, 2007

When my parents immigrated to Canada from Paris, France, they each had a different experience when faced with a new white anglo saxon protestant community who spoke English, a language neither spoke well. And, even though my Romanian father was somewhat of a linguist, able to speak at least ten languages (including impeccable French), he was the one who had the most trouble picking up and mastering English. By contrast, my German mother, who could hardly speak French when she lived in Paris, had no problem picking up English and speaking it with hardly an accent. Aside from the obvious language differences (e.g., German is so close to English as a language vs Romanian and the romantic languages), I think one of the reasons that my father had more problems acquiring the English language with the usual ease he picked up Italian, French, Spanish, Russian, etc. was how the language was used. Language is, after all, much more than the spoken word. It is an expression of culture and biology.

1) What is language?
On the surface language appears to be the means by which animals communicate, through body movements, symbols (e.g., drawings, written word) or vocalizations to share knowledge (whether for mutual good – “Here’s some food” – or as competition – “He’s mine!” – or as antagonist – “Back off! I have a weapon and I know how to use it!”) and whereby one or both are changed by the interaction.
But language is so much more. Consider, for instance, smell. Pheremones and other aromatic chemicals provide an important mechanism for both plants and animals to communicate, whether to attract, repulse or to trigger some other action. This can be obvious, as in the case of strongly scented flowers, and purposeful, as in the skunk’s defensive discharge, or subtle and unconscious, as in the case of the example of women living together developing synchronous mentral cycles.
Language is not restricted to individual plants and animals. The language of biology, chemistry and physics occurs at every level of life and inanimate form, from atoms, to cells, individuals, communities and ecosystems. Randal Whitaker uses “languaging” as a verb to describe the interaction between autopoietic (self-organized) entities. Maturana and Varela (1987) call this ongoing engagement “structural coupling” and suggest that this “coupling” results in mutual co-adaptation.
Language is the means by which order emerges spontaneously from chaos as synchronous self-organization. Like a field of crickets chirping in concert. Or the thousands of fireflies on the tidal rivers of Malasia that blink in dramatic unison. Or the millions of neurons firing together in your brain to control your breathing. They all “language”and co-evolve through mutual triggers and perturbations in a kind of synchronal dance, a loose symbiosis. Consider, for instance the tiny powerhouses of every cell in our bodies: the mitochondria. Billions of years ago mitochondria were bacteria that co-evolved into a symbiotic relationship with their host metazoan cells. This happened through communication and the language of survival.
Fireflies communicate with light; planets speak through the force of gravity; heart cells share elecric currents. This is all language.
2) What is culture?
To me a culture reflects the common “language” among the individuals of a society that has evolved over many years. It embodies the zeitgeist of what defines a particular group, whether it be a community of similar faith, philosophy, tradition, geography, or simply through the basic need of survival. Culture, therefore, is the result of mutual co-evolution, most likely arisen through the need to form community to survive.
3) How are these two Related?
Culture is defined and held together by language in all its forms. For instance the “cyber-culture” is defined by its mode of communication on the Internet. The culture of the common folk in Germany is maintained by the language of plat-Deutch. Language is the thread that ties the culture’s fabric together. Dialects, codes, encryptions all arise from this inclination to form a common, and at times, exclusive, club. Each culture is an autopoietic (self-organized) system that, in turn, communicates with other cultures. Through this mutual interaction and co-evolution, arises a larger encompassing culture and from it yet larger ones, in a fractal pattern to eventually our global culture.


The Mark of a Genius by Nina Munteanu

September 15, 2007

My husband recently passed me a newspaper clipping that promoted a book called the Beckoners. The book follows Zoe, who has to make some tough decisions at school about how to deal with a group of bullies (my own son is in senior high). The very next day I got a note from a publishing colleague over at Ning about a new book by her friend called Bullycide in America, Moms Speak Out About the Bullying/Suicide Connection. She went on to say that this was a book her friend had definitely not wanted to write; she was compelled to write it after the death of her son. WOW! What an opening line. I was overcome. So, even though this is not a subject I really want to discuss, for some reason I feel compelled to do so now. With school a few weeks in, the topic of bullying is bound to be on many parent’s — and children’s — minds. It is, unfortunately a growing concern in North America.

Many of us have experienced some kind of bullying, whether in school or the playground or later even in the work place. I remember being pushed, unprovoked, into the bushes by a gang of ruffians back in elementary school. It’s always the one who is different, stands out in some way, and usually alone who winds up being targeted. Those memories, often painful or just embarrassing and enfuriating as in my case, can shape how we deal with difficult situations and potential bullying in our current lives. Sometimes we respond with angry tirade; but sadly we usually respond with silence.

I offer a story I wrote that touches on this subject.

The Mark of a Genius

“I’m Jorge,” he extended his hand.

Mitch accepted his firm handshake as excitement surged up her face. She’d noticed his dignified face earlier in the crowded room of strangers and his gaze had briefly met hers then strayed away, somehow disappointing her. She was used to men looking at her. Since she was seventeen boys had undressed her with their eyes. But this man’s glancing stare betrayed a kind of recognition that sent her heart pumping in her throat with a fearful thrill: could he be one too?

[SAM], she’d sent her thought wave to her AI-partner. [Find out everything you can on the person I’m watching].

[OKAY, MITCH], SAM had replied in her head.

