Tuesday, October 6, 2009

TEXT: The Boy in San Cristóbal



“I walked to the end of the street where it turns and came back. Right away. I didn’t want to get in trouble. I reached the end of the street, the church bell sounded, and I took it as a sign to come back and take it like a man.”

“I came back three times.”

When he was five the boy had been on a white sand beach in Mexico with his parents, both parents. It had been a hot day. He remembered seeing a boy who sat under a palapa in a black bucket filled with water. His mother had known the other boy’s family—they were both from DF. He and the frail, sickly boy in the bucket spent hours staring at the bloated whale lying belly up just over the hump of the beach. The sad waves eased up to the fly-coated skin of the beast. A fishing boat appeared suddenly and a few men ran a smaller boat up onto the sand in front of the whale.

One of the men walked directly up the lower jaw, past the throat, to roughly the chest between the wilting caudal arms. The man wore shorts and a rounded machete. One of the hosts arrived in a Land Rover. He yelled at the fisherman as he was drawing his machete slowly down the belly of the whale. The deep purple skin of the whale parted like two waves receding from sunset pink sand.

The host kept yelling. The fisherman shrugged with the springy knife and walked back toward the head along the three inch deep cut. Each footstep on the whale made a sound like pants ripping. Until he reached the fins. One side of the flesh began to tear away, slowly lowering the fisherman to his knees on a pile of blubber and flies. Rotten muscle opened threadbare onto the whale’s flat ribs releasing gas in fits of flatulence and spray. But no blood.

When the animal’s side ripped open the guests returned to the house and pool. The boys reluctantly went with them.

Next morning he walked with his mother toward the beach. Along the path through the trees they could hear the screech of birds that echoed from the shore they couldn’t see nearly a half mile away. As they neared the beach he squeezed his mother’s hand. From behind the trees it sounded like they were surrounded by the birds on all sides. They could hear men yelling.

“What are we doing here, hijo?” his mother asked as they crested the lip of the woods and stepped into the grassy sand on the edge of the beach.

A wave crashed. For a moment it drowned out the cries of the birds. The wind swirled above the beach and the blood soaked birds swirled with it in invisible cylinders sometimes somersaulting midair with their legs spread wide and their dark eyes panicked.

The men who worked for the hosts were wading up to their calves in cherry black coagulation. The whale’s body had been dragged away from them by the surf and was turning over in the pink froth of the waves. The gulls were scratching through the dark blood on the sand. Some were floating in pools.

Two men scooped whale’s blood with the sickly boy’s black bucket and walked it half-full to the water where they emptied it into the trash-swallowing ocean.



Both parents had been alive and now neither was. He knew how his mother had died. Cancer of the throat. She hadn’t smoked a day in her life, but somehow she contracted a smoker’s cancer that had strangled her and cut chunks out of her beautiful, long neck and eventually spread to her spinal column where it took over the bone and turned it to mush. For the last months she had worn a neck brace with pins driven into the remaining solid bone structure and a shunt that allowed them to administer pain killer into her cancer hole. Every time he thought about her he could see her deterioration pass by like the time lapse life of a lily flower, deflating with the pesticides they poured into her cancer hole, the white petals withering, turning grey, then black and hanging deformed in death.

He could not picture his father’s death. It was a fact, not an event. Furthermore, it was a binary fact.

“Is your father alive or dead?”

“He is dead.”

“How did he die?”

“I don’t know.”

“Did you live with your father?”

“I was mostly away at school.”

“Where did you go to school? In the States?”

“Yes. St. Parmenides in Chicago.”

“Oh, I see.”

“You don’t know it, do you?”

“No, I don’t.”

“I didn’t think you would.”

“Do you miss your father?”

“That’s a strange question.”
--

“My father went to St Parm when he was a kid.”

“Oh, it must be a very good school.”

“It is.”

“What did your father do for a living?”

“He worked for the government.”

“In what capacity?”

“He worked for the Army before I was born.”

“He was in the Army.”

“No, he worked with them.”

“That’s putting a fine point on it for one who doesn’t know what he did.”

“He corrected me, too. What are you going to teach me?”

“What do you want to learn?”

“Can’t you give me a list of what you can teach and we can go from there?”

