The ‘Jenga’ Analogy

purelyspeculationEarlier this week, I found myself playing a friendly game of Jenga. Well, not entirely friendly perhaps—it was naturally filled with all the taunting and tension so common to the game.

With each log I drew from the base with tremulous fingers, I breathed a sigh of relief as I watched the tower teeter and totter back and forth. But when it finally found its balance once more, the work was only halfway done.

After a brief period of respite marred only by a victorious sneer at my young opponent, it was time for me to finish my task. With the newly liberated block held delicately between my fingers, I raised it up and let it hover a moment above the top of the now lopsided and treacherous monstrosity we’d created.

Finally, I took a deep breath in and held it. The careful extraction was not my victory, for now I had to place the block on top—hoping against hope that the imbalance I had done to the tower’s base would not prove fatal.

Sadly, my hopes were dashed, and the tower came crumbling down. Wooden blocks scattered across the tabletop, and a squeal of unrestrained joy was loosed from the grandstanding lips of my tactless opponent.

‘If only I hadn’t had to put it on top’, I lamented. But that’s just the point here. It’s easy to cause imbalance. It’s far more difficult to deal with the consequences. When I’d slid the block out, I had created tension—specifically between the increasingly poor engineering of the tower, and the immutable force of gravity.

If it hadn’t been expressly forbidden by the sacrosanct rules of Jenga, I could have tossed the block lackadaisically over my shoulder and passed the buck onto the unaware child before me—forcing them to deal with the repercussions of my block choice.

“Again!” he cried, encouraged by his victory and likely reeling with a distinct sense of invulnerability.

But my mind was elsewhere, and time was not on my side. As I gathered up the blocks and began to replace them in the box, I turned to the clock on the wall to gauge my schedule. 11:00am—just enough time to get one last visit in before lunch.

Oh lunch: the vaunted reprieve from workday responsibilities. With a half-hour of stress-free liberty, my only significant choice would be where to eat. And if that’s the only conflict to resolve, things are pretty good in my books.

But as the last of the Jenga blocks was returned to its rightful place, my hunger-laden mind recalled suddenly the ongoing string of strikes and demonstrations against fast food operations around the world (Link).

Workers had taken to the streets, demanding delivery from the poverty level wages they had been faced with for far too long. The demonstrations were primarily peaceful shows of unity and hope—asking only a fair wage for a fair days work. But as is the leitmotif of any political discourse these days, the demand was mired in controversy and misgivings.

Among the myriad complaints aimed at the workers was the age-old notion of fiscal strain. The argument goes that if restaurants (and it should be noted here that the vast majority of those affected are multinational Corporations) were ‘forced’ to increase their minimum wage, the resultant loss of capital would have to come from somewhere else.

It’s a logical notion to be sure—money is finite after all, and if moved to one place, it must have come from another. The natural remedies, in the Corporate mind at least, are to lay off workers, increase prices, or decrease quality.

Of course, these options lead to long line-ups, inflated meal prices, and dangerously cheap ingredients. As images of soggy lettuce, smeared condiments, and dry, grey ‘all-beef patties’ danced before my eyes, my lunch options seemed somehow less appealing.

There is a problem with this key assumption however, and as so many problems are these days, it is tied to the fundamental structure of the Corporation. Guided by the anti-social leaning philosophies laid out in the ‘Friedman Doctrine’ (Link), a Corporation is structured with only one true responsibility—the shareholder. This means that with every decision a Corporation makes, it is obligated to ensure that the bottom line of share value is being increased.

In essence: no matter what the problem or potential solutions, the goal should be greater profit for the Corporation. Of course, this has historically led to a litany of grave injustices (Link), but just at this moment, it was my impending meal I was most concerned about.

And herein lies the problem. While it’s difficult to argue that workers aren’t entitled to a living wage—particularly in a world where an ever growing number of jobs are being pushed into the minimum wage bracket by increased automation and other factors—I still want a good meal.

But these desires are incompatible in the Corporate mind. You can’t have fair pay, good food, AND reasonable prices…at least not if stock prices are to continue rising.

