Due to inclement weather, graduation will be held indoors

The use of “due to” in this sentence is wrong, wrong, wrong. So it won’t surprise you that I misused it in one of those excerpts from my novels I posted the other day.

This brings me to an interesting essay by Steven Pinker in Slate about the latest prescriptivist/descriptivist controversy.  I’m a big Pinker fan, and I think he gets it right:

The thoughtful, nondichotomous position on language depends on a simple insight: Rules of proper usage are tacit conventions. Conventions are unstated agreements within a community to abide by a single way of doing things—not because there is any inherent advantage to the choice, but because there is an advantage to everyone making the same choice. Standardized weights and measures, electrical voltages and cables, computer file formats, the Gregorian calendar, and paper currency are familiar examples.

And:

Once you understand that prescriptive rules are conventions, most of the iptivist controversies evaporate. One such controversy springs from the commonplace among linguists that most nonstandard forms are in no way lazy, illogical, or inferior. The choice of isn’t over ain’t, dragged over drug, and can’t get any over can’t get no did not emerge from a weighing of their inherent merits, but from the historical accident that the first member of each pair was used in the dialect spoken around London when the written language became standardized. If history had unfolded differently, today’s correct forms could have been incorrect and vice-versa.

But the valid observation that there is nothing inherently wrong with ain’t should not be confused with the invalid inference that ain’t is one of the conventions of standard English. Dichotomizers have difficulty grasping this point, so I’ll repeat it with an analogy. In the United Kingdom, everyone drives on the left, and there is nothing sinister, gauche, or socialist about their choice. Nonetheless there is an excellent reason to encourage a person in the United States to drive on the right: That’s the way it’s done around here.

(My cold-eyed editors would probably remove that hyphen from vice-versa, but we’ll let that pass.)

There is a bit of historical illogic in using “due to” as a prepositional phrase instead of an adjectival phrase, but it’s completely comprehensible to any reader of English.  So why should we care if it’s used as a preposition, equivalent to “because of”?  In general, we shouldn’t.  But if you’re a writer, maybe you should, because there will be a part of your audience who will think the less of you if you use “due to” in this way.  And you’re probably not good enough a writer to not care about annoying those people.

Bryan Garner, the author of Modern American Usage, has coined the term die-hard snoots to refer to the pedantic folks who care about these lost causes.  Here the Columbia Journalism Review talks about the die-hard snootiness of opposition to the prepositional “due to.”

At work recently we discussed whether we should prohibit the prepositional “due to.”  We decided that we should.  Ordinary schlubs won’t care if we use “because of” instead of “due to,” but die-hard snoots will.  And we want die-hard snoots to like us as much as ordinary schlubs; so why not make them happy?

I’ve started reading a book called The Language Wars that Pinker mentions in his essay.  I’ll let you know who wins.

Replica is now available from Amazon and Barnes & Noble!

Replica is now available from Amazon and Barnes & Noble for the embarrassingly low price of $4.99.

Replica is a near-future thriller about creating an android replica of the president of the United States.  It’s filled with clever plot twists, interspersed with occasional reflections on what makes us human.  Here’s the prologue, which I posted once before, but admit it, you’ve forgotten it already.

***********

It was the last day of his life, and the man in the blue nylon jacket was getting nervous.

He stood on the common, hands stuffed in his pockets. It was a little after two by the town-hall clock. He would be dead by a quarter to three.

The crowd was growing now. Lots of Norman Rockwell families: pink-cheeked grandmas, kids in snowsuits clutching balloons, strong-boned women pushing strollers. Plenty of bored, burly policemen. And the occasional gimlet-eyed man in a gray overcoat, watching.

The high school band was playing next to the temporary stage; a young woman was testing the sound system; the hot-chocolate vendors were doing terrific business. What better way to spend a Sunday afternoon?

He hadn’t expected to be nervous. But everything was real now, and nothing can prepare you for the reality of death.

He had parked his car in a supermarket lot at the edge of town. It occurred to him that he could turn around, walk back to it, and drive away. Life would go on.

This struck him with the force of great insight. He had been anticipating this day for so long now that the idea of living it like any other day was strange and compelling.

Which would be harder: dying, or living with the knowledge that he had failed?

A helicopter swooped by, and then returned to hover overhead. The band played “From the Halls of Montezuma.”

He remembered sitting in the bleak apartment and listening to the others spin their crazy schemes. They were dreamers; worse than dreamers, because they thought they were doing something wonderful and dangerous, when all they were really doing was wasting their lives. “You’re trying to get something for nothing,” he told them, “and you’re not clever enough for that. If you want to do this, then you’ve got to be willing to risk everything—and then it becomes easy.”

But they weren’t willing. And he was. So he had left them behind, to end up here and take the risk.

He had been on the road for days. The distance to be traveled was hardly great, but he felt a need to disappear, to find some anonymity in the grimy motels and the self-service gas stations and the fast-food restaurants. Family, lovers, friends, work—it would be easier, he had thought, if he left them all far behind.

But here he was, and it was hard.

Distant sirens. Little boys had climbed the bare trees; infants were perched on parents’ shoulders, necks craned, placards waved. Flashing lights, the roar of motorcycle engines, the cheering of the crowd…

…and there he was! Yes, look, in person—something to tell your grandchildren. Reach out and maybe he’ll touch your hand!

The man in the blue nylon jacket stood in the crush and gaped like all the rest. The reality of his prey was paralyzing. The high forehead gleaming in the sunlight as if polished, the sharklike smile, the large nose red from the cold… Look, it’s him!

We’re both going to die.

He was on the stage now, waving. A local politician stood at the microphone and gestured for quiet. “It is my great privilege…”

Hard to breathe. The anger was returning before the man had spoken a word. How could they cheer him? Why couldn’t they see?

Would one of the gimlet-eyed men notice that he wasn’t cheering?

The introduction was finished; the cheers continued.

