The Popular Misappropriation of Blame

purelyspeculationOf all the grand facets of humanity worthy of daily expression, we seem to have found ourselves ubiquitously occupied by one of the most base and depraved of the lot: blame. ‘Blame the cops’, ‘blame the rich’, ‘blame the Jews’, and ‘blame the Liberals’. But mostly, blame the Muslims.

Blame is an easy slope to slip down—it’s sheer as all hell, and treacherous by nature. When we feel threatened, the most natural reaction is to find the source and strike back. This is a wise and adaptive trait. It once kept us wary of lions, a good quality to be certain, because those mangy bastards will tear you to bloody shreds without a second thought.

But as we’ve made our way out of the savannah and into a more complex society, we have accordingly found our threats growing broader—more difficult to define. The threats are similar enough in nature, and the fear is certainly no different, but the struggle becomes, in such an interconnected and nuanced world; where to place the blame.

It’s an issue that touches most every other—blame, and the need for it, permeates our society as deeply as hunger, equality, freedom…terror.

But of all the fears and all the culprits, none are as commonplace these days as the fear of and blame of Islam. Herein lays an important distinction. There can be no doubt whatsoever that some Muslim people have committed horrendous acts. This by necessity makes them potential objects of fear, and hence, blame.

The mistake here, and the especially slippery nature of this particular slope, is the inherent risk of conflating trait with cause. Certain Muslims have committed atrocities. But is Islam to blame?

A growing consensus among even the intellectual elite seems to support this notion. Recently—and as an ongoing tenet—the otherwise venerable Bill Maher has thrown his hat into the ring, landing unequivocally in the ‘Islam is an inherent evil’ corner (Link).

To my mind, this is an abhorrent mistake. More fundamentally—if you’ll excuse the term—it’s a misunderstanding of both human nature, and the true root of the problem here.

Just as fear leads to a drive for blame, so frustration leads to a compulsion towards anger. As humans, it is our natural inclination to construct narratives which provide meaning—or more pertinent to the case at hand—to latch onto narratives which fit our circumstances and needs.

When we are driven to find context in the wide and mysterious world around us, we construct belief systems. When we feel lost or uncertain, we take comfort in platitudes and homilies. When we are driven mad with fear of explosions and beheadings, we latch onto narratives of ‘the other’—the turban wearing madman with a mad lust for blood and unquenchable thirst to desecrate all we hold dear.

But the pendulum swings both ways, and when humans find themselves desperate, or afraid, so too do they grasp for and hold tightly to whatever narrative may give justification to their feelings.

At present, for a small portion of disenfranchised and rueful Muslims, this narrative need is met in the form of Islam. It is unfortunate, but it is reality. This is not to say there is anything inherent to Islam which makes it a violent or reactive belief system—at least any more than so many other belief systems—only that it may suffice as such in time of need.

The role has been filled by many other narratives before it. As President Obama pointed out (Link)—much to the chagrin of his electorate—Christianity filled this vile role during the crusades, and in many other periods of history.

Looking back to more recent events, we can find a fine parallel in the tragic shootings at Columbine High School. When these disenfranchised and deranged youth decided to commit a massacre at their school, many media outlets were quick to jump on their favourite artists as the ultimate culprit—primary among them the singer Marilyn Manson (Link).

Looking back on this farce, it’s clear to all but the most troglodytic amongst us that Marilyn Manson was no more responsible for this travesty than you or I. But his was, perhaps, the soundtrack playing in the maligned brains of the killers. His may have been the narrative they latched on to in their rage, but this is hardly a sufficient link to establish any sort of causal relation between the two.

The same is true, of course, with Islam. Even though we are witness now to a group of misled Muslims (some of whom may or may not have justifiable cause for anger) who use Islam as the marching banner of their holy war, there is little doubt their actions would be no less reprehensible under a different narrative. Their anger and their actions are products of their environment and their ability to process it. If we can imagine for a moment—as farcical as it seems—a world with no Islam, but in which all other social and economic factors in the middle-east were entirely comparable, I believe there is little doubt these militants would quickly find some other name to pin their hatred upon.

