Writing and Publishing blog

Thursday, October 22, 2015

JERRY JORDISON



The Anatomy of an Invention
By Jerry Jordison
 
“Susan, I think I’ll go and soak in the bathtub for an hour or so while you watch the hockey game.” Rueben climbed the stairs to the bathroom and filled the tub with hot water. He added a blob of bubble bath, some Epsom salts, and slipped into his warm uterine-like cockpit. He soaped himself, submerged below the surface to just cover his ears, and closed his eyes to enjoy warmth and quiet. Muffled cheers of excitement occasionally disturbed his private utopia when Susan cheered for her Toronto Maple Leafs.

            Rueben slowly emerged into consciousness realizing his bath water was tepid.  He reached up with his toes to turn on the hot water, warming up his watery womb. These Saturday night baths were a form of empowerment for him. He looked forward to this time to allow his subconscious to emerge with ideas for his next art piece. Tonight he had the inspiration to paint knives falling out of holes in the sky to epitomize the holes in the ozone layer.

            Rueben could still hear Susan involved in her hockey game as he softly opened his eyes. With no hurry to get up, he stared at the square pattern of tiles surrounding the tub. He was shocked to see the full tile pattern suspended in space. It looked real. He reached up with his finger and found he could touch the illusionary tiles. Well, not really touch them but touch the spot in space where the tiles appeared to be. Excited by his vision he wondered if it was a mystical experience or the beginning of eye problems. 

           He closed his eyes and reopened them. The image was gone. As he continued to stare at the tiles he felt his eyes soften and the tile illusion appeared again. Just then his wife called up to him, excited that the Leafs had won their game. Rueben acknowledged her as he got out of the tub and dried himself.

            Wrapped in his housecoat he came downstairs, gave Susan a hug, and put a bag of popcorn in the microwave. He divided the popcorn into two bowls and gave her one, accompanied by a loving kiss.

            “How was your bath tonight dear?” 

            “Great, I received another great idea for a painting. You know how the scientists are talking about holes in the ozone layer causing radiation to give us skin cancer? Well, I had this idea of painting knives, to represent the radiation, dropping from holes in the sky. I think it will turn out to be a great painting – as great as you are.” Saying this Rueben leaned over, extended his arm around her neck and cupped her bosom.

            Giggling, she asked, “How do these ideas come to you, Rueben? Are you a psychic or just a sassy mystic?” She removed herself from his roaming hands to return the empty popcorn bowls to the kitchen.

            “There was something else a little strange tonight as well,” he called out as she left the room.”

            “I’m listening. What was it?”

            “When I opened my eyes I stared at the bathroom tiles for a minute. All of a sudden I could see an exact duplication of the tiles in space, only smaller.”

            “What are you talking about now? Maybe you should stop having those long baths. I’m starting to wonder about you.”

            “It’s nothing to worry about, dear. However, I’m curious and want to explore it more. Let’s go to bed and do some exploring together.”

            Rueben attempted to duplicate his visual experience several times during the week without success. It wasn’t until his next bath night he had a chance to really experiment with the image again. After relaxing in the warm water, he found it easy to create the image of the tiles in space. He played with it for quite some time. The next week he found it easier to bring the spatial image into focus. He had an idea.

            “Susan can you come upstairs and bring the measuring tape, a pencil and paper?” Susan did as she was asked but gave Rueben a strange look. “What’s going on?

            “You remember I told you I could see the bathroom tiles in space? I’m looking at them now and they are right here.” He pointed his figure to a spot in space. “Will you do me a favor and measure the distance from the wall to my finger and then from the wall to my eyes? Thanks. I’m going to move closer to the wall. Will you please take the measurements again? Now, I’ll move back as much as possible and have you measure one more time. I want to see if I can figure out the relationship between where I see the image and the distance my eyes are from the real thing.

            “Are you sure there isn’t something wrong with your eyes? Maybe you should see an optometrist.”

            “My eyes feel fine. I think I’ve stumbled onto something unique. Maybe scientists already know about it, but I want to do my own experimenting to see what I can discover. Thanks for doing the measurements. Now I’ll try and make a graph to see if I can come to any conclusions.” 

  He discovered that his vision of the tiles appeared between 50 to 60 percent from where the real tiles really were. Once he became use to seeing in that way, Rueben discovered the repeated pattern on wallpaper would produce the same results. Now, he could create the spatial image from any repetitive pattern. Every day he became more intrigued with the phenomenon.