The man on the stage waited for silence, then began. Bad joke, gratitude to the crowd for coming out on such a cold January day. Then on to the substance.

“Four years ago, when I came to New Hampshire, I asked a simple question: do you think your lives are as good as those of your grandparents? As meaningful. As rich in the things that make life worth living. Now as you know, in a couple of years we will be celebrating America’s two hundred and fiftieth birthday as a nation. So today I want to ask you fine people a slightly different question: do you think your lives are as good as those of the men and women who brought this great nation into existence? They had no jets to take them across the country, no robots to do their work, no nuclear weapons to wipe out their enemies. But I think you’ll agree they had a better chance at happiness than many of us have today, a better chance to attain the dignity and self-respect that go with having a purpose in this life, even if the purpose is as basic as providing food for your family.”

How could he say that stuff—and how could the crowd listen to it? Inoculated, anesthetized, sanitized, with twice the life-span of their ancestors and half the pain, they didn’t know how good they had it. Maybe they wouldn’t know until they destroyed what they had.

“For years we have been fooling ourselves that technological progress must inevitably produce happiness. But now we have come to realize that it produces merely complexity, and tension, and fear. The technologists say: machines make life easier. I say: I don’t want my life easy; I want it real. The technologists say: you can’t pick and choose your progress. I say: why not? I’ll be happy to let them cure cancer, but I’ll be damned if they’ll force me to own a robot. The technologists say: you can’t stand in the way of the future. I say: wanna see me?”

The crowd roared. Someone slapped him on the back. He jammed his hands deeper into his pockets. He should be past trying to understand or to argue now. He should just get ready to do what had to be done.

“And now they are going beyond even robots; they are putting robot brains into living human flesh. They call these creatures androids. I call them the work of the devil, and if I do nothing else during my second administration, I am going to see that their manufacture and sale is made illegal in this great nation.”

As he watched and listened, the speaker’s head seemed to grow until it filled his field of vision. He imagined it exploding, like a ripe melon dropped on concrete. He imagined the screams and the terror, the hands pointing at him, grappling with him; imagined everything as he had imagined it a hundred times before. But he had run out of time for imagining now; reality was here, ready. He had only to seize it.

He didn’t move, and the speech continued.

“I know many of you have been put out of work by robots and similar machines. And in trying to get the jobs that remain, you find yourself competing with immigrants who are willing to work for pennies. Now, contrary to what my opponents are always saying, I have nothing against immigrants. When the wars of the millennium broke out, it was right and fitting that we extended our generosity to their victims. But over twenty years have passed, and we are still paying the price for our good deeds. I say: enough is enough! Let’s put a stop to immigration! Let’s call a halt to the incursions of technology on the quality of our lives! Let’s regain control of our nation!”

Cindy Skerritt. He hadn’t thought about her in years. He wondered how she was doing. Still living in Montpelier? Still fooling around with those stupid Tarot cards? Geez, they had had some good times together. Why did they ever break up? He could be in Montpelier by nightfall.

He could turn around, walk back to his car, and drive away.

He didn’t want to die.

Maybe he could kill the man and still escape. Why not? He wouldn’t miss. He knew he wouldn’t miss.

The common was overrun with Secret Service agents. He had even seen one with a robot scanner; they were convinced a techie was going to send out a robot to do the deed. But they couldn’t be everywhere, couldn’t watch everything. He just needed a little distance.

He made his way through the crowd out onto the sidewalk. It was full of cops standing next to their cycles, waiting for the motorcade to resume. He crossed the street. A few people were perched on the steps of town hall. He looked around. There was nobody by the Methodist church. He sauntered over to it and turned. He was almost directly behind the stage now, and he no longer had a clear shot.

But he wouldn’t miss.

He climbed the stairs and stood in front of the white double doors. He casually tried them. They were unlocked. He opened one a little and stepped back inside. The stage was still visible, his target still there, head bobbing slightly as he reached the climax of his oration.

His dying words.

“I truly believe that for the first time in generations we are headed in the right direction—toward an America that is more concerned with its people than with its machines, more concerned with its spiritual well-being than with its physical comfort, more concerned with life than with progress. If you will give me your help once again—”

He imagined walking through the streets, unnoticed in the turmoil, getting into his car, driving away. No one would even know he had been in town. Montpelier by nightfall.

And a lifetime to enjoy the memory.

He took the gun out of his pocket and lifted it into firing position. The crowd was cheering.

And the people on the stage were on their feet, applauding, surrounding the man, shaking his hand. The speech was over.

“Hey, what are you doing?”

He fired and fired and fired. Felt the arm clutching at him, heard the cheers turn to screams, saw the jumble of bodies on the stage, the pointing fingers. Then he turned and faced his attacker.

It was a minister, overweight, jowls trembling with fright. Doing his duty even though it meant he was going to die. He knew that feeling. He shrugged off the minister’s feeble grip and shot him in the face.

Blood everywhere. Had to get out of here. He raced down the center aisle of the church, taking off his bloody jacket as he ran. The place smelled of furniture polish and flowers. Had to get out. Past the pulpit, through a door, into darkness. His knee banged into something sharp. He cursed and limped ahead. He found a knob, turned it, and saw sunlight. He forced himself to run down the stairs and along the side street. Which way to his car? If he could only get to his car, everything would be all right.

He heard sirens, squealing tires. He veered onto the sidewalk and dived into a shop.

It was a drugstore, brightly lit, antiseptic. No customers—just a pharmacist, bald, skinny, terrified. He realized he still had his gun in his hand.

The clock over the counter said quarter to three.

“Rear door,” he gasped.

The pharmacist pointed past the shelves of pills. The man hurdled the counter and made his way through a storage room piled high with empty cartons. The door was bolted. He slid the bolt back and wrenched the door open. A dumpster, a car, a chain-link fence with houses beyond. He headed for the fence.