All action and belief needs a narrative. In this instance, the religion of Islam is being used to fill a terribly dark void—one that has arisen and been filled in people by different means throughout the sad duration of our existence. Still, that very same religion is followed by countless virtuous and just men and women the world over. It is a fallacy therefore to assign blame to the narrative. It belongs rather with the actors, and moreover, the circumstances which drive a nation to such desperate straits (Link). It is not the nature of the narrative which must give us cause for concern and rebuttal, but rather the source of need which this narrative is used to fill.

Fear is a rational reaction to a threatening stimulus. Not so blame. Blame is an atavistic and base reaction; one that provides comfort and perhaps unity among the maligned, but does nothing to move towards resolution. If we want to solve the problems afflicting our society, we must address the social and political situations from which they arise. Otherwise, we are doing scarce better than our detractors—joyfully burning the effigies of our fear while suffocating on the fumes of its intolerance.

-Brad OH Inc.

Between the Shelves Interview with Author Vivian Zenari

cropped-cropped-blogbanner13.jpgThe following is an interview with Author Vivian Zenari, who appears in the Brad OH Inc. and Hal J. Friesen edited Anthology ‘Between the Shelves: A Tribute to Libraries by Edmonton Writers’, which you can now purchase here in either Kindle ($2.99) or Paperback ($12.50) copies. All proceeds are to be donated to the Edmonton Public Library System.

BetweenTheShelvesCoverThis interview was conducted by Hal J. Friesen in anticipation of the anthology’s release:

Vivian Zenari lives, works and writes in Edmonton.

  1. What is your educational background, and how has that influenced your writing?

VZ: I have a PhD in English literature with a specialization in 19th century American literature. I am sure my training has influenced my writing, though I am not sure how. Many of the writers I admire are from the nineteenth and early twentieth centuries; perhaps it’s more like I have tried to work in fields that reflect my interest in reading and writing.

  1. Who has inspired you as a writer? Why are avant-garde authors so important to you?

VZ: These days I like Henry James (always), Flannery O’Connor, Rawi Hage, George Eliot, and the usual modernist suspects (Virginia Woolf, Ernest Hemingway, Edith Wharton). I just finished reading Sean Michaels’s Us Conductors and loved/admired that. I like the absurdists like Franz Kafka and Nikolai Gogol and postmodernists like Don DeLillo and Paul Auster. I admire writers who take chances, I suppose. I like the idea of transcending tradition in form as well as content.  As well, as a reader and writer I am a bit jaded, perhaps, so it takes a lot to stimulate me.

  1. Did you have a personal interest in Dewey before you began this short story? Why did you decide to feature him in your story?

VZ: I have training as a librarian as well, and so I have been familiar with him as a figure in library studies history. I have always found him to be a hilariously awful person. Once I read more about him, my appreciation/contempt for him grew. He also typifies the mentality of the late 19th-century American (an area of history I know something about). His ambitions and upbringing put him in the right place at the right time. That aspect of American society interests me too–he is a self-made man, but he demonstrates the dark side of the self-made man syndrome: monomaniacal, overly rational, greedy.

  1. What, in your opinion, are the key distinctions between literary fiction and genre fiction? In which category would you classify yourself?

VZ: I tend to think of genre fiction as formula-dependent and literary fiction as aspiring to be outside formula. I suppose I aspire to be outside formula, though I realize all writers model themselves on something, and formulas are a kind of model. Literary versus genre seems to be a useful distinction for publishers, but the term is likewise important to writers and readers, who have to work with what publishers want to give them, for better or worse (okay, for worse). It’s true, though, that some people only read detective fiction and romance fiction, some people never read anything by women writers or written before 2000. I don’t think this is good, but considering all the people writing, reading, and publishing (past and present), I see why categorization is practical.

  1. What is your next writing project? Can you tell us a little about it?

VZ: I’m sending a short-story manuscript around to publishers, and I’m slowly working on a novel. I’m starting to rev myself up for writing nonfiction too: we’ll see how that goes.

Check out Vivian’s story “Melvi Dui Conquers All” in Between the Shelves’, which you can purchase now on Amazon,

Finally, don’t forget to come by and visit the authors of ‘Between the Shelves‘ from 7-9pm on May 6th, in the Centennial room of the Stanly Milner Library in Edmonton!

-Brad OH Inc.