Mitch had caught furtive glimpses of the stranger as he wandered among the other guests then lost sight of him. She’d boldly searched the room, unconsciously straightening her dress only to flinch when she found him standing in front of her with an enigmatic smile.

“You’re Mitch, aren’t you?” he said in a pleasant tenor’s voice, his handsome lean face radiating a disquieting calm.

“Michelin,” she corrected rather tartly, fighting down her rising defensiveness; no one called her Mitch except her best friend.

“Your boss pointed you out to me earlier,” he explained, drawing her to a more secluded corner of the room. “First time to one of these, Michelin?” He waved his hand to the room.

“Yes,” she said, irked at herself for blushing. Was it so obvious? Kraken had insisted that she accompany him to this fancy outer-city party. She’d come just to please her new boss and worn the only good dress she owned.

Jorge tipped his head sideways and a network of lines radiated from his sudden blue eyes. “Kraken calls you a genius, but I know you’re just a veemeld.”

Her heart slammed and she bristled, eyes involuntarily darting around to make sure no one overheard his accusation. Now she knew why she’d been repelled and attracted to him at the same time. She’d guessed right earlier: he was a veemeld too. A rude one.

“I’m sorry,” he said softly, offering a conciliatory smile. “I didn’t mean to insult you. I’m also a veemeld. You hide it well. I didn’t sense you.”

And why should he? she thought peevishly. She’d taught SAM, her AI-partner, to keep her isolated from the AI-core, effectively blocking her thoughts from other veemelds. And Jorge was polite, not intrusive like that scruffy vagrant boy, Dexter, she’d run into earlier today near her shack in the inner-city. The little creep had followed her home again and when she’d turned to glare at him his thoughts burst into hers like the groping hands of an inexperienced lover. He’d plowed right into her mind, blundered into the front door of her brain with the excitement of sensing another veemeld’s energy field. Jorge had only flirted in a back alley of her mind, gently probing via their respective AI-partners. He’d guessed the rest.

“Your avatar is? . . .” Jorge trailed, obviously hoping she’d provide the answer.

Mitch gave him a crooked smile and obliged, “SAM. My AI-entity’s called SAM.”

Jorge’s eyes sparkled. “Ah.” He looked impressed. “Short for Samantha?”

“Smart Analog Machine.”

“Ah.” He nodded. “SAM has quite a reputation in the core. I should have known it was ‘you’.”
There followed a moment of silence, which neither offered to break. Jorge lost his smile, his mind elsewhere, as Mitch brushed chestnut hair from her face. Then Jorge leaned closer, his eyes penetrating, and confided, “It’s lonely being a veemeld, isn’t it.”

Her face flared. Unable to meet his probing eyes, Michelin dropped her gaze. She found herself staring down her cleavage past her black silk dress to her long bare legs and thinking that her dress was too tight and too short. Was he coming on to her?

“They treat us more like tools than people,” Jorge went on in her silence. Michelin looked up into his sad eyes. “When I announced that I was a veemeld in school, the other students harassed me. My bosses use me like a commodity to be traded or disposed of.” He exhaled slowly and ran his long fingers through his gray hair. “When researchers developed the AI-core and the technology to use it, they had no idea that only point five percent of the population could veemeld with it.”

“Actually, it’s 0.2%”

“Ah.” He smiled wryly. “But it is rather sad, isn’t it, how it all turned out,” he continued with a thoughtful expression. “Scientists have now proven that just through the act of veemelding, we improve our cognition, memory and learning, particularly our ability to respond to changing environmental information. We do it through activation–”

“Of theta rhythm in the hippocampus. Yes, I know. We use the high-frequency tetanic pulses generated by the AI-core to activate a particular phase of theta rhythm during veemeld.”
Jorge nodded enthusiastically. “Every part of the brain that’s enhanced in veemelds is involved in theta rhythm: the brain stem that transmits signals to the septum, which then activates TR in the hippocampus and the entorhinal cortex. While normal people rely on REM sleep to activate theta rhythm, veemelds have it on all the time. Remarkable, isn’t it?” He slipped his elegant hands into his pockets. “Your whole body is a symphony of rhythms, a vehicle of spontaneous, persistent synchrony. Fireflies talk with light; planets speak through the force of gravity; heart cells share electric currents. We . . . .” His eyes fired with emotion. “Imagine what humanity could be if we all connected like a single autopoietic system in a kind of synchronal dance.”

Mitch shrugged. She didn’t usually have time for dreamers . . . and Jorge was obviously a dreamer. She indulged him anyway: “autopoietic?”

Jorge smiled like he’d won a prize: her attentive ear, she supposed. “I’m talking about the whole of our society behaving and evolving in a self-organized, adaptive way. We already do this ? veemelds, that is. Have been long before the AI-technology came along.”

She gave him a skeptical half-smile. “People ‘veemelding’ without the AI-core?”

“Proof is all around us, Michelin, in the independent formulation of calculus by Newton and Leibniz or the theory of the evolution of species by Charles Darwin and Alfred Russel Wallace. Then there’s McFadden and Pocket independently but simultaneously theorizing that electromagnetic fields are the seat of our consciousness. Multiple independent discoveries have increased in society a thousand-fold since the nineteenth century. Did you know that? The reason is obvious: the fabric of our society is evolving into a neural network, learning, interacting and sharing toward the achievement of a common zeitgeist.”

Mitch folded her arms across her chest. “That doesn’t prove the existence of veemelds.”

