In Makr’s Shadow on Sale!

From In Makr’s Shadow:

“In what used to be a city, lurking in the darkness of an alley, Captain Carlos Montoya stood facing the ambush point, an ancient asphalt pavement with deep potholes that looked more like crevasses, craters that looked like canyons, with eroded, saw-like jagged edges that could shred a man before he could fall to the bottom to die. Of course, there was also the possibility of simply falling through the existing turf.

“Carlos fidgeted as much as any Shadow could and remain invisible to the outside world. Waiting days shrouded in darkness for the Cyber to move from point A to B was nothing. Still, he was always unnerved to come out of hiding. Carlos and his people remained hidden in the shadows all their lives; they were his soldiers, warriors, or guerillas. His soldiers fought and died, his warriors were heroic and his guerrillas were stealthy. It all depended on Carlos’ state of mind. Today they were warriors.

“His warriors waited anxiously in the shadows of a building cluster; they were cocked like a weapon system, ready to explode and destroy.

“Like the rest of his people, Carlos dressed head-to-toe with a Stealth cloak that made him virtually invisible, a shadow blending in the darkness and gloomy fog. His telltale heat signature vanished as his body’s radiated warmth dissipated evenly through the rough-hewed fabric.

“It was the same for the group of fifteen smoky apparitions behind him that also merged easily into the nightshade. Focusing his attention on the immediate darkest areas that lay between the buildings up ahead, he stood poised, ready for this encounter with Makr’s Cyber Protectors. With luck, he would see his enemy before it detected him.”

In Makr’s Shadow is available in Kindle, Nook, Kobo and other epub formats. For a limited time only, I’m offering it for free via Smashwords. Click here on the image to go to the page. Available on Smashwords web page in all formats. The only difference is in how you upload to your device or app as well as your computer.

 

Cyber vs Robot: Commentary on Wilson’s Robocolypse

Daniel H. Wilson’s Robopocolypse and Robogenesis, inspired by today’s world of robotics, are on the bestseller list and rightly so. In Makr’s Shadow may be a third such novel worth more than a look.

I’m glad to see a fellow writer who has a similar interest. He is a roboticist, while I am a psychologist.

Our aim is as similar as our approach. We both use an apocalyptic vision to show society at its worst and at its best.  To some literary publishing houses, the subject of robots is passe. Naturally, I disagree. I think it is a subject which time is now. I wrote an article on that recently.

Wilson and I have a similar vision in that our own creations “robots” or, in my case, “cyberts” could be the death of us; however, that said, these human generated or conceived creatures are something special and we can learn from our experience with them.

In Makr’s Shadow is the story of humans relying on technology to make problem-solving decisions that could result in our planet’s annihilation. I say that smiling, knowing full well, Wilson is the more established writer and has the creds to sell his books easier than I can sell mine. I heard his interview on National Public Radio, and I’d love to meet and chat with him. In my defense, In Makr’s Shadow is my debut novel and it needs some attention.

Why Cyber or cyberts and not robots? Semantics. I don’t think so.

Cyberts as I have described them in In Makr’s Shadow are sentient by connection to cyberserver; pure robots exist for mundane taskings–including street cleaning. Cyberts exist in such numbers as to be considered another race, the Cyber, more powerful in every way than their Bio counterparts.

The difference is significant. The cyberts are task- specific mobile extensions of the server, an evolving artificial intelligence called Makr. Robots are tools to aid Bios and perform perfunctory maintenance tasks, nothing more.

In spite of their inferior status, they are still connected and can bring superior “robots” with a connection or cyberts. Some cyberts perform tasks that require intellectual or combat and weapon skills to protect Makr, while others simply maintain the infrastructure of the planet.

In Makr’s Shadow, humanity had reached the end of its patience in trying to save their world from self-destruction–the problems, an “apocalypse” that they themselves caused. World leaders ultimately turned the operation of the planet to the combined intelligence of all the computers in the world, forming an evolving artificial intelligence, Makr.