              Sitting in his bathtub laboratory again, he tried another experiment. He focused on the spatial image as if it were real and discovered he could see another image closer to his face but smaller in size. He began making notes of each discovery.

            Because Rueben was a schoolteacher he decided to try drawing images on the black board and creating them in space. He noticed when the images were not identical the lines would project as angles either coming toward him or going away. This opened a whole new phase of discovery. He learned that if he drew two parallel lines he could create the image of one line in space. Two non-parallel lines resulted in the created line appearing at different angles. He became engrossed in his project and spent many hours experimenting.

            Using his high school math he discovered how to calculate the distance of the 3D space image, as he now called it. He had to tell someone. That night he excitedly told his wife about his experiments and how he came up with an equation to determine the distance of the 3D space image.

“Susan I did it. I found an equation to determine the distance in space of the image I see. It’s y = xd/s+x, where y is the distance.”

“That’s nice Rueben. Slow down. I don’t know what you’re talking about, but I’m glad you got it all worked out.”

“Not only that, but I figured out by playing around with obtuse and right angel triangles, how to determine the length of the 3D space image and what angle it will appear in space. It’s z = x/Sinø. Cool eh!”

“You’re not listening dear. I don’t know an obtuse triangle from a wedge of cheese. And I certainly don’t remember any fancy math. I’m happy for you but I’m not really interested.”

Dejected, Rueben restrained his enthusiasm and sat down to watch television with Susan, engaging her in conversation about her day.

The next weeks resulted in new discoveries. There was a metal grid on the school windows to prevent the glass from breaking when children kicked a ball in that direction. He was excited that he could also create the 3D space image beyond the window grid. He checked his equations and found they would also predict the distance of the image in that dimension as well.

Reuben was sure he was going to become famous. ‘Who knows? Maybe the United States Space Department was looking for just such a discovery! Even Susan would be overcome with pride by his achievements and it would change their lives! Just one more minute detail remained. Just to be sure, he would have to research similar studies before he patented his incredible discovery.’

He was almost ready to quit in self-satisfaction when he was taken aback to find an article on the Internet about the ‘wallpaper effect’, discovered by Charles Wheatstone, a British scientist in 1838. He even came up with the same equation as his. ‘Well, no awards for me, but I did actually make a scientific discovery on my own. Susan will be impressed.’

  “Honey, you know how I’ve been involved with that 3D image thing? Well, last night I discovered on the Internet a British scientist made the same discovery more than a hundred years ago, and came up with the same equations!”

“That’s amazing dear. Just think if you’d lived back in the eighteen hundreds you might have discovered it first and become famous. I’m proud of you, my little scientist.”

Susan embraced Rueben, their eyes met, a sly smile formed, and they headed off to the bedroom to see what else could be discovered.
Posted by Wilma Seville at 6:53 AM No comments:
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Wednesday, October 14, 2015