The wire ripped his pants, cut into his hands. He didn’t feel it. A Doberman was running toward him. He shot it, then noticed it was on a leash. A woman stared at him from her kitchen window.

He ran.

Had to find his car. The parking lot couldn’t be far. Montpelier by nightfall. Sirens everywhere.

Cindy, will you tell me my fortune?

His knee was on fire. Couldn’t run much farther.

Just around the corner. I’m sure it’s—

The first shot hit him in the shoulder as he reached the corner. The car wasn’t there. All he saw was flashing blue and red. He stopped and breathed the pure cold air.

The car wasn’t there.

He wanted to apologize to that woman for killing her Doberman. Reflex. Unavoidable.

The second shot hit him in the left buttock.

And a lifetime to enjoy the memory.

The third and fourth shots hit him in the spinal column and the right kneecap, respectively, and he fell to the ground. The fifth shot smashed through the rib cage and lodged in his heart.

The thing of it was, he didn’t know if he had succeeded. And now he would never know.

Senator now available from Amazon, Barnes & Noble!

Senator is now available from Amazon and Barnes & Noble for the egregiously low price of $4.99.

Senator is a meditation on family, loyalty, and politics, wrapped up in a complex murder mystery that takes place during a grueling political campaign.

The cover is by the great Jim McManus.

Here is the first chapter.

***********

I am a politician.

I stare at the blank screen, and that is the first thing I can think of to write.

It’s astonishing, really. I have never thought of myself as a politician. I certainly didn’t plan to become one. Even as I campaigned, as I shook hands and kissed babies, gave canned speeches and attended endless fund raisers, it didn’t occur to me that these activities were defining me; I always thought of them as simply a means to an end. Until now. Now, when it has all changed forever.

I’m a politician, and I have just finished the toughest campaign of my life. But it isn’t just the campaign I want to write about in this unfamiliar room, on this intimidating machine. Because I want to be something more than a politician, and that will require an understanding of far more than the mechanics of running for public office. It won’t be easy to find that understanding.

But this is where I have to start.

* * *

The battle had been shaping up ever since Bobby Finn announced in late spring that he was going to run against me, but the public didn’t pay attention until after the primary. Couldn’t blame them; we were both lying low—raising funds, doing research, plotting strategy. Neither of us had opposition in the primary, so we spent our time stockpiling ammunition; better to do that than to use it up early and risk having nothing left for the final struggle.

But even when we started in earnest, people were slow to react to the legendary confrontation. The pros blamed it on the weather. It was a soggy September. Flights were delayed, parades canceled; people at factory entrances and subway stops rushed past us to get out of the perpetual rain. Even indoors the crowds were small and inattentive, worried more about whether their basements were flooding than about who would get their vote for senator. Maybe after the baseball season, the pros thought. Eventually they would have to take an interest.

Eventually they did, but Lord, it wasn’t the way I wanted.

I may as well start with the Friday evening it all began. Just another speech—this one to the Newton Republican Women’s Club. Not an especially important event; I was preaching to the converted, and there were only a couple of local reporters there to take my message to the masses. My mind was far away, but still, it went well; the fine ladies laughed at the jokes and applauded at the proper places and were generally thrilled to be in my presence. A politician is an actor whose performance never ends.

Kevin Feeney was with me. It was his job to grab me away from the fine ladies as soon as possible after my speech. Let them blame him, not me, for not staying longer. Sorry, ladies. I’m a slave to my schedule, and Kevin is its keeper.

He did his job—he always does—and together we headed out into the fog and drizzle. He held an umbrella over the two of us as we stood in the parking lot. “Let me drive you home, Senator,” he said.

“Don’t be silly. What’ll we do with the extra car? Take the night off. Relax.”

“You should have let me drive you here.”

By using my own car, I had provided the evening with a logistical complication that Kevin found unnerving. He was supposed to take care of me, and I wasn’t cooperating. “I managed to get here by myself, Kevin,” I said. “I’m sure I can make it back. Go home. Introduce yourself to Barbara and the kids. I’ll see you in the morning.”

Kevin still didn’t look happy. His wife and children came in a distant second in his loyalties. But I wasn’t going to argue with him; I had more important things to do. I got into my Buick and opened the window. “Go home, Kevin,” I repeated. And then I left him standing forlornly in the parking lot.

I didn’t feel sorry for him; in fact, I didn’t give him another thought. Kevin would always be there. I drove along Commonwealth Avenue, an oldies station on low, the windshield wipers keeping time with Neil Sedaka. Generally I like driving alone—offstage, if only for a while. But tonight the pleasure was soured. I had a problem, and I had to solve it by myself.

At a stoplight I picked up the car phone and dialed a number. After the fourth ring the answering machine clicked on: “Hi, this is Amanda Taylor. I can’t come to the phone right now, but—” The light turned green, and I slammed the receiver down.

Maybe she’s there, I thought. Maybe she just isn’t answering.

But maybe it would be better if she weren’t there. I had a key.

Newton turned into Brighton, and the big old Victorian houses gave way to dorms and apartment buildings, laundromats and convenience stores and bars. I come from Brighton, but not this part; this was academic territory. First Boston College and then Boston University, the campus sprawling in urban disarray on both sides of the road for a mile or two before petering out in the dance clubs and record stores and pizza joints of Kenmore Square. To the right, the light towers above Fenway Park blazed in the darkness; the Red Sox were trying to get the game in despite the fog. Big advance sale, probably. I cursed silently: ten thousand extra cars in the neighborhood.

I made my way through the chaos of Kenmore Square traffic and into the Back Bay, where Commonwealth Avenue became elegant once again. I didn’t pay attention to the stately elms and old brick town houses, though; like everyone else in the Back Bay, I was looking for a place to park.

The best I could find was a “residents only” space on Gloucester Street. I decided that I didn’t have a choice, so I pulled into it. I got out of the car and opened my umbrella. At least the fog would make it less likely that I’d be recognized; I didn’t need a conversation about abortion or someone’s Social Security benefits just now. I started walking.

