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Fun Boschian Nurb Scene from BIG AHA

Monday, December 24th, 2012

Some fun reading for the holiday week, a new passage from my novel in progress, The Big Aha.

A half hour later, the five of us were riding up a curving nurb-grass driveway in Glenview—me, Dad, Loulou, Joey and Rikki—with our spooked roadspiders staring up towards the Roller mansion. Unlike its half-timbered, white-brick, or columned plantation-style neighbors, the Roller home was modeled on a Norman castle, with immensely high battlements of yellowish stone. The walls were pierced by diamond-paned windows and corniced slits. Decorative turrets sprang from each turning of the walls, and a substantial master tower rose beside the arched entrance. Besotted by old movies, Mr. Roller’s father had built the place in the 2020s.

A great, jellyfish-like nurb hovered above the mansion, tethered to the pointed peak of the high tower. The flying jellyfish was what we called a laputa—iridescent and the size of a small house, with well-appointed staterooms on the lower level. The jellyfish nurb had hydrogen-filled bladders on its upper level, and dangling tentacles below. A cluster of the tentacles led to the tower.

“Kenny lives in the laputa,” said Joey.

“I know all about it,” I said. “Kenny had Jane and me up there for dinner a few months back. Him and his boyfriend Kristo. Kenny got wasted and pretended he was going to push me out through a porthole. Only he wasn’t really pretending. He’s always been a jerk. I don’t know how Kristo puts up with him.”

“I’ve seen Kenny,” interposed Loulou. “He’s handsome. That counts for a lot. If you’re a handsome jerk, you’re romantic and damned. If you’re an ugly jerk—forget it.”

A rock thudded into the ground beside us, then another and another. The roadspiders made herky-jerky evasive moves. Joey lost his seat and fell to the ground. The seeming rocks uncurled to become many-legged gray scuttlers—overgrown versions of those woodlice or pillbugs you find in rotting leaves. A hundred meters above us, a maniac laughed.

“I hate you, Kenny!” screamed Joey, shaking his fist. The pillbug nurbs were staring at us with bright eyes—sending our images to Kenny.

“Come on up!” called Kenny from above. His head was a small dot in one the jiggling laputa’s windows. “Brunch time! Bloody Marys! I see Joey, Loulou, Zad, Mr. Plant, and—who’s the geek girl?”

We left our roadspiders in the stable beside the mansion. Dad walked back down the hill to visit with Weezie Roller in the gate house, a solid red-brick affair with a gray slate roof. I led the others up the steps to the manor. The nurb lock on the great doors recognized me.

In my boyhood the Roller castle’s interior had been pure old-school, with walnut wainscoting, ornately patterened glass panels, hanging brass lamps, tile or parquet wood floors, and oriental carpets. Over the years Mr. Roller had added a mad hodgepodge of upgrades. Given that he’d expanded his business from producing nurb chow to marketing actual nurbs, he had access to the latest and greatest nurbs being made. And so, over wife Weezie’s and daughter Jane’s objections, Mr. Roller had evolved the mansion’s interior into a bizarre and bustling nurb habitat. Son Kenny had been all for it.

Right in the front hall, a large leathery nurb armchair had given birth to a litter of four-footed baby chairs. They scampered away from us into the parlor, their woody legs pattering on the yielding flesh of a living rug. A nurb chandelier thrust a pair of brassy stalks around a corner, peering at us with dim eyebulbs.

At the far end of the hall lay a mound of busted-open Roller nurb chow bags. I supposed Kenny and Kristo—or their choreboy nurbs—were hauling in chow to keep the menagerie alive. Our three pillbug nurbs scooted past us towards the food. Their overly numerous feet made an unpleasant skritchy sound.

I saw a hungry nurb teapot on the mound of chow, rooting with its spout. A bendy grandfather clock used its pendulum like a tongue. The newborn leather chairs were rooting into the food, as were a clutch of slithering rugs. A fat couch had bellied up beside them, gobbling chow with a toothy mouth beneath its plump arm. A weathered pair of pants was feeding as well, and a pair of table lamps fluttered over, their shades pulsating against the air.

