The murder of innocent civilians in Paris attributed to ISIS is an atrocity to be sure, but sadly it is one more event like so many others throughout history. Atrocities against innocent victims, whatever the motivation are a disturbing part of the history of humankind. Greed for land, resources and power, acute differences in spiritual beliefs, lack of trust and the egomania of leaders who feel they must impose their will to 'civilize' others, fill the history books. And often the history books portray the victims as deserving of the atrocities, and glorify the perpetrators as advancing the cause of civilization.
The crusades sent soldiers, with the approval of religious leaders, to make war against the 'infidels' in their homeland. And a little known sidebar is when English crusaders were sent to Ireland to rid the land of 'heathens'. History is rife with examples of genocide, extermination, annihilation, imposed famine and disease and forced removal of indigenous people. Man's inhumanity to other humans has always been with us, and does not seem likely to go away anytime soon. It is a sad commentary, and I wish I had an answer. I don't. But one place to start would be to have history books tell the whole story of figures like Henry II, Strongbow, Christopher Columbus, Cortez, Pizzaro, Elizabeth I, Oliver Cromwell, Thomas Jefferson and Andrew Jackson.
The so called advancement of civilization has been achieved by a long string of barbarous acts.
SAD
Sunday, November 15, 2015
Monday, November 9, 2015
I Don't Get It
I know this is a little off message for what this blog is all about, but I feel the need to say it.
When I was in the work place (and I was for 50 years) I got paid for being on the job. I didn't get paid for being somewhere else looking for another job. So what I'd like to know is this:
Are the current Governors, Senators, and any others who are paid by the tax payers and that are running president, still collecting their salaries? I mean, how can you govern New Jersey or legislate for Vermont or Florida or Texas from Iowa or New Hampshire. If they are not on the jobs they were elected to, why should they be paid?
Most employers would dock their pay, and some companies might even fire them if they were not doing their current job and were out looking for another job and still collecting their pay.
How can we trust anyone who cheats their employer and has not the decency and ethics to suspend their salaries when they are not on the job?
I just don't get it.
When I was in the work place (and I was for 50 years) I got paid for being on the job. I didn't get paid for being somewhere else looking for another job. So what I'd like to know is this:
Are the current Governors, Senators, and any others who are paid by the tax payers and that are running president, still collecting their salaries? I mean, how can you govern New Jersey or legislate for Vermont or Florida or Texas from Iowa or New Hampshire. If they are not on the jobs they were elected to, why should they be paid?
Most employers would dock their pay, and some companies might even fire them if they were not doing their current job and were out looking for another job and still collecting their pay.
How can we trust anyone who cheats their employer and has not the decency and ethics to suspend their salaries when they are not on the job?
I just don't get it.
Thursday, November 5, 2015
Who Can You Trust?
One lesson in history is particularly true with the Irish and the Native Americans. Be careful of your allies. The lies and betrayals are many.
The Irish in the 17th century allied with Royalists to fight against Cromwell's Parliamentarian New Model Army. Money raised by both sides in the English Civil War came from 'adventurers'. The debt was repaid with Irish land. Lucky enough to survive the battles, and avoid slavery, many Irish soldiers returned to what was once their home to find that their land now 'legally' belonged to some English Earl. And once victory came through Cromwell's terrorism, Irish Catholics were removed and pushed west of the Shannon River.
.
Likewise, later in the American colonies, what the history books call "The French and Indian War" took place with similar tactics. The war was actually between the French and the English, both of whom coerced natives tribes to join them. And like in Ireland, the tribes were not rewarded, but driven from their land, which was given to white settlers. Andrew Jackson, like Cromwell, mandated the removal of the tribes from the Southeast, and forced them to move west of the Mississippi River. (And he never asked permission from the native tribes who had lived there since ancient times.)
So beware of your enemies, and keep a close eye on those who say they are your allies.
The Irish in the 17th century allied with Royalists to fight against Cromwell's Parliamentarian New Model Army. Money raised by both sides in the English Civil War came from 'adventurers'. The debt was repaid with Irish land. Lucky enough to survive the battles, and avoid slavery, many Irish soldiers returned to what was once their home to find that their land now 'legally' belonged to some English Earl. And once victory came through Cromwell's terrorism, Irish Catholics were removed and pushed west of the Shannon River.
