Author Archives: sydlogsdon

Prince of Exile, 12

5.

A brazier stood on iron legs at the foot of the King’s bed. Croayl the priest sprinkled sandalwood on the coals. As the scent spread through the room the King opened his milky eyes and said, “Do not bury me while I am still breathing.”

Croyal moved closer to the King, touched his dry cheek, and laid his hand on the King’s hand. Both hands were long and bony, darkened and weakened now with age, but they had both been strong hands in their youths. Croyal said, “For weeks I have asked you, as your priest, to repent. I fear for your soul if you do not. Now I ask as your brother. Do not go into that cold night unclean.”

“Can you?”

The King’s voice was hoarse and weak. Croyal leaned closer and asked, “Can I what?”

“Can you, for one hour, be my brother again, and not a priest?”

“I cannot stop being what I am. Either part of what I am.”

“Nor can I. As my brother, I have loved you even when it was not easy. As a priest, I would spit in your face if I had the strength.”

“I know.”

“I, too, can only be what I am. I repent of nothing. I abjure nothing. I have lived my life with all my heart and I only regret leaving it. I regret no part of it.”

“Is there nothing you would change?”

The King was silent for a while. The numbness had reached his stomach, and within minutes it would no longer matter that the brother he loved was also a priest who ranted at him. His hand tightened on Croyal’s and he said, “I would give anything to see my wife’s face again.”

*****

We were unseen as Croyal held the King’s dead hand. Greyleaf stood a little apart. That which was corruptible lay cooling on the bed. We watched as the incorruptible and timeless essence of the King rose up and looked around bemused. He beheld Greyleaf; there was shock in his eyes, then tears. She moved forward into his arms. I could not hear what was said, but I could see their faces. I would gladly die to feel the happiness I saw there – if the dead could die again.

Their bodies were melting together; going smoky; gone.

I turned to the Prince and caught a look of longing on his face. I said, “I thought . . .”

The Prince replied, “The King’s exile was ending, not beginning. It started the day she died. He will never be one of us, and Greyleaf will no longer be tortured and half complete. They have found their peace in one another – again.”

“And you? And the rest of us?”

For a moment I glimpsed broad vistas of eternity and deep valleys of pain in his lean, handsome face. Then he restored his customary look of calm and said, “For each of you, your exiles will end. But I am the Prince of Exile.” finis

81. Whiter Than White

Today is Martin Luther King day, separated from Black History Month by two weeks. I plan to combine them into a six week period devoted largely to black/ethnic history. Non-related posts will intervene – Jan 27, for example, gets special treatment as the anniversary of the Apollo One fire. Most of the posts, however, will be on ethnic subjects.

Why so much time devoted by a white guy in a blog largely about writing science fiction? This post and next Monday’s will explain.

Whiter than White

I loved my father. Whatever else I say, don’t lose sight of that. He was a good man by the standards of his day, but that day has passed. He wasn’t a racist by the standards of his day. By today’s standards, he would be.

Of course he changed over the years, and if he were still alive, he would still be changing. We all do. But I am thinking of 1966. When Negroes (people didn’t use the words black or African-American yet) marched in Selma and elsewhere, my father shook his head in dismay and said that if the troublemakers would just leave the good colored people alone, everything would be fine.

If that shocks you, let me offer a taste of history – at that time, most of the country agreed with him.

I didn’t have an opinion yet. I had never met a black person. There was one black man who farmed somewhere in the area. I saw him go by in his pickup once in a while, but that was as close to a black person as I had been. (See post 46.)

I had never met a Jew. I had never met a Spanish speaker, nor an Italian, nor a Mormon. Certainly not a Muslim; actually, I had never heard of Muslims. There was one Catholic boy who attended our school briefly. He wasn’t well treated and he didn’t stay.

You get the picture. Not just white – WHITE. And not just Protestant, but Southern Baptist. And not just Southern Baptist, but small-town-Southern-Baptist; not like those liberals down in Tulsa. There were so many Baptists in town that the local high school didn’t dare have a prom. No dancing was allowed.