If she was there, what would I say? It was important not to lose my temper. I didn’t need an argument. Above all, I didn’t need her angry at me. And I did need to know what was going on.

If she wasn’t there, I would have to wait for her. This couldn’t be put off.

The building was on Commonwealth, between Gloucester and Fairfield. Out front a low hedge surrounded a magnolia tree, glistening in the light from an old-fashioned streetlamp. Black wrought-iron bars enclosed the windows in the basement and first floor. In the basement I could see the flicker of a TV through the bars. A woman approached, walking a Doberman. The Doberman paused at the streetlamp; the woman stared at me. Where had she seen that face before? I hurried up the front steps and inside.

I closed the umbrella and glanced around. A row of mailboxes to the right. On the wall next to them, a handwritten notice about a lost cat. On the floor beneath, a few faded sheets advertising a Scientology lecture. The ever-present smell of disinfectant. I had caught a whiff of the same disinfectant once in a bathroom at a fund raiser and found myself becoming aroused. I expect that will happen to me again someday. I rang her bell; no answer. I didn’t want to hang around the lobby. As usual someone had left the inner door unlocked. I opened it and hurried up the stairs.

I never took the elevator. You can avoid being seen if you pass someone on the stairs; it’s impossible in an elevator. I took out my keys and started looking for the one I wanted. By the time I reached the third floor, I had found it. The door was there in front of me. My heart was pounding—from racing up the stairs; from the tension of the coming confrontation. I put the key into the lock, and that’s when I knew that something was wrong.

The wood around the lock had been splintered and gouged, as if someone had attacked it with a hammer. I tried the knob; the door was locked. I turned the key, and the door swung open.

“Amanda?” I called out, closing the door behind me.

No answer. I moved into the living room. My heart sank. The place had been ransacked: books and tapes and compact disks pulled off shelves, papers scattered on the rug, the glass coffee table upended. A spider plant lay on its side, its pot cracked, dirt trailing from it like blood from a wound. “Amanda?” I whispered, a prayer now: She wasn’t here; she was at a friend’s place; she was at the police station. “Amanda?”

On the floor next to the bookshelves I saw several large shards of glass. It took me a moment to recognize them; they were the remains of her crystal ball. “I wish I knew where all this was going to end up,” she had said to me once, smiling wistfully. “I wish I had a crystal ball I could look into and see the future.” So I had bought one for her. A joke. It was the only present I had ever given her. It had never done her much good, and now, shattered into a dozen pieces, it looked more useless than ever.

I wanted to run away. I wanted to rewind the tape and start over again. This wasn’t it. The scene was supposed to be entirely different. She should be standing here, beautiful, frightened, apologetic. She had made a mistake. She could explain everything. Nothing for me to worry about.

But my will wasn’t strong enough to change reality, and I knew that running away would only make things worse. So I forced myself to move through the apartment, pleading with God to make it empty.

Her bedroom seemed untouched. So was the bathroom. The little second bedroom she used for an office was a mess; the desk drawers were all open, and her floppy disks were scattered on the floor like shingles ripped from a roof by a hurricane. But her computer was on, humming softly in the silence. On the screen, white words against a black background. I stepped into the room and read the words:

she had to die she had to die she had to die she had to die she had to die she had to die she had to die she had to die she had to die she had to die she had to die she…

They swam in my vision; they merged and twisted as I stared at them and tried to change their meaning. They are only words, I thought. Words can lie. Or they can just be words, sound without content, a speech to nice Republican ladies.

One last room.

I walked past the words and into the kitchen, and that’s where I found her.

She was sprawled on the black tile floor. Her white shirt was torn and bloody; her eyes were open, and they stared unblinking at the ceiling. They seemed amazed that this was the last thing they would see. I reached down and touched her wrist; she was cold.

I looked around wildly. Was her murderer lying in wait for me as well? But I had searched already; I was alone. I closed her eyes, and then I closed my own, slumping down beside her on the floor. The apartment, the city were silent; the only sounds were the hum of the computer in the next room and the thumping of my heart. She was cold. She was dead.

Amanda.

At that moment I would have given back everything I had accomplished, everything I had achieved, for Amanda to be alive again.

But it wasn’t going to happen. My life ticked inexorably onward, and gradually my grief yielded to the pressures of the moment. After a while I forced myself to open my eyes. I haven’t been to a great many crime scenes in my life, but I’m not unfamiliar with murder. I tried to look at Amanda clinically. No rigor mortis, so she’d been dead less than eight hours. On the floor, the bottom of her arm was purplish from the blood settling there, so lividity had started. That meant she’d been dead at least a couple of hours.

Someone had murdered Amanda in the late afternoon.

And I thought: Exact time of death is going to be important.

Her clothes were intact, except for where she had been stabbed. At least she hadn’t been raped, thank God. There was a bruise on her right forearm—where her attacker had held her? There were cuts on her hands and arms—where she had tried to defend herself?

On the floor near the sink I saw a kitchen knife, its blade dark with dried blood. I recalled using that knife to chop celery one evening.

Oh, Lord, I thought: fingerprints. And then the pressures started to overwhelm me. I had to do something. I was in terrible trouble.

I crawled over to the knife. I took out my handkerchief and wiped the handle—

—and immediately felt stupid and evil. It had been months since I had used the knife. My fingerprints couldn’t possibly have been on it. What mattered more: saving my career or finding out who had murdered Amanda?

But then I realized that finding out who had murdered Amanda was just as likely to end my career as having my fingerprints on the knife. This murder couldn’t be a coincidence.

So what should I do? Run away? Go outside and howl in the fog? I couldn’t think of anything that would help. I don’t deserve any credit for it, but finally I decided to do what civilization had taught me to do. I went into the bedroom and called the police.