There’s only one problem. Makr won’t give it back, and tries to create a whole new world populated by Cyber. To do that, he must annihilate the human race.

In Wilson’s Robogenesis, the remnants of society are picking up the pieces, while In Makr’s Shadow, most of society, 90 percent are imprisoned by illusion. Of the remaining ten percent that are not held prisoner, only one percent is actually fighting the cyberts. Interestingly enough, the survival of the human race at stake. Here, though, one man, who has the ability to see through illusions, manages to escape his imprisonment; he is different in a way that changes the world forever. It can never be the same.

“In Makr’s Shadow reads like an Isaac Asimov and Kurt Vonnegut, Jr. novel combining, action, suspense and fun. Thought-provoking. Exciting. Shaw’s characters are dynamic and real. They are as flawed as all of humanity with fears, anger, regret and arrogance, yet heroes emerge from the strangest places. All that seems lost, is not lost.”

Goodreads has good things to say as well.

The biggest difference between Wilson and my novel is probably price and availability.

In Makr’s Shadow is available wherever e-books are sold for $2.99. I’m offering it for free to anyone who is willing to open a dialogue with me or write a review. We’ve all tried to read some horrible e-books, but I don’t believe this is one of those. I believe in this novel’s surprising message and I’m sure you’ll find it entertaining along with way.

At the risk of losing sales of In Makr’s Shadow, I can’t help but recommend Danial H. Wilson’s robotic fiction; they sound as terrific as my own. He said, smiling. By the way, if you are interested in Wilson’s books, here is a sample from this cool site, Science Friday.

I have posted my samples In Makr’s Shadow (previously published as Harry’s Reality) on this website and will continue to do so. I am also working on a new novel called The Jaguar, so you may find clips for that as well.

Styles and approaches vary with every novelist. I hope you like mine. If you decide to take me up on my free offer, leave me a comment. Thanks.

GODS–A Mythical Reality

A Real Beginning for Rob Kristie’s GODS–A Mythical Musical at The Grand Theatre.

We have all seen directors cringe as they watch a production they have directed after leaving it in the hands of cast and crew. Imagine if you wrote the script… In this case, Rob Kristie wrote the book, music and lyrics for GODS—A Mythical Musical that was “performed” on the Grand Theatre’s stage in Williamstown, New Jersey.

GODS is Kristie’s second original musical. The first was entitled THE DOLL–a Raggedy Musical, which began as a staged reading at the RITZ Theater in Haddon Township, NJ. Later a full production evolved with eight performances at the Sketch Club in Woodbury, NJ, and that musical was nominated for a Perry award in 2011 for OUTSTANDING ORIGINAL MUSICAL.

Rob Kristie’s GODS was a different kind of stage reading for me in that it was a musical, and therefore contained more elements than the standard play reading. A review of a staged reading is not unheard of, but it, too, must contain the reflection and comment in a proper perspective.

GODS—MYTHICAL MUSICAL took place at the Grand to a nearly full house to see if this pared down realization of his idea resonated with an audience. While the staged reading experience with amplified acting, music, sound effects, and lights was unusual, it was necessary. Obviously if a play contains music–well, that has to be audience-tested, too. With the bigger audience, there was more opportunity for proper input. Hence, The Grand Theatre was a great venue choice.

Edith Hamilton’s Mythology—a book many of us used in school–about the Greek, Roman and Norse gods whose dalliances with humans created an exciting bridge to an immortal world inspired Kristie.

The world in which the gods operate is a little different now. While active in ancient times, the gods (all of them) exist in a passive state, coming to Earth only to observe or participate briefly without getting involved.

As you might expect, immortal gods and mortal humans once again collide. This time it’s on a cruise ship at sea. Here, a beautiful goddess catches the eye of a handsome British performer, and they fall in love at first sight. Of course, they can never be together—or can they? How does a human prove worthy to a god(dess)? For that matter, how do any of us prove our worth to  the guardians of someone we care about? Naturally, there is more, but I don’t want to spoil it for you. We must not anger the gods.