Jorge’s eyes lit to her challenge. “Well, there are two schools of thought on multiple independent discoveries: that it’s a function of either social context or the qualities of the individuals making the discovery such as inventive genius. I think it’s both. I think most of our geniuses were frustrated veemelds waiting for a better vehicle to tap into ? the quantum electromagnetic waves of the AI-core ? but they made due with humanity’s subtle autopoietic system instead.”

Mitch caught herself smirking. Jorge hadn’t struck her as arrogant; yet he was suggesting that every genius from Newton to Einstein was a veemeld! But she couldn’t help thinking his premise elegant. Scientists had figured out that the unique genetic makeup of veemelds provided them with, among other things, a slightly different electromagnetic field arrangement, one better suited to sending and receiving non-local fields outside their bodies. Which explained why veemelds, alone, could . . . well, veemeld.

As though he were reading her thoughts, Jorge went on, “When McFadden and Pocket simultaneously but independently proposed the theory of a localized electromagnetic field as the seat of consciousness a hundred years ago, they had no idea what Pandora’s Box they’d opened. We now know that there are so many different kinds of energy fields with differing frequency and waveform surrounding our brains and our entire bodies and connecting us to the rest of the planet and universe, like?”

“Static and pulsed EM, quantum-vacuum fields, gravitational fields and cosmic and particle-mediated fields to name a few,” Mitch leapt in, not to be outdone. She was Kraken’s “genius” after all.

Jorgen nodded with a thoughtful smile. “I thought that perhaps all humans ? veemelds and non-veemelds ?could eventually communicate as we are meant to ? as a single autopoietic system, through the subtle force fields that embrace all life and non-living entities of our planet and universe. Imagine a world where there’s no war because we all communicate and understand one another.”

How naïve he was! “You’re suggesting that geniuses ? veemelds?” She fought down a sneer. “?are simply more in tune with cosmic forces so they can tap into? . . .” she trailed with a shrug.

“?The web of our greater consciousness,” he finished for her, quite serious. “The autopoietic network of our humanity . . . waves of consciousness.”

“Waves of consciousness,” she repeated, finding it hard to hide the jeering tone that crept into her voice. “A new kind of energy field? Surfing the consciousness wave? . . .” She felt a sarcastic smile tugging at her lips.

“Far-fetched, you think?” His eyes gripped hers. “It’s not so different from what we already know is true. EM-mediated consciousness, for instance, and non-localized wave propagation. Researchers have long known about the phenomenon of ‘collective effect,’ Michelin. The synchronicity of multicellular organisms and societies of insects are good examples of ‘collective consciousness’, and ‘social facilitation.’ Either way, we’re the key. Veemelds. We’re the nodes of the human network. I’m convinced that all humans are capable of it. They just need to be taught. By us.” He smiled wistfully. Then he exhaled and the fire in his eyes died. “Just a dream, I suppose.” Jorge stroked his jaw pensively. “If anything we’re growing more isolated and distrustful.”

His words resonated in her gut and she dropped her gaze to the floor again. It was a wonderful dream nevertheless.

Jorge pursed his lips, letting his gaze stray for a moment to a distant place. When he refocused on her, his eyes glinted and his voice took on an edge. “They fear us, Michelin, what we can do: talk to machines in our heads. Run the city. The luddites have turned that fear to hatred. They’re terrified by our unique connection with the AI-community. We’re dangerous freaks to them. Genetic monsters. Cyborgs . . . .”

Machine-sluts . . . .

“We have no mark to show what we are,” Jorge went on, “so we can choose to hide in our anonymity. The luddites would like to change that. Brand us with some visible mark. That’s one of the reasons I formed the Veemeld Alliance. Do you know about us?”

“Yes,” she said guardedly.

“But you haven’t joined us.” Jorge looked puzzled. He pulled out a durable card and pressed it warmly in her hand. “We’re having a meeting tonight, in fact. At my place.” Then his eyes glowed like a warm camp fire. “I’d like to be a friend.” His sincere expression drew her in. “A real friend.”

Longing swelled up her throat and made her swallow convulsively. She knew what he meant: a friend who knew what she was.

He tilted his head and gazed at her with intense curiosity. “You don’t have any friends, Michelin. Yet you’ve lived here for a year, the longest time you’ve stayed in one place.”

Mitch jerked her hand out of his and clenched her jaw. That wasn’t true, she fumed. She had Nancy, after all. Her best friend . . . She thought again . . . Nancy didn’t know she was a veemeld. If Nancy did, would she still be Mitch’s friend? Mitch had long ago learned to move rather than face the consequences of intimacy. Her gaze darted around the room, looking for Kraken.

Jorge continued in a soft voice, “Veemelds can be fiercely independent and secretive. Whenever we conceal something of ourselves we choose to become slaves to our secret.”

She knew he meant her.

“It’s only together in open solidarity that we can overcome the prejudice — the fear and hatred — against us. Perhaps we can teach them that they don’t need to fear us.” His eyes grew intense and she fought the urge to back away. “Michelin, we need you.” He drew closer to her and she recoiled. “Our community needs you. You’re intelligent and . . . very attractive. You’d make an excellent spokesperson for us. With your help we could take charge of our destiny and move the human race forward to embrace a harmony of diversity. Everyone needs a friend, Michelin. Including you.”

Mitch felt anger heat her face. She didn’t need his solidarity or his friendship. She’d done just fine on her own up to now. She gave Jorge back his card. “I’m sorry but I’m not interested in joining your alliance. I’m happy just being an Icarian.”