“Shorter list, eh?”

“Why say that?”

“It’s what is in your mind.”

“You don’t know what’s in my mind.”

“No, I guess not. Why don’t you help me?”

“Why don’t you help me?”

At one point he was in a humid sophomore fall semester in Chicago. At the next he was in the head of school’s office hearing the procedural litany of how he was going to Mexico to live with El Patroncito. With Don Arsenio Berardo de la Barca of San Cristóbal de las Casas in Chiapas, Mexico. Nearly all the way to the Guatemala border.

“Of course I want you to know that you can count on us for support. As a former student you will keep your—“ Mr. Arai had grey hair and sad, puffy eyes like used tea bags. He was probably no older than his father—“a heart attack waiting to happen,” his father used to say. He had slimmed down since his father had known him, and had been the water polo coach for the school’s upperclassmen. The puffy eyes had stayed with him.

“A former student?” the boy interrupted.

“Yes, I’m sorry. There’s been no proviso for your continuation at St. Parmenides.”

“I see,” said the boy as he gathered his things in his lap. A pencil. “Is there any way you can talk with them? They probably don’t understand.”

“No, I don’t think they do. I have tried every route I can think of. I wouldn’t present it to you as a fait accompli if I hadn’t. I wouldn’t. But that’s what it is, my friend.”

He was twelve when his mother died.

He had been in the little Mexican city for about two weeks.

A dead cat. A quickly receding flood. A bank robbery abandoned when the getaway car fled early. An ongoing strike of resort workers. Things that would have been swallowed up completely in Chicago. San Cristóbal was small enough to allow small events to rise to the surface. Small events happened in San Cristóbal.

He had three years to let his mother go. Her family too had been mostly gone.

“You’ve had quite an uphill charge,” said Mr. Arai to the boy. “And you’ve done a commendable job.”

“Now—” the boy stopped.

“Yes, now this,” the baggy eyes searched for the boy’s words.

“Now…” Adara trailed off. “It may be that the trunks never make it here.”
Together they had found a store that sold clothing that suited him. Adara knew the shopkeeper, an effeminate man with hair bleached to straw. He tried on some Chilean jeans and picked out a number of plain t-shirts. They would last until his bags arrived.

Adara’s soft, thin brown hand appeared over the swinging door to the small fitting room. She waved a package of grey Calvin Klein briefs. He took them and tore on the dotted line.

“The others are done niño, really,” she said as she walked away. “I’m up front. Let’s go, okay?”

Though he liked to have all new clothes washed before he wore them, he peeled off his white briefs and pulled on a pair of the grey ones. They he put on his old clothes over the top. The ones he’d worn on the plane.

“Don’t you like them, brother?” asked the man as the boy came to the front of the store.

“Of course. I’ll take them.”

“What about a hat to go with them? You’d look great in this,” the effeminate man handed him a denim cap that looked like an oversized pincushion with a short bill. The boy froze.

“Bruno, stop it,” said Adara.

“It’s a nice hat.”

“Stop.”

Adara paid the man with crisp green notes. The boy followed her outside into the heat. The man leaned on the glass counter as he watched them leave.

They ate a corn and chicken tamale at the big market on the way back to El Patroncito’s house. A melon agua fresca. A bottle of Coke.

“You look hungry,” his father said. “Aren’t they feeding you in Chicago?”
He hadn’t known what to say. “I don’t know.” He didn’t feel hungry.

“I don’t know,” his father mimicked to himself.

They sat silent in the evening rush to the city. Stopped on the Beltway, their faces were lit red from a thousand taillights. Their heads haloed by the cars behind. His father’s brake pedal squeaked each time his foot rose. The car moved ahead to fill the void.

They both could picture her face and her bald head. With each squeak of the brakes he saw his mother blink. Blink her makeup darkened eyelashes, the sockets smeared like a raccoon’s mask. It was her old style, his father said. He didn’t care what she did, he said. It took unwanted attention from her sutured skull cap.