The musical is essentially an interesting variation of “boy wins girl,” “boy loves girl and she loves him,” “girl loses boy,” and “boy gets girl back.” All that and be careful not to anger the gods.

We see the world briefly from the eyes of the gods. We see a detached but meaningful look at world society today. The characters are interesting and the music is engaging, while the story takes us back to our childhood studies of human beliefs.

Making theatre magic is not as easy as it looks…and that is because most of the productions we, audience members, attend have had the benefit of testing, and changes and/or adaptations suggested by another audience.

In this setting, the audience must create each scene in its mind while attending to the action on stage…so the experience is participatory to say the least. The actors/singers themselves have to produce art with the barest of direction, seeing their characters in a stage designer’s environment, in a production that hasn’t happened yet. However, the audience must try to do so as well. Actual productions would differ with the casting and directorial vision. In Rob Kristie’s GODS –A MYTHICAL MUSICAL, there appears to be plenty of room for production style variations. That’s a good thing.

Kristie has created an extra character, a narrator, to tell the audience the stage directions. Accidental or not, the narrator, played by Glenn Fennimore, was quite entertaining and presented an intriguing element in the theatrical storytelling not unlike the mythology itself. Nine actors/singers, including Fennimore: Jeff Blomquist, Cierra Olmo, Danielle Dipillo, Lani Campagno, Chuck Gill, Steve Pracilio, Amanda Peacock and Tyrone Fuimaono gave enthusiastic, finished performances on stage.

The music was consistent and lively with catchy lyrics, although a couple musical numbers and dialogue among the gods seemed to slow down the action in the second act. The first act ended in a “chirp,” rather than an exciting change. A tableau of frozen character action might have achieved a stronger effect or depth of change. Or, a stronger song. Or, any number of theatrical devices. Perhaps, even the opposite of a tableau—a dance number—might achieve the same success.

It takes a staged reading to see those very comments emerge.

Although all the songs had merit, one number in particular stood out for me. It had a country feel to it rather than the typical “musical theatre” sound. By itself, it seems out of place, but such a good song deserves to be heard, and maybe more with same “difference.” Then, the GODS musical would be distinctive indeed.

Theatre is a collaborative art that has to start somewhere. Somewhere is not always a theatre. It is often a bare room with actors sitting around a table with a small audience looking on. Kristie has done better than that in having both staged readings in established theatres and by doing so was able to add more elements, i.e., sound effects, music and some lighting. Ultimately it will be he who will weigh and make the decisions to sublimate his art.

A staged reading is the first time an audience sees the beginning of theatre magic. It works without the benefit of direction, blocking, creating and setting, costuming and lighting a stage—essentially the minimum of what appears to be the beginnings of a theatrical production. If the “reading” is a musical as this one, the instruments are basic as well. From this, the creator solicits feedback intended to improve the work. A brave move, but it is the next step.

As an actor who has collaborated on several original plays and screenplays, I can tell you that bringing an original work to the stage takes nerve, but it is an exhilarating and innovative time for all involved. Even for the audience. Harder work is ahead.

Of course, this is not really the beginning for a production; the creator has decided it is time for audience input. Long before that, friends and family members gave their input. Often, it takes years for the theatre artist’s conception to fruition on stage even in its barest of forms.

It’s good to see this one made it. The best is yet to come.

For more on GODS – A Mythical Musical, check out its Face Book page.

GODS–A Mythical Musical
Written and directed by Rob Kristie
Coming soon to a theatre near you.

Reality in Children’s Theatre

The Lucky Nickel Theatre Company and Kids Presents SNOW WHITE

I had the opportunity to see a new theatre (new to me anyway) present the Brothers Grimm version of SNOW WHITE in Oaklyn, NJ. The Lucky Nickel Theatre (LNT) has been around about seven years and this was their 11th show. Nicole DeRosa Lukaitis, along with Beth Truax and an influx of volunteers formed the company. It will be moving its studio to Oaklyn from Barrington, NJ this year.