He blinked several times then stuttered, his voice rising a pitch, “But, how can you say that? You can never be just an Icarian—”

“Because I’m a . . . genius?” she scoffed and brushed past him. “Good day.”

She glimpsed his crestfallen face as she walked briskly to the other side of the room where Kraken stood, talking to another man. Kraken leered down at her and enveloped her in his arm like a possession. She felt a hollow in the pit of her stomach.

Mitch excused herself early from the party and took the tube-jet home. She watched the amber emergency lights strobe past her as the tube-jet dove into the darkness of the tunnel. She saw Jorge’s kind face in her mind and found herself thinking about that miserable day when the girls at school discovered what she was . . . .

~~~~
Eager to make a good impression on her new school friend, Mitch was helping Abbie who struggled with her Ecology 101 lesson. They shared a holo-module at the Ed-Center and Abbie turned from the holo-com to Mitch, seated beside her. “Here’s my answer to his question on the principals of Icarian ecology,” she confided. “ ‘Ecosystems develop through natural selection from generally chaotic, pioneer stages toward stable ordered stages which maintain a dynamic equilibrium through internal forces’.”

“No, Abbie, that thinking’s a hundred years out of date. Ecosystems function and change under stable chaos, naturally cycling through destructive and building phases through changing variables—”

“Nonsense!” a gruff voice scolded. Michelin flinched and looked up at the teacher who towered over her. She fought from cowering under his glare. “You’re quoting heretical theories, young woman!”

She looked into his nostrils and focused on the dark hairs inside as she said in a shaky voice, “But I read—”

“Read!” he cut her off. Several other students peered round their cubicles. “More like cheated by slutting with your AI friends for information.” The teacher leaned over her and his small eyes narrowed. “I won’t have you disrupting my class. We don’t cater to veemeld brats.” He sneered to her look of horror. He’d just given her away. “Yes, I know what you are,” he ended menacingly. He stalked away as gawking faces ducked behind the cubicles.

During break Mitch was looking for Abbie in the school mall when a classmate collided into her.

“Out of my way, veemeld!” The girl snarled.

Mitch backed away. “I’m not a veemeld,” she lied.

“Yes you are.” The girl sneered. “I heard the teacher.” Several other girls closed in on her, forming a ring.

“Veemeld! Veemeld!” they chanted, shoving her until she fell to the ground. “AI slut—”
Mitch scrambled up in angry defense. “I’m not a vee—”

A fist struck her on the mouth, splitting her lip. “Veemeld slut!”

Her lip pounded and she tasted blood. The girls pressed against her, their faces distorted with hatred. They pummeled her as the chant resumed. “Veemeld! Veemeld!” Voices built, echoing like a mantra, to the increasing rhythm of their blows. Mitch tucked her head down and raised both arms to protect her face and chest, taking the blows with her shoulders and back.

“Hey!” A teacher approached. The girls scattered like flies disturbed from a carcass. Mitch fled in the opposite direction, glancing back. “Yes, you! Stop!” The teacher shouted at her. She rushed into the closest bathroom and, finding an empty cubicle, slid in and slammed the door shut. She slumped on the toilet, elbows on her knees, and cradled her head in her hands, rocking and sobbing, and hearing the hum of those cursed AI machines in her head. She was getting tired of moving . . . .

~~~~
Mitch was the only one who got out at the inner-city station. She inhaled the familiar stink of urine, stale liquor and rotting garbage as she picked her way past shiny pools of spit and pies of dried vomit to the stairway that led outside. Mitch bolted the stairs two by two to the exit and flung open the door. She took in a deep inhale of fresh air and shivered in the bracing cool air. Wrapping her bare arms around her waist for warmth, she headed home at a brisk pace and watched the long jerking shadow of herself that the pale moon threw ahead of her. She found herself stealing glances at the dozens of bivouacs that littered the street: eclectic shacks, built out of scrap from discarded droids, abandoned furniture, even parts of an old tube-jet, and cemented with the detritus of urban fast-living. Her shack wasn’t much better but it was home . . . for now. This was the roughest part of town. Hell, she’d lived in worse places. One just had to be smart and careful—

She’d just turned a corner to the shortcut she normally took when her stomach clenched at the sound of grunts, shouting and malicious laughter that drifted up the dark alley. Heart pulsing up her throat, Mitch stole forward. When she emerged from the alley into a courtyard, she saw five teenage boys beating a younger boy—Oh, no . . . unmistakable, the chaotic hair and the rags he wore: it was Dexter, the young veemeld who kept following her home.

He must have caught her emotional surge because his head jerked round and he looked right at her even though she was still hidden in the shadows of the alley. [Please! Help me!] came his outburst.

Mitch threw her gaze around in search of another bystander. No luck. The place was empty save the boy’s attackers and her. Mitch gripped her lower lip in her teeth, feeling a surge of adrenalin. Dexter was too young and feral to command respect from the AI-community, but she was another matter. She squared her shoulders then stepped out into the light and shouted in a commanding voice, “Stop that now!”

The boys halted and stared at her. She caught several lecherous grins and pulled down on her short dress. Dexter whimpered on the ground and the leader, a square-faced boy with spiked hair pointed down at him. “He’s a freaking veemeld!” he said as though it fully explained their actions. “Stay out of it, lady.”

“I meant it,” she said and marched toward them, hands balled at her sides. “Stop right now! You’re hurting him!”