There were just a few families in the town, each one much like the other. You couldn’t throw a rock in any direction without hitting a Logsdon, or a Logsdon’s inlaw.

But then those black people went marching, and were met with clubs and dogs and firehoses. And when my father (and everybody else’s fathers) said it was their own fault, I couldn’t buy it. When I saw them bloodied and beaten, yet standing firm for freedom and dignity, I knew they were right and we were wrong.

When they fought for their own freedom, they also gave this Oklahoma white boy his freedom. They gave me a new way of looking at the world, and I am grateful to this day.

Prince of Exile, 11

In the morning, he was gone. And she was pregnant, although it took her a month to discover it.

“Any sensible girl would have been frightened or furious, but Mara had lost the capacity for facing life in its raw state of truth. She decided she was not pregnant; she had merely miscounted the days.

“By the time three more months had passed, even her capacity for invention could not explain away the thickening of her belly. But there were other inventions. Her man had been called away on a dangerous mission, or kidnapped by bandits. As the stories grew, she grew; and her parents grew angry with her fantasies. Now, too late, they demanded that she face the truth.

“As the months moved by, her parents turned away from her. The people of the village had been weary of her voice long before her downfall, and would have nothing to do with her fabrications. She withdrew into her room and into herself. There she stayed through the hot month of August, swollen huge with child and without one human soul who was willing to listen to her.

“She sought out the memory of her lover, but she could not recall his face. The man had faded, displaced by the fantasy she had made of him. Now that fantasy faded as well, displaced by a still greater fantasy.

“She had lain with God himself.

“All that burning August, she sprawled in misery on her narrow bed and told herself the story again and again until it blotted out her shame, blotted out her pain, blotted out the heat, blotted out her parents screaming disbelief, blotted out the disgust of the villagers.

“She bore a son and raised him alone in a small hut behind her father’s inn. All day long she rocked him in her arms, crooned to him, and told him of his impending greatness. She called him Isus, and she raised him to believe that the world would love him and believe in him.

“Isus went out to tell the world of his divinity, but the world was impatient. It turned on Isus and killed him. Mara stood at the foot of the scaffold where they hanged him, and the last words she heard him say were, ‘You foolish men, I have brought you a vision, and you have turned it aside.’

“Mara’s spirit was shattered — for a little while. Then she turned from the village where she had been born, and went out to raise up a religion in her Son’s name.”

*****

The Prince leaned back against a rock, content for the moment. He said, “An ugly story. Disjointed; lacking in balance.”

“The true ones often are.”

“Yes. I saw Mara recently, still up to her old tricks.”

The ragged stranger laughed and said, “Mother never learns.” more tomorrow

Prince of Exile, 10

We rode through the afternoon, ever higher, and at the crest of the mountain range, in a little sheltered space beside the pass, we found another traveler sitting beside his campfire. The Prince rode up to him and asked, “What is the ultimate truth?”

“Damned if I know, Prince. Get down and eat.”

The Prince grinned at the apparition who sat so casually beside the fire. He was skinny and ragged with a body much scarred, but insouciant humor danced in his eyes.

The Prince stepped down and walked up to the fire, extending his hands to the warmth, and said, “If you have no wisdom, how will you pay for my company?”

“I’ll tell you a story.”

“Good,” the Prince said, seating himself and reaching for the stewpot. “Stories are better than wisdom, and sometimes better than food.”

“But never,” the stranger suggested, “better than women or wine.”

The Prince shook his head, unconvinced, and said, “That would depend on the woman.”

“You have already heard my story!”

“I have heard all the stories, but never mind. Tell me again.”

*****

“This is the story,” the stranger said, “of Mara and Isus . . .

“There once was a young woman who could not tell truth from fantasy. She was loved by her parents, but no one could love her half so much as she loved herself. She felt that she was beautiful. She felt that she was a princess, stolen away in her infancy and given to peasants to raise. She felt that a fine knight would come to take her away. She felt that somewhere in the wide world there was one man – but only one man – fit to be her mate and that when he came into her life, he would fall passionately in love at the mere sight of her beauty.