I gave the dispatcher the address and told her there had been a murder. She asked for my name, and I gave that to her as well. She didn’t seem surprised. There are plenty of James O’Connors in Boston.

Then, continuing to be responsible, I called Harold White. No answer. I tried Roger Simmons next. He was home. “Hi, Roger. Jim.”

“Jim, how are you? What can I—”

“I’m at a murder scene, Roger. I discovered the body. I just called the police. They haven’t arrived yet.”

“Jesus Christ,” he whispered.

“I need you,” I said. I gave him the address.

“Jim,” he said, “I’m not sure I’m the person you want. You know I haven’t done criminal in—”

“That’s okay. Between the two of us it’ll all come back. And get hold of Harold if you can. He isn’t answering.”

“All right, but—”

I hung up. I didn’t feel like chatting with Roger.

I sat on the edge of the bed and looked around. Lights were on, I noticed: in the living room, here in the bedroom. Did that mean she had been alive into the evening? The time of death matters.

But it had been foggy all day, and the apartment was dark anyway, so—

So what? Amanda was dead.

I looked down at the black comforter on the bed. Black comforter, black rugs, white walls. “Why is everything black and white?” I asked her the first time I saw her apartment. I was nervous; I needed to talk.

“I have no style,” she said. “Decorating’s easier if you stick to black and white.”

I didn’t believe her. She oozed style. “I think it’s because you’re a journalist,” I said. “Journalists like extremes. Good guys and bad guys. Saints and sinners.”

“All right,” she said. “Have it your way.”

“So am I a good guy or a bad guy?” I persisted.

And then she smiled at me. That sensuous, knowing smile, the smile of a prom queen watching the gawky boy try to ask her for a dance. “I don’t know,” she said. “But I intend to find out.”

The words were filled with menace in the remembering. I thought of her white shirt, now stained red. I thought of her white skin turning purple against the black floor. I heard sirens.

I thought of what I had come here to find out. Too late for that now. If it was here, hidden somewhere in the computer or the pile of floppy disks, I was ruined. But I thought: At least I can’t let them find out we were lovers.

We had been careful, I knew. No presents, no mementos. No risks. Was there anything—

Yes. A Polaroid snapshot we had taken with a timer one night after a bottle of wine: the two of us kissing openmouthed on the edge of the bed. Where I was sitting now. We didn’t stop kissing when the flash went off and the camera spat out the photo. Afterward I suggested that we burn it, but she refused. “I need something to remind me of you when you’re not here,” she insisted. Were those words another lie? I hadn’t thought so at the time. She kissed me again, and I didn’t object when she kept the photo.

She had put it in the drawer of her night table, beneath her birth control pills. Could it still be there? Perhaps she had thrown it away in anger or despair; more likely she was saving it for evidence. I opened the drawer. The pills were where I remembered them; I picked them up, and there was the photograph. I stuck it in my pocket without looking at it. And then I held my head in my hands and started to cry for the first time since I was twelve years old.

Music and an excerpt from Summit: The Raindrop Prelude

It’s raining in my part of the world, so it seems like a good idea to post a performance of Chopin’s Raindrop Prelude, which plays a small role in Summit.

Since the Raindrop Prelude isn’t especially difficult to play, YouTube is overrun with amateur performances.  Here is a professional one.  I’ve never heard of Valentina Igoshina, but she’s pretty good, although the production here is a bit over the top, from the dress to the camera work to her soulful expressions at the end.  Oddly, the Russian heroine in Summit is also named Valentina, although she is the psychic, not the pianist.

And here’s your special bonus excerpt.  Khorashev plays a minor but interesting role in Summit; here we see him playing the prelude at Carnegie Hall.  Note the grammatical atrocity perpetrated about two-thirds of the way through the excerpt.

**************

Most of the audience in Carnegie Hall knew the recital would end with a slow piece. That was the way Dmitri Khorashev did things. If you really have an audience with you, you can leave them pianissimo, while they strain to hear every note, desperate not to miss the slightest susurration of your genius. The result may not be the wild, mindless cheering elicited by a thundering cascade of octaves, but in its place you get a deeper response, one that will last long after the final bouquet has been thrown and the piano firmly and dramatically shut.

When Khorashev began the Raindrop Prelude for his third encore, then, the hall was hushed. If you didn’t pay attention now, who knew when the old man would play again?

He didn’t look like a legendary pianist. His posture at the keyboard made piano teachers wince—arms stiffly in front of him, hands parallel to the keys and scarcely moving. His eyes were half-closed, and his expression could as easily have been produced by boredom as ecstasy. He looked, in fact, more like a kulak than an artist; one could imagine him swilling vodka and bellowing a bawdy song in some Ukrainian tavern after bringing in the wheat harvest. But people paid to listen, not to look. And it was well worth listening to Dmitri Khorashev.

Audiences do not think as one, of course, even while the legendary Khorashev plays Chopin.

In the third balcony, a Juilliard student strained to penetrate the mystery of the man’s legato. Was it the pedaling? The fingering? It all sounded so easy—until you tried to do it yourself.

In the fifth row of the orchestra, another legendary pianist, who had played the prelude for over half a century, was convinced that Khorashev’s tempo was far too slow, his phrasing syrupy—that Khorashev was, in fact, a show-off, who aimed more to please the masses than to understand the music. This conviction would not, however, prevent the legendary pianist from leaping to his feet at the conclusion of the piece and joining in the ovation. It would not do to appear jealous.

The critic from the Times sat in his aisle seat composing his lead. “Recitals by the emigré pianist Dmitri Khorashev are rare events—far too rare, judging by his stupendous performance in Carnegie Hall yesterday….”