“Like jungle animals at a watering hole,” said Rikki. “And look at the tendrils running down from the ceiling. It’s covered with some nurby growth up there. Colored fungus?”

“Old Weezie was mad when they put on that stuff,” I said. “Mr. Roller had always wanted a fancy coffered ceiling like in the lobby of the Brown Hotel downtown. A 1920s movie theater look, you wave, with embossed squares and polychrome flowers and cartouche scenes of dancing nymphs. He got some hairball at United Mutations to design a nurb lichen that was supposed to emulate all that. But it’s not even close.”

“Qrude,” said Joey, his head thrown back. “The shapes are layered onto each other in sequences—like the motion trails you see when you’re really high. Like a 3D scribble.”

“I wave the pungent colors,” added Loulou. “Looking at them hurts my sinuses almost. For sure I’d wear a dress like that.”

“Mrs. Roller got all worried that spores were drifting down from the ceiling and poisoning her food,” I said. “That’s when she moved down to the gate house. And a year after that out, Mr. Roller died. So maybe she was right about the spores. Jane said Mr. Roller had this sick rash on his back. She said daffodils and shamrocks?”

“Don’t want to think about that,” said Rikki. “If we move in here, I’ll slap together some annihilator nurbs to clear off that crap. Banzai beetles and cannibal squid. Meanwhile let’s climb that tower. I mean—if you guys really do want to visit with Kenny?”

“Might as well get it over with,” I said. “He’s a key player here.”

Leaving the spying pillbugs behind, we ascended three flights of stairs. Each of the manor’s levels had its own peculiar fauna.

The second floor had held the bedrooms, and was now a dimly lit jungle of wiry bedspring vines, with hairbrushes and hankies flitting through the tangled thickets like little birds. Rabbity pillows foraged in the undergrowth, and beds lolled like cows. A pair of tattered humanoid sex nurbs were back there as well, their faces frozen in vegetal leers.

In pre-nurb days the third floor had held Jane and Kenny’s play rooms. Weezie Roller had tended an eccentric vegetable garden up there as well. I saw some of the expected horror-movie-type talking toys, also two competing tribes of nurb vegetables: the carrots versus the beets. The carrots sped about like hyperactive inchworms; the beets ricocheted off the walls. They bore healthy tufts of leaves, and vied at pressing their foliage to the sunny windows. They rooted in some old troughs of dirt as well.

Nurb disks were buffing the wooden floors, and long-legged feather-dusters cleaned the wandering tables and chairs. A steady stream of toy soldiers were using a little planes to ferry in nurb chow from below.

The final flight of stairs led into the small tower room—only a few yards across and crowded by the slimy roots of the hovering laputa. The tendrils writhed like a dish of living spaghetti, feeding on yet another stash of Roller nurb chow. Several of the strands displayed eyestalks. Kenny’s laputa was observing our arrival.

“Hop on,” blubbered a slit mouth in one of the laputa’s thicker tentacles. “Free ride.” The thick tentacle’s flesh flowed and formed holes in itself, making a column of four seats just inside one of the tower’s large open windows. Not letting ourselves think about it too much, Loulou, Joey, Rikki and I hopped aboard.

As if on a carnival ride, we were drawn out the window and up into the sky.

Fantasy and/or Science Fiction

Monday, December 17th, 2012

This’ll be my last post of 2012. Lots of family coming to town, hooray.

We had a festive lunch at the Fairmont hotel in SF this weekend. Dig the Xmas tree reflected in the grand piano. “Why can’t it always be like this?” said one of our group.

My wife and I were out at the beloved Four Mile Beach north of Santa Cruz last week to look at the unusually low tide, a so-called “king tide.” The surfers were out in the water as usual, working the waves, finding new breaks. I always like to imagine that being a professional writer is a little like being a surfer—you’re out in the gnarl just about every day you can get the chance, taking the flows as they come.