.
Likewise, later in the American colonies, what the history books call "The French and Indian War" took place with similar tactics. The war was actually between the French and the English, both of whom coerced natives tribes to join them. And like in Ireland, the tribes were not rewarded, but driven from their land, which was given to white settlers. Andrew Jackson, like Cromwell, mandated the removal of the tribes from the Southeast, and forced them to move west of the Mississippi River. (And he never asked permission from the native tribes who had lived there since ancient times.)
So beware of your enemies, and keep a close eye on those who say they are your allies.
Saturday, October 10, 2015
Why not me?
Been off line for a while pondering many things. One ponder was asking myself, 'What right do I have to write about Irish history?' I've yet to travel to Ireland. I am only somewhat confident that I even have Irish DNA in my bones. Am I an intruder? Will I come across as the proverbial 'Ugly American' assuming entitlement to having my work accepted by Irish and Choctaw peoples? Will they be offended by my invasion into the privacy of their culture?
My research has occupied more time than my writing and what I've learned has only added fuel my passions for my topic. Reading history, I accept that most of it was written by people who weren't there about things which may or may not have happened. And my work is characterized as 'historical fiction'. So, 'Why Not Me?' I have been disciplined enough to understand misappropriation and have worked hard not to fall into that trap. Some historical fiction can can be misconstrued as 'accurate' and perpetuate dishonoring certain cultures through clumsy writing by uncaring authors.
As I cluttered my creativity with these ponderings, once again, my muse of serendipity came to my rescue. Random searching with the TV controller landed me on a PBS 'American Masters' presentation already in progress. The focus was on an American playwright, August Wilson. With biracial parents, i.e., only 'half black', he went on to pen a series of plays that have been called the 'capturing of the African American experience'. His plays have become world famous and been awarded the highest honors in theater. With only half of him considered African American, he has been accepted as the spokesperson for the total experience of the black race in our country. Some of his early works were scorned by the critics, but scholars later recognized his brilliant understanding of that segment of American culture.
Wilson had the passion to understand and the talent to articulate the high and low points of the black experience, and earned the respect of all races. So, why not me?
Yeah, why not?
My research has occupied more time than my writing and what I've learned has only added fuel my passions for my topic. Reading history, I accept that most of it was written by people who weren't there about things which may or may not have happened. And my work is characterized as 'historical fiction'. So, 'Why Not Me?' I have been disciplined enough to understand misappropriation and have worked hard not to fall into that trap. Some historical fiction can can be misconstrued as 'accurate' and perpetuate dishonoring certain cultures through clumsy writing by uncaring authors.
As I cluttered my creativity with these ponderings, once again, my muse of serendipity came to my rescue. Random searching with the TV controller landed me on a PBS 'American Masters' presentation already in progress. The focus was on an American playwright, August Wilson. With biracial parents, i.e., only 'half black', he went on to pen a series of plays that have been called the 'capturing of the African American experience'. His plays have become world famous and been awarded the highest honors in theater. With only half of him considered African American, he has been accepted as the spokesperson for the total experience of the black race in our country. Some of his early works were scorned by the critics, but scholars later recognized his brilliant understanding of that segment of American culture.
Wilson had the passion to understand and the talent to articulate the high and low points of the black experience, and earned the respect of all races. So, why not me?
Yeah, why not?
Saturday, August 29, 2015
Irony or Vengeance?
For the past 60 years or so, I've explored, studied and been ashamed of the injustices the white invaders of our continent, nay, our hemisphere have imposed on the indigenous cultures and civilizations they found here. The history books mostly say, 'discovered', sometimes say 'conquered', but seldom say 'invaded, annihilated or destroyed.
The character currently emerging in my novel is a Pequod. His name translates to 'enters quietly'. His character and behavior match his name and give credence to the plight of his people. He comes to the story with a history of being defeated and enslaved. His survival depended on his acceptance of his situation, and the flexibility to adapt. He realizes that self pity weakens the spirit and drains the will to survive. Matty has much to learn from the heretofore silent Pequod.