Near the rear of the orchestra, a white-haired man with a deeply lined face sat with his head bent forward and his eyes closed. Was he listening intently to the music, or was he asleep? The people around him were afraid he would start snoring, and that fear was enough to ruin their enjoyment of the piece. He was wearing stained brown pants and an old blue suit coat that was too short for him; his white shirt was dingy and frayed; he grasped a cane in his large left hand. He should have been feeding pigeons in Central Park instead of attending a piano recital, the people around him thought. And if he had to be here, at least he could stay awake.

Two rows behind him, at the very back of the orchestra, a dark-haired man wearing a gray suit stared intently at the sleeping—or listening—old man. If there was music being played, the dark-haired man did not appear to notice it.

And that was the dark-haired man’s loss. The piece was not long, not difficult, but it managed to encompass both serene beauty—the beauty of a soft spring shower, perhaps—and grim menace—the menace of an underwater beast, perhaps, reaching to the surface to destroy the beauty. And at the end it all faded, the incessant pulse of eighth notes slowed and stopped, as if the music no longer had the strength to overcome silence.

In Khorashev’s performance, the silence lengthened as he allowed the visions a chance to disappear into the mist. And then he slowly raised his hands from the keyboard, his eyes opened wide, and the recital was over. Time for the final applause.

It rained down on him from the balconies, it washed up at him from the orchestra. He stood and bowed and beamed, and let the applause soak in. The audience too was standing, unwilling to leave, unwilling to let him leave.

The critic from the Times was first down the aisle. The white-haired man was a close second; he stumbled past the people in his row, then limped through the swinging doors into the lobby.

The dark-haired man was right behind him. His eyes were narrow and alert; he looked like a dog on the scent. He caught up with the old man in the cream- and rust-colored art deco lobby and laid a hand on his arm. The old man stopped, startled, and stared at him. “Excuse me, Mr. Fulton,” the younger man said. “I’d like to talk with you for just a few moments, if you don’t mind.”

The old man shook his head. “Fulton?” he rasped. “You’ve made a mistake. My name isn’t Fulton.”

“Please, Mr. Fulton,” the other man persisted. “You’re a difficult man to get hold of, and this is rather important.”

The old man seemed to become agitated. “Absurd,” he muttered. “Mistaken identity. Fulton, indeed.” He started to walk away.

The dark-haired man then reached out a hand as if to grab him. Instantly the old man’s cane came up and whacked him solidly on the arm. Then the old man rushed out of the lobby into the confusion of Fifty-seventh Street.

The other man pursued him for a moment, but stopped as he saw him dive into a cab and head off past the Russian Tea Room. He noted that the old man’s limp had disappeared in his eagerness to escape, and that seemed to be enough for him. He rubbed his arm where the old man’s cane had hit it, and he smiled.

Rules for Writing — Rule 7: Aim for the right level of believability

Continuing our intermittent and randomly numbered series . . .

Believability in fiction is overrated.  P. G. Wodehouse novels aren’t believable.  Most of Shakespeare and Dickens isn’t believable.  Who cares?

The level of believability you want depends on what you’re trying to accomplish. If you’re writing a gritty police procedural aimed at readers who consume lots of police procedurals, you’d better make sure your police procedures are believable.  If you’re writing chick lit that involves a scene at a police station, your readers aren’t going to care very much about the details.

Accuracy is neither necessary nor sufficient for believability.  I recall John le Carré describing how he got the description wrong of the British embassy in some African country — probably inThe Constant Gardener.  Who cares, as long as the description he came up with was believable?  On the other hand, in early drafts of my fiction I’ve written descriptions and dialog that my writing group has found unbelievable — even though I took the stuff from real life.

You need to think about believability for characterization, plot, and setting.  In a realistic novel, readers will put up with outlandish plots, but the characters and setting had better ring true.  In a mystery, the plot doesn’t have to be especially believable, but the mystery and its solution had better work.

I find that my own reactions to believability are hard to predict.  In reading 1Q84, I was perfectly happy with a plot that involved all kinds of weirdness, including a parallel universe with an alternate history and two moons (hey, I’ve written a parallel universe story myself — who hasn’t!).  I was annoyed by the idea that Japan could have a short fiction contest that attracted national attention, but I gave that plot point a pass because I don’t know anything about Japan.  I was really peeved, though, by the main character’s reaction to seeing two moons in the sky.  He keeps wondering if this is a hallucination.  He considers asking other people if they see what he’s seeing, but he’s afraid they’ll think he’s crazy.  Dammit, I kept thinking whenever this came up: This character’s not stupid.  Can’t he just read a newspaper, where they give phases of the moon as part of the weather report?  Can’t he go to the library and look in an encyclopedia?   I also wondered about gravitation and tides and such, but I’m not scientifically literate enough to worry too much about that.  Anyway, this one issue periodically marred my enjoyment of the novel.

There are always place is my novels where I find it hard to maintain complete believability. People need to do things that aren’t quite in character; I  need to set up situations that may strain credulity.  The writing craft involves recognizing these problems when they come up; if you can’t avoid them, you need to be able to paper over the crack so that no one notices.

Replica is a complex thriller with a complex technological premise.  You can get away with more hand-waving in a thriller, trusting that the reader doesn’t want to be slowed down by details.  Here are a couple of believability problems that bedeviled me when writing this novel:

  • In the world of Replica, an android is a human clone with a robotic brain inserted.  How does that work, exactly?  You can’t just hollow out the clone’s skull and insert a hard drive.  Or can you?
  • Frightened by an assassination attempt, the president wants to create an android replica of himself to replace him at public appearances.  OK, but how do you create an adult clone of someone?  You can’t just speed up the clone’s development so that you get the equivalent of a 50-year-old man in a matter of months.  Or can you?

I didn’t really solve these problems, but no one complained.  Maybe no one noticed.  Maybe now they will.

The android prepares to leave his maker (an excerpt from Replica)

Here’s an excerpt from Replica

Shana is the scientist who has been kidnapped to create an android replica of the president.  Her father had lost his job to a robot, and she is still coming to terms with this.