“What’s it to you?” The leader spat out. It suddenly dawned on him: “You’re one too, aren’t you? A fucking freak.”

“No way, Russ,” one of the other boys interjected, licking his lips. “She’s too luscious to be a veemeld.” Several of the other boys agreed.

She could slink out of there, Mitch thought. Like all the times before, they didn’t want to believe she was a veemeld; she could take advantage of her beauty and retreat back into the shadows. They probably wouldn’t kill Dexter. She could let him fend for himself, like she’d fended for herself all these years . . . .

Then her eyes flickered over Dexter’s cowering form, head tucked in and both arms raised to protect his face and chest. She fired back, “Yes!” she practically gasped the word and felt the terrifying exhilaration of unburdening herself. “I am.” The words surged up her throat like an electric charge, burning all the way up: “I’m a veemeld too!”

A few boys moaned in disappointment, scanning her covetously. “What a waste of good babe meat,” one of them sighed.

The leader sneered as she resumed her advance. “Once we’re finished here, you’ll have your turn,” he said. The other boys followed with enthusiastic noises. “Grab the AI-slut!” he commanded, pointing to her. Two boys dashed for her with churlish grins.

Mitch fought from recoiling but halted. “I’m sorry, but you won’t be doing that either,” she said.

The two boys sniggered.

Mitch clenched her teeth but stood her ground.

[SAM], she sent her thought wave to her AI-companion. [Instruct the security system of Liv-Building E-29 to dispose of the five boys causing crimes, beta 050 and 051. Visual through my retina].

[OKAY, MITCH], SAM responded inside her head. Instantly, several ports on the building swiveled and discharged a concussion laser beam at the five boys, instantly stunning them. They crumpled to the ground in unison like a strangely choreographed macabre ballet. The two who’d rushed her tumbled a meter from her. Mitch side-stepped them and rushed to Dexter, who lay curled up in a fetal position, entwined with limp arms and legs. As she bent over him, Mitch continued her thought to SAM: [instruct security druids of Region E to collect these five hoodlums and put them into the cooler. They can use my visual for the crime record].

[OKAY, MITCH. THEY’RE ON THEIR WAY].

[Thanks, SAM]. Mitch touched Dexter and he flinched. “It’s okay,” she said in a gentle voice. “You’re safe now.”

He looked up, wide-eyed through a bloody and dirt-smeared face. Suddenly realizing what had happened, Dexter cracked a big grin, revealing a bloody mouth, which didn’t seem to concern him anymore. “You did it, didn’t you? You got the AIs to blast ‘em, didn’t you? I knew you were a veemeld. That was awesome …”

She realized that she didn’t need to answer his steady stream of questions and exclamations. “Come on.” She helped him to his feet. “Can you get up? I’ll take you to my place and clean you up. Looks like you’ve got a few nasty cuts.”

They left the courtyard for her shack as the city’s security droids arrived. When they entered her place, Mitch pulled out her first aid kit, sat Dexter down by the sink in the bathroom and gently washed his mouth before applying some antiseptic healing gel.

“Looks like they were trying to shut you up,” she observed with a wry smile, thinking of how he’d poked his mind where he had no business being.

“Yeah,” Dexter said. “I keep telling everyone I’m a veemeld.”

Mitch snorted. “Why on Earth would you do that?” She snapped the first aid kit shut and leaned against the sink to give him a long hard look. “You don’t look dumb. So, why do you tell everyone? You’re just looking for trouble, Dexter.”

“No. Just a real friend. Someone who’ll like me for what I am.”

“And you’re willing to get beat up time and time again to find that person?”

He nodded and gave her a goofy smile despite his puffy split lip. “I found you.”

