Thursday, October 23, 2014

HALLOWEEN Homage to Theodore Sturgeon's classic IT! Story,


It copy


Homage to the IT! Story

THE “It!” Story “It!” is an influential horror short story by Theodore Sturgeon, first published in Unknown August 1940. The story deals with a plant monster that is ultimately revealed to have formed around a human skeleton, specifically that of Roger Kirk, in a swamp. P. Schuyler Miller described “It!” as “probably the most unforgettable story ever published in Unknown. “[1]   –WIKIPEDIA   
Theodore Sturgeon’s “It!” story was an “unforgettable” story, as was his most well-known novel, “More Than Human,” though today he’s probably more often recognized by readers of classic science fiction anthologies. One of the poignant facts about his “It! is that it may be the first story set in the new American suburbs. There were tensions between the threatened rural life–the old swamplands with their bogeyman–and the burgeoning American dreamscape.
Sturgeon, who originally wanted to be a New Yorker writer, is credited as the inventor of the something “weird” happens in suburbia genre. The idea of the wild, natural or supernatural, unleashed amid manicured lawns and copycat houses has been well-mined in fiction and film; perhaps popularized best in Steven Spielberg movies.
In a revealing interview, Spielberg once said he owed the suburban world of his films to Theodore Sturgeon. That his movies would not exist, if he hadn’t read Sturgeon’s stories. You have only to read “It!” and view ET to get the connection. While not a huge Spielberg fan, I respect the unusual generosity of giving credit to a predecessor.
In the U.S., unlike Europe, successful artists rarely give recognition to those whose works they borrowed or built upon. Everyone here is a genius, whose work attests to a one of-a-kind talent. Artists from older countries give homage to those, whose shoulders they “stand-upon,” proud to be part of a tradition. Here, people think it detracts from their fame.
A couple of examples:
Movies, like “Being There,” “Forrest Gump,” “Zelig,” all borrow from Dostoyevsky’s The Idiot. The idea of a divine fool, who becomes a blank slate for all to project on and functions as a critique of a whole society, is central to The Idiot. In Being There, the “idiot” hero meets a Prince Mishkin, the same name as the title character of the novel. Gump and Zelig also drop hints pointing to the original conceit.
A novel on high school reading lists is Doctorow’s Ragtime, celebrated for the technique of mixing real people with fictional ones, and to present scenes visually, through the cinematic eye, as the novel travels through time. Yet John Dos Passos’ U.S.A. trilogy was first, from his broad historical canvas, mixing real people with fictional, and his chapter, “The Camera Eye,”which pioneered filmic perspective. Dos Passos’ take on the beginning of Wall Street, not to mention the public relations field, is an eye-opener in 2014. Our culture is much poorer for the fact that Doctorow guarded his fame and Dos Passos, as easy to read as a mini-series, has fallen off the high school map.
Some people may have discovered Sturgeon from the oblique references to Kilgore Trout, a brilliant janitor in Kurt Vonnegut’s novels. Colleagues in science fiction, Vonnegut was amused by the fish allusion, and may have wanted to “out” his modest friend, who had worked as a janitor. It’s one of those not really mythic stories about genius in low places, like Einstein’s gig as a night watchman..Vonnegut’s Trout was probably a form of homage, though he may not have called it such.
I once encountered Vonnegut in Iowa City. He was getting off a plane and I was waiting to get on one. I was reading Fitzgerald’s “The Crack-up,” when I sensed someone trying to get my attention. I looked up, surprised. I had never met Vonnegut. He smiled, pointed to the cover, and gave me a big thumb’s up. He mimed he loved Fitzgerald, I mimed back same. This was a guy enthusiastic about great writers.
Another true story. I did publicity for Blue Jay Books, then a small publisher of classic science fiction/fantasy–in hard-cover with acid free pages! I worked briefly with Theodore Sturgeon toward the end of his life. This was a writer, who never made much money but loved the work and having readers. Among the more humble of writers, he was all about the process and the miraculous. Sturgeon also suffered years of writer’s block.
My point with all this? Writers may need to imitate those they admire. And the truth is that genius usually stands on someone else’s shoulders. Most writers, like Mr. Sturgeon, play the long game. They write and hope their work makes some splash. They also hope to continue, despite obscurity. Recognizing progenitors benefits everyone—especially readers.
I am happy this Halloween to publish my own “It!” story. IT STARTED IN THE PRIMEVAL OOZE OF MY FATHER’S ANCIENT PC. It's on MAGLOMANIAC tomorrow. 
Thanks for reading.