SNOW WHITE, written for the stage by Jesse Braham White, was funny, charming and delightful. Directed and choreographed by Lukaitis, this production is one of the most complicated I have seen for children, and the children are wonderful as always. Their focus and dedication is apparent, as is the support of the parents and community. The set and costumes are creative and interesting. The choreography is great—especially for such a small stage.

The audience, too, gave its support with its cheers and applause—praise for the children in performance and for the community in the background. It’s appropriate.

I continue to be amazed with Children’s Theatre. It seems our young have the advantage over us in seeing a fairy tale as real, and playing its characters with all their hearts. They are as attached to their characters, making them as real as much as any adult actors would—if not more.

Not all Children’s Theatre involves fairy tales, of course, but usually involves positive life lessons.

Fairy tales and Children’s Theatre work well together for some obvious reasons and some not so obvious. Children, of course, have few qualms about playing fairy tale characters and doing their best to bring those characters out to live in the real world.

We all can relate to fairy tales as part of the growing up process; they nurtured us. If anything, fairy tales are the most universal in their ability to grab and hold our children’s attention. Magic and imagination entice, and no one really gets hurt.

While evil and violence exist in the real world, here evil and violence occur in a fantasy world. My children are not into seeing violence involving real people, and I doubt other children are until they reach an age where it is more appropriate. If the violence and evil exist in a fantasy world, the experience is not traumatic. Children are still sensitive. We know what happens to children exposed to real violence and evil.

Theatre creates a safe atmosphere as well, and is a great vehicle for learning.

Whenever we introduce these children to an art that requires discipline, courage and most of all appreciation, they make us proud with their high energy and the youthful innocence, even those of us who are not parents.

The kids learn intangibles not taught in a classroom, and they learn to work with everyone. They learn cooperation, spontaneous creativity and empathy. Soon, they develop camaraderie and friendships with fellow actors they don’t want to end.

Audience members have a common denominator—a natural love of children and an understanding of nurturing process; they may not be thinking about these things during the production, but it shows through their excitement in the audience. Parents and relatives coming to see “their” kids naturally adopt the entire company as their own.

Theatre needs community support if we are to educate in ways other than the classroom. It’s very reassuring to see it here.

While we don’t analyze individual performances, Children’s Theatre, gives children and the community more than it knows. Children’s Theatre exists to teach its performers where other theatre teaches its audiences life’s lessons.

By the way, Nicole DeRosa Lukaitis adapted this production with segue music and songs to give the children another way to shine. The songs were a combination of musical covers and parodies. While this isn’t strictly the way to go in theatre (I’m more of a purist), I can see where it is a benefit in this case. The audience is charmed nonetheless.

SNOW WHITE
Written by Jesse Braham White from the Brothers Grimm version
Directed and Choreographed by Nicole DeRosa Lukaitis
May 9-18, 2014
Fridays and Saturdays at 7:30, Sundays at 2:00
St. Mark’s Lutheran Church
409 White Horse Pike
Oaklyn, NJ 08107
856-831-8334
www.lntstudio.com

Vicious Reality in David Mamet’s Pulitzer Prize-Winning GLENGARRY GLEN ROSS

Clip from the film. Instead of swimming with sharks, these real estate salesmen are vicious jackals and hyenas—feeding off each other, while moving in on each other’s kills—or leads, contracts, etc. These salesmen will do anything to close a deal. When their competitors, each other, or even contrary prey affect their ability to survive, they attack as suits them.

The Eagle Theatre’s production of GLENGARRY GLEN ROSS stunned the audience tonight and won them over with its portrayal of cutthroat, backstabbing, conspiring, conniving, lying and stealing, willing-to-do-anything real estate salesmen fighting to keep their jobs and/or avoid seeing one of their competitors walk away with an extra prize.