And so it goes: as each year passes, Corporations continue to take money away from the bottom, while ensuring it also stays at the top. Increase the wages—lay off employees. Respect environmental regulations—decrease the quality of the product. Comply with fair tax regulations—jack up the prices.

You take a block from the bottom, and you put it on top.

The easy answer of course, is that Corporations should, and must, accept that as society changes and technology grows, sometimes they may see a decrease in overall profits. But this should be felt at the top—the shareholders and the CEO’s who are in dire need of learning that just as they claim that ‘a person doing a minimum-skill job deserves only a minimum salary’, so too must the directors of a decreasingly relevant franchise ultimately see a stall in their (still exorbitant) profit margins.

Of course, this isn’t what happens. While many of these fast-food franchises likely started out as very solid businesses offering a decent meal at a competitive price, they have long since grown unwieldy. As the towers of their Corporate offices rose higher into the skyline, their bases grew increasingly unsteady. And we’ve all seen the end result many times before. Eventually, the whole operation comes crumbling down. After all, no one wants to pay $14 for a shitty burger just so the CEO can afford to take a private jet to his island resort.

And this, better than anything else, illustrates the fundamental failing which has occurred in our conception of capitalism. Namely, the transfer of implicit company responsibility away from its customers—who rely on a strong and reliable base—to its shareholders—who care only for how high it can reach before they sell their shares and watch it all crumble from the vantage point of the next opportunity they make ready to despoil.

It’s a depressing thought to say the least. And so, as I slid the Jenga box into my bag and made off to my next visit, I made a decision. Today, maybe I could pass on lunch. I was hungry no doubt, but as I thought about the implications behind which barely-edible meal I’d buy, I found that my appetite was gone.

Fuck it, I’d just go hungry. After all, if the Corporations had it their way, that would be the fate of the lot of us.

-Brad OH Inc.

Between the Shelves Interview with Author Timothy Fowler

cropped-blogbanner1.jpgThe following is an interview with Timothy Fowler, 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:

When not writing for Scribbles and Snaps, Tim works with a Global Fortune 100, leading a team of incredibly talented people to deliver the nearly impossible to their customers doing important work. He travels nearly full time as a result of this engagement, and part time for leisure. He scribbles pictures and snaps stories for his own pleasure and hopefully yours. He lives in St. Albert with his lovely wife, Saskatchewan-born farm girl, Kathy, and Gordon Setter, Rigby. He is Scribbler, Snapper, Navigator, Outdoorsman, Fellow Traveller. He is from Granite Rockies, and Prairie Dust, from Boreal Forest and Wanderlust. Tweet @TimothyDFowler or read his blog here.

  1. In “The Library”, you talk about the hours spent in your Aunt and Uncle’s library. Do you try to model your own home library after theirs, or after another library?

TF: My library mirrors my Aunt and Uncle’s with the soft light, big chair, and favourite books on dark wood floor-to-ceiling shelves.  Thick carpet under sock feet helps make it very quiet like theirs was. Sometimes guest’s children get rocked to sleep there. And the kids books are on the lowest shelf so they can choose which books they want to read, or have read to them.  I have my own childhood books on the lowest shelf.
Like their house, from the library you can smell dinner underway. I started my career in culinary as as apprentice then journeyman chef, now manager. Roughly a quarter of my books are related to food, collected over decades of kitchen work. Many meals are first conjured in the library. My uncle had a collection of food related books on the shelf, and I think of him often in his hotel kitchen.
My library feels like an extravagance, and I suppose it is.
Now I keep a special shelf for writing books, and borrowed books. I now apprentice as writer.

  1. You’ve been writing on your Scribbles and Snaps blog for a year and a bit now. How has that project evolved from when you started, and where would you like to see it go?