“I do not know if she was beautiful. Had she been truly stunning, she could not have matched the visions she had of herself.

“She spun tales of glory about herself and told them to her parents. Surely she knew at first that they were fantasy.  But her parents indulged her, laughed with her, praised her imagination, and never forced her to see what was true and what was false.

“Ultimately, she met a young man who was passing through her village. She fell in love with him, not truly knowing what love was. She took passing affection and a bit of lust and built, on that foundation, huge cathedrals of imaginings of what their love would be.

“The man was not a liar, but he was no more truthful than any other man. When he spoke of love in those moments while their bodies were locked together, he did not expect to be taken so seriously. But Mara had no judgment, only illusions. To her, their passion was like the first man and woman. He was too kind to voice his disappointment that she was a clumsy virgin, and in the kindness with which he held his tongue, she saw a love so deep that it struck him dumb.

“In the morning, he was gone. And she was pregnant, although it took her a month to discover it. more tomorrow

80. And Don’t Begin With And

yol 8This is the last of eight how-to posts on writing. I haven’t exhausted the subject, but I want to quit before I exhaust my readers.

Your Own Language:
And don’t begin with and

Here is a rule that was strictly enforced in the antediluvian days of my youth. I think today’s teachers have largely given up, and thank goodness. The rule is: Don’t begin a sentence with a conjunction.

This sentence is acceptable:     “Every morning he saddled his horse carefully, and every evening he wiped him down with equal care.”

According to the rule, this construction is not acceptable:     “Every morning he saddled his horse carefully. And every evening he wiped him down with equal care.”

And yet, this third version is “correct” again.     “Every morning he saddled his horse carefully. Every evening he wiped him down with equal care.”

What? This makes no sense – unless you first accept the fallacy that each sentence should be complete in itself. This is the same completeness fallacy that leads teachers to teach paragraphs in isolation (see yesterday’s post).

In any story, essay, letter, email, or post, the writing flows from the first word to the last. How we break up that writing – where we put periods, commas, paragraphs, dashes, colons, and semicolons – is entirely a matter of pacing.

Whether you prefer eighteenth century novels with sentences a hundred words long and a paragraph break every other page, or something modern with rapid fire, disjointed chattering, every story has to engage the reader at its beginning, then carry through to some reasonable level of closure.

It’s that simple.

Children have no problem with closure in their stories. At the end, the hero wakes up. Hemingway usually had no problem either; at the end of a typical Hemingway novel, the hero dies. But even that isn’t complete closure. When Robert Jordan is lying on the hillside at the end of For Whom the Bell Tolls, the enemy is closing in and there is no doubt he’s about to die. But what will happen to Maria? Will his coming sacrifice save his comrades? We don’t know.

As the holy men told the Prince of Exile, “Every true story ends in death, but no true story ever ends.” Closure is necessary, but never complete.

How much closure do you need? Thomas Anderson has said twice in reviews that the endings of my novels leave him feeling unsatisfied. Fair enough, yet they satisfy me. It is entirely a matter of taste.

Of course, there are limits. I once read a novel by an otherwise reputable author who ended it in mid-sentence because, just as his character has come to understand the meaning of life, he gets hit by a bus. That’s cheating.

There are more novels and blogs yet to write, and that’s closure enough for now.

Prince of Exile, 9

We crested a rise and dropped into a tiny, high cirque, sheltered from the wind, south facing, and filled with grass and flowers. There we found another Holy Man. He sat beside the road, winding a necklace of roses, carefully breaking off each thorn. His clothing was finely spun wool, woven in a clever pattern, that strained to cover his bountiful girth. He had no hut, but had planted bushes to enclose a space of sweet grass for his sleeping.

The Prince leaned down from his mount and studied the Holy Man. Sweet fragrance rose up around him. He said, “I am a traveler from a far, strange place. Who are you?”

“One who lives fully,” the Holy Man replied.

