M.A.P.s (Multi-Animator Projects)

My teenage daughter is an artist. For a while I thought it was a phase, and at this point I am resigned. She’s deep into animation, puts in long hours, and wants to get a day job as a storyboard artist when she grows up.

A couple of years ago we got her a decent tablet and basic (but still expensive) professional software. She has been teaching herself to use them, and learning all kinds of animation tricks (smearing, for example), by hanging out with other animators online, mostly on Youtube and Discord.

The gateway to this world for her was a love of the Warriors book series by “Erin Hunter.”  There is an intense and prolific international YouTube scene creating Multi-Animator Projects based on Warriors characters and story lines. They’re about cats, but cats put through operatic plots, suffering all kinds of pain and loss. There can be a lot of blood. Here’s one of the prettier examples she sent me this week.

 Other M.A.P. themes exists now, but Warriors is where they started, with this video, in 2012, by an artist who is still at it, and draws with a mouse:

MAPs are a little like music videos made by 20 to 40 animators, each taking a part assigned by the project editor. There are a variety of styles (scrolling is one). Some projects have strict requirements, including short deadlines and assigned color palettes. Some are first come first serve, some are very competitive–you apply and hope to be selected. An animator on one project may be the editor of another.

Animators build reputations and relationships and fan bases through these projects, and success is, as in the real world, based on both skills and professionalism. There is a crazy amount of talent involved, and professional animators have launched careers from this scene. So many articles about YouTube, and I’ve never seen one on this community.

My home animator says this is the king of them all: a MAP that was selective but not extremely restrictive, took as much as three years, runs over nine minutes, and has over 2 million views.

 

The internet can still be a creative and generous place, off the beaten track.

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Let Your Freak Flag Fly

An iconic old childhood song played in my head all morning. I finally slowed down, listened to the lyrics and realized what it was saying to me, from the culture of a certain subset of my elders that I am so sad to lose.
One morning I woke up and I knew
you were really gone
A new day, a new way, and new eyes
to see the dawn.
Go your way, I’ll go mine
and carry on
The sky is clearing, and the night
has cried enough
The sun, he come, the world
to soften up
Rejoice, rejoice, we have no choice
but to carry on

I was in Minneapolis for a memorial service this weekend. Goodbye to a beautiful firey Swedish-American working class beatnik/hippie freak/back to the lander who was my late mother’s best friend of 50 years. A genius gardener who even gardened the woods, a mother whose youngest son (age ~50) compared her loss to that recent photo of a black hole at the center of the galaxy. Only, I think he said “universe,” because he meant his.

Grief is love with nowhere to go, someone recently said to me. Have to find fresh outlets and exercise for that love, and one good and tested path is to emulate the things you most miss about the dead.

Déjà Vuthat whole gorgeous moody country hippie 1970 period piece, will always remind me of my Free To Be, You And Me childhood ideals. The third track , “Almost Cut My Hair” was the first place I ever heard the phrase “letting my freak flag fly.” In the 70s, that song just sounded like a stack of wink-wink parental inside jokes. It opened to me through the years, along with the understanding of why everyone passed around a single hand-rolled cigarette at my uncle’s house, instead of smoking a normal one apiece.

Decades later I finally noticed the similar lyric in the earlier song “If 6 Was 9” on Jimi Hendrix’s 1967 Axis, Bold as Love, which was also in my mom’s enormous record collection. Before I tuned into that, I’d heard the same phrase referenced in “How Can I Sing Like A Girl,” by TMBG (Factory Showroom, 1996) which goes for pure metaphor, no mention of a hippie haircut.

I am deeply fond of “Almost Cut My Hair.” Sometimes you feel tired and scared and have second thoughts about how you’re sticking out from the norm, you think you should tone it down, straighten out, get with the program…

But I’m not giving in an inch to fear,
Cause I promised myself this year,
I feel, like I owe it, to someone.

When people die, it’s an opportunity to be kind to their memories, forgive their worst, and love them for their best. Thank you dear women who broke so radically from how you were raised, and paid dearly for that break sometimes. Flew your freak flags high, danced all night, read stacks of library books, created beauty all your own, raised food and flowers and most of the kids within reach, swore without shame, protested evils at every opportunity even though you never got the fucking ERA, kept learning and arguing and changing your minds, stuck to your unfashionable beer, and always had some love and an open fridge for a guest or six. I’ll have to carry on. “Love is coming to us all.”