Tuesday, October 7, 2014

FIGURES OF BEAUTY is a novel about marble and human emotion, what is timeless and enduring

David McFarlane's FIGURES OF BEAUTY (Harper, Oct.) is a novel about youth's passion in the sensual Old World and maturity in the tepid New World. What makes the story unique is the role of marble, which links characters of different eras to the same town, Pietrabella, in Carrera, Italy. Whether Michelangelo actually got his marble there is disputed but not the quality of the stone. It's beauty, and the ancient techniques of local miners, remain unchanged.

The marble is wrested from the ground and transported to lower ground, often at great cost to the men of the town. Danger is always present, yet they are proud of the industry. For centuries, Carrera's marble has gone around the world for monuments and facades, urinals and sinks. The streets of the town are marble, as are the cutting boards. Among the locals miners and craftsmen are sculptors, like Anna, who lives to carve marble. Her understanding of life is through her work and she's happiest covered in marble dust, mallet in hand.

While Anna's passion for marble is creative, Julian Morran's is both aesthetic and mercantile. In 1922, he is the owner of the marble mines and workshops of the town. A sophisticated Scottish businessman, Morran found fulfillment in the unpretentious Italian town. His talent as salesman meant prosperity and fame, since no opportunity was ever lost to export the stone. When he encounters the honeymooning Bartons, a Canadian newspaper magnate and his art critic wife, he finds soul mates, who make their home into a duplicate of his very tasteful estate.

This includes a marble pool and a mysterious statue of a woman with a jug, that may date before the Romans. In 1968, when Anna meets Oliver Hughson, that statue is outside her rented farmhouse on the same site. And it will figure in their destiny.
Oliver is vagabonding in Europe, when he must flee Paris and fatefully decides to look up an acquaintance in Carrera. He falls in love with Anna, shares her Bohemian life of art, food and friends, even occasionally modelling for money. Though entirely different from what he's know, Oliver has never been as comfortable in his life. He wants to be a writer and live with Anna, when he learns he must leave to help his adopted parents.

Anna is furious that he would walk away from something so good. She knows it's the worst mistake of their lives, though Oliver doesn't realize this until later. Anna never answers his letters, she never tells him he fathered a daughter. In 2013, that adult daughter, a writer, goes to Canada to track down the father she never knew and the stories that led to her birth. Hers is the first and the last narratives of FIGURES OF BEAUTY.

In intermittent chapters, FIGURES OF BEAUTY tells Anna's story, as a single Bohemian mother in a traditional town, as well as her birth, in 1944, during the German occupation and a horrendous event. There is Oliver's story about the cost of passion denied; a life of yearning despite decades without contact. There's his career as an art critic, taking care of his parents, then the final chance for happiness, after discovering the daughter he never knew.

Along with these lives, there is the story of one family of workmen, who paid the ultimate price. After a fateful accident, their son, Lino, became a carver of marble and, later an independent craftsman in America. His story is a linchpin to the fate of others in this well crafted and feeling novel.

In McFarlane's FIGURES OF BEAUTY, the figures are the intertwined lives of characters of great feeling. Like hidden fault lines in marble, which can split a stone apart, the figures in this novel are torn by what is unknown or lost. Together, they weave a human story of beauty and power.

As art student in Rome, I went to Carrera and picked out a piece of marble. I eagerly learned carving techniques, spending months gaining the muscle to release what I saw inside the stone. Half through, the stone split diagonally, and all was lost. In this book, I learned that no one could predict a fault, not even Michelangelo. But he knew the right paste to hold it together.