Tuesday, September 29, 2009

TEXT: The meeting with El Patroncito

They brought the dirty American to see El Patroncito at dusk when he woke. He was a fuckup. They had scraped him up from under a park bench near El Castillo in el Bosque Chapultepec, Mexico City’s Central Park. They had cleaned him, of course. El Patroncito had a sensitive nose. They had cleaned him with his clothes on and thereby cleaned his clothes, at the same time. There was no way to know what sort of illness they would have found under his belt. And fuck him, anyway. He wouldn’t live long. There’s only one reason to wake a dead man from Chapultepec Park: he can do a job no living man can do. And then, rest, rest your earned sleep.

After they cleaned his clothes and soaked his body they strolled him through Calle Gató—that was the code name that El Patroncito gave the street—he said the word was French—to dry out his underwear. But if it didn’t dry out, fuck it. As long as the old man didn’t smell it. They knew he would, so they circled the man who had been living in his own shit and vomit, they circled him around the back side of the square in the darkening buzz of the St Duales Day celebration. The rockets seemed to jolt the shit head like electricity was coursing his balls. They figured at least he’d be awake by the time they reached El Patroncito’s cantina. But the flashes never lit his face.

To steer the unlucky dead man, they took turns kicking him in the ass. Arjete kicked him left and Somnambulo kicked him right. They used the worst English word they knew to drive him on. They called him Bitch. Arjete had learned the word on an extended stay in DF.

Behind the little gymnasium, only three blocks left, the asshole completely froze up like a mule and dropped to his knees. Luckily Arjete was able to wave down a “deputy” in a pickup who offered them a ride. Both of El Patroncito’s men (who wasn’t El Patroncito’s man in San Cristobal?) grabbed the fuckup by the shirt and belt and slid him face down into the truck bed. He stopped short when his head hit the boards, but they reached over the side and made sure he was well up onto the scrap wood before Arjete wound a heavy chain around his waist and joined the others in the cab.

“Is he bleeding?” Somnambulo wondered. “He better not be.”

“I don’t know.”

“Where am I taking you?” the deputy asked.

“El Amarillo.”

“To the old man?”

“Yes.”

“You’re taking him there?”

“Sure. Why not?” answered Somnambulo.

“Better hope he isn’t lying in my dog’s shit. That’s the truth.”

They laughed. Arjete not as loud as the others.

“He can’t even talk, anyway. This is crazy.”

“If he has dog shit on him, I’ll shoot him.”

“Just say he shit himself again.”

“No, the old man can tell the difference, you know that.”

They laughed until they coughed.

When they got to the cantina, the deputy dropped them at the back door. Somnambulo pulled the chain to get him off the wood pile and it worked well enough to roll him all the way to the tilted tailgate. This was funny, too. The way his arms slapped the hollow metal of the bed like a drum. The slant of the gate dumped him at their feet in the dirt lot.

“Oh!” they laughed again, mocking him.

The brother of that whore Belinda brought out a load of trash as they laughed.

“You bring out that trash, bring in this trash,” said Somnambulo.

“And make sure he doesn’t have any dog shit on him,” added Arjete as he slapped Somnambulo on his broad, muscular back. The brother of the whore waited for the mesh door to clang shut before he made a move. Then he bunched up his long white apron like a dress and kicked the dirty American dead man in his hip with the pointed toe of his boot. The heavy chain slid slowly like a jungle snake out of the bed and onto the dead man’s head.

The deputy called for the chain. “Listen, put that chain back up in the bed, okay?” But the deputy didn’t curse him or his sister.

“Sure, why not?” said the brother of the whore as he coiled the heavy chain and pushed it toward the cab. He gave a wave of all clear to the deputy. “Buenas.”

“Si, buenas, and say hello to your sister for me.”

“Why not?” said the brother as he reached down to drag the American toward the back door of the restaurant.

Monday, September 14, 2009

Text: Cocodrillo returns boy to his home



“He was just walking,” said Cocodrillo as he guided the boy from the narrow colectivo van to the wooden doorframe where Adara was waiting. He patted the him into her waiting hands, making sure she had a good hold on him before he winked and jogged back to the van he’d left running.

“Your student doesn’t seem to like his school much.”

She was relieved to see him again. The little shit. She had been worried, but there weren’t many places in San Cristobal a 12-year-old guero boy could hide for very long. He was back and seemed to be in one piece.