The Prince asked, “What is the ultimate truth?”

The Holy Man replied without hesitation, “No true story ever ends.”

The Prince paid the man for his wisdom with a flask of sweet wine. We moved on, only a little enlightened.

*****

We came into a high meadow. There beside the road was a small house of native stone, cunningly built, strong against the harsh winters of that place. There was a man in the yard, scraping the skin of some hairy beast with a knife. His face was familiar, but we had not seen sweat on it until now. He looked up from his work, stretched, and walked over to the low fence that separated his land from the wild lands around him. The Prince saluted him politely and smiled. The man smiled back and said, “I see questions in your face. You have seen my two brothers, of course?”

“Many times, in many places,” the Prince replied.

The man sighed and said, “No doubt.”

“Are you a Holy Man?”

The man answered, “Those who say they are, are not. Those who say they are not, frequently are. I’ll just say, ‘Not particularly’.”

The Prince smiled widely and asked further, “What is the ultimate truth?”

The man replied, “Every true story ends in death, yet no true story ever ends. Both statements are correct, and all wisdom lies in trying to reconcile them. If there is more Truth than that, I have not discovered it.”

There was silence for a space as the autumn wind blew through the yard. The man went on, “Prince, for I see who you are, will you step down and break bread with me?”

The Prince shook his head a little sadly. “Would that I could, but my duties are many and my time is not my own. You do not need me.”

“Not needing you, I would welcome your company all the more.”

“And I yours. But it is not to be.”

We moved on, with our spirits a little lightened. more tomorrow

79. Death to the Five Part Paragraph

yol 7 If you are a writer, a teacher, a parent, or a student, don’t back off because the title seems beneath your interest. This is Basic BS 101.

Your Own Language, 7:
Death to the five part paragraph!

Here is your zen koan for the day – how do you teach that which cannot be taught?

Answer: you make up arbitrary rules which seem to cover the situation, then teach the rules instead of the unteachable thing.

I speak, of course, of the five sentence paragraph, a structure found in every middle school classroom, but which exists nowhere in nature.

At one point in my teaching career I was preparing a program which was to teach writing by analyzing the writing in students’ science and history textbooks. I performed an experiment to confirm a suspicion. I went to my bookshelf, chose five non-fiction books at random, chose a page and a paragraph in each at random, and analyzed the result.

The only book that followed the format taught in middle school was How to Hang Drywall. It was written by a drywall contractor and was probably the only book he ever wrote. I could visualize him digging out his old textbooks for guidance before beginning to write. To be fair, it was full of accurate information. I had followed his instructions (that’s why the book was in my library)  and my drywall stayed up; but it was excruciatingly dull, and it didn’t need to be.

There is another related old chestnut: tell them what you are going to tell them, tell them, then tell them what you just told them. This is the five part paragraph with pontoons on both sides to keep it from sinking.

I don’t see this in print too often: if you do, maybe you’re reading the wrong kind of book. I do see it every Saturday morning on PBS in the show Woodsmith Shop. Like the drywall book, this is the product of intelligent men – professionals who are not professional writers – presenting what they know, but following rules that are not serving them well..

The wonder is that the book and the TV program work as well as they do, given the teacher generated chestnuts they had to work with.

Here is a five sentence paragraph following a format popular in middle schools:

  • topic sentence
  • supporting sentence
  • supporting sentence
  • supporting sentence
  • recapitulation or close

I got ready for school this morning. I brushed my teeth. Then I took a shower. Finally I put on my school clothes. Then I was ready for my day.

Wow, exciting! Actually, that wasn’t a paragraph at all. It was a mini-essay, and an exceedingly boring one at that.

A paragraph is a piece of a larger work. It tells part of the story. It should have some internal consistency, but it is not independent. It introduces a thought or carries on the thought begun in earlier paragraphs.

That’s it. There are no other rules.

You can’t teach a student to write a paragraph. A paragraph does not and cannot exist. When teacher’s try to teach a paragraph, they are actually teaching mini-essays, and doing a poor job of that.