Monday, October 6, 2014

Short Takes: SHANE CULLAINE SERIES & NUMA. A Hard-boiled Guy & A Shape-Shifting Girl

The Savage Dance, Shane Cullaine Book 1 by Patrick King

This novel reminds me of Mickey Spillane modern, a guy with his own ethical compass and a softness for the ladies. Shane, known as "cool," from his previous life as a high school athlete, Shane is rough around the edges with huge simmering emotion underneath. This guy has a poet's perception of the tarnished beauty of life--observing it's beauty and the ideal, while absorbing the worst. This is a page-turner, exciting, funny dialogue, and over-the-top action. Shane is a surprise, even to himself, and his reflexes are super hero. Yet his flaws and regrets are only human. I look forward to Book 2. 

Numa:An Epic Poem with Photo Collages by Katrinka Moore, Published
by Aqueduct Press' Conversation Pieces. This poem tells the story of a shape shifting girl in the woods, who gives birth to a cub and must deal with an interloper. But what impressed me was not the story but the feeling of being alien in nature. Numa experiences and becomes feral beauty. You discover with her what it means to be human, in a primal sense--shape shifting to survive.

So what could a new detective series and an epic literary poem have in common?  Shape-shifting has a few meanings but both Shane and Numa use it to keep balance in unpredictable terrain.--S.W.


bird's head on
a young girl's body/feathery
crest, yellow
tipped/thin fast
down legs     hop
from one
foot to the
other/ a berry
in her hand

Sunday, September 21, 2014

Not flashy or world shaking, THE HOME PLACE is moving, a kind of literary truism that holds up--because it is true..

THE HOME PLACE by Carrie La Seur (William Morrow, August) is a book you can depend on. It's not flashy or world shaking, but it's moving, a kind of literary truism that holds up. As opposed to cliches, which have lost their meaning, truisms are repeated because they are...true. THE HOME PLACE tells the story of a high-flying lawyer, Alma Terrebonne, who escaped the debilitating weather, poverty and in-bred habits of her Montana town. Alma's the only one, in seven generations, to get out.

As the story opens, she's happy with her life in Seattle. In peak shape, she enjoys bicycling uphill to work. Alma's got the smarts and unyielding "killer" instincts that make her invaluable to the sexist fools in her firm. She's poised for triumph, depending on how she plays it, and then there's her charming investment banker boyfriend and their co-op with the incredible views. Her life's on target, when she receives a call from the police that her young sister,Vicky, is dead and there's a child, her niece, alone and grieving.

At once, there's a measure of all that she escaped, the weather that ostensibly killed her sister, and the hopeless drug culture of her town. She could have been Vicky, they looked enough alike. But there was the ten year separation in their ages. After her parents died in a car accident and Alma went off to college, Vicky had to live with their scary violent older brother and his strange religious wife. Vicky went from bad to worse. Everyone in their town seemed to think it was somehow inevitable a young woman, not yet in her 30's, froze to death one night, her body not found until the next morning.

Alma identifies the body and comforts her traumatized eleven year old niece, who called relatives when  her drunk mother walked out. Why did no one come?  Alma is drawn into a mystery that's as deep as her French Canadian roots, as fierce as the frontier that exacted a tough price from her family but gave them a sky and land so beautiful they built a homestead. Now Alma's family lived in town but her grandma still owned the place.

In Montana, Alma realizes she's been measuring temperate Seattle against it for years--feeling unsettled in some part of herself. IN THE HOME PLACE, her search for the real cause of her sister's death is also a search for herself. The values she has cherished, her independence, financial security and the comfortable familiarity of her Canadian boyfriend, seem superficial--unreal-- when she goes home. In this debut novel, the pull of home looks less like failure than recovery.

After Alma uncovers her sister's fate, rooted in the family's twisted past, she begins to see what's strong and meaningful about her heritage. This is a novel, where substantial means different things. What is career and money, a convenient boyfriend, real estate, when she's divorced from the purpose of her pioneering grandmother? Alma's people are able to weather the worst and take comfort from the earth. The homestead was built to endure.
Coming home is a new start for Alma and her niece.