The Pequod or Pequot, were warriors. Their very name translates to 'destroyers' They are a sub tribe in the Algonquian nation. Warriors know that to win, you must be brave enough to suffer. And suffer they did. At the hands of the English settlers, and their Mohegan enemies. Overwhelmed in battle, the survivors enslaved, the stoic nature, strong spirituality and self image of defeated warriors, guaranteed the Pequod future. A guarantee that did not come easy or quick.
Piyo, in my story, lives in the 17th century. The strength and tenacity of his blood line, over time, were compensated after many trials, with recognition of their land losses and a cash settlement in 1987. Reaching an agreement with the state of Connecticut, finally in 1992, the Foxwood Resort and Casino opened and soon became more profitable than any casino in Las Vegas or Atlantic City.
Vengeance? Entitlement? Your call.
My take: The land greed of the white invaders led to the near demise of the Pequod. Now the Pequod profit from the continuing greed of those who want instant gratification for themselves alone.
I'm going with 'irony'
.
The character currently emerging in my novel is a Pequod. His name translates to 'enters quietly'. His character and behavior match his name and give credence to the plight of his people. He comes to the story with a history of being defeated and enslaved. His survival depended on his acceptance of his situation, and the flexibility to adapt. He realizes that self pity weakens the spirit and drains the will to survive. Matty has much to learn from the heretofore silent Pequod.
The Pequod or Pequot, were warriors. Their very name translates to 'destroyers' They are a sub tribe in the Algonquian nation. Warriors know that to win, you must be brave enough to suffer. And suffer they did. At the hands of the English settlers, and their Mohegan enemies. Overwhelmed in battle, the survivors enslaved, the stoic nature, strong spirituality and self image of defeated warriors, guaranteed the Pequod future. A guarantee that did not come easy or quick.
Piyo, in my story, lives in the 17th century. The strength and tenacity of his blood line, over time, were compensated after many trials, with recognition of their land losses and a cash settlement in 1987. Reaching an agreement with the state of Connecticut, finally in 1992, the Foxwood Resort and Casino opened and soon became more profitable than any casino in Las Vegas or Atlantic City.
Vengeance? Entitlement? Your call.
My take: The land greed of the white invaders led to the near demise of the Pequod. Now the Pequod profit from the continuing greed of those who want instant gratification for themselves alone.
I'm going with 'irony'
.
Wednesday, August 19, 2015
The Challenge of Historical Fiction
When I opted to start writing about things of interest and a passion to explore, I was not aware of the impact that the research would have on me. Having read other historical fiction works, I was both inspired and dismayed. Talented authors wove the lives of their fictional characters into the times, places joys and turmoils of an era. My favorites include Follett and Llewellyn. Reading their books is both an adventure and an education. Others I've read do neither. Ignoring plot continuity and with no commitment to avoid misappropriation, their works are quickly forgotten.
Each character that I invent for my story opens yet another research quest. From what culture did they emerge? How did they come to be in my story at this point in history? What did they bring to enhance the major focus of my work? How are they dressed? What do they eat? What can they do? How does that help or hinder my protagonist?
I have invented some characters and invited them into my story only to find there is really no place for them to help my story move forward. So, I fire them. But I do not completely discard them. I must have had a reason to invent them and perhaps they belong in another story that has not yet risen from my subconscious. Let those discarded characters join others and perhaps their interactions might invent yet another story. That is not really a new concept.
Luigi Pirandello explored it in his absurd metatheaterical, 'Six Characters in Search of an Author'. So I keep a character development file.
Writing historical fiction, for me, demands respect for the characters, and the actual historical figures that influence the fictional character's behavior. I always ask, is there anyway possible way for my character to interact with someone from the history books? I go deeper than 'Wikipedia'. There are so many other , more reliable sites to drill into. Libraries, and my own book collection, an ever growing source. And conversations with real people when ever possible, is on my agenda. The value of face to face conversations is incredible. One good contact usually leads to two more. Examining resources from museum curators, the Library of Congress, Facebook friends and academic stacks occupy as much time as the actual writing of words into the story. I have perused rare books and found access to depositions of people who allegedly witnessed the 'massacre of 1641' in Ulster.