Mitch felt a strange mixture of emotions swell into her throat. “Come on,” she finally said. “I know someone who wants to meet you, then. A whole community.”

~~~~
When Jorge opened the door he gasped. “What a surprise!” He beamed with undisguised pleasure, glancing from Mitch to Dexter. “Come in, come in!” He swung the door open for them to enter. A dozen or so people pursuing desultory conversation were already seated in comfortable chairs in Jorge’s livingroom. The meeting must have started already, Mitch observed.

She waved her hand at the boy. “This is Dexter. He’s a veemeld too. Like us,” she ended with a half-smile. “I told him he’d find a few genuine friends here.”

Jorge nodded with enthusiastic approval. “I’m sure he will. Hello, Dexter.”

Jorge was about to introduce both of them to the other veemelds in the room, when Mitch touched his arm. “And,” she added in a lowered voice, “I’ve reconsidered what you asked. I’d like to try being a spokesperson for veemelds. . . .”

She noticed that the room was suddenly quiet and everyone was looking at her.

“Thank you, Michelin,” Jorge said, taking her hand and pressing it between his two.

She pressed back. “You can all me Mitch,” she said, her smile opening to a broad grin.

The Mark of a Genius first appeared in ScifiDimensions.


The Golden Compass

September 9, 2007

In anticipation of the movie, “The Golden Compass” which will be showing in theatres this December ( can’t wait!), I dusted off my old critique of the three books that make up Philip Pullman’s incredible “His Dark Materials” Trilogy, of which “The Golden Compass” is just the first. The three books include: “The Golden Compass”; “The Subtle Knife”; and “The Amber Spyglass”.

For people wishing an alternative – for whatever reason – to the insanely popular “Harry Potter” fantasies (to which Philip Pullman’s trilogy has been compared), Pullman’s tale offers a bracing change. Here’s why: even though it has very obvious fantasy elements such as magic and witches and talking bears, it doesn’t fit the traditional mold of a fantasy because it draws upon scientific knowledge and theory, which pushes it into SF. However, like other good fantasy, Pullman’s tale is also strongly interwoven in myth. Milton’s “Paradise Lost” forms the basis of Pullman’s overarching theme, woven by a rich fabric of setting and characters, each journeying toward their own sense of purpose and final destiny on this world. This is a book of great scope, unfolding, aptly, through the eyes of a child.

Wrongly (I think) categorized by many as just a YA (young adult) fantasy, this SF-fantasy slipstream should appeal to readers of all ages. It is, after all, a multi-layered tale of universal scope. Pullman, himself, de-emphasizes the fantasy elements of his tale, calling it “stark realism” because these elements (such as daemons) are used to embody phycological truths about human personality. Say’s Pullman, “I am trying to write a book about what it means to be human.” The coming-of-age of an intrepid girl and boy serves as an elegant metaphor to explore the story of everyman’s journey toward enlightenment and whose every step comes with it a price. It brings to mind a quote by Victor Frankl: “What is to give light must endure burning.” If you haven’t read the books, with the intention of watching the movie first, I should warn you that this critique contains what’s commonly referred to as “spoilers” (though they’re small and insignificant, I think), so you may want to stop here and wait until the movie comes out. For the rest of you, read on…

Jordon College in Oxford is not an ordinary place for a girl; but then Lyra Belacqua is no ordinary girl, she can hear the hushed messages of truth uttered to her by the strange particles that animate her golden compass. Abandoned to the care of old scholars who know nothing about children, the little scamp runs wild through the streets of the university town, seeking adventure and not quite recognizing her yearning for “home” and love. She finds it – or it finds her – in the most unlikely place when she blunders into a vortex of danger, love, betrayal and intrigue. And it all begins with dust. Again, not just ordinary dust, but “magical” dust. Dust that provides a gateway to thousands of other worlds. . . .

As our intrepid heroine journeys through a rich tapestry of worlds, she meets and recruits the services of an amazing variety of strange creatures in her quest to uncover more of the mystery of dust and the shattering truth of its role in her own destiny. Lyra journeys first to the far reaches of the north, where strange experiments are being conducted and where she meets the formidable armored bears. As she continues on to a mysterious tropical land, Lyra meets Wil, a young boy looking for his lost father, and together they flee the soul-eating Spectors who stalk the streets. Neither is aware that their destinies lie on a collision course with the otherworldly struggle of good and evil and that their innocence will only be one of the casualties.

Pullman spins imaginative and metaphorical worlds both familiar yet unfamiliar – giving us a strange but titillating sense of déjà vu. This is surely what phasing into another universe may well feel like. Pullman pulls off (pardon the pun) what few fantasy writers are capable of doing: he marries arcane SF with the lyrical elements of fantasy – the epic adventure of good vs. evil. He does this by using scientific facts and logical premises and weaves his heroic tale around them. For instance, the idea of parallel universes is not only old but very much in vogue with physicists these days. Check out the May 2003 issue of Scientific American for a good summary on this topic. While Pullman borrows His Dark Materials title from Milton, he also takes the concept of dark matter from real science. Dark matter is some form of matter theorized to exist that cannot be observed by radio, infrared, optical, ultraviolet, x-ray or gamma-ray telescopes and is theorized to be MACHOS, WIMPS, or GAS (see http://chandra.harvard.edu/xray_astro/dark_matter3.html for more info on this incredible particle).

I suppose I was spell-bound by Pullman’s imaginative worlds, his sensuous descriptions and his creatively bold use of scientific concepts but it was his complex and passionate characters who captured and still live in my heart. His main character, Lyra, has learned to spin the tallest tales to get by yet she possesses the most sincere and brave heart, and her interactions with her daemen (an alter-ego, part of her soul embodied in an animal bonded with her) are touching and humorous. It is her paradoxical combination of traits that makes her both charming and sweet: she is brave yet vulnerable; enveigling yet genuine; innocent yet crafty; naïve yet wise. She personifies the child in all of us, the child who must grow up and lose something to gain something else. So we laugh with her and we cry for her.

The ending of the third book, which is bitter-sweet but provides excellent closure, leaves the reader – as all good fiction should – fulfilled yet drained, and wondering about both our own personal destinies and how we fit in with the larger questions of our universe. This is a must read for those seeking compelling adventure that does not compromise intelligence for action, character and setting for pace, heart for thrill, depth for speed; and imagination for story.

Biography of Philip Pullman
Stories are the most important thing in the world. Without stories, we wouldn’t be human.”—Philip Pullman.


Philip Pullman was born in Norwich, England, in 1946. He spent the early part of his life travelling all over the world. He taught at Oxford before becoming a full-time writer and has lectured widely on various aspects of the relationship between text and images. His first book, Galatea, was published in 1979. “His Dark Materials” trilogy appeared on the New York Times bestselling list and received numerous honors, including the Carnagie Medal (England), Publishers Weekly best book of the year, and the Whitbread Book Award (“Amber Spyglass”, in 2002). He now lives in Oxford with his family and likes to write in a shed at the bottom of his garden.

His passionate appreciation for the power of the story is reflected in this quote from his autobiographical essay (see the Alfred A. Knopf website): “I was sure that I was going to write stories myself when I grew up. It’s important to put it like that: not ‘I am a writer’ but rather ‘I write stories’. If you put the emphasis on yourself rather than your work, you’re in danger of thinking that you’re the most important thing. But you’re not. The story is what matters and you’re only the servant, and your job is to get it out on time and in good order.”


Nameless Grace

September 7, 2007

It’s Friday and time for my Friday Feature. But you better not blink because my Friday Feature is a blur of electric motion. She’s a flow of iridescent color that commands attention, yet evades the indolent glance. She’s simply too fast.

Karen’s not only fast; she’s everywhere: widely traveled, particularly in Europe and Asia, Karen Mason is a marketing entrepreneur, as well as an accomplished cryptographer with knowledge of the Kabbalah who rides a motorcycle (because she can) and plays several musical instruments (not at the same time, but I wouldn’t discount that either). Karen knows more languages than I can count and doesn’t seem to require any sleep. That’s a good thing because amid her many “day” job responsibilities, she posts to at least three excellent blogs and actively runs a marketing and publishing firm, Starfire World Syndicate. Karen Mason is, simply put, remarkable.

One of her blogs, Dog-e-Tail, is devoted to dogs welfare and health in which she dispenses excellent advice on their upkeep and general care along with sharing some touching stories, particularly of misfortunes that usually turn out okay. Her other blog, which publishes short stories and novel excerpts is called Nameless Grace, and is devoted to, in her words, “that inexplicable beauty that we have come to know as Nameless Grace…” This blog showcases short stories of talented emerging and established writers. She also created and impeccably runs a blog devoted to my own book, “Darwin’s Paradox”, for which I am truly grateful.

After chasing her blurry image and exchanging the odd virtual drinks on Facebook, I finally got Karen to stand still long enough to invite her up to my ship to interro—er—interview her. Being the world traveler she is, of course she agreed. I was immediately impressed with her composure and ability to handle the travel beam. Like Jean-Luc Picard, Lynn Margulis, Jennifer Rahn and Rob Sawyer before her, Karen rode the stupid crystal beam with the ease of a veteran starship traveler while my queasy stomach shifted in severe objection. I still had a lot to learn about humans, I decided petulantly…Maybe it was me. I seemed to be the only one disoriented by my own travel beam! How embarrassing! Somehow, I couldn’t quite shake the strange feeling that she was really a being of light who could have gotten herself up to my ship on her own wattage, but traveled the beam just to keep me company…
~~~~
Once aboard my ship, I show her the aft lounge and rush to the fresher to throw up then return, pale but feeling better, to find Karen peering out at the breathtaking view of planet Earth. She instantly points out all the places she’s travelled in the world.