For a moment the boy stepped into the sun pouring over the heavy stone wall opposite El Patroncito’s house. Cast in the withering orange light, she could see what the boy would look like when he grew up to be a man. Nervous and thin. Wrinkled forehead. Dark eyes under his dark brow. A bit of wave to his hair. Yes, he would be handsome if he made it to maturity. If he didn’t explode when his innocence failed to numb the potential of his passions.

She brushed the dried grass from his back and tousled the dust and spider webs from his hair. His eyes stayed low as if he were waiting to speak. Thinking of what to say. He must have slept on the ground. His clothing smelled like dog urine. She should change his clothes quickly and start the wash before Rosalita got to it. El Patroncito had a sensitive nose and Rosalita was just nosey. If she could get him clean and keep him out of sight until la comida they would have made it past the time during which the old man would ask, “Where the hell have you been?” La comida implied another set of conversations altogether. Neither she nor the boy would need to lie. It would be better that way. She needed to hurry.

“I wasn’t looking for cigarettes.” The tires of Cocodrillo’s colectivo padded up the narrow cobblestone calle and rounded the corner at the top. The boy’s head stayed still. Cocodrillo was heading to the market for fares to Chamula.

“I’m not questioning you, am I? Go straight upstairs and clean yourself up. Do I need to help you?” She looked for his eyes, but couldn’t reach them. He walked quietly past the bugambillas trunks and ranging cactus to the back of the courtyard and softly scaled the stairs. He was in the upstairs bathroom by the time Rosalia came forward from the kitchen.

“Is he out of bed yet? It’s almost ready, la comida,” said Rosalia motioning with melodramatic fatigue at the comal in the kitchen.”

“Yes, he is taking his bath. May I help you, Rosalia?”

“No, no. By god, what is left to do? Besides, the boy is taking his bath. We couldn’t have two miracles in one day. But, if you had asked—“

“Yes, too late,” Adara replied. “You need some help here, no? Things add up quickly. Two hands are not enough.”

“You have two hands.”

“I am the boy’s teacher, Rosalia.”

Rosalia was a relic of the greatness of El Patroncito’s family, and the influence it held over San Cristobal and the pueblos. Especially Chamula. Still, Adara resented the implication that she was anything other than the boy’s maestra.

“There is only one maestro in this house,” said Rosalia as she limped back to the kitchen. “Set the table if you are not too busy, Señorita. If you please.”

Thursday, July 30, 2009

Text: Ice Cream Truck intro, partial


The song was no song but it had been a song at one time. Nothing I had heard on the TV or on the radio or at my grandmother’s house. But it was music. It had been music once. I didn’t know many song names at that time. Only the funny ones or the ones that had their first line in the title. The song made me ache with something. I was too young to remember when the song had been a song. When the song had meant something to some people and how it had. I knew it was a happy song that was really a sad song. That much was clear even to a five year old.

I didn’t know what the song was supposed to mean. It was simple. It was loud. It was a signal to tell people something very simple. Something happy that was really something sad.

The song wasn’t about ice cream. The connections from the song were loose. The connections of the song were not flat and planar. This is why they create pain even for one so young. A pain that comes from void. A void of the connections before they are made or understood. On the surface the connections seem planar.

The song droned from the truck as it circled near. The humid air carried the song in sharp gusts. The song was more electrical friction than music. The truck’s speakers ground out the song and the song that is ground out carries furthest. The truck ground out the music and we heard it from a long way away. This was another connection. Somewhat linear. But the straight line connection of our ears and the song and the truck was complicated by the meaning of the song and the grinding of the speakers. The connection of the meaning to the song was further complicated by the lack of words. This is why the song hurts. It has no meaning on its own. And if there is no meaning in the one who listens, the force of the will to know recognizes the void that should be the connection. The void is recognized and created by the recognition. The void pulls meaning toward it. I could hear the music in the hot rusted metal handles of the merry go round. I could feel the meaning in my ears. They tickled with the vibrations of the ground out song.

I didn’t want to let go of the pump handle of the merry go round. I knew I couldn’t get money from my mother. I didn’t even want to ask. She was nothing at all for the ice cream truck and the guy who drove it. She’d seen him before and he could do nothing to right her capsized impression. He had fucked up royally, but he didn’t want to do anything to fix it for me. I didn’t have any money. I would only watch what other kids ordered and paid for.