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Spring Cleaning

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Filed under things I need to remember every day, and not just in spring.

Two Sundays ago, my UU minister read this poem by Sarah Getty to us. This morning I finally looked it up so I could read it before I started work.

 

Spring Cleaning

Open the house.
Let the sun roar in and corner
the huddling dust.
Let the March wind tear down cobwebs,
sweep out crayon-and cookie-crumbs,
Christmas needles,
smells of Vapo-rub and smoke.
In the brisk new daylight
get things straight.
Clean the hall closet. Organize your desk.
Go through your wardrobe, your game-plan, your old loves.
Sort. Evaluate.
Throw things away.

Remove the victims of winter’s grudge,
littering the yard like a battlefield.
Haul away the big black branch that’s lurked there,
like a beached squid, since January.
Lop off its limbs and stack them.
Rake slimy leaf-rot off the tulip beds.
Let clean heat reach the bulbs.

Root out the old hurts,
the cozy unsuccesses.
Forget that your sister wasn’t at your wedding,
that your father didn’t seem to like you much.
Get rid of the birthday party no one came to
and the men who never asked you out again.
Bundle the demeaning medical procedures
and leave them at the curb.

Pile up the lost job, the student evaluations,
the ideas of what your in-laws should be like.
Burn them.
Burn the time your six-year-old came home from
school
and you weren’t there.
Burn the anniversary evening that wasn’t fun.
Burn the bad poems and the rejection slips.

Be ruthless as March.
Be a lion.
Under the clean-limbed trees be fierce and neat.
Hunt out the beasties that fatten in the dark.
Let the sun scour.
Let the wind prowl and pounce.

—Sarah Getty

Blogging, newsletters, bad books

A few years ago, I took a class on how to review books from Mark Athitakis. I was thrilled to get the opportunity, since I’d was a fan of his book blog, American Fiction Notes. He’s moved on from that to more paid work, and this newsletter.  His tastes don’t always overlap with mine, but his approach to thinking about books and criticism is still a model for me.

After I took that class, I spent five years working for a book recommending site. That drew more on my perspective as an ex-librarian: thinking about what a general audience likes and wants, more than what I like, and want, and think. Though if I really didn’t like a hyped book, I would set it aside, rather than lie. It was a good education in self-editing, and certain angles of the book market, and it’s run by lovely people, but I agree with Mark that bad books, and criticism of bad books, have value too.

After he stopped blogging, I followed his writing by following him on social media, but I missed a lot that way, and was relieved to see him start a newsletter that put it all in one easily accessible location again.

It may be an illusion, I may be looking for it now, but in 2019, I’ve seen more people on Twitter express nostalgia for blogs.

I first got online in 1993, when hitting refresh on Usenet with my dial-up modem connection often meant finding something else to do for a few minutes. I loved the blogosphere, the sense of discovery, of friendly community. There were trolls, but it was not hard to find interesting places where they were outnumbered and starved. And it wasn’t making fortunes for massive social media platforms.

I started this blog in part because the social media platforms have disgraced themselves so much, so often, and I remembered how I enjoyed having my own personal perch. And I’d been thinking about a John Scalzi post on “How Blogs Work Today.” Newsletters are good, but I’m not sure why they’re better than an email subscription button on a blog. Unless you want to make people pay for them. But I think that’s what edited publications are for.

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Gingerbread by Helen Oyeyemi

Gingerbread.jpgI loved this book too much. If I was being paid to review it, I would read it again immediately. First time through, I was too thrilled to be intelligently critical.

This is the first book of hers to sweep me off my feet. Previous ones never drew me in enough, and I’m never a great fan of novels that “retell” existing stories. This one exists in a world that includes the fairy tale world, but it is on Oyeyemi’s particular terms. Her idiosyncratic imagination, and personality, and her charm as a storyteller, have full control here. She is simultaneously brilliant and down to earth, with superpowers of description, deep perceptions of emotional truths, and a lovely and wicked sense of humor. All those gifts are employed to tell a multigenerational multinational family story, with a ballroom’s worth of characters, and excellent magical realism.

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First Ever Writing Retreat

The Constance Saltonstall Foundation for the Arts is five minutes from my house.

In the summers, they offer juried residencies to NY State residents. Those are six nights to four weeks, with a stipend, cleaning service, and a chef.

But in the winter, for a small fee, they offer their studios for retreats.