My writing on my new novel The Big Aha has been going well for the last month or two. Unlike my customary practice—at least for the last few novels—I didn’t write up a detailed outline for this one. At the start of my career, I didn’t use outlines either. Back then I just dove in and trusted the muse, making it up as I went along. And now I’m back to that again. So far it’s fun—although eventually I’m likely to hit what Robert Sheckley called a “black spot,” which is when it becomes really hard to keep the story going.

When I get at all stuck, I like to invent semi-bogus explanations for whatever fantastic events I’ve already written in. The explanations themselves may impose constraints or they may open possibilities—in either case, this can lead to new scenes, sequences, and even subplots.

The picture above shows a room at the SF MOMA where there’s a special art installation on the floor this month. Black and white tiles, and as the artist’s crew laid the tiles, they used something like a coin-flip to randomly pick the color of each and every tile as they went along. Patterns emerge. We see things. We hear voices in the noise.

Just because I invent explanations doesn’t mean I’ll always think that they’re true, I mean not for the rest of my life. I do like to convince myself that my latest SF gimmicks are true for as long as I’m working on a story that uses them. “Profiting from” a delusion as opposed to “suffering from” one.

It’s maybe a little late for Xmas shopping, but you certainly ought to get a Turing & Burroughs for a New Year’s gift—if not for yourself then for one of your friends or relatives. Beatnik SF—today’s reader needs it special.

I read Murakami’s long novel 1Q84 this month and enjoyed it a lot. Certainly it could have been about a third shorter, but it kept me reading, and I became fond of the characters. And it had some nice fantasy/SF action in it. Murakami is one of us. Whoever “we” are.

The title is like 1984, but with a Q instead of the 9. The idea is that the main characters spend most of the novel off in an alternate timeline or in an alternate reality. So far as I can tell, Murakami is not an author who spends his spare time in figuring out logical and rigorous explanations for his worlds—complete with spacetime diagrams. He’s more on the “fantasy” end of our field, as opposed to being on the “science-fiction” end.

But that’s fine, Murakami’s book hangs together as well as it needs to, and it has a strong ending.

Out at Four Mile beach, I wrote, as I often do at the start of a novel, a favorite slogan of mine in the sand: EADEM MUTATA RESURGO. It means, “The same, yet altered, I arise again.” It was originally meant to be used as the epitaph for a mathematician who did some groundbreaking work on the nature of the so-called logarithmic spiral, the one that swoops out really fast like the exponentially expanding side of a snail shell. I’ve posted about this slogan several times,

Murakami’s 1Q84 inspires me to be looser than usual about the scientific logic in my Big Aha. At least I’m letting myself be be loose while I’m dreaming up scenes and writing them. Just let whatever seems interesting happen.

And then later, due to my SFish nature, I’ll skulk back and cobble up an explanation after all. No harm in this—as I say, the explanation will give me an idea for another scene. Like rainwater streamlines angling away from a gutter-stuck leaf.

I don’t think I’ve ever dreamed up a weird event for which I was unable to craft some kind of bogus explanation. Like taking a random squiggle and fitting it into a sketch of a realistic scene. That’s what it means to be a scientist, no? Rigorous logic.

Have a great holiday season, and all best wishes for 2013!

I’ll meet you in the heart of the Sun.

Cosmic Fairyland #2: The Third Eye.

Monday, December 10th, 2012

In my current series of posts, I’ve mostly been discussing ideas for my novel in progress, The Big Aha. Recently I was been talking about a cosmic/robotic flip between two mental modes—see my October 24, 2012, post “The Two Mind Modes. Telepathy.” I’ll quote a bit of that post here as a reminder:

Open your (inner) eyes to your true mental life. Your state of mind can evolve in two kinds of ways that I’ll fancifully call—“robotic” and “cosmic”. The “robotic” mental processes proceed step-by-step—via reasoning and analysis, by reading or hearing words, by forming specific opinions. Every opinion diminishes you.

The “cosmic” changes are preverbal flows. If you turn off your endlessly-narrating inner voice, your consciousness becomes analog, like waves on a pond. You’re merged with the world. You’re with the One. It can be a simple as the everyday activity of being alert—without consciously thinking much of anything. In the cosmic mode you aren’t standing outside yourself and evaluating your thoughts.