‘Silent Truth’

Under the Green Desk Lamp…

Green Desklamp

Today we have another song/ poem from the intellectual property vaults of Brad OH Inc. For your enjoyment, we present the lost ‘Basic Human Indecency’ song: ‘Silent Truth’.

It was dark

Just like it always is there

I remember

I thought I’d never be here

I just needed to tell you again

I walked around

and I looked down upon you

I could see

The black amid the clear blue

And I knew that I could not stay

And so I placed

The rose upon those green sheets

And I felt

The moisture on my thin cheeks

And I knew it would not end there

So I looked up

To apathetic eyes

And I could feel

The echoes of my lies

But I could never have told you then

Yet now it’s safe

Because the quiet is so true

So I spoke

I said I’ll always love you

And I just turned and fell away…

-Brad OH Inc.

Between the Shelves Release Party and Interview with Author Mark Parsons

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Today, we’re happy to announce the upcoming release party for the Brad OH Inc. and Hal J. Friesen edited anthology ‘Between the Shelves: A Tribute to Libraries by Edmonton Writers’. The event will be held from 7-9pm on May 6th, in the Centennial room of the Stanly Milner Library in Edmonton. So come on down, meet the author’s, pick up a copy of ‘Between the Shelves’, and maybe even get it signed!

BetweenTheShelvesCoverTo celebrate this upcoming event, we have an interview with Mark Parsons, whose story ‘Bakster’s Proposition’ appears in the ‘Between the Shelves: A Tribute to Libraries by Edmonton Writers’, which you can now purchase here in either Kindle ($2.99) or Paperback ($12.50) copies. All proceeds are to be donated to the Edmonton Public Library System.

This interview was conducted by Hal J. Friesen in anticipation of the anthology’s release:

Mark Parsons has been curled up in coffee shop corners, scratching furiously in his notebook since 2004. He has several projects on the go, including Fire & Flesh (Fantasy), The Silent Dark Pentalogy (Science Fiction), and Brothers (Non-Fiction). “Bakster’s Proposition” is his first short story.

  1. This is your first short story. Compared to the epics you’ve been working on, how did you find working in a shorter medium?

MP: I actually found working in a shorter medium to be a lot harder than my larger work. I wanted to tell much more ‘story’ before and after the bookends of the finished project. I’m used to being able to waste whole chapters to immerse the reader the events leading up to more critical events in the story. I found with the shorter medium, I had to cut a lot of content in order to make the story flow properly.

  1. Is Bakster’s proposition based on something you dream of doing one day?

MP: Partly. John and Kelly are both based on a blend of myself and my partner Nicola. We dream of moving to a small town some day and we’ve both wanted to start a business for a long time. If we had the money, we would certain be running a small café right now.

  1. The resistance to literature in your story seems like it may have come from a personal experience. Can you describe one or two instances where you experienced such resistance, and how they affected you?

MP: The townsfolk are a caricature of stereotypical ‘Albertan’ culture. What I represent in the story as a resistance to literature, is more broadly a resistance to Liberal Culture. We live in a society that would rather pay for a jail than a school. Ideas and creativity are the future, and yet we collectively vote for a government that would see children, at the peak of their creative curiosity, educationally shoe-horned into “real work”. They are told that they can be whatever they want when they grow up – but it better be practical.

I know grown men who do not read. If it’s not a blueprint, they won’t even pick it up. How is a society made of followers supposed to adapt and diversify during economic turmoil?

  1. Who has inspired you as a writer?

MP: I HATED writing as a child. 100 words? I would rather give myself a haircut with a sand-blaster! I didn’t know it at the time, but my very first influence was Sigmund Brower. I met him in the early 1990’s, and even though I held my ground on non-writing, he said something to me that day that I still remember: “I was just like you.”

Those words stewed inside me until 2004 when a scene popped into my head while I was on a walk. I ran home to write it down, and the predominate character was the start of Of Fire & Flesh, my longest running work-in-progress.

Shortly after meeting my partner Nicola, she bought me “The Artist’s Way” by Julia Cameron. Working through this book, as well as the amazing support of my partner have allowed my ideas to flow a little more freely. I’m very thankful and lucky.

  1. When do you expect your next project to be finished? Can you tell us a little about it?

MP: Bill Watterson famously said, “Most of us discover where we are heading when we arrive.” I add a little bit to one story, then move to another, then create an entry for a writing contest, then an article for local publications, then back to my stories. I’d like to say “maybe 2016” but I don’t want to be called a liar.

