What I’m encountering in a raft of ebooks

~ Jnana Hodson ~ Leave a comment

As an author of ebooks, I’ve been lately engaged in an orgy of reading works by my fellow Smashwords writers. Admittedly, many of my selections have veered toward writings that reflect topics in my own novels – hippies, yogis, subway riders, millennials, Buddhists, Greek-Americans, and the struggles of new adults, especially. Still, it feels good to get a sense of what others are up to, and their formatting does give me a better sense of my digital options.

As I do so, I often leave brief reviews as a guide for other readers with similar interests. You have no idea how much these mean to a writer, so let me urge you to do the same whenever possible. As one responded, just knowing that she was heard was warm and welcome affirmation.

Just because many of these books are what the big imprints would deem “not viable for commercial publication” does not mean they lack value.

One of my favorites is a two-part memoir by the daughter of Lebanese immigrants who wound up in Nebraska somewhere around the turn of the 20th century. Her candor and details, however simply told, strengthen my understanding of what I present as Cassia’s ancestry in What’s Left. I dread to imagine what would have happened to the memoir in an attempt to jazz it up for wider sales. We should feel honored being allowed in behind the doors of a particular family history so honestly revealed.

It’s something like visiting artists’ studios or art galleries rather than going to the big museums. The scale’s definitely different.

One thing I’m finding is that I apply a more laid-back standard in reviewing these volumes. Yes, they are cheaper, for one thing, but I also read these more like manuscripts than finally processed books. I’m looking especially for freshness and energy, the edge often absent in the book industry. Remember, the big houses no longer nurture talent in the hopes of reaping a hit five books later. Everyone has to start somewhere, and this is where the action is now. Besides, even commercially published works these days aren’t particularly well edited. Alas.

Still, I’m having some common complaints, the pet peeves of an aging copy editor.

“Grey” instead of the American “gray.”

“Towards” rather than the American “toward.”

“That” instead of “who.”

Punctuation errors, especially with single and double quote marks.

Short stories posing as novels. Admittedly, I’m frugal, but these short entries are rarely worth the same as a fully fleshed out book.

To see what I’ve been reading, go to the book reviews at my Jnana Hodson at Smashwords page.

Got any favorite ebooks to recommend?

As the supply chain breaks down

~ Jnana Hodson ~ 1 Comment

First, it’s chicken, as we discovered trying to reserve thighs for the local soup kitchen. Our usual supermarket can’t guarantee us it can have them for Thursday.

(Let’s not start a run on the stores, though. They should be smart enough to be limiting purchases to one per customer or so by now.)

Next will be pork, apparently, followed by beef.

Blame the Covid-19 outbreaks out in the big-producer lands. Workers too sick too work.

I’m wondering about eggs, though many of those are grown locally. I hope.

What do you suppose those protesters out in Michigan are going to do about this?

The latest buzz … or lack of it

~ Jnana Hodson ~ Leave a comment

A local beekeeper group reports that 47 percent of its members’ hives died off over the winter, something largely blamed on a virus I’m dubbing Cobeed-18.

Alas, ours was one of the ones that didn’t make.

Uncertainties over the human Covid-19 outbreak, meanwhile, puts repopulating the hives in question. New colonies are trucked north from the Deep South, and who knows how long before things in that regard are back to normal.

Everything’s up in the air, except that some things aren’t.

Entering a photographer’s private world

~ Jnana Hodson ~ Leave a comment

Her father’s photographic trove gives Cassia the pieces she eventually assembles into a massive picture puzzle of his world. It spans some big changes in his own life, as well – especially regarding her own family.

In my novel What’s Left, this task also means she has to master some now obsolete technological skills, including reading photographic negatives, where blacks and whites are reversed, moving around in a dusky darkroom, using a photo enlarger, and developing glossy prints in trays of chemical liquids she’s mixed on her own. (My, have those things changed thanks to digital photography!)

Continue reading “Entering a photographer’s private world” →

Two more years of THIS?

~ Jnana Hodson ~ 10 Comments

We were wrapping up yet another committee session on Zoom and trying to look ahead to our next one when one member made an unsettling comment.

Said he, “I don’t expect to be out of this (self-isolation) for another two years, not until they have the vaccine in place.”

He’s a retired medical professional, and the other (now unretired) one in our group didn’t correct him.

It’s a gloomy prognostication, not just personally, I’ll admit as senior with a pre-existing condition, but as one considering its dire social consequences as well.

I was going to say the quip hit like a ton of bricks, but considering that the emotional impact had more of a slow motion effect, I’ll say like a ton of hay (hey, a ton is a ton, right?).