DEBBIE OKUN HILL


New post on Kites Without Strings

Canadian Author Profile: Gloria Pearson-Vasey – Blends History with Fantasy

by d78hill
Now in plain view, Black Springs Abbey loomed before them, a neglected neo-gothic structure. Ivy wrapped itself protectively around the building’s pale yellow brick exterior, creeping across windows and partially obscuring ornate brackets under the roof's projecting eaves. Third-storey dormer windows gazed blankly from the once-elegant mansard roof, slate tiles now faded and chipped. – Gloria Pearson-Vasey*
Canadian author Gloria Pearson-Vasey begins her new book Black Springs Abbey with the tires of a police cruiser crunching on gravel. Within one page, her storytelling hooks me.
“Was it some kind of ghost,” he said.
“I don’t know. I’ve never seen a person who fades in and out before.”*
Gloria Pearson-Vasey has published 9 books including Black Spring Abbey/ Early Days of Oil Springs, the double-book recently released with historical fiction writer Bob McCarthy.
Gloria Pearson-Vasey has published 9 books including Black Springs Abbey/ Early Days of Oil Springs, the double-book recently released with historical fiction writer Bob McCarthy.
Several pages later, the police officer drives Hilma down a twisted laneway where the protagonist catches her first glimpse of the abbey, a setting that plays a prominent role in this page-turning novel. Who lives in this abbey and what secrets lie hidden on its grounds? You’ll need to read this historical fantasy to find out.
A seasoned writer and a member of the Lambton Writers Association, Pearson-Vasey is the author of 9 published books: two speculative fiction, two literary fiction/mysteries, three non-fiction books and two historical fantasies includingThe Bells of Prosper Station and Black Springs Abbey. The latter is part of a double-book published with Early Days in Oil Springs, a historical fiction novel by Sarnia’s Bob McCarthy. The tête-bêche was launched last spring as a commemorative edition celebrating the sesquicentennial of The Village of Oil Springs. See more information about McCathy and the book here.
Gloria Pearson-Vasey’s book tour included a double-book signing, Saturday, May 9, 2015 at The Book Keeper in Sarnia, Ontario. Additional presentations are planned for the fall 2015.
Gloria Pearson-Vasey’s book tour included a double-book signing, Saturday, May 9, 2015 at The Book Keeper in Sarnia, Ontario. Additional presentations are planned for the fall 2015.
Earlier this month, Pearson-Vasey with McCarthy began a series of joint presentations at the Point Edward Library. Additional library presentations are planned for
Petrolia – Thursday, October 15 at 11 a.m.
Wyoming – Wednesday, November 18 at 1:30 p.m.
Courtright – Wednesday, November 18 at 7 p.m.
Watford – Monday, February 29 at 1:30 p.m.
I asked Pearson-Vasey to share her thoughts on her writing process. Below are her responses:      
(1) Describe your book. Why did you publish it?
Black Springs Abbey is an historical fantasy written to celebrate the 150th anniversary of Oil Springs, once known as Black Springs.
I was drawn into the fantasy genre by a creative writing group at LCCVI who set me wondering if the local oil heritage could translate into fantasy. Might the fumes from 19th century oil gushers, fires and nitroglycerine explosions cause some citizens to evolve into timeriders, psychic vampires or guardians?
The result became The Bells of Prosper Station and its sequel, Black Springs Abbey. In the first book, Azur Moonstorey and her companions exit the town library, board a midnight ghost train, and are transported to nineteenth-century Prosper Station (aka Petrolea). Their mission is to rescue Azur’s sister, Hilma, from the psychic vampire, Vek.
In Black Springs Abbey, Hilma is still beset by anxieties and insecurities five years after being rescued. Encouraged to take a position at a dilapidated abbey, she soon discovers that life at Black Springs Abbey can be as unsettling as she feared.
Black Springs Abbey/ Early Days of Oil Springs is a double-book, a tête-beche published by Quinn Riley Press, 2015.
Black Springs Abbey/ Early Days of Oil Springs is a double-book, a tête-beche published by Quinn Riley Press, 2015.
(2) What are you currently working on?
I’m in the final stages of editing my son’s book, Living in the Eye: Life with Autism. The process of updating Kevin’s past book, while integrating his more recent writings and convictions, proved to be more difficult than I’d expected. I hope I’ve done it justice.
At the same time, I’ve amused myself by doing research for my next novel. The characters and storyline are already taking shape although the genre remains a bit hazy. It will not be fantasy or speculative...maybe family saga with a touch of mystery.
(3) How does your work differ from other authors?
I’m a multi-genre author, and I get totally caught up in whatever I happen to be writing. Readers tell me that in both fiction and non-fiction, I have a lyrical voice. I suppose that my love of music, nature and literature contributes to that. Using words to paint scenes and settings can be incredibly satisfying.
(4) Why do you write the way you do? How does your writing process work?
I’m a storyteller, preferring fiction to non-fiction because it provides both adventure and escape from the mundane. And as storytellers do, I write to entertain. Often I weave contemporary issues (social justice, ecology, human foibles) into my novels. I like a story - be it speculative, literary, mystery or fantasy - to be authentic and to end on a note of hope. Before I ever settle down to write, I do months of preparation that includes endless research. I take photos and jot down random thoughts in note books. The anticipation is exciting!
Canadian author Gloria Pearson-Vasey
Canadian author Gloria Pearson-Vasey