“You don’t want that trash do you?” she asked.

“No. I was just wondering.”

The truck was a full white step van coated in its menu. It wasn’t the cost. She had the money. I wanted ice cream and I didn’t want it. It made me sick that I asked for it. I waited to the side as the other kids were processed through the line.

“Good, you don’t want that.” she had said and it rang through my head.

Sunday, July 12, 2009

Kali. Hmm.

A friend of mine who does a great deal of yoga mentioned the goddess Kali to me today.
I'm pitifully ignorant of Hindu anything and so it caught me pleasantly by surprise.
There is actually something out there that symbolizes a great portion of my narrative imagery. After an hour's reading I realized that in a screenplay I once turned the land of a future version of the United States into a Kali like figure.













Lucky Dog plot outline


  • Ice Cream Truck intro

  • The boy alone in San Cristo

  • Boy sees the Golem

  • "Trade La Fuente for some names."

  • Cocodrillo takes the boy home.

  • Adara tells the boy the Legend of the Golem


    • Adara's father knew the boy's father.


  • El Patroncito talks with LSPA: establish relationship and goal.


    • El Patroncito's purpose. Original statement.

    • Make up numbers yourself.


  • Operation Just 'Cause: The Invasion of Panama

  • a la feria Adara and LSPA talk about the boy as he rides the rides

  • El Patroncito talks with LSPA: el escogido


    • Discussion about the boy and possible connection to El Patroncito's goal.

    • El Patroncito prompts LSPA to use ICT for broadcast signature


  • Adara and the boy travel to Chamula


    • The Dogs of La Fuente's Chamula

    • The Talking Cross

    • "Find the OTP."

    • Adara tells the boy the story of La Fuente

    • and her muchacha india;

    • bisabuelo and la muchacha;

    • when a dog eats your soul.


  • Another appearance of Golem/Cliquero

  • El Patroncito talks with LSPA


    • The Death Ray


  • "El P is an agent of El Patrón"

  • The boy in Panama (LSPA's recollection)

  • "Molojov Coctele"

  • The boy finds the OTP in the parque.


    • not seen by the reader


  • Adara is an exploding coctele upon LSPA, making him miss the OTP.

  • The boy tells Adara that the Golem killed her father


    • The boy's hiring dream about LSPA and Adara


  • LSPA's time spent in DF waiting. Found by the Spook, from Op. Just 'Cause. The boy's father.


    • The River Teays and the early glacial age. Blurry vision of LSPA


  • Adara tells the boy the origin of El Patroncito (in trade for story about her father)


    • El Corrido de Martín Bachio (La Fuente's father)

    • Tesla and the Death Ray. The boy's father told him.


  • The in depth story of the fall of the Hacienda La Fuente


    • La muchacha india and Señorita La Fuente


  • The boy hunts dogs in San Cristobal


    • Watching the boy


  • "Slam arc on it. E" historic msg remembered by LSPA

  • "Some names."


    • the boy in San Cristobal

    • the boy in el Chorillo

    • The boy is killed.

    • The Golem is blamed.


  • Hunt the Golem.

  • "El Escogido"

  • El Cliquero = the Golem


    • El Cliquero of Panama


  • El Patroncito's true purpose. Admission.

  • Adara tells the story of Tesla and Marconi.


    • The story of Adara's father


  • El Cliquero hunts LSPA

  • Cocodrillo saves LSPA

  • "The world must end through you."

Tuesday, June 23, 2009

The Boy


The spring and summer have been crazy. Much of my time has been taken up with daily filler. Now my family--all of them--is away at camp for the next four weeks. I get to balance out searching for a job with jump-starting the book project. Even driving home from dropping the kids at camp, I was worried about dividing the time. But now I know that it's possible. Had a good, yet tired, day working on the new plan. Quiet meal at Little Saigon. Tomorrow back to the Ice Chamber.

I can feel the tectonic plate shifting. The elements have been there, just dormant. Swimming. Holding pattern.