Take a two page essay, sans indentation. Break it into four paragraphs. Now take the same essay and break it into ten paragraphs. The former will sound formal, the latter will sound breezy.

Paragraphs can determine tone, can help keep our thoughts and understandings organized, and give us places to breathe. Where we break essays and stories into paragraphs is determined by the tone we want to achieve, and by the content of the work.

There are no other rules. Teachers who create artificial formulas to give themselves something to teach strangle the minds of their students.

Prince of Exile, 8

4.

When we left the inn the next morning, I avoided Satyr so I would not have to look at his self-satisfied face. As we were preparing to mount, Greyleaf said to the Prince, “Is it not yet time? Has he not yet passed your tests?”

“They are not my tests,” the Prince answered.

“I feel his pain every day.”

“So do I.”

“It is not right!”

“Many things are not. But life is . . . incisive. Nevertheless, I think you are right. We will turn in that direction.”

Harrow came out with a horn of ale to drink a stirrup cup with the Prince. When they had made a toast of easy journey and swift return, the Prince said, “You wear a troubled face, old friend. What is the matter?”

“T’slalas, the young man who came in with you yesterday, is ill. His face is blotched with fever and he breathes like a man at the end of a race.”

The Prince nodded.

“You understand, Prince, that illness is an innkeeper’s greatest enemy. Any guest that comes through my door may carry death for all.”

Satyr raised a hair-winged eyebrow in irony, but the Prince simply said, “Harrow, I give you my word, the illness that T’slalas carries is not contagious. At least, not in any sense that you would understand. That which taints him, you and yours will never suffer from, good old man.”

“Can you help him?”

“Whatever I have for him, I have already given.”

*****

For three days we crossed the plain, heavy with harvest, sweet with the smell of new mown hay, rich with peasant life.  The Prince did many things I have not his leave to record.

On the fourth day we reached the foothills, and on the eighth day we were high among tortured boulders where the trees are sparse and twisted.

There we came upon a Holy Man. He sat clad in rags and half cured skins, announcing his holiness at a hundred paces by the smell of him. He had erected a hut of bones, and sat moving his dirty fingers over the crown of a skull, as a maid would polish a fine brass bowl.

The Prince leaned down from his mount and studied the Holy Man, showing no discomfort at the miasma that surrounded him. He said, “I am a traveler from a far, strange place. Who are you?”

The Holy man did not answer. He only polished the skull and stared at the Prince out of hollow eyes.

The Prince said, “What is the ultimate truth?”

The Holy Man replied without hesitation, “Every true story ends in death.”

The Prince nodded politely and paid the man for his wisdom with an ornate dagger. We moved on, only a little enlightened. more tomorrow

78. Who Decides?

yol 6Your Own Language: Who Decides?

Who decides which version of English we speak? The list is long, but English teachers are not on it.

Everyone has a mental picture of teachers, good or bad, loving or fearful, and as small children we usually think of them as powerful beings. Teachers know better. They are the functionaries of a massive bureaucracy. They are told what to teach and what not to teach, out of textbooks they have no power to change. The only thing that keeps them from being serfs is that the same incompetence that characterizes the entire educational establishment extends to an incompetence at commanding obedience.

Teachers are told what to do, and then, sometimes for good and sometimes for ill, they do what they can get away with.

Preachers used to have a powerful influence on language. You couldn’t say damn or hell in school. You still can’t say shit, although, merde, the Aussies say it all the time. Today preachers have been replaced by the purveyors of political correctness. Even thirty years ago, when I first began teaching, one of our textbooks had modified Tom Sawyer by changing Injun Joe’s name to Outlaw Joe. Need I say that it has gotten worse since then?

We have to decide for ourselves what to accept and what to reject out of what the world hands us. To a large extent, we all have to be self-educated.

I learned that early. I spent my first eight years in a tiny school where there were two grades per teacher. Half of each school day was under instruction; the other half was spent doing independent work while the teacher taught the other grade. By the time I reached high school I had developed self-reliance, and I had come to the conclusion that none of my teachers knew enough to teach me all I wanted to know. That was particularly true in English.