So my approach to historical fiction is focused more on my personal thirst for learning and crafting a logical story that fits the times and a plot that has continuity and becomes a learning experience for the reader. More that than on finding a gimmicks to get past an agent's gatekeeper who only scans first pages before tossing a work into the scrap heap or worse, the circular file.
So, considering historical fiction in the literary genre? Be prepared for hard work, and a learning adventure. Searching for quick success?, Look elsewhere.
Each character that I invent for my story opens yet another research quest. From what culture did they emerge? How did they come to be in my story at this point in history? What did they bring to enhance the major focus of my work? How are they dressed? What do they eat? What can they do? How does that help or hinder my protagonist?
I have invented some characters and invited them into my story only to find there is really no place for them to help my story move forward. So, I fire them. But I do not completely discard them. I must have had a reason to invent them and perhaps they belong in another story that has not yet risen from my subconscious. Let those discarded characters join others and perhaps their interactions might invent yet another story. That is not really a new concept.
Luigi Pirandello explored it in his absurd metatheaterical, 'Six Characters in Search of an Author'. So I keep a character development file.
Writing historical fiction, for me, demands respect for the characters, and the actual historical figures that influence the fictional character's behavior. I always ask, is there anyway possible way for my character to interact with someone from the history books? I go deeper than 'Wikipedia'. There are so many other , more reliable sites to drill into. Libraries, and my own book collection, an ever growing source. And conversations with real people when ever possible, is on my agenda. The value of face to face conversations is incredible. One good contact usually leads to two more. Examining resources from museum curators, the Library of Congress, Facebook friends and academic stacks occupy as much time as the actual writing of words into the story. I have perused rare books and found access to depositions of people who allegedly witnessed the 'massacre of 1641' in Ulster.
So my approach to historical fiction is focused more on my personal thirst for learning and crafting a logical story that fits the times and a plot that has continuity and becomes a learning experience for the reader. More that than on finding a gimmicks to get past an agent's gatekeeper who only scans first pages before tossing a work into the scrap heap or worse, the circular file.
So, considering historical fiction in the literary genre? Be prepared for hard work, and a learning adventure. Searching for quick success?, Look elsewhere.
Tuesday, July 28, 2015
Turned the Corner
The novel has turned a critical corner. Matty, my protagonist, is casting his lot with the Chahta. As I invent his further challenges and accomplishments, I ponder a title for the work. The most fitting title, "The Dispossessed" has already been used. A line from W.B. Yeats' poem, "The Curse of Cromwell", laments, 'Oh, What of That?' Taken out of context, it has little impact. Other titles considered revealed clues of the outcome of the story, so they didn't make the cut. The Rowan Tree is an important symbol, and may find its was into the title. For Irish History buffs, I've considered, "Goslings Too Shall Fly" or "Celtic Diaspora". Lots of others are on the table.
I find it interesting that as I invent the story, title options are revealed to me. I take on the role of the messenger who must note the story my characters are telling me. This never happened while writing poetry. I am in command of that genre, but the novel has taken on a life of its own, and the characters residing in my brain direct me to get their way. I struggle to still retain some modicum of control.
So as Matty embarks on the final chapters of the book, (or the final part of the final book in the series). The tempo will shift, the maturing process and exposure to a new culture will result in a more contemplative character whose survival skills will change his knowledge and experience to wisdom. Making wise decisions is critical. . . . .
I find it interesting that as I invent the story, title options are revealed to me. I take on the role of the messenger who must note the story my characters are telling me. This never happened while writing poetry. I am in command of that genre, but the novel has taken on a life of its own, and the characters residing in my brain direct me to get their way. I struggle to still retain some modicum of control.
So as Matty embarks on the final chapters of the book, (or the final part of the final book in the series). The tempo will shift, the maturing process and exposure to a new culture will result in a more contemplative character whose survival skills will change his knowledge and experience to wisdom. Making wise decisions is critical. . . . .
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