Today I drew a diagram of the primary and secondary chars. It's funny, the Spy keeps moving further away from the center. Today: the boy, Adara, el Patroncito. They represent the hub. I don't know if this is the right direction or not. I'd like to create an abstract logic right away in which nearly anything could be plausible while still maintaining a human character-ization.

The boy needs Adara. She tutors him. Why does he have to live with anyone? What if he lives on his own? You see. I bury myself with the details of life when the story is stronger parallel to life. Tangent.

Sunday, May 31, 2009

Strands of Lucky Dog




SECTION ONE - El Niño


The boy’s past and fate.

The boy’s relationship to El Patroncito. He is curious (more so than in previous text)

Dogs in Chamula. Cocodrillo, the colectivo driver.

The boy’s relationship to La Fuente.

La Fuente’s home.

The Anglo and his Pill.

The ruins of Hacienda La Fuente and a baobab stump. The job of the Anglo: broadcasting random numbers via low power transmitter. La Fuente calls him a spy. The Spy.

La Fuente’s religious angle: mayan mysticism from her old muchacha.

The Talking Cross. La Fuente tells the boy an old mayan cross talks to her in a field.

The boy and the Spy become closer.

The Spy teaches the boy about the use of an OTP (cryptographic one-time-pad).

The boy’s teacher (Adara).

FLASHBACK {The truth about Hacienda La Fuente. El Bisabuelo (El Patron de la Fuente), his GOLEM, his beautiful muchacha india, his spurned wife. A horrific event. The great house burned to its foundations. El Patron is killed in the fire. The arsonist is his son in law. The girl El Patron wronged, his own granddaughter, is left to live in the waterworks of the old estate. She lives there alone with her old mystical muchacha. The girl becomes La Fuente. Their illegitimate son goes to live in San Cristobal to fill in his bisabuelo’s footsteps. The footsteps of El Patron. The boy becomes known as El Patroncito. The GOLEM roams free, loose of his Patron’s intentions.}

The boy’s father, AKA the Spook.

The boy and Adara. He prays for protection from the GOLEM at the Talking Cross. A pistol appears at the foot of the cross.

SECTION TWO – El Espia


Assassination in San Cristobal by the GOLEM.

FLASHBACK {The Spy’s memories of Invasion of Panama. El Escogido, The Chosen One. Who is the chosen and for what? Rescued by the Spook (the boy’s father) in DF}

The job and historical, electrical innovations in Mexico and not in Mexico

The new transmitter and its usage. FLASHBACK {The rest of the story: the Spy’s job in Chamula }

El Patroncito’s relationship with the Spy {El Patroncito’s relationship to the Spook’s job for the Spy}

Cocodrillo drives boy to San Cristobal in his colectivo. El Patroncito’s visit with the boy. {Story of la muchacha india, her soul eaten by a dog. La Fuente searches for her soul and protects the dogs in Chamula.}

The Spook arrives in San Cristobal, presses for more from the Spy, into the job.

The Pill, return of.

Adara’s “molojov coctele.” She steers the Spy advertently away from finding the OTP, como los jovenes in the parks. Overt connections to Panama, obvious to Adara

El OTP presente. Inside a dog hit by car in San Cristobal’s central park. Boy finds it. Aided by Cocodrillo.

The Spy seeks the OTP. Clues lead him back to Chamula.

The revenge on la muchacha through the dogs is El Patroncito’s manipulation.

Dogs in Chamula, dead. (some torn up “OTP doggie style”) La Fuente is dying, she has poisoned her dogs. She gives the Spy the OTP from the boy.

FLASHBACK {uncover the reason for the work the Spook has the Spy do. Chamulans use Spy’s made up numbers for Loteria. “Find the OTP,” says the Talking Cross.}

Talking Cross tells the Spy “Slam Arc On It. E.” Helicopters hang in the Chamula sky.

FLASHBACK {El Chorillo, Panama City, 1989. Experimental weapons test. The Spy’s invention, Ice Cream Truck, draws out a young boy into courtyard. Unexpected (to the young Spy) Death Ray melts the boy’s rescuing mother.}

Spy returns to San Cristobal. {Why was the Spook’s call sign “E?”} Cryptogram: “Trade La Fuente for “some names”.

SECTION THREE - El Cliquero


Mexican military hunts El Cliquero: the GOLEM. Pay for the death of the boy.