TF: For many years I have been quietly writing, but mostly keeping outputs to myself. “Platform,” Michael Hyatt’s book helped me decide to launch my Blog, and write in a public way. I write to entertain, and encourage readers to think about life experience in a new way. I hope the blog posts do this.
My goals for 2015 include submitting 52 pieces for consideration to be published. “The Library” is one that will be published in 2015.
Participating in the Edmonton Writers Group gives me candid feed back, caring coaching, and firm encouragement from fellow writers. Joining the group is one of the best things I did to accelerate my writing apprenticeship

  1. Did you start with writing or photography first? How does photography play a role in your writing?

TF: Since sharpening my fat red pencil and spelling my name with letters in the right order I have been marking up pages with stories. Recently I bought a LAMY fountain pen, and find writing longhand with a real pen and real ink on real paper, a sensuous pleasure. I am saving my money for a Sailor fountain pen with a gold nib.
Now I write by hand in a notebook every day.
After my sixteenth birthday I bought a Pentax 1000 35mm SLR. Before turning twenty I travelled the South Pacific, Australia and New Zealand making hundreds of photographs. I read Freeman Patterson’s great book “Photography and the Art of Seeing” and work hard to see.
We writers spend a lot of time wrestling words, showing over telling, but before any of that happens we need to “see.” So for me making pictures and writing are very much tangled up. I experience them together. I picture what I write, and I hear stories looking through my viewfinder. Metaphors are literary viewfinder for readers.
This is how I landed on ScribblesandSnaps.ca
I explore the question of “Why?” for both writing and photography on my blog.  I find them both rewarding, but recently have been focused precisely on writing.
Why write:
http://scribblesandsnaps.ca/why-i-write/
Why photograph:
http://scribblesandsnaps.ca/biography/why-i-make-pictures-3/

  1. Who has inspired you as a writer?

TF: Mark Twain’s “A Dog’s Tale” and “A Horse’s Tale” had a profound effect on me, teaching me about voice and story point of view. He tells gut-wrenching stories within stories. The story is not the story at all. And it is.

I know Stephen King is cliché-popular but his storytelling ability influences me today. He just jumps off the first word and tells the story. Recently Alberta’s own Fred Stenson’s “Feigned or Imagined” has been great fun and his writing started me on several stories of my own.
The truth is we are influenced by whatever we read, and now more than ever, I read constantly. Precise language and particular personalized description is such a pleasure to read, and a tremendous challenge to write.
Challenge accepted.

  1. What do your children think of your writing aspirations? Are any of them following in your footsteps?

TF: Both my boys are great storytellers, but neither has put pen to paper in a serious way. Both have a keen interest in photography. And both, if I may say, competently maneuver in the kitchen.
My whole family encourages me to write—at least to my face.

Timothy Fowler’s story “The Library” is featured in ‘Between the Shelves’, which you can purchase now on Amazon.

-Brad OH Inc.

‘Actually’

Under the Green Desk Lamp…

Green DesklampToday 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: ‘Actually’.

You walked out

I said it was ok

I signed on the line

Said you wouldn’t go that way

You were gone from my mind

Until the newspaper today

It said you’d returned

To your place from way back

The old needs recurred

Set you on that same track

Lessons never learned

You just wanted what she had

They never called me

But it’s with me all the time

Once trivial choice

Less thought than a dropped dime

You made her your last

And I guess you were both mine

And actually I

Guess I never knew you

Factually I

Thought I saw right through you

Now finally I

Wish I never blew you off…

-Brad OH Inc.

Between the Shelves Interview with Author Mohamed Abdi

cropped-cropped-blogbanner13.jpgThe following is an interview with Author Mohamed Abdi, 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:

Mohamed Abdi is a Somali-Canadian Writer with a Bachelor’s Degree in Communication Studies. He loves to read mystery and historical fiction novels and has written articles for both online and print magazines. Mohamed lives in Edmonton with his wife and children.

  1. Did the EPL play a significant role in your own immersion into Canadian culture?

MA: Absolutely. Edmonton Public Library has played a significant role in my broad understanding of Canadian culture and enabled me to immerse myself into the culture. This comes in the form of reading different books written by diversified authors, and I have realized that much of Canadian culture is built on readership and connection with libraries. In fact, I have been partly acculturated as I like to read and borrow books from the Edmonton public library. And readership culture is created and promoted by individual societies.