David Mamet’s Pulitzer Prize-winning play opened originally in London, and a year later on Broadway. Nominated for several Tony Awards, it won one. It also won several other awards, too many to mention in this forum. Later made into a film, GLENGARRY GLEN ROSS received much critical success despite the disappointing box office, proving that Mamet was not for the broader audience.

This production has it all, including rat-a-tat monologues and overlapping dialogues requiring fierce acting, raw language, weaseling, and smooth-talking characters. Naturally, violence follows when the characters are frustrated and unable to reach their goals. Director Ted Wioncek III and his ensemble cast guarantee vicious action over two days of the sales’ competition.

Intended to be a black drama, GLENGARRY GLEN ROSS is not a realistic representation of sales people today, but rather one that makes its point as each character reveals a certain primitive darkness. Hate, distrust, jealousy, worry, fear and anger abound. Congeniality, friendship and love are absent, except when someone hopes to gain an advantage.

It’s easy to see our characters reduced to scavenging, which includes a lot of positioning with claws bared, lashing out at everyone. We see the protagonists begin as a pack of wild animals, no longer able to compete in its environment. Faced with a goal that seems impossible to attain, they struggle and fight for survival. Together, they are hungry and desperate for game, feeling the pressure of being corralled, starved and desperate, knowing at least one of them most certain to die, and one shunned (fired).

The animal pacing is quick. The brutal landscape abounds with rocks, crevices and a few valleys, but never a flat field–or level playing ground. It is a mixed metaphor, I know, but it seems appropriate.

Mamet’s play raises some interesting questions as our “sales” animals roar, bark, and growl at each other.Do our characters ever recognize the consequences of their primeval behavior? It seems we, human animals, are capable of similar behavior in the face of high stakes, unfairness in the workplace, or even losing our ability to perform–to achieve as we once did.

However, when we raise the stakes too high or make achieving them impossible, do we put aside our values–our morality to gain an advantage? Are we simply predatory animals? What separates us from the beasts and makes us human? Animals in the wild avoid confrontation; they attack only when threatened in some way. When facing hostility, we return it.

How are we supposed to act when we see someone taking advantage of us or someone else? How bad does a situation have to be before we lose our veracity, our conscience or our ethics in seeking reward?

The answer is simple. There are times and situations that bring out the animal in us. Mamet, without saying it, reminds us that jackals will eat anything and hyenas have the most powerful jaws, but warns that jackals and hyenas are not as ferocious as some others are.

Lions, leopards and cheetahs will prey on jackals and hyenas if nothing easier to kill is around. Even vegetarians such as an ox or elephant can do them harm. The animal metaphor is mine, not Mamet’s, but I think the animal behaviors hold true.

The Eagle Theatre has certainly earned the name “South Jersey’s Premier Equity Theatre.” Its operation is a “class act” and a tough act for any professional theatre to follow.

Here, it again does not disappoint. From the moment you walk into the theatre you feel something big is about to happen. The bar is center stage (uh-oh, not the Wine Bar; that’s to your left as you walk into the theatre.) The Act I set background works well as bar or restaurant wallpaper, rich and elegant, but also is reminiscent of an old theatre or a circus drape.

The set was interesting and the lighting quick. The scene changes were in a total blackout, or so it seemed to the audience. The first act is shorter than the second—opposite of what you might expect—but gives the audience a perfect introduction.

The theatre company has done a remarkable job with a very tough work. David Mamet is never easy. His repetitive lines and overlapping sentences require the most talented actors. GLENGARRY GLEN ROSS is a different experience for many theatregoers.

The harsh language is appropriate in this play’s context, giving it a raw, primitive feel. Contemporary drama doesn’t get much better. It is an amazing acting feat to perform such rapid monologues with overlapping dialogues, but the cast was up to it. There was also a rhythm to the steady flow of words—the flow purposely interrupted by intense physical action like a cat lashing out.