FLASHBACK {The boy’s death in front of El Cliquero}

Adara helps El Cliquero (she reveals she works with EZLN) {“The world must end through you.”}

El Cliquero and Spook. Learns of the Spook’s role in Panama.

El Cliquero matches PSYOP patch on yeoman’s fatigues to the Spy.

FLASHBACK {Origin of El Cliquero. Panama. Helicopter. The Spy’s invention: Ice Cream Truck. The Spook’s invention: The Death Ray. El Cliquero brought under Ice Cream Truck’s audio mind control. His mother killed by death ray. His face burnt by her melted flesh.}

El Cliquero’s wrath, his destiny. If he is a GOLEM, he is an accidental GOLEM. He chases the Spy.

Spy returns from Chamula with the true OTP.

Helicopter rotors reveal the truth. Slam Arc On It. E. {Spy’s POV. How does knowing this reveal what is in the Spook’s head? All along he has wanted to make contact with Nikola Tesla and G. Marconi locked away in their subterranean city hideout. }

The Spook is dead. {The GOLEM?}

Countdown to the Spy.

Mexican NASCAR. Colectivo driver takes a bullet for the Spy.

The Spy is caught in El Cliquero’s sights. Clicker: 000.

The Spy’s mayan sermon. Adara observes in slo-motion.

Who is El Cliquero?

SECTION FOUR


The Spy’s replacement message and multiple targets {DF, La ciudad subteranea de los Andes, the boy}

The Spy’s proposed journey to the Andes.

FLASHBACK {Origin of the Spook}

The GOLEM




There are underlying stories and there is a process of revelation through the present day action.

What are the underlying stories?


The story of Hacienda La Fuente.
The story of the Death Ray in Operation Just Cause, 1989.

What are the overlying stories?


An American spy is hiding from his past, and in attempting to avoid it, involves himself in something far worse.
A spy, a young boy, and a Mexican teacher form a bond under the influence of a mystical old woman.
The motivations for a CIA spook’s terrible acts come to light—he is trying to contact Nikola Tesla and a subterranean city deep in the Andes.
An old man schemes to reclaim his place as rightful heir to an estate with a horrific past—by summoning the family’s long dormant golem.
And old woman struggles to find spiritual remnants of her loving muchacha

Ketchup




"Listening to you I get the music.
Gazing at you I get the heat.
Following you I climb the mountain.
I get excitement at your feet.
Right behind you I see the millions.
On you I see the glory.
From you I get opinions.
From you I get the story."

Cranked up The Who so loud on Friday that I had to turn down the subwoofer. It's funny when you stumble on a song that has been around for a long time and it hits you right between the eyes. An older song can affect you even more strongly. The sonic wave replays itself from the time it was released and played on buses and transistor radios and car radios with sweaty, fumbling fingers and budweiser mucus, cheap hops exchanging places from tongue to tongue. And there was the song. And the basement record shop. And the back of the notebook, written with circle-dotted Is about some junior high school crush that wouldn't amount to anything. And the gaps in time since then. Running the 800 yard dash. Dash. Throwing the discus. Shooting what would now be three pointers from the sidelines. The bus. Cold mornings flecked dark with Indiana corn stubble strobing past the dirty windows. Get a seat over the heater I hope. And the nowhere gaps, lost doing pushups in the basement in Athens Ohio. And the time spent watching birth. No Who there. It's when you're alone that The Who can span those gaps like Chuck Yeager in some pre-space bullet cockpit and pierce your skin, or at least frighten you with the sonic clap behind your back.

I too have overcome the gaps. I'm looking at the notes I've taken since May 4. The notes that have lead me to where I am right now. I have discovered how to make this novel into something that fits between a book's covers.

Where was I going wrong?

I didn't want to make this about Mexican culture. I can't really.
I dragged myself into unfamiliar territory.
The story often flowers and splits, requiring even more info, back story, research, etc.

I was too focused on the reality of an un-real narrative.

Unreal: Under the Volcano, 1984, Metamorphosis, Neuromancer. The more I think unreal, the ore I like writing. THe more I consider details of 1905 Chamula, the more I want to change stories. But isn't a good portion of the punch of this book its relationship to US? To make it a faceless, analog-less nation will weaken it, won't it?