SF Girl: “Is there anywhere on the planet you haven’t been to?” I say in slight exasperation at her international accomplishments. She’s been to more places on Earth than I’ve been in the Universe!

Karen: Furling her brow slightly, she reflects briefly then gives me a slanted smile. “Egypt. I haven’t been there.”

SF Girl: My mouth gapes open. I’m totally surprised! Given her interest and skills in cryptography and interpreting hieroglyphics, I’d have thought she spent years there! “Really?” I utter, raising a brow. Always the trouble-maker, I dig, “Is that because they wouldn’t let you in?” My heart slams as my imagination soars with ridiculous possibilities. I critically appraise the elegantly dressed woman with coifed hair and tasteful makeup. Karen sips a Bailey’s on ice that my newly acquired robot, Harry, brought to her. She doesn’t remotely resemble an insane terrorist on some crazy mission. Of course, they never do, except on the Reality Network. Then I have a sudden thought: perhaps she’s an international spy! Or worse: a dreaded tax collector! I find myself trembling with fear. What if she calls my bluff? And imposes an audit? Impounds my ship?

Karen: Her eyes twinkle under the lounge lights and I brace for her response. “I just never made it there yet. Perhaps next year,” she says calmly.

SF Girl: Diffused, I decide she’s not a tax collector after all and sigh. Mind buzzing with spent adrenalin, I ruthlessly pursue: “But why wouldn’t you have gone there already? I’d have thought your university studies would have taken you there…Karen?…Karen?…” There’s no answer…Then I notice that she’s gone into the hallway to talk with Harry in binary code…alas…I can’t understand a bit of what they’re saying…

The Voice Behind Darwin’s Paradox

September 5, 2007

For those of you who haven’t already visited the Darwin’s Paradox site, competently run by the indomitable Karen Mason, and where you can read or listen to the first six or so chapters of my book, click on this link for a taste (…not to worry; I’m not subjecting you to my cranky alien’s voice). This podcast of Chapter One is professionally done by Heather Dugan, an accomplished voice-over artist (more on Heather below). I think you’ll really enjoy it. Let me know what you think.

When Karen Mason persuaded me to let her create and run the Darwin’s Paradox website showcasing my book, I had no idea how much talent she would bring into this project. Besides being a shaman of incredible power, she runs Starfire World Syndicate and is herself an accomplished writer, private pilot, and cryptologist. We had discussed doing a promotional podcast of the book over some virtual drinks and ** presto! ** Heather Dugan appeared! More of that persuasive shamanism, if you ask me… If you want to know why I was so overwhelmed, listen (and watch) the video, of Heather reading Chapter Two of Darwin’s Paradox, here. Heather is magic to your ears. Lyrical, sensitive and genuine, her fluid and clear narrative flows like a bracing mountain brook. Evoking emotions and touching your heart. I am proud and honored that she has joined the Darwin team.