  1. When did you make the decision to start writing in English, and why is it so important to you?

MA: My university studies exposed me to writing opportunity, through essays, etc. As a result, I have developed a passion for reading and writing in English. I wrote my first English book in 2004. This was a non-fiction book, which touched on Somalis’ plight and their displacement after the civil war of 1991. I published my second English book in 2012. This was a collection of fictitious, short stories about Somalis’ predicament and their complicated conditions in various places of the world. I think it is so important to me to write in English, for English has become a universal language whose written materials and literature can be comparatively accessed by many people. So by writing in English, I can reach out to a wider audience.

  1. What advice would you give to other Non-Native English speakers trying to make their voices heard in English?

MA: My advice to Non-Native English speakers is to read as many books as possible, and to start putting your ink on paper and write things you have passion for, or concerned about, in other words. And you must know that your writing skill will not come overnight, but it has to start somewhere and grow gradually. So let you start somewhere and develop your writing skills onward.

  1. Who has inspired you as a writer?

MA: Somalia’s civil war has inspired me to become a writer. In fact, the insanity of that sinister civil war has set my mind into motion and compelled me to find responses as to why people wreck each other and take their countries apart. Why blood is spilled? Why children are orphaned? Why women are widowed? Are there alternate means of reconciling and resolving conflicts before resorting to the barrel of the gun?

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

MA: I am now working on a novel (historical fiction) about Somalia, but don’t know how it will turn out or where this journey will take me, but I am determined to unleash my imagination and hone my skills for this project.

BetweenTheShelves_poster-FOR-WEBCheck out Mohamed Abdi’s story “Learning From Your Library” in Between the Shelves’, which you can purchase now on Amazon. And be sure to join us tonight, May 6, from 7:00-9:00PM for the official launch party in the Centennial room of the Stanley Milner Library!

-Brad OH Inc.

Between the Shelves Interview with Author M. Lea Kulmatycki

cropped-cropped-blogbanner13.jpgThe following is an interview with M. Lea Kulmatycki, 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:

M. Lea Kulmatycki is a teacher and writer. Her work spans academic writing to a senior’s advice column in a local newspaper. She has even written poetry for some charitable events. After many years of writing and publishing teaching materials, she decided to focus on her first love, fiction. She is also on the board of directors of the Young Alberta Book Society.

  1. This short story seems to scratch the surface of a much broader world. Is “Library Lost” going to be continued or expanded elsewhere? 

MLK: Yes, I’m hoping to expand the story into the first book of a trilogy.

  1. How has your academic and column writing influenced your fiction writing? 

MLK: Research is crucial to academic and column writing. It’s also important when writing a fictional text. I want my readers to connect to my stories and it won’t happen if something is unbelievable or inaccurate. I research to make sure my description of real-life objects, places, etc. is accurate. I also research when creating a new object or process for a story. It won’t be believable if it’s not based on something that works in the real world. For one story, I thought an obsidian sword would be a fitting weapon for the evil antagonist. Unfortunately, there was no way to get around the fragile nature of the material.

  1. How has your poetry experience influenced your writing?

MLK: Writing poetry has taught me the importance of using precise language as well as words that flow together and sentences that either complement or contrast one another. I re-read my work aloud so I can work on the sentence fluency.

  1. As a teacher, is your target audience the youth whom you taught, or are the end goals of your teaching and writing completely separate? 

MLK: I love to write, so I take advantage of opportunities regardless of audience and genre. However, I do prefer writing for children ages seven to ten.

  1. I noticed you didn’t give the grandfather a name in the story. Was this intentional on your part to flip the traditional patriarchal forms? 

MLK: Yes. In my view of a dystopic society, there is always an imbalance of power. When we think of a grandfather, we usually think of someone kind and caring. The insidious nature of power is emphasized by the true nature of “Grandfather” as he hides behind this mask. While the character emphasizes the plight of the Sisterhood, he ultimately reveals its strength. These women will not submit to their oppressors and have chosen to fight for all who are oppressed. As a global society, we have not yet escaped this power struggle. It exists in many forms – gender, race, wealth, etc. I’m an optimist. I believe world peace is achievable, but I believe we have a lot of work to do to change the imbalances in our global society so we can live in peace.