But it takes all Alma's Terrebonne's backbone to get there. I loved this murder mystery that hinges on the maturity of the heroine. The personal meanings of home, a ranch that's become a meth lab, is returned to its pioneer purpose. Working the place also means defending it from the bullying of the fraking industry. Alma must look ahead to the future to preserve her heritage.

This is a wonderful modern western. I'd like to see a strong actress play Alma's role in a movie. This woman's not imitating the men or trying to fulfill their expectations. Instead, she's trying to figure out the terms of her own existence. There is a love interest, but he's not so intrinsic to what happens. Great read.


Saturday, August 9, 2014

Donna Tartt's THE GOLDFINCH has GREAT EXPECTATIONS, how the tropes of one classic inspired another.

While greatly enjoying THE GOLDFINCH, I noticed more than a nod to Great Expectations. Tartt doesn't merely reinvent the familiar tropes of the classic but takes them in directions significant for our time. Like the painted goldfinch, the trompe l'oeil masterpiece of the story, this novel is both referential and its own entity. The fluff on the bird in the painting looks soft as real down but close-up is just brush strokes. Part of my pleasure in this novel was to be caught up in it, while noticing Tartt's sleight of hand.

Both THE GOLDFINCH and GREAT EXPECTATIONS are narrated by young heroes trying to make sense of strange destinies in journals they assume no one will read. Both are resigned to diminished expectation, when fate takes a sudden turn. The orphaned Pip, though exposed to wealth, literature and culture, through the stagy Ms. Havisham, had resigned himself to an apprenticeship at the blacksmith's bench, when a mysterious benefactor gives him the moneyed life of a gentleman.

When Theo loses his mother in a terrorist blast at the Met, he's taken into the wealthy Park Avenue family of his boyhood friend. His eccentric mother, Mrs.Barbour, runs a stagy household of formal meals and parties, where each family member has an expected role. And, as the expendable outsider, Theo desperately wants to fit in. Neither Pip or Theo know if these frosty women really care.

Then, just as Theo learns the family will adopt him, his long-lost father appears to take him to Las Vegas. Pip's barely started his apprenticeship, when a lawyer appears to take him to the city for a new life. Both of these changes have disastrous effects. Pip's descent into debauchery introduced by his dissolute roommate, includes expensive liquor, foppish clothes, and dinners with actresses. Unsupervised in Las Vegas, Theo meets Boris, a teen stoner, who introduces him to alcoholism, drugs, and shoplifting.

Pip's existence as an ersatz gentleman erodes his sense of identity and values. He acquires a cursory education for his new station in life but has no real purpose. Even spending money gives Pip decreasing pleasure, since it can't buy him the status he needs to win his beloved Estella. His hopes to establish himself also mean he divorces himself from Joe, the simple blacksmith.

Similarly, in Las Vegas Theo finds his old prep school jacket literally no longer fits. He's educated to be a "player," a gambler like his father, whose mystic philosophy of winning works, until it doesn't.  Boris, like Pip's roommate, is a dissolute influence. With no mother or real home, he teaches Theo streetwise ways to survive parental neglect. Crime acquires a certain legitimacy and glamour for Theo, until his father's loan shark comes calling.

When he dies, Theo flees to New York and ends up living with Hobbe in the Village. Like the blacksmith, Hobbe is a master craftsman, skilled in Antiquarian furniture. Both men are good natured with earthy appreciation of food and company. They serve as emotional anchors for Pip and Theo, who know they can always find a home with them. As a boy who suffered huge loss, Theo was attracted to the permanent feel of old things in Hobbe's shop.  As a man, he takes over the business side of the firm. Yet his duplicity, like Pip's, hurts his mentor.

A curious invention in The Goldfinch is Tartt's Pippa, the girl Theo loves. In some ways, she's a female Pip. Orphaned and raised by Hobbe, as Pip was by Joe, she is his counterpart in pragmatism. Though physically damaged by the blast, in which she lost the ability to become a professional musician, she seeks a stable life. Theo sees Pippa as his better self. But he is only her twin in having lived through the blast and lost a parent. But, where Pippa wants the salve of simplicity, with Theo there is only the recognition of trauma. Theo comes to understand his obsession with her (like Pip's for Estella) is due to the strange fact that her appearance at the Museum and his mother's loss were simultaneous. He experiences her purity and goodness as what's lost to him.