And in my post of December 7, 2012, “Cosmic Fairlyand #1: How To See It” I was talking about a fairy/mundane flip between two reality modes. It would clutter my Big Aha novel (and beggar common sense) if I were to claim that these are two distinct axes, two distinct kinds of flips.

But I can’t just say that cosmic mode and fairyland are one and the same. Because when you can go into the fairyland state you disappear from physical view, and in the merely cosmic state you’re still around. When you go to fairyland, you physically cross a gap between the two levels. You can get off the floor and glue yourself to the ceiling.

The “explanation” for the first flip, that is the cosmic/robotic mode flip in The Big Aha is that my characters get into a so-called quantum wetware state. And they have access to a so-called “gee-haw-whimmy-diddle” brain switch.

By the way, I can’t stand to keep using my character Gaven Garber’s stupid name: “the gee-haw-whimmy-diddle switch” throughout The Big Aha. I’ll have my character Loulou begin calling it “the third eye,” which is the name they used in my novel Spaceland.

A 2D Flatland Character with a 3D Third Eye (from Spaceland). He can now see behind his wife and observe that she’s about to stab him.

So, as in Spaceland, we suppose that the third eye depends on an organelle that can stick up into 4D by a small amount. I’d considered having it be a macromolecule, but hell, let’s have it be bigger, like a lobster’s eye or crab’s eye on a short stalk. And we’ll say the gap between the mundane level and the fairyland level is fairly substantial, like maybe an inch. Forget about making it a mere atom’s width. I want some hyperthickness to maneuver in!

The third eye lives in your pineal gland of course. When the third eye is lifted or extended, you get unblocked access to a wider area—note that brainwave vibes pulse out into the full hyperthick space. With your third eye up on the alert, you can synch with more distant things. And that puts you into cosmic mode.

And—here’s today’s aha moment—if the third eye projects even more, if you really really stretch out the eye stalk, then your eye can bump into and adhere to the “fairyland” level of our hyperspace slab, and it can haul you up there, like a filament of web lifting a spider!

The 2D Being “A Square” with a 3D Third Eye Points Ana or Kata (from Spaceland)

Once you’re in fairyland, you can lie flat in it, or you can extend your third eye’s stalk back in the direction whence you came, as shown beloe. We’ll suppose that you can’t push the stalk out through the hyperspace box that contains our dual-level cosmos. I’ll explain about “ana” and “kata” in just a second.

In discussing the direction that the eyestalk points, it’s worthwhile to have words for the 4D correlatives of “up and down.” As in Spaceland, I’ll use “ana and kata,” following the writings of Charles Howard Hinton—see my June 8, 2009, blog post about Hinton.

Mode:                   Eye Stalk:     Body Is On:
Robotic Mundane       retracted        floor
Cosmic Mundane       extended        floor
Robotic Fairy             retracted        ceiling
Cosmic Fairy              extended       ceiling

Thus we have four possible modes. Your eyestalk can be extended, that is, pointing ana or kata into the hyperspace box of our space. Or it can be retracted, that is, fully contained within your body. As I already mentioned, when extending the probe, you need to push it ana when on the floor and push it kata when on the ceiling. And we get the four possibilities in our table because your body can either be ana on the “floor” or kata on the “ceiling.”


Cosmic, Mundane, Robotic and Fairy Modes

You might cycle through the four stages in the order shown in the figure above, jumping ana running down the left column and jumping kata running down the column on the right.

I’ll post more about these topics before too long, also I’ll want to say a little about the practice of inventing detailed explanations for SF/fantasy effects.

Cosmic Fairyland #1: How To See It.

Friday, December 7th, 2012

I changed the name of the alternate world in my Big Aha book from “Gubland” to “fairyland.” I didn’t want to be fixated on the small green pig-like gubs that I posted about on November 30, 2012 in “Gubs and Raths.” Lots of other critters in fairyland besides gubs. I could also call the place Wonderland, but that’s too specifically the world of Lewis Carroll’s Alice.