  1. Who has inspired you as a writer? 

MLK: Martyn Godfrey. I met him early in my writing career. He was a wonderful person and phenomenal writer. Kids connect to his stories and I hope that kids will connect to my writing in the same way. A few years ago, I was given a book written by Dan Abnett. I love his Eisenhorn and Ravenor series. He is a superb storyteller and I admire his use of the English language to engage the reader.

BetweenTheShelves_poster-FOR-WEBM. L. Kulmatycki’s story “Library Lost” is featured in ‘Between the Shelves’, which you can purchase now on Amazon. And be sure to join us May 6 from 7-9PM for the official launch party in the Centennial room of the Stanley Milner Library.

-Brad OH Inc.

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

cropped-blogbanner1.jpg

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.

Between the Shelves Interview with Author Linda Webber

cropped-cropped-blogbanner13.jpgThe following is an interview with Author Linda Webber, 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:
After the short story ‘I Will Not Let You Fall’, creating this bio has been the greatest challenge to Linda’s creative writing skills. This is her first publication, even though she has written a great deal of fiction (five short stories). Although one story did receive praise from her writing group (not ‘I Will Not Let You Fall’), another story did not receive as much. Linda’s writing career spans nine months; therefore, she is hoping to publish something else any day now.

  1. You joke that you’ve written a great deal of five short stories in your bio. Was this story any different or more challenging than your previous works? 

LW: I had always wanted to write a story from the perspective of a biological mother whose child has fetal alcohol spectrum disorder. I wanted to write the story in first person to communicate what the experience is of these mothers. I wanted the story to be sympathetic to her and explain her thoughts and experiences, her personal pasts and her present struggles to raise her child to the best of her abilities given limited resources and lack of empathy from just about everyone including society in general.
It was difficult to capture all these various aspects, particularly the struggles of the child and that it was her doing but also make the reader empathetic to her. This is the first story I have written in first person. I chose this perspective because I wanted the reader to understand the mother and her life. However, it was difficult to show and not tell. It was much more challenging than limited omniscient, which I prefer. I will never write in first person again.

  1. Where did you draw the inspiration for this story?

LW: I work on a clinic that diagnoses children who have FASD. Many people ask me how I can work with the mothers. They are blamed and demonized. I have found them to be amazingly strong and caring people who have horrendous pasts and are trying their best, with little help, to raise their children.

  1. This piece is one of many in the anthology where the library’s role is not what you’d expect. Was that intentional on your part when you were creating the story? 

LW: I had always wanted to tell this story. I was also trying to think of a library-related story for the anthology. They clicked. This story also reminded me of the times I took my son to the library.

  1. Who has inspired you as a writer?

LW: I love writers who are descriptive with setting and character such as John Steinbeck and Annie Proulx. I love vivid writing that makes the reader feel the story. I am concerned that my writing may be melodramatic.
In this story I tried to communicate the emotional ordeal that these poor mothers go through. They seem to suspect something is not quite right, hence the search for information, but they are also in denial. Through the diagnostic process they come to a realization that, yes, indeed, their suspicions are true. The emotional burden they carry is tremendous.

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

LW: Currently, I am writing a short coming-of-age story about a girl who accidentally discovers a mystery about her mother’s past. Her mother has had two other daughters with the same name as the girl. The girl gradually discovers a series of unsettling things that lead of a final horrific tell-all. Yes, the story is also alcohol-related.
Many of my stories are based on my work as an occupational therapist. Over the years, I have seen strange and amazing and horrendous things. Some of the themes in my writing are the difficulty that people have with change and the damage that alcohol does to people and their relationships.

 Linda Webber’s storyI Will Not Let You Fall” is featured in Between the Shelves’, which you can purchase now on Amazon.

-Brad OH Inc.