This production’s worth the trip from wherever you live.

GLENGARRY GLEN ROSS
Written by David Mamet
Directed by Ted Wioncek III
April 25 – May 7, 2014
The Eagle Theatre
208 Vine Street – Downtown
Hammonton, NJ 08037
609-704-5012
http://theeagletheatre.com/

Originally posted by Jack Shaw for Stage Magazine.

 

 

What Qualifies a God?

This is an important question. Can we create a god? Not in our minds, hearts or souls, but in science. First, this is not a religious debate. Second, I don’t wish to offend anyone with this rhetoric. The big question is can we create a deity, or something that defines our definition and criteria? Some would say it’s all in our minds… We still need a criteria.

How about we play with the definitions–just those that appear in our society today?

We have gods and a god concept in our minds. Our definition of a personal god is easy; we are taught what defines the presence of one in our lives. Most of us believe in something whether it is spiritual or science, i.e., the Christian vs the atheist, or it could Islam versus the Unbeliever  It’s not really that complicated is it?

Ironically, some people know the definition because their religion tells them, but allow “other gods” to exist in their imaginations–not believing but accepting another god concept for a moment.

We all will accept that a character on a screen, in a book, or even people in reality may be god-like totally separate from our beliefs. For example, super heroes–Thor in particular is a demi-god; Hercules is also. They come from the past but we accept them for the sake of a good story. Maybe there’s more.

Mythology, of course, is full of gods, many of them the basis for a people’s religion. Some doctors have a god-complex. Kids are told through stories that some beings are superior in such a way as to be gods. Fantasy tales, for example.

Science fiction plays with the concept as well. It depends on how we define god. Belief systems have a criteria, or you wouldn’t believe. Sure, we all believe in truth, but we “humanize” everything. As we do so, we are pretending we live in a different world. From talking to our pets to reincarnation–a whole different matter.

Then, there is the concept of power. Why do some want it or need it?

Who wants to be in charge of everyone or be responsible for everyone?Those who really believe they are gods are institutionalized away somewhere away from us sane people.

Is it supreme intellect, the ability to create miracles, or have super powers, or by virtue of being a more powerful species overall?

The last would make us all gods, wouldn’t it? It is the basis for many myths that include two worlds, one stronger and more powerful and a lessor one, subservient to the first.

In Makr’s Shadow, humans save their planet from self-destruction. To do so, scientists create a super cyber server by combining the power and data available in the world in one place. The idea is that the machine can make all the hard decisions needed to save the earth so neglected by humanity. Unwitting, they have created a monster that believes he is a god–the only one on the planet. Nothing on earth is more powerful. I didn’t set out to discuss the question in my novel. The idea and discussion evolved as I imagined the society, and the splintered groups, in particular, that go separate ways. While ninety percent of the population are under Makr’s spell, ten percent are not.

These humans are unpredictable. It’s not belief or disbelief in a deity; they resist as humans do–to change. However, that group naturally splinters into smaller groups of varying beliefs and other reasons, some being just survival. This splintered society is our society.

We are all different, but that’s about to change when a man appears who is unique to both groups. Is he a freak of nature, a missing link, or a messiah? Makr creates memories and realities proper to run a Perfect Society. In this society, there is no dissention, no laws, no feeling or thought that cannot be controlled and managed.

That is, except for one man–an anomaly named Harry Bolls who can see through illusion. He doesn’t know how or why he is able to do this, and he has lost a chunk of memories. It is enough to send him on a quest for the truth.

Is the world around us real or an illusion? Is reality what we see, we think we see, or what we know? And, how do we know it?

Whereas the omniscient Makr, as the most powerful and intelligent being on the planet believes Himself to be a god. In Makr’s Shadow, the truth is not so simple. Anymore, and I give away the ending. Rather than face religion head-on, I tried to create a satirical situation begging the age-old question: which came first the chicken or the egg? Or, in this case, Makr’s goal is to make humanity believe, in fact, that they are Bios–simply a weaker species of machine using a biological design.