So much for dashing our hopes.

I think I’ll go listen to “Casey at the Bat” again, the poem with the phrase “but there is no joy in Mudville.” As if we’ll ever again have baseball, either.

Your turn to whine! I’m all ears.

Ten more takes from the Met’s nightly free streaming

~ Jnana Hodson ~ Leave a comment

One bright spot in for me in this Covid-19 self-isolation has been the Metropolitan Opera’s nightly streaming of a Live in HD performance from its archive. As I mentioned in a March 23 posting, these are free and available until 3:30 the next afternoon. Better yet, the series is continuing. I’ve now seen more operas this way than I’ve seen live and in concert combined.

As I mentioned in “Spending nights at the opera on my laptop,” watching these performances is quite different from listening to them on the radio, and some of the things that stand out for me are the extraordinary level of the acting, by not just the principal singers but everyone on stage, leading to the important presence of the chorus in its role as actors and not just voices, and the brilliance of the opera’s dancers, who I’ll argue are highly underappreciated – they even move much of the set around during some productions. Yes, and those sets and costumes are amazing, even with all of the excessive luxury, expense, and unbelievable perfection that the video cameras catch even when those in the audience are oblivious at their distance. This is as close to the ideal, overall, as anyone could ever expect in live theater.

The backstage videos and interviews have also deepened my appreciation. Many kudos.

That said, let me note ten more distinctive things that are jumping out for me as I watch:

  1. The oath. Or, in far fewer instances, a vow. I hadn’t notice this before, but in at least 90 percent of opera, the entire drama revolves around a sworn declaration – often forced upon someone, as in a deathbed scene, but sometimes from youthful outbursts. Watch for this, as I am now. And then, swear not, as Jesus counseled. It always leads to trouble.
  2. The physicality of the singers. Gone are the days of lining up the big voices and the chorus behind them. Nowadays, they’re running and jumping and dancing while singing the most incredibly difficult music, even when they get a break to drop back on their backs. Look, to sing like this you need a LOT of breath (try to follow them as they sing and see where they pause to inhale) and then think about all of the other demands on their air. Got me? It’s amazing.
  3. The swordfights. Remember, this is live, with no room for a retake. And it’s convincing.
  4. Dancing or miming the overture or prelude. The opening music has often seemed like a spacer to establish the mood while latecomers arrive. Something like a mini-symphony, to spotlight the instrumentalists, before we get to the real stuff. Some of the newer productions, however, are raising the curtain by the time the conductor enters the orchestra pit and feature dancing or acting during the introductory music. It’s like showing a movie scene before rolling the credits, and even more impressive. Why haven’t we always done it this way?
  5. Updating the action. Trying to reset the historical setting of the story is always tricky, but when it works, it’s brilliant. Note the Met’s “Rigoletto,” move to gambling Las Vegas, which we’ve not yet viewed. But everything I’ve seen so far along these lines has been brilliant. “Macbeth” as a ‘ 50s rebellion definitely fits, once we take it out of Scotland. As does Mozart’s “Cosi fan Tutti” in Coney Island, though I wish they had swapped the couples at the finale – this production had room for that feminist power reintrepretion.
  6. Appreciating the subtitles. I love that these are contemporary translations, unlike the tortured Victorian-era lines I tried to follow way back when. As an exacting editor, I appreciate their high quality (only one or two places I’d object as a grammarian), My sole qualm has been in religious references when these drop into “Biblical” language, the “thee” instead of “you” line of speech, even in Drudic and Hindu instances.
  7. On-stage touches. Everytime I see flames in a scene, I wonder how they got that bit past the fire marshal. Not just cigarettes or cigars (hope they don’t inhale, it’s bad for the voice) to candles and torches and fireplaces and conflagrations that level a village. The use of puppetry is incredibly effective, as we’ve seen especially in “Butterfly.” And then there are the wigs, even for the chorus. (More than 2,000 a season, as we learned in a backstage interview.)
  8. The animals. Yes, dogs, horses, donkeys, and more … on stage!
  9. The collegiality of the cast. The days of the infamous prima donna is largely gone. Singers today are generally professional and respect the work of others, even when they tackle the same roles. It’s apparent in the interviews.
  10. Conducting. It’s not the same as leading a symphony, and I find these maestro’s motions much harder to follow. For one thing, they’re way ahead of the beat. Even so, the Met band is glorious, a far improvement over the rough-edged ensemble before James Levine’s tenure. The audience doesn’t start applauding as soon as a big singer ends an aria, either, but waits for the final orchestral note fades.

Is there anything that’s making this period of shelter-in-place somehow special?