I didn’t want to talk like an Okie. More importantly, I couldn’t afford to if I was going to escape to the intellectual life I wanted. My salvation was Strunk and White’s Elements of Style, which I read as a counterbalance to the simple mindedness of my textbooks. S and W was dated, even then, and is in considerable disrepute today. A glance at Wiki finds it to have a “toxic mix of purism, atavism, and personal eccentricity” and to be “the best book available on writing good English”. Strong opinions do tend to polarize, but at least they were the prissy opinions of learned men. There weren’t too many leaned men in Talala, Oklahoma. Besides, I was already arrogant enough to ignore anything I didn’t find palatable.

Writers have always been arbiters of English, but which writers? We would all like to sound like Shakespeare but, zounds and forsooth, who would listen if we actually did? If you want to write romances (God forgive you) you will need to master the rippling muscles and heaving bosoms style. If you want to sound like Hemingway, you will have to take a magic marker and scratch out all the adjectives in your dictionary. Even hard boiled writers eventually get tired of terseness. Robert Parker put these words into tough guy Spencer’s mouth, “I felt like I was trapped in a Hemingway short story. If I got any more cryptic I wouldn’t be able to talk at all.”

There are no infallible rules, grammatical or otherwise. That doesn’t mean anything goes. Somewhere in between rigidity and chaos, you will have to find your particular brand of English. And you had better choose well, because that (among many other things) will determine who is willing to listen to you.

Prince of Exile, 7

The Prince move, snake quick, and skewered the ruffian like an empty coat nailed to the wall.

Then the Prince withdrew his sword, and the body fell, still disgorging blood onto the floor. The Prince touched him gently with his sword tip at the shoulder and said, “He never learns.”

Blood detached itself from the sword in heavy droplets and fell until the blade was clean. Slowly, the sword ceased to moan.

The Prince reached down to where the casket had fallen and returned to the table. T’slalas had come back from relieving himself. His face was pale as he looked narrowly at the Prince. The Prince placed the casket before him. It was cunningly devised, but the oak from which it was made had discolored with age and the brass of its hardware was green with corrosion. Spidersilk clotted the catch.

T’slalas’ eyes slowly left the Prince’s face and settled on the casket. The Prince said, “What do you see?”

Ferret eyes glanced up, seeking the jest. T’slalas said, “I see what is before me, a casket of gold, chased in silver, but locked with a key of brass.”

The Prince nodded slowly.

“Open it.”

Again, T’slalas hesitated, and again his greed overcame him. He fumbled with the catch and threw open the lid. A foul odor spread from inside, but T’slalas’ smile was as wide as a river. He raised his eyes to the Prince, and the Prince said, “It is yours.”

The casket was filled with ashes, and misshapen lumps of ivory-grey that were half burned bones. T’slalas grasped a handful of ashes and let it trickle through his fingers. His face was full of joy and cunning. He said to the Prince, “These jewels are a King’s ransom.”

Sudden anger crossed the Prince’s face and he said, “What would you know of the price of a King?”

T’slalas never saw the anger or heard the words. He had forgotten the Prince altogether as he sat sifting ashes through his fingers, and seeing jewels.

3.

As the weeks of late summer rolled by, the King clung to a life that had grown hateful to him. Every hour his body was filled with pain. Yet he hung on, for surrender was a skill he had never learned. For eighteen years since his wife’s death, he had never known a day without loneliness. He had not given in to loneliness, and now he would not give audience to death.

Every day, the priest Croayl called for his repentance, and every day the King cursed him.

“You have made the rivers run with blood,” Croayl said.

“I have defended my lands and my people,” the King replied. “Because of me, you are alive. Who are you to whimper like a virgin at what it takes to hold a kingdom?”

“You have lain with women who were not your wife; you have sired bastards; you have drunk to excess; you have lusted . . .”

“Yes,” the King cried, “and if I could raise myself from this bed, I would do it again.” more tomorrow