Why doesn’t Makr delete the humans and clear the planet in favor of better, more controllable inhabitants? Human behavior  does not compute; it’s not predictable. Could it be he wants to know all that the humans know before he eradicates the entire race? Still he has to fight those who attack his PerSoc.

Do we know the minds of the lower species? In this case, Homo sapiens sapiens. What happened to Homo sapiens neanderthal? We can only speculate, but the fact remains, our species survived and theirs did not.

In Makr’s Shadow, the social sciences are at work, too. As is the psychological impact of living in such a society. Would we one day be willing to live in a world that had no consequences, or design a life of our choosing? It’s tempting. Some humans worship Makr as a means to personal survival, believing that a superior being must be merciful. Even the splinter groups recognize Makr’s superiority and power. However, they are only admitting that there is a sentient being of superior intellect, strength and power is worthy of the highest respect.

If we compare Cyber and Bios as separate species, which they are obviously, there are differences. Makr has created a “race” of Cyber or specialized cyberts. Each is task-oriented; each one in its place. Cyber appear superior to Bio machines in intellect, adaptability, strength and durability. But no human is exactly the same (except in the subset) and so unpredictable. A human’s place is where he or she chooses in the theoretical world. Unfortunately, that isn’t always true in reality.

Is Makr a god? For his Cyber maybe. The rest is for you to decide.

In Makr’s Shadow is available wherever e-books are sold.

NEXT TO NORMAL – A Different Reality

Krissy Fraelich, Brian Bortnick and Adam Hoyak (in the background) in NEXT TO NORMAL at The Eagle Theatre. (Photo credit: Chris Miller)

Let’s face it: thinking about mental illness is depressing–a trigger taking us down. But it doesn’t have to be.

By the way, this isn’t the review, but I am going to talk about the musical. The link is several paragraphs below.

We know reality depends on perception. That point was driven home when I reviewed the rock musical, NEXT TO NORMAL at The Eagle Theatre in South Jersey (local identification for people who live in southern New Jersey). The musical deals with reality and perception in a big way. While good plays engage us with a dialogue, the musical, too, can address similar topics.

The standard American musical used to be viewed as fluff entertainment–a way of setting up song and dance numbers. Today, most successful musical theatre productions work in the same way as dramas or comedies; they set us up to listen to a point of view–another’s perception.

What we see and hear on stage is theatre. On different level, a pithy musical like NEXT TO NORMAL informs us and makes us look deeper into ourselves. In this case, the subjects are mental illness and a few other societal problems. Granted, some folks may miss the intended deeper meaning while they are transported to another reality, but most of us are moved to see more than song and dance.

It’s not unusual for theatre to address important topics and differing views. NEXT TO NORMAL entertains us with beautiful, often haunting music and witty lyrics. Any musical, drama, comedy or any variation that successfully dramatizes important subjects usually makes for good theatre art.

Spoofs were invented because its satire masks the intended message, yet still we get it. It’s the same with good musicals like HAIR, LES MISERABLES, RENT and, of course, NEXT TO NORMAL–to name just a few.

This particular play focuses on how mental illness, seen close to home, affects family relationships and the behavior of others. The family has all the right intentions with the wrong result. The play and its music tell the story with sensitivity and, believe it or not, the reality of curing mental illness and families trying to cope.

People who are mentally ill see the same world differently. And, since their current reality doesn’t reflect our own, we are frustrated with their unusual, irrational behavior. While coping with the seemingly ever present illness and trying to understand another’s misperception of the world, loved ones may devote their lives to find a way to help, even though they may do harm instead. Sadly, it’s what families do.

In my review of the production, I focus on humanity’s inability to cope under such circumstances. With realities mixed up, it’s interesting to see how the situation comes to a conclusion.