Once I steel myself to begin writing seriously, I keep research notes and pictures close at hand for inspiration. In order to immerse myself into the development of characters and the setting in which they dwell, I need to be truly present to both. Blocks of time free from interruption are critical.
Usually I work from an outline with chapters briefly plotted out. As the story develops, the chapters change and move about. The more I write, the more the characters take over, often communicating to me while I sleep. Sometimes they force me to change course, eliminate whole chapters and add new ones.
(5) Is there anything you’d like to add? If so, please share with the readers.
Writing is hard work. Discipline is essential because many writing days, at least for me, start off slowly. But languor ultimately gives way to wisps of enlightenment which in turn grow into periods of happily flowing prose.
If you’re a writer, seek out readers to proof and critique your finished drafts. Be genuinely appreciative of everything they suggest and mull over their words of wisdom. Correct the typos they find and incorporate ideas for change when it feels right. Then follow your heart. It’s your book.
If you’re a reader, please remember that authors love feedback and honest reviews of their work.
Thanks Gloria for the interview.
Additional information about Pearson-Vasey can be found on her website/blog here.
Additional information about McCarthy can be found on his website.
*from the book Black Springs Abbey (Quinn Riley Press, 2015) epigraph from page 11, quoted dialogue from page 6.Reprinted with the author’s permission: Copyright ©2015 Gloria Pearson-Vasey
Watch this blog for additional Canadian Author and Poet Profiles.
Posted by Wilma Seville at 1:39 PM No comments:
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Friday, October 9, 2015

DEBBIE OKUN HILL

New post on Kites Without Strings

Hamilton, ON, Canada – Next Stop for LUMMOX Anthology Readers

by d78hill
“Even on colour TV/ his mother’s face/seemed only black and white” –Norma West Linder*
Eight Canadian contributors to the California-based anthologies LUMMOX, Number Three and LUMMOX, Number Four will be sharing their work at "October Poetry Blast", a special public event, Sunday, October 18 from 2 to 5 p.m. at the Artword Artbar, 15 Colbourne Street in Hamilton, Ontario, Canada. Admission is free.
Canadian contributors of the California-based anthology LUMMOX will be reading in Hamilton on Sunday, October 18, 2015.
Canadian contributors of the California-based anthology LUMMOX will be reading in Hamilton on Sunday, October 18, 2015.
Readers (in alphabetical order) include: James Deahl(Sarnia); Jennifer L. Foster (Hamilton); David Haskins(Grimsby); Debbie Okun Hill (Sarnia); Donna Langevin(Toronto); Norma West Linder (Sarnia), Michael Mirolla(Oakville) and Deborah Morrison (Hamilton).
Organizer and well-known Canadian poet James Deahl will also be reading from Unbroken Lines (Lummox Press, 2015), a new collection of poetic prose written by Deahl between 1990 and 2015.
This is the fourth LUMMOX reading in Canada. TwoLUMMOX, Number Three readings (one in Sarnia and one in Hamilton) were held in the spring. Last month, ten Canadian contributors read from LUMMOX, Number Four in Sarnia, Ontario, Canada. Additional readings are being planned for North Bay and Toronto.
Several Canadian contributors to LUMMOX gathered in Sarnia last month. They included (back row, left to right) Rhonda Melanson, Joe Farnia, David Haskins, Debbie Okun Hill, James Deahl, Michael Mirolla and Denis Robillard (front row, left to right) Jennifer L. Foster, Lynn Tait and Venera Fazio
Several Canadian contributors to LUMMOX gathered in Sarnia last month. They included (back row, left to right) Rhonda Melanson, Joe Farnia, David Haskins, Debbie Okun Hill, James Deahl, Michael Mirolla and Denis Robillard (front row, left to right) Jennifer L. Foster, Lynn Tait and Venera Fazio
Edited by American poet RD Armstrong, LUMMOX, Number FOUR features the work of over 160 poets from 46 of the United States, Canada, the U.K., Albania, Denmark and Sweden.
Additional Canadian contributors include: Ronnie R. Brown, Fern G. Z. Carr, Joseph A. Farina, Venera Fazio, Katherine Gordon, Richard M Grove, Ellen S. Jaffe, Laurie Kruk, Donna Langevin, John B. Lee, Bernice Lever, Rhonda Melanson, Lois Nantais, Denis Robillard, Lynn Tait, andGrace Vermeer.
Deahl is already encouraging poets to submit work for theLUMMOX Number Five anthology to be published in 2016.Submissions will open on April 1, 2016.
Information about previous LUMMOX readings in Canada can be found here, here and here.
Information about LUMMOX PRESS can be found here.
*From the poem “Springtime of ‘84” by Norma West Linder, LUMMOX, Number Four (Lummox Press, 2015), Page 125

d78hill | October 8, 2015 at 11:00 pm | Tags: Books, James Deahl,Lummox, poetry, Poetry Event | Categories: blog posts, News-Events | URL: http://wp.me/p4dii3-mA
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