Of Fire & Flesh is a Fantasy story that centers around a coupe gone wrong that leads to a power struggle with a mysterious evil. The Silent Dark Pentalogy is a secret Sci Fi project. Brothers is based on a true story of a Fraternity President and his struggle to turn the place around.

Mark Parson’s story “Bakster’s Proposition” is featured in ‘Between the Shelves’, which you can purchase now on Amazon.

Finally, don’t forget to come by and visit the authors of ‘Between the Shelves‘ from 7-9pm on May 6th, in the Centennial room of the Stanly Milner Library in Edmonton!

-Brad OH Inc.

The Fisherman’s Prayer- Fan Art

Under the Green Desk Lamp…

Green Desklamp

We have a special treat for all of you today here on Brad OH Inc. This submission is in fact a creation of one of you; a Brad OH Inc fan who enjoyed one of our pieces—the poem ‘The Fisherman’s Prayer’—and decided to make a little art out of it. We hope you enjoy it, and many thanks to our anonymous contributor, ‘L’.

1- The Fisherman's Prayer Fanart-Brad OH Inc.

‘Soft Sell’

Under the Green Desk Lamp…

Green Desklamp

Another song/ poem from the intellectual property vaults of Brad OH Inc. Today, we present the lost ‘Basic Human Indecency’ song: ‘Soft Sell’.

 Soft Sell

 Cliché

Things have a way

Of working out

Touché

You’re proven wrong

Each time you doubt

It can end with a scream

You can leave with a smile

It may seem too early

Or too long a while

But the credits will roll

And again you know

You’re free to go

All the gifts you are offered

Are the ones you would shun

Given a soft bed and you choose to run

And you run until you feel your heart swell

And you’re thankful for that

Cause you earned it yourself

A gift with no nametag

You need the soft sell

Thought

You had it right

You’re off again

Taught

That time is short

It’s closing in

You will lose it until

You find it at last

Time takes so long

Then it’s gone so fast

Just reap and sew

On with the show

You’re free to go

You’re given a Father and Mother

But you want faith and a lover

So much fresh air and still you would smother

You ask for a friend when you have a brother

What you can hold is all that you’ll make

You’re given so much more than you can take

Still you’re feeling well

Can you even tell

You’ve got the soft sell

Love notes written

In folder creases

Cause big things happen

In tiny pieces

He moves the world

And you never feel it

Believe it

You’re free to go…

 -Brad OH Inc.

‘Between the Shelves’ Kindle Version Available and Brian Clark Interview

cropped-cropped-blogbanner13.jpgToday, we’re happy to announce that the Brad OH Inc. and Hal J. Friesen edited Anthology ‘Between the Shelves: A Tribute to Libraries by Edmonton Writers’ is now available in both Kindle ($2.99) and Paperback ($12.50) copies at Amazon.com. All proceeds are to be donated to the Edmonton Public Library System.

BetweenTheShelvesCoverTo celebrate, we have an interview with Author Brian Clark, who appears in ‘Between the Shelves’.

This interview was conducted by Hal J. Friesen in anticipation of the anthology’s release:

Brian Clark first opened his eyes to the midsummer sun in the year the TV remote and Silly Putty made their debuts. Despite these distractions, he soon formed a lifelong affinity with libraries. It is now his pleasure to contribute to this collection of short stories. Over the years, he honed his storytelling skills by preparing letters for politicians. More recently, the newsletter of the Millwoods Seniors Activity Centre has published a number of his articles, where the opinions expressed are his own.

  1. How has your experience working with politicians impacted your writing?

BC: It taught me to avoid getting emotionally attached to the words I’ve written as they were always changed in some way.  I think this prepared me to embrace both self-editing and that of others.  I practiced writing in a way which gave the politician ‘plausible deniability’ if things didn’t turn out as expected, but could also be seen as a triumph if policies were popular.  With practice, hints and half-truths became stock devices.

  1. Is Becca (protagonist in the story) based on anyone in your life? 

BC: My daughter had a job at a library for a couple of years so that gave me an insight into the duties of a Page. She would sometimes tell me stories about children being left in library while a parent went to shop in the mall, forgetting the children. My daughter also maintains friendships with a couple of the other former Pages. In this story, I tried to work with stereotypes of a teenager, her parents and her boss and let that tell me how they respond to the circumstances they found themselves in.