For years, I have eyed this opportunity, and thought no, that’s silly, five minutes from my house? Then my new artist friend asked me to do it with her (separate suites, but meeting for a few meals), so I signed up for two nights.

It is a perfect atmosphere. I did not realize how much it would mean to be alone in a clean comfortable apartment, with a beautiful view, almost total quiet, no obligations, no interruptions, for 48 hours straight. I will be back.

I learned something funny, but not too surprising, about myself. Each room has a bookcase with an assortment of literary journals, poetry, novels, magazines, nonfiction, and art books. The first thing I had to do after I set down my bags, was to organize that bookcase. Then it felt like good company, and I could write.

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Only a brown woman

The_history_of_white_people_bookcoverThis week I finished The History of White People by Nell Irvin Painter. It is one for the freshman syllabus of the world.  A history of whiteness, really, and of how people have convinced themselves that other people were not human, in order to neglect, destroy, or exploit them. Race ideologies since the ancient world, for the most part, going on to include class and eugenics and immigration… I thought I knew a lot of this history. A quarter of the way through, I was in awe of the depth and breadth of her research. I would love to hear her talk for a few hours, she must be a library unto herself after all this. And a lively clear writer, able to distill centuries of material into illuminating stories, and string them all together across the ages.

Virginia (and Leonard) Woolf’s A Writer’s Diary is ongoing of course, I’m still indexing it for myself, and anyone else who ever wants a writer’s index for it (the original index is trash). I sat down to glance at her this morning before packing for my weekend writing retreat at Saltonstall.  When she talks about writing and reading and the natural world, she inspires me, always. When she talks about people she regards as less than herself, which seems to be most people, she’s horrible. April 1925: “All day I have heard that voice. I did not go to her help; but then every baker and flower seller did that. there was this woman in brown walking along the pavement–suddenly a red film car turns a somersault, lands on top of her, and one hears this oh, oh, oh…Nessa…made some effort to connect it with [her daughter’s] accident last spring. But I assured her it was only a passing brown woman; and so we went over the house composedly enough.”

Her shock is the important thing, her lingering impression of that voice. Not the woman herself, she distances her almost entirely. And this is just typical of her. But it was and is typical of anyone raised, or self-taught, to believe themselves genuinely better than most people. Earlier she wrote about how a friend wasn’t a good writer, but then his grandmother was the daughter of a grocer. Well, that explains it. As if all her genteel Oxbridge-educated friends of good family could all write. Beyond that: the masses, the hordes. The curious individual in the park. The badly dressed. Her scope of human sympathy only goes so far. The interior lives of most people repel her imagination like a reversed magnet, drive her toward abstractions, at best, bigotry at worst. It’s always like biting down on a piece of eggshell in the cake.

And echoes my struggle with Rilke in Paris this week. I have loved Rilke’s poetry and letters. They tempted me to learn German in my twenties. But again, he has that limited sympathy of the self-approving upper classes. This is a slender compilation of his letters and diaries, strung together by his translator, Maurice Betz, and first published in 1941. After wading through half of Betz’s introduction, I skimmed the rest of his passages as much as I could. France and French culture were key to Rilke’s development as an artist, he says, and so was the isolation of his life in Paris, alone in a crowd, enjoying the fresh outsider’s perspective in that stimulating, beautiful, and for him, somewhat frightening environment. Again, that perspective is very useful to an artist. The separation from the mundane, the focus on abstractions, on pure observation. But too much of it, combined with too much refinement, seems to encourage a lack of sympathy for the hordes, like insects, like–whatever icky swarming creature wells up in his anxious mind. And then the writing can become squeamish, heartless, afraid to come to grips with human life.

Betz has Rilke on a pedestal, and echoes his writing style, including his most operatic tones. Only, of course, he’s not Rilke. “An expressive ingredient for the precarious alchemy of his inwardness” is the sort of thing you’ll have to enjoy in order to love this book. Or, after Rodin rejects Rilke, “with a painful accent but not without dignity, the poet bade farewell to the artist whose bewitchment, in spite of everything, he continued to suffer.” To be fair, this is Rilke himself writing to Rodin on the same event: “So there you are, great master, become invisible to me, as if by some ascension carried off to the heavens which are yours.” It’s Rodin I feel for there.

I do love books like this for the first-person view of another time and place. It’s not the best of those I’ve read, but Rilke’s descriptions, and the insights into his writing process, made it worth the price of admission. Which was only my time, since I got it free from NetGalley. And it made me want to dip into Rilke again, without a middle man.

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