Theo plays out scenarios of dislocation and destruction. He desperately wants love but experiences estrangement. Possessing The Goldfinch, a painting beyond value, makes him feel complete. When 13 year old Theo first woke up in the devastated museum, he put the painting in a shopping bag to protect it. But when he fled with the bag, he unwittingly became an art thief. The 16th century work is of a bird chained to a stand. Though the bird's captive, the painting's luminous with a transcendent quality. For Theo, it's the last tie to his mother. He hides it for years, becomes afraid to look at it but the secret of the hidden painting separates him from everyone--except Boris.

Pip's secret benefactor, a reformed criminal, is also like Theo's Boris. Both are shadow "others" to their heroes. Boris is a kind of doppelganger, who likes girls and money, but is most happy when in danger through some business. In Boris' lack of limits with alcohol, drugs, risk, Theo sees a reflection both scary and attractive. Boris lives life with a connection Theo lacks but a self-destruction he understands. The difference is that while for Boris criminality is how he's survived, Theo knows his grand theft of the painting began with good motives.

Nevertheless, Theo's continued possession makes him duplicitous to himself. Outwardly his work and residence with Hobbe are stable. Yet his secret creates emotional distance and the need for constant manipulation. Playing to other's expectations, Theo becomes a gifted salesman. Then, favoring his "father's half," he does duplicitous deals to save Hobbe's business. His good intentions through bad means are echoes of Pip's risk of prison to save his benefactor. Pip thinks of nothing but to repay the man's generosity

Honesty and crime are muddled in both stories, not unlike Boris' beloved Dostoyevsky. In THE GOLDFINCH, the reader experiences with Theo how intentions can be viewed differently, depending on the circumstances in which a person finds himself. Boris and Pip's patron, the former convict, are both criminals and benefactors. They echo the theme of good intentions through bad means that follows Theo from his theft. In addition, the blame Theo feels for his mother's death colors all that follows. When Theo and Boris learn the Goldfinch is stolen by a gang of art thieves, they engage in a violent attempt to recover it. Not so amazingly, Theo's focus is now on preservation over possession.

At the end of THE GOLDFINCH, Theo, like Pip, finds himself much the wiser in a better life. For Theo, redemption, business and personal, brings a strange peace. This novel is smart and entertaining. Glad it got the Pulitzer.


Victoria Hetherington's novel, I HAVE TO TELL YOU ( will, I am sure, appeal to young single people in the working world. I  liked the Edie conversation in the beginning, where the girl skewers the guy about liking self-destructive women. I also liked the sexiness of the novel. 


Wednesday, July 30, 2014

LAY IT ON MY HEART & TO KILL A MOCKINGBIRD are told by small town kids who struggle; one with extreme evangelism, the other racism.

Harper Lee's classic novel, TO KILL A MOCKINGBIRD, revealed the underbelly of racism through a young girl's narrative of injustice and hypocrisy in a small southern town. Something similar happens in Angela Pneuman's new novel, LAY IT ON MY HEART, (July, Houghton Mifflin Harcourt), where Charmaine Peakes, a 13-year old raised in an extreme evangelical Kentucky town, struggles to reconcile her family's belief and the town's moral purpose with the downward spiral of their lives. Amazingly, this novel manages to be funny about the serious stuff.

That she is the granddaughter of the iconic prophet of East Windsor, whose "great awakening" attracted people to found the town, gives Charmaine a special status. But more important to her is the fact of her father's prophetic gift. He's revered by the town as a man close to God, whose writings are inspired. Charmaine wishes he had more time for her, though she accepts that he's "different" and struggles to fulfill his expectations.

Among these is the prayer without ceasing. While her father's been in Jerusalem, Charmaine tries to master this practice but finds it difficult. Continual prayer is supposed to be so automatic, it's under your thoughts and words. Yet no matter how she tries, she loses the thought and experiences no sense of the Holy Spirit. She wants to succeed to be close to her father. Not yet, she thinks on the way to meet him at the airport.