The android knows that his consciousness of being an android is about to be suppressed so that he “becomes” the president.  The memories of his brief past, it turns out, are happier than Shana’s own childhood memories.

Replica is an in-your-face thriller.  But it ends up also being an odd sort of love story.

*******

They took a walk one afternoon through the thin woods surrounding the back lawn. Shana knew that Gus was following them, making sure they didn’t electrocute themselves trying to escape, but she didn’t care. She was used to being watched now.

They didn’t say much. The android was probably upset that their little idyll here was coming to an end, but was afraid to say so. That was all right. She didn’t need to talk about the end of their idyll.

She watched him stop and stare at a chipmunk, run his hands over a tree trunk, pluck a leaf and rub it between thumb and forefinger. At times, he could seem so childlike. He knew so much but had experienced so little.

If he was a child, she did not want to be his parent.

She remembered taking walks with her father, holding on to his big calloused hand, struggling to keep up with his adult strides. They, too, had said little. Her father was a quiet man, until liquor fueled an explosion of rage and resentment against a world that had stripped him of his job and his dignity. She wanted so badly for him to be happy, and a wink or a smile was enough to flood her heart with joy. She rarely got either during those walks, but at least he was sober; at least he was with her. What did he think about as he trudged wordlessly with her through the park or to the supermarket for a quart of milk? It never occurred to her to wonder; a child doesn’t wonder things like that. It was enough to be together.

“You were the only thing he did right, the only thing he could be proud of,” her mother said when he was gone. “Everything else failed, except you. And then you had to take up with those computers, and it was as if you were spitting at him, making a mockery of his life. How could you do that? How?”

Look at your grandchild, Shana thought suddenly. The idea would not have brightened her parents’ day.

And then she thought: Pity the poor android. No past to comfort him, no happy childhood memories to console him, as he prepares to confront an uncaring world. She smiled grimly.

He was staring at her, probably afraid to ask what the joke was. He was right to be afraid. “I think we’ve gone far enough, Randall,” she said softly. “Time to head back.”

He obeyed without a word.

* * *

He liked the taste of the scotch. It warmed his body and seemed to warm his thoughts, too. Shana had told him to start drinking to get used to it, and that was an order he had no difficulty obeying.

Gus had brought them folding chairs, and they sat in front of the mansion next to the broad columns, sipping their drinks and listening to the birds twittering in the sunset. He could not imagine anything nicer. Except, perhaps, the same scene, with Shana happier, and no deadline facing them.

The deadline was never far from his thoughts now. It was the day on which he would die. He would have served his purpose and would therefore cease to exist except in random snatches, perhaps, yielding his place to the other being inside him who he was and was not, for whom he felt nothing more than a vague sense of ownership, a confused dislike. This was not a prospect that had bothered him before; he supposed it was coded into him not to mind. When he had merely existed in a computer, conscious only in occasional flashes of CPU time as Shana worked on him, it hadn’t mattered that he was constantly dying and being revived. But now something had changed. He had memories—memories that were intrinsically different from the artificial constructs of his Forrester database, even if they were coded identically inside him. They were different because they were his. And when he died, those memories would die with him.

He remembered his first night alive, lying awake in the darkness and wondering if he was asleep, wanting desperately to be with Shana, afraid but so excited that his fear seemed trivial. To have a body! To be real—to touch his creator! And waking up the next morning after sleep had finally taken him unawares—a moment of terror until he finally caught up with his input: a cracked ceiling, a window, sunlight, a firm mattress, soft pillow, full bladder. Alive.

Shana praising him after the first interview with Hunt.

Shana comforting him during his first thunderstorm.

The way she looked at breakfast, her hair still wet from the shower, joking about the food, her eyes sparkling with some idea that had come to her overnight.

Her sadness and her anger, and the many times he had longed to help her and never knew how. And now he would never find out.

He sipped his drink and tried not to be sad himself. There was too little time left to spend it being sad. “It’s beautiful here,” he murmured.

She nodded silently.

“I think scotch makes it even more beautiful.”

That got her to smile, and her smile paradoxically worried him so much that he had to break the fragile happiness of the moment. “When this is over, Shana, will you be all right? What will they do to you?”

She shrugged. “Don’t worry about me, Randall. It’s good of you—it’s hard for you not to—but it’s just a waste of time.”

“All right, Shana.” But it wasn’t hard; it was impossible. He gazed out at the trees and the lawn and the glorious sunset, trying not to be sad and not to worry, and he knew that no amount of beauty, no amount of scotch, would let him succeed.

In which I am again distracted by a mangled cliché

I suppose I should have something interesting to say about Lisa Randall’s Knocking on Heaven’s Door, which I have finally finished.  But instead I find myself pondering these two sentences from her section on the Large Hadron Collider (LHC):

Nothing substitutes for solid experimental results.  But we physicists haven’t just been sitting on our thumbs for the last quarter century waiting for the LHC to turn on and produce meaningful data.

“Sitting on our thumbs?”  Doesn’t she mean “sitting on our hands”?  Or “sitting around twiddling our thumbs”?  “Sitting on our thumbs” evokes an anatomical image that I find a little distressing.  Did I miss the memo that made this an acceptable cliché?

I decided to ask Mr. Google Ngram Viewer Person, who has helped me in the past.  But he just throws up his hands — or maybe his thumbs.

“Sitting on our hands” showed up around the beginning of the twentieth century and took off in the nineties.  “Sitting on our thumbs” doesn’t even register.

But regular ol’ Mr. Google tells me that “sitting on our hands” currently has 269,000 hits, and “sitting on our thumbs” has a whopping 74,000 hits. So it looks like something’s been happening to the language lately — at least in the unedited wasteland that is the Internet.  (The first hit for “sitting on our thumbs” is from Ann Coulter in 2011.  Good job, Ann!) In every case that I looked at of “sitting on our thumbs”, “sitting on our hands” would have worked just as well, so a lot people just seem to have lost the feel for the older metaphor.