Riding the line.

Can I make the foundation of the novel historical reality and still have the freedom to move? The freedom to move.

Looking at the outline, I cut so much continuity out of the Spy section. It no longer flows. It's more like a list made from memory of things that happened to whom? When? Gaps. What happened to the boy? From where does El Patroncito arise for the Spy? From where does Adara arise? I need to go through the same process I went through with the boy at the beginning of this project. I don't know the Spy.

Do I know the boy? Yes. And I can write the boy, too. I have more of the Spy in me, so he's easier to write, but as a real char, I don't know him.

He's shown an aptitude for audio, and fell into a seminar where he learned and later experimented with biological connection with audio (sub-aural freq). Frequencies and atomic weights. Music and the spheres.

For a moment, all spheres orbited in concert: galaxies, solar systems, planets and planetoids, moons, satellites, atmospheres, winds, jets, financial cycles, cicadas, menstruations, gestation, falling out of love, hunger and digestion, parasitic life, plankton swells, paramecium swimming laps, cells sloughing, the electron making its own year around a proton nucleus, a quark spins left, its left, and neutrinos seek love in their alternate universes.

An element (with its atomic weight) series as a model for galaxies and for systems not so large.

As I rewrote the outline for David I thought that I naturally know how to tell a story. I feel the pull and the tinkle and the lit keys for the writer to hit when I place a plot point that requires exposition or development--and I know where they need to go, I just don't have an interface that allows me to place the other points easily.

The project is huge.

I can feel the story starting to crystallize. Flakes form and swirl then break apart, but the solution is finally starting to could.

I highlighted (low-lighted) the flashbacks in the outline. I wanted to read through the present day only.

Layers

Time passes swiftly. Basketball with David Schweidel on Wednesday.

We shot around in the defunct Hillside School playground in the Berkeley Hills. Court is uneven, tree limbs overshadow one rim; it's post-apocalyptic.

I wasn't sure what I wanted to get out of the session. I think, mostly to shoot with David. I got a bit of feedback on the materials I sent him a week or so ago. But mostly we shot. And this was fine because I got quite a bit out of preparing for the talk.

Lucky Dog is going to shift once again.

I need to create a pathway for the reader to follow or criss cross. The reader needs to see the path.

As I described it to DS, I feel like I'm beating a field clear of its mice, scaring up bits of story with each swat of the broom, forcing the reader to pick and discover narrative strains on their own. It's no good. This is what I've been doing in film for years. I want to overcome that impulse this time.

I must.

Monday, May 4, 2009

A lot to catch up on


I'm way behind in transcribing my notes. I have over a month's worth of notes to transcribe. But should I? The last critique gave me some things to chew on. Now I am working on an overall outline, no, a summary that walks the reader through all four parts. I need this to get started on my summer's workshop.

Thursday, April 2, 2009

El Crit.

Notes from the Apr 2 crit.

Style fascinates. Distance from El Patroncito, the boy raise subtext questions, emotional distance.
Cinematic, visual.
Disequilibrium. Settings and points in time.
Great details: white leather car seats, Mexican juicy fruit, hup hup, hup, smell of the old man.
Bedroom, books, electricity.
Bedroom prose description is sharp (DS).
Juxtaposition: boy knows the dark. He had comfort with the awkward places.
Revision is more grounded. Allows more latitude with the prose.
Seemed clearer. Like Maestra scene.
The boy seems like he'll be better off with the abuela.
The confusion factor is gone.
Back story is woven in.
Narrative control.
Control of images and effects.

What could be better?
Chronology.
Motivation of backstory.
Blog is too rich!
Not comfortable with portrayal of the spanish language in work.
Willy nilly usage. (ouch)
Myra liked it. (yeah)
Shifting POV from the boy to ??whose?
Narrator is too distant.
What happens with the helicopter and the jungle?
Opacity is frustrating. Thinking v. acting.
Doesn't need to be frustrating.
Why make chap 3 come after? Why make chronology out of order?
Need more payoffs in narration. Progression.
How does the boy explain the fact that he's in Mexico to himself?
How old is the boy?