He's written her mother, Phoebe, that he's received a new direction, which she says is probably a series of articles. Charmaine, like her mother, is leery of revelations since the one to " live on faith alone," which meant he quit his job. Except for her mother's secret seamstress work, they would have lost their home. Charmaine prays to be strong enough for whatever course God has chosen, hopefully not incessant poverty.

At the airport, she hardly recognizes her father in the gaunt man wearing filthy tattered robes. Dazed by his surroundings, David barely greets his family and Charmaine can't help being embarrassed by his smell. That he immediately heads for their cabin by the river, is also disappointing, Charmaine and her mother can only hope that he will eventually come home.

Charmaine also worries that he's wandering in the dark, wrapped up in ceaseless prayer. This proves prophetic, when he stumbles into poison ivy, tries to kill the itch with bleach, and ends up in a hospital ward with serious burns. Then his possession by the Lord disappears, along with his ceaseless prayer, when a psychiatrist gives him medicine for manic depression. The prophet becomes a stranger, even to himself.

Phoebe is stunned by the idea of mental illness. She tells Charmaine the old story of how her father proposed marriage because God told him to marry her. When he recovers, he'll come to himself, she says. In the meantime, Phoebe gets a job as a substitute teacher, rents their house, and moves them to the cabin by the river, really a small trailer on a cement foundation surrounded by logs. For Charmaine this is a huge loss. Not only can't she visit her father but she has to leave her room and most of her possessions to a pompous missionary boy.

She begins 7th grade possessing a cat and some old clothes. Worse is the loss of
privacy in the claustrophobic cabin. And, as they sink into the struggle for daily survival on substitute teaching gigs, food is scarce. McDonald's is a luxury, when they scrounge coins for gas. So Charmaine takes the school bus, where her identity is constantly challenged from sexual teasing to Jesus Freak labels. But she's got a kind of internal discipline, viewed as "uppity," to withstand much of this, and she makes a couple friends.

For them, her father's absence is business as usual. Tracy's father started another family and stays when he feels like it. Kelly Lynne, the beautiful would-be cheerleader, never sees her divorced father, while her mother keeps starting over with new husbands. Charmaine is clear that divorce does not apply to her parents. Her father is ill and will come home. Yet she hears Phoebe, her confidant in close quarters, talk about how she never thought to doubt him. He was God's own and a wife was to "cleave" to her husband in all ways. She bitterly calls herself a fool. Charmaine doesn't say that cleave has two meanings, to tear apart and to stick together.

Charmaine's pastor asks her to choose people to "Lay on her heart" and she chooses her friends. They are not of her faith and she's questioning all she's been taught to accept. There's putting God first, when she doesn't feel a connection, and her father's prophecy may be mental illness, and the evils of lust, when she sees how repression in one townsman led to a twisted life. And while she respects the charitable values of her community, she dislikes the pity that's replaced reverence and the fact that financial aid hinges on her father's recovery.

In LAY IT ON MY HEART, Charmaine's foundation of belief cracks open with the reality of her father's mental illness and the hypocrisy of her community. Like Scout, she develops uncompromising honesty. She keeps faith with what she has experienced. At the end of the book, she climbs a water tower and looks down at all the places of her childhood. The police lights converge to rescue her but Charmaine has already rescued herself. She has found a place, where inspiration and sanity are one.