In today’s post, I’m coming back to my post of November 28, 2012, “SFictional Higher Realities.” In that post I was wondering where to locate my alternate world of fairyland.

I’ve decided that fairyland is an unseen world that overlaps the mundane. Not a parallel world, closer than parallel. Not two sheets, one sheet. One world. We’re in fairyland all the time—if we notice.

There’s a tiny physical distance between here and there. That is, our 3D hypersheet of space has a miniscule hyperthickness, something on the order of the diameter of an atom. We slide around on the bottom, on the “floor,” and the fairylanders slide about on the underside of the “ceiling.” For this reason we can easily “move through” (that is, “sidle past”) each other, and we’re close to invisible to each other. In studying the drawing below, keep in mind that “ana” and “kata” are traditional words for the analogues of “up” and “down” in the direction of the fourth dimension along which our world’s hyperthickness lies.

Admittedly the hyperthick model sounds very much like a two-sheets model with parallel worlds. But there’s a slight difference. In the two sheets model, you have a void of empty hyperspace between the two sheets. In the hyperthick model, you have two zones in one shared “room.” Particles can drift across from one zone to the other, and switching zones isn’t so difficult as switching sheets. Think of manta rays raising and lowering themselves within a very low-ceilinged cave.

Since we’re in one room, a certain amount of energy radiates out into the full hyperthickness of our space sheet, so we can faintly see fairyland if we try. And vice-versa.

Some entities—like hills and trees—reach through from the mundane to the fairy zones. So we have pretty much the same geography and landscape in the two zones. But things look different. The trees seem soft up there, they writhe and they talk. Our houses look like holograms over there, like shapes of light.

To go to fairyland, you jolt your worldview. You do a mundane/fairy shift. And suddenly everything looks fresh and new. Or incredibly strange. Jamais vu—“I’ve never seen this.” Maybe for a moment you can’t remember the ordinary names of things.

Let’s say fairyland is somewhat like in the old tales. Perhaps people told those stories for a reason; perhaps the tales encode a racial memory of some things that are actually true. Things appear and disappear. Odd doors lead into odd rooms. The darting creatures you see from the corners of your eyes are real.

Not that I want to be stuck having to do standard fairytale things, nor do I necessarily want to present the traditional cast of fairyland in any standard way. But I’d like to give the world a try. I’ve been reading the VanderMeers’ The Weird, a compendium of stories that are something like fairytales. But there’s no fixed setups being used in these tales, and each of them is fairly unique. The Hollywood/Tolkein-land hegemony needn’t be the only fairyland.

Stepping into fairyland, my character Loulou hears the horn of some hunters. They’re all angles and swords, like the face cards in a deck (à la Alice in Wonderland). They’re blowing the horn and crashing through the woods and getting closer. Like a fox-hunt and Loulou the vixen is the fox.

I was at the dentist the other day, and while I was being tormented in the chair, I managed to space out and imagine the room around me to be a fairyland scene. I wasn’t on any meds, not even novocaine—I was just doing a mental reality warp. Those colored tools in my mouth? Fairyland implements.

The mundane segues into fairyland when you study an ambiguous figure such as the duck/rabbit, the vase/faces, the crone/girl, or the reversing Necker cube.

I went for a ride on my bike today. I was hoping to find my way into fairyland, and at times I did. The trick is not to be worrying about my career or my duties or my fears or expectations. Instead I have to fully in the now. Marinating in wonder at the trees, wonder at the street signs with the arrows painted on the streets, wonder at the vehicles and bipeds to be seen.

Trying for jamais vu. ”I don’t know what I’m looking at. There is no I. Only these sights, and this body, pedaling.” As with any meditation practice, I repeatedly fell away from the vision, dropping from fairyland down to the mundane. But then I’d remember and go there again. Losing myself in the clouds.

Coming up in “Cosmic Fairyland #2: The Science.” —- A scientific model for my conception of fairyland, explaining how it fits in with my distiction between the cosmic and robotic mental modes.


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