Heather Dugan is a voice-over artist and on-camera talent (see her website: http://heatherdugan.com/). Born in Ann Arbor MI, Heather resided in beautiful Ohio, state of rivers and streams, most her life. She received a BA in Communications from Indiana University, Bloomington. After making a splashy entrance in the media field as Miss Columbus (“Sshhh,” says Heather. Sorry! I just had to!), Heather went into radio sales where she was discovered as a talent in “voicing”, which jumpstarted her varied career that included community theatre, radio/TV commercials, industrial films, narrations, phone network commercials, and talk show co-hosting. She has done voicing for Nationwide, The Columbus Dispatch, Bank One, Verizon, Honda of America, Cintas, Lazarus, The Truberry Group, among many other prestigious clients.

Heather is also an accomplished writer, photographer and musician (keyboardist). She wrote and co-wrote several documentaries, plays and musical compositions. You can see her photography on her travel blog, “Footsteps”. Her first poem, written when she was seven years old, was framed by her mother and sits on her desk. Heather is herself a devoted mother of three children. An avowed passionate traveler, Heather loves the outdoors and adventure. She keeps fit by running in races, kayaking, biking, swimming and weight-lifting. Heather currently lives in Lewis Center, Ohio, with her three children and chocolate lab.

Thanks so much, Heather. Your dedication, professionalism & excellent work ethic, and remarkable voice are truly appreciated.


The Novelist: Why Write a Synopsis?

September 2, 2007

This post is the first of a series on writing the novel. I’ll be drawing from my experiences and providing advice on a range of topics that might interest you.

When I was just beginning as a writer, the publisher guideline request “submit a synopsis and sample chapters” struck fear into my heart. There was something terrifyingly daunting about writing and sending a succinct compelling summary of my novel packaged in just a few pages. As author Katherine Eliska Kimbriel said, “The instinctive response [of the author] is to clap on a helmet and start digging a trench.” I had a right to be terrified. In some ways the synopsis is the hardest thing for a novelist to write. Yet it is the first thing most publishers and agents want (and have time) to see of your cherished project (aside from those sample chapters, of course—more on that later). Every fiction writer who wants to sell in the current market must know how to write a synopsis because that’s what an editor wants to see first. Most editors (if they’re good) are overworked with scarce enough time to answer their phones, much less their mail.

I’m not going to describe how to write a synopsis in this post. If you want to see an excellent summary of what a good synopsis should look like, take a look at Tricia Ares’s excellent post in the Modern Matriarch. There are many excellent descriptions by professional editors, agents and other writers who describe what a synopsis is and even give examples. Instead, I’m going to give you some very good reasons WHY you should write that dreaded synopsis, and way before you finish your book, too.

First of all, I’d like to dispel some common misconceptions about synopses:

  1. A synopsis is NOT an outline. Both are useful to the writer, yet each serves a very different purpose. An outline is a tool (usually just for the writer) that sketches plot items of a book. It provides a skeleton or framework of people, places and their relationships to the storyline that permits the writer to ultimately gauge scene, setting, and character depth or even determine whether a character is required (every character must have a reason to be in the book, usually to move the plot). For writers just beginning, this is an excellent tool to keep the narrative spare and compelling and to remove superfluous characters and other things (a common beginning writer inclination). A synopsis, on the other hand, is an in-depth summary of the entire book that weaves in thematic elements with plot to portray a compelling often multi-level story arc. This is usually what an editor wants to see, although I have seen them request an outline as well. To put it basically, the outline describes what happens when and to whom, while the synopsis includes the “why” part.
  2. There is no such thing as a “Killer Synopsis”; a synopsis that is so good it will sell the book outright. However, stories of such “fairy-tale” occurrences do continue to abound. I know of one about a fantasy writer who supposedly landed an agent then a three book deal for her first novel trilogy with a large publishing house on the basis of a cover letter and such a synopsis. This just isn’t so. Other factors were in play here. Like the myth of an “overnight success” (in which the author’s hard work in areas related are somehow overlooked), no publisher chooses to buy a book on the basis of a synopsis only. Such an event could only result from a combination of serendipitous factors, one of the most important ones being timing (luck) and what an editor is currently looking for in an imprint.

“Killer synopsis” aside, what a synopsis does (along with the sample chapters and extremely important query letter) is get your manuscript read by an editor. That’s the real purpose of a synopsis. An editor makes his/her decision to look at your manuscript based on these three items: query letter (intro to you); sample chapters; synopsis. And, remember that, ultimately, their decision resides with whether your project fits their own imprint at the time.

If that isn’t reason enough to write a synopsis of your novel, here are two others:

  1. A synopsis of your novel goes beyond the outline to help polish elements of story arc, characterization with plot and setting with story. The synopsis can answer questions perplexing the author, stuck on a scene or plot item. It helps you weave your novel’s elements into a well-integrated story that is compelling at many levels. For this reason, it makes sense to write drafts of your synopsis as you go along in the novel; that way it’s useful to both you and to the editor and then it’s more or less written when you need to submit it along with sample chapters…and not quite as daunting a task either.
  2. Lastly, your well-written synopsis is often used internally by the publishing house staff (e.g., by artist, copywriter, and sales department) once your novel has been accepted.

So get going on it now. Don’t wait. Make the synopsis work for you throughout your novel’s journey.