Thursday, July 3, 2014

PARADISE GARDENS Chapter 25 Janet McCarthy Loses Herself & Finds Her Right Mind,


Paradise Gardens- Chapter 25- Year 3012, the Underground and the Surface

Janet McCarthy Loses Herself and Finds Her Right Mind

Janet thought of the strange dissolution of her family. They became uncommunicative, then absent, transferred to various branches of Rudimental Life. Confidences grew shallow, limited to protect state security, and reunions were further strained by the reconditioning process. Her parents lost vital areas of memory; first a lessening of feeling about the past, a reordering of its meaning, and, finally, the erasure and substitution of whole events. Not me, it will not happen to my pristine mind, she thought. The day she left the co-op, she wrote on the wall of her room, “The feeling for what ought and ought not to be grows and dies like a tree, and no fertilizer of any kind will do much good.” Einstein offered the only explanation for her flight her family might understand, if not thwarted by dissolving identity.
She could never tell the truth; that she’d left the corporate entity for a group of dissidents dedicated to the preservation of unadulterated information. The change was swift. Within days, she went from writing insurance policies to chronicling the end of the old city government. Where was that document, written at the suburban center in the town of White Plains, NY?
She tried to remember its contents, but could only visualize a large 1970’s modern house with a cathedral ceiling and a finished basement. In that cozy room, she had left her unfinished narrative of the war. “Warfare cannot be humanized, it can only be abolished.” More Einstein filled her memory with the idealism of working to keep information free. Safe on the roof, she had watched the fires of the burning city the night the business colonies pressed for victory over the Old Federal system. Smoke looked white in the searchlights of the Times Square Project. Peace was declared amid riot police, state troopers and national guardsmen. Later, in a televised prayer, all put aside their arms and pledged their loyalty to the new U.B.E.
Janet’s group, in league with sympathetic employees, spirited themselves into the new business estates. I.D. papers of lost relatives and co-workers were transferred and they assumed new positions, some after physical alteration. They worked for a future other than that imposed by the U.B.E. But Rudimental Life was too accurate in assessing employee capabilities. She would soon be apprehended among her group of informational rebels. To remain at large, she found an unlikely occupation in a far-flung corner of the estate. When she came across the request for the wife of a cement-worker, she quickly transmitted her own interest in the position. In that identity, she had journeyed to Indiana and married Frank Robinson.
But she didn’t want to think about him now. Affection mingled with the fear that her mind was not her own. With tremendous effort, she changed the course of her memories to an announcement of the new government heard via the first broadcast of the noon news. There was spokesperson Jack Elderly passionately declaiming a global entity without state or national boundaries, which offered economic haven for the troubled peoples of the world. The helmet was having an effect. Her upset feelings were soon evened-out. A moment of bliss and she remembered…what?
It is strange to reach the last chapter of this serial, a book that began with dreams in the 1980's and a book about the passage of medievalism to capitalism. I thought to reverse that in a future world.  At that time climate control and it's consequences were in the realm of speculative even "paranoid" fiction. My work was inspired by the tradition of the cautionary tale, like Upton Sinclair's "IT CAN'T HAPPEN HERE."  PARADISE GARDENS was written for decades, until my final version, with Kelli LaPointe's editorial direction, for Maglomaniac. Hope people will download this cautionary tale, now that reality has caught up with dream life.  A part of me thinks a book can change the direction of a culture, or contribute to a new direction, when it's on target.  Another part thinks all books are words blowing in the time space continuum, until a different path opens up. Then a book can seem a quaint artifact from a bygone era, like 1984 as a cautionary tale about Fascism. But fascism reoccurs as does medievalism, even reinvented in a corporate future world.  
Thanks if you've followed the Serial of PARADISE GARDENS. If you're curious, below is a synopsis of the novel.

Scroll down for 80 sec reading. I'm last one on page. Thx.--SW

Weinstein’s PARADISE GARDENS is an Orwellian dystopia, set in a near future world where the Federal government has dissolved amid ecological breakdown. Corporate business flees to an underground colony, PARADISEGARDENS, the home of the United Business Estates (U.B.E). Left behind are the Unconnected, people outside corporate protection. In the U.B.E. employees are conceived as Superior or Average. Capitalism has devolved into feudalism.
The novel is suspended between the settings of 2250 in New York City and 3011 in the Underground U.B.E. Chapters alternate with a revolving cast of characters determined by the Psychologicians, the priestly class that manages the civilization’s data base. In this cautionary near-future, Upton Sinclair’s classic It Can’t Happen Here, has happened here. It is a vision at once strange and familiar. The recognition it brings is a dark pleasure.

Brandon Melendez, Publisher, Maglomaniac