Clichés and dead metaphors are what they are — few people think deeply about them, and “sitting on our thumbs” seems to be completely comprehensible.  So who am I to complain? Time for me to stop being distracted and to return to contemplating the search for the Higgs boson.

Rule 7: Learn all them grammer and spelling rules

Here is some prose Ernest Hemingway scribbled on the envelope of a letter he wrote to F. Scott Fitzgerald:

What about The Sun also and the movies? Any chance? I dint put in about the good parts. You know how good they are. You’re write about the book of stories. I wanted to hold it for more. That last one I had in Cosmopolitan would have made it.

(The letter itself is wonderful, and you can read it here.)

I dint put in?  You’re write?  Of course, Fitzgerald was a notoriously bad speller himself.

If you are as good a writer as Fitzgerald and Hemingway, you can spell however you please.  Why are you paying any attention to me?  Go back to your novel!  But if you’re not, do yourself a favor and learn how to spell.  And learn the rules of grammar, even if you choose to break them.  Clearly I’m still learning.  But this stuff matters.  The site I linked to above says of Hemingway:

Whenever his newspaper editors complained about [his poor spelling], he’d retort, “Well, that’s what you’re hired to correct!”

But editors aren’t doing that anymore!  The editors didn’t pick up the Pulitzer-Prize-winning Harvard English professor’s misspelling of “Ptolemy.”  No one noticed the grammatical errors and the misspelling of “rarefied” in Lisa Randall’s Knocking on Heaven’s Door.  I was looking at the résumé for a technical editor a few months ago, and I noticed he had misspelled the name of the college from which he had graduated.  “Rutgers” just isn’t that hard to get right!  Even when their spelling is OK, some of these editors don’t seem to notice when they use the serial comma in one sentence and don’t use it in the next.  Make up your minds already!  Microsoft Word helps, but notice that its spellchecker wouldn’t have picked up “dint” or “write” in the Hemingway quote.  (It did pick up “Rutgars” though — the “editor” didn’t even bother to spellcheck his own résumé!)

Writers are pretty much on their own nowadays, particularly if they are going the self-publishing route with ebooks.  And that means it’s up to them to get the basics right.  If they don’t bother, they better hope they are as talented as Hemingway and Fitzgerald.

In which Microsoft Word proves that I’m a grammatical idiot

Writers, of course, have styles; they use some words and grammatical constructions more than others.  That’s why, for example, we can do acomputerized linguistic analysis of some text and demonstrate whether Shakespeare wrote it.  Even I have a style!  Replica (coming soon to an ebook store near you!) is littered with sentences like this one:

Hunt retreated a step, then attacked again.

In reviewing the Microsoft Word file for Replica with grammar-checking turned on, I noticed that Word took offense at the word then in sentences like this one.  I appealed my case to the cold-eyed editors where I work, and they affirmed Word’s judgment: “Then” is an adverb, not a conjunction.  Or at best, it’s a conjunctive adverb, or an adverbial conjunction, or some damn thing.  At any rate, you can’t use the way I was using it.  At best, you can say: “Hunt retreated a step; then, he attacked again.”  Which is not the effect I wanted at all.

Here’s what one site says (referring to idiots like me derisively as “students”):

Too many students think that then works the same way [as a regular ol’ conjunction]: “Caesar invaded Gaul, then he turned his attention to England.” You can tell the difference between then and a coordinating conjunction by trying to move the word around in the sentence. We can write “he then turned his attention to England”; “he turned his attention, then, to England”; he turned his attention to England then.” The word can move around within the clause. Try that with a conjunction, and you will quickly see that the conjunction cannot move around. “Caesar invaded Gaul, and then he turned his attention to England.” The word and is stuck exactly there and cannot move like then, which is more like an adverbial conjunction (or conjunctive adverb — see below) than a coordinating conjunction. Our original sentence in this paragraph — “Caesar invaded Gaul, then he turned his attention to England” — is a comma splice, a faulty sentence construction in which a comma tries to hold together two independent clauses all by itself: the comma needs a coordinating conjunction to help out, and the word then simply doesn’t work that way.

Of course, Replica had a mainstream publisher (Bantam) and was professionally edited.  Why didn’t someone stop me?  I feel betrayed.

Readers of the ebook edition will not have to put up with these atrocities.  Microsoft Word has taught me the error of my ways, and I fixed all of these errant sentences.  Thanks, Microsoft!

Let’s all write an extra book a year!

A recent New York Times article highlights the increasing pressure on successful writers to produce even more content to satisfy their readers’ demands for more stuff.

They are trying to satisfy impatient readers who have become used to downloading any e-book they want at the touch of a button, and the publishers who are nudging them toward greater productivity in the belief that the more their authors’ names are out in public, the bigger stars they will become.

“It used to be that once a year was a big deal,” said Lisa Scottoline, a best-selling author of thrillers. “You could saturate the market. But today the culture is a great big hungry maw, and you have to feed it.”

Writers are even being encouraged to come up with digital-only 99-cent short stories to keep their names before the public.

One word that doesn’t occur in the Times article is quality.  This is about writing as business, not writing as art.  One writer complains that “You don’t ever want to get into a situation where your worth is being judged by the amount of your productivity.”  But what else can it be judged by, if you’re pumping out thousands of words a day?

When I get around to writing up more of my rules for writing, Rule 2 will be “Revise” and Rule 3 will be “Rewrite.”  But these two rules assume that quality figures somewhere in your rationale for writing.  At a certain level of professionalism, you can create a reasonable novel in a single draft with minimal revisions — especially if you’re working in a formulaic genre like romance.  But the resulting product can’t possibly be as good as you can make it.  The ability to make a good living off your fiction is in this respect antithetical to the ability to make good fiction. I have never been able to figure out how to make that tradeoff; and that’s why I have a day job.