  1. You often use music and lyrics as inspiration for your work. Can you describe the role that music plays in your writing and why it’s so important to you? 

BC: One of my skills, I think, is to mono-task so I don’t use background music. Music is either on or off. When it is on, I try to really listen to the piece.  Sometimes it’s just a mood I pick up on, at others it’s a few words from a verse. I don’t feel obliged to stick to the songwriter’s perceived intentions preferring instead to use the work as a diving board from which to launch my own thoughts. One of the roles of the arts in general is to look at life and distort it a little. For me, music is a reservoir of these refracted images.

  1. What is your educational background, and how do you think that has shaped you as a writer?  

BC: I left school a couple of weeks before my 16th birthday, but 18 years later I had accumulated the paper qualifications, maturity and money to go to University.  I left with some great memories and a degree in Cultural Studies.  I learned to research my work and to write to a deadline, but perhaps most important of all, I developed a curiosity.  In the last couple of years, I have completed 15 to 20 MOOCs [Massively Open Online Courses], including several on the history of rock ‘n’ roll. Life itself has been just as important as structured learning. I have lived on 4 Continents, although only briefly in Asia, collecting life lessons along the way. Jobs have included, hotdog vendor, Santa photographer and courier, most memorably delivering flowers on Valentines Day.  These experiences serve as a bank from which to withdraw both incidents and characters.

  1. Who has inspired you as a writer? 

BC: It sounds mushy, but my wife, Leny, and my daughter, Brenna have edited my life for longer than I can remember. They have not only given me the freedom to pursue whatever is in the air, but also encouraged me to do so. At the same time, they have gently curbed my excesses and prevented self-inflicted disasters. Their presence in my life remains inspiring.

Brian Clark’s story “The Turning of a Page” is featured in ‘Between the Shelves’, which you can purchase now on Amazon.

-Brad OH Inc.

‘Open and Close’

Under the Green Desk Lamp…

Green Desklamp

We’ve been getting some pretty great mileage out of our legal acquisition of the songs by former Edmonton band ‘Basic Human Indecency’, so naturally, we thought we’d continue with that trend.

Today’s song was the intended closer to the ‘Basic Human Indecency’ album that never was: ‘Open and Close’.

Open and Close

I’m not the first to sing this song

It’s been written for so long

To claim that we are strong

To admit when we are wrong

To wander when we’re lonely

I saw a star fall from the sky

There was no second try

You heard the last goodbye

Danced the rest out in a lie

And put it in a sad song

Another door slammed shut today

You watched her walk away

Thought what you would never say

Reason enough to pray

Once again you’ve lost your meaning

You make the sounds when you’re alone

The rushing crowd you’re on your own

You pick the pieces of your home

Out from the Gods that you have known

And say you do it for the last time…

-Brad OH Inc.

Genocidal AIs: Are they Right?

Under the Green Desk Lamp…

Green Desklamp

The end times are a fascinating notion. Meteors crashing into earth, trumpets blowing, catastrophic nuclear disasters, uncontrollable pathogens…it seems there’s no end to humanity’s imagination when it comes to our own eventual extinction.

This makes sense of course. As discussed in our article ‘The Metaphorical Imperative’, the exclusive human ability to conceive of our own mortality leaves us with an overwhelming sense of existential terror. This applies primarily to our own lives, but with even a cursory understanding of the cerebral complexity of humans, extends easily to the human race as a whole. It’s no stretch then to understand the human need to create fantasies about how it might all end.

Among the litany of potential options for humanity’s demise, I’m particularly fascinated by the idea of a Robot-Apocalypse. In this scenario, the invention of AIs (Artificial Intelligences) by humans is the catalyst for our extinction. The idea generally goes that once a robotic AI is created, it will inevitably become self-sufficient rather quickly. The ability to ‘think’ in a human like way will allow the AIs to self-replicate, and also self-program themselves. Like evolution on a greatly accelerated scale, the AIs would be able to continuously improve their programming and design. Following this course, it would take little time for them to become far more intelligent and capable than humanity itself.

Now, this represents a particular danger. A continually advancing and ever-growing society of robots would represent a very serious threat to our own existence. Because of this threat, many science-fiction writers and machine-ethicists have considered how to prevent a robot uprising. The best known attempt comes from the writer Isaac Asimov, who created the infamous ‘3 Laws of Robotics’, which follow:

Asimov’s Three Laws of Robotics:

  1. A robot may not injure a human being or, through inaction, allow a human being to come to harm.
  2. A robot must obey the orders given it by human beings, except where such orders would conflict with the First Law.
  3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

A fourth, or “Zeroth” Law was added later:

  1. A robot may not harm humanity, or, by inaction, allow humanity to come to harm.

These laws were to be hard-wired into the software of all AIs, theoretically preventing them from turning the table on mankind’s rule. Of course, these rules were little more than literary devices, and have inevitably been used to illustrate just how quickly such restrictions can come undone.

One common failure of these rules is that the AIs, in their ever-expanding wisdom, would begin to consider humanity itself as the greatest threat to its own survival—as well as that of the world. The AIs would process the ongoing damage to the environment, the threat of nuclear war, and other atrocities committed by humans on an ongoing basis, and in accordance with their own ingrained programming, move to prevent inevitable disaster.

Unfortunately, this usually involves wiping out mankind—or at least the vast majority of it. In some conceptions, a small population of people might be preserved in order to repopulate once the world is better equipped to deal with our innately destructive nature.

It’s not a very pretty picture for us, but in the advanced minds of the AIs, this might represent our best chance for long-term survival.

Of course, it’s a lot easier for the malfeasant machines these days; among other ill-effects, ‘Citizens United’ has rendered Asimov’s Laws of Robotics entirely counterproductive. If corporations are considered human, it should be immediately apparent how confusing the laws become, and what sort of abominable determinations the AIs may be forced to make.

This is all a lot to consider, and certainly makes for a rather sombre topic of conversation, but what I find myself wondering amidst all this terrifying rhetoric is: are the AIs right?

There can be little doubt that humanity is a terrible threat to itself and all other forms of life within our dastardly reach. On an ongoing and ever-accelerating basis, we’re ravaging our planet, destroying myriad ecosystems, running our resources dry with little thought to the future, and killing one another over trivial ideals and belief systems. If we can move past our own sentimentality, we’re left with the sad fact that we are a brutal, destructive, and dangerous species.

But we’re more than that as well. As the gears turn in their cold metal minds, processing all the turmoil and grief we create, would the AIs also consider our upsides? Can an AI appreciate art, or philosophy? Would their synthetic hearts be capable of processing the great acts of love and decency of which we are also capable?

If humanity is to be put on trial by these cold, calculating, and unbiased brutes, would we be found lacking? It’s a difficult thought to consider. Here at Brad OH Inc., we remain convinced that humanity’s promise is yet to be fully realized—that we are far better than we’ve been acting. Let’s hope we can buck this dismal trend before we actually manage to construct the arbiters of our own fate.

Do you think we’d pass this trial? Feel free to share your opinion in the comments section below (or alternatively accessed via the speech-bubble beside the article title).

A special thanks to Hal J. Friesen for helping in the research of this article. To read his great science-fiction related articles and more, visit Hal at: Hal J. Friesen.

-Brad OH Inc.

‘Lighthouse Lament’

Under the Green Desk Lamp…

Green Desklamp

Today on Brad OH Inc., we have another song to share from the former Edmonton based band ‘Basic Human Indecency’. As discussed with the previous song, ‘Overwhelmed’, these songs are the sole legal property of Brad OH Inc. But they’ve never been recorded, and have no other real use, so we’re more than happy to share them with you here.

The feature song/ poem today is the mournful tale of the sea: ‘Lighthouse Lament’.

Lighthouse Lament

A man and a boy

A boat and a storm

And a fear of where they were

A light and a horn

Far away through the fog

And a dream of where they weren’t

A rage in the boy

And a calm in the man

With the salt in his eye

And the wood in his hand

And the wind in his ear

Told him what she would be thinking

A sharp gasp out

Then a cracking sound

And a note in a bottle

Is all that was found

Of the man and his son

On the Homeward Bound

The winds keep tossing me alone

Stealing me from what I own

What I’ve known and sewn

And what I’ve grown

They take me far away from home…

-Brad OH Inc.