Check out the review .

Reality, as we all know, is in our perception of the world viewed through our senses. We create a reality based on sensory input. We deploy all of the senses, if we have them, or as many as we do have. i.e. someone who has been blind or deaf or both does not have those sensations. Yet, the blind and deaf have different perceptions than those of us with all our senses intact, but their perceptions are based on the senses they do have. Their realities are as rich as any of our’s. What we see, hear and smell is filtered naturally by our brain.

Obviously, the brain is more than flesh and nerves. What makes it different is that it contains the mind, which is impossible to pinpoint with today’s technology. We do have a good idea where memory is stored. Many a science fiction novel has dealt with the repercussions of trying to change reality or control human behavior by enhancing unknown parts of the brain. The brain uses automatic responses that keep our organs working to keep us alive. It is also responsible for storing memories.

Memories seem concrete. Consistent. And, when they aren’t consistent, we see a need to correct that inconsistency.

Should we tell someone else what his or her memories are supposed to be because we shared the same moment together?

Our perception of the moment is a combination of the mind’s conscious, unconscious and subconscious thoughts, as well as our feelings, what we hear and see so we are assured no two memories are exactly alike.

From Colonial Theatre’s production of THE BOYS NEXT DOOR, Damien Ladd as the son and Jack Shaw as the wasted parent trying to make his son normal. Photo Credit: The Colonial Theatre

We can only approximate a memory by using facts. Memories can’t be confirmed by others. Only the facts can be confirmed. The reality of another who experienced the exact moment, and being in the same place in time–may be similar. Even the moment isn’t exact. That reality is always different, depending on who is living it. We are once again talking about individual and unique perceptions.

The photo on the left: A scene from THE BOYS NEXT DOOR, a play that looks sympathetically at being able to appear normal and the behavior of someone close. In this case the father. The schizophrenic son elicits sympathy from the audience, while the parent, obviously affected by his sons erratic behavior, is unable to cope and has a more dangerous sickness than his son.

To be sure, this is the abridged version of studying the brain, the mind and the idea of reality. To keep it blog size. The concept of reality is tied to all.

The brain, if we could use it completely, has more capacity than we can imagine. It has as much potential as a rather complicated computer.

What else the brain can do beyond current science is obviously unknown but speculated about especially in the areas of paranormal activity. Which brings up a question of reality once again. Mere mention of  the word, “paranormal,” makes us take a look at a different reality. We think a person who has these unusual abilities inhabits a different reality, seeing the world with his or her extra perception.

The same can be said of a person who suffers from a mental illness–the reality is there, but the filter is broken. The brain may not be broken necessarily, but the mysterious and unique mind may be confused. Its ability to adapt is broken somehow. In layman’s terms, it is probably safe to say that the mind is a sum of all our experiences, including our unconscious ones we have in our dreams (yet another reality). Some of those dreams we remember, some we do not. But they are still there.

The human answer, as an outsider coping with all this, may be as simple as giving unconditional love.

There is no doubt that mental illness takes its toll on everyone involved. In most cases, it’s impossible to cure. That is today. Perhaps tomorrow will be different. The rescue of a person in need is risky, taking its toll on those affected in many ways–only a few of which are seen in NEXT TO NORMAL.

Maybe, the key to easing that frustration first is understanding that mental illness is not someone’s fault. Secondly, it is not always someone’s responsibility to try and fix the problem. And, thirdly to find a cure, if possible, is a long and hard road to travel.

We, humans, like to fix things. It makes us feel good, but only when our efforts seem to help. That’s the problem with mental illness; there’s never a complete cure, so we may never feel good.

Mental illness remains a disease that rarely comes with complete cure. Sometimes it is a biological anomaly that can be corrected by surgery. More often it is not. Maintaining a “next to normal” level of behavior through drugs and therapy may be the best we can do.

We have to understand our limitations and try to do more good than harm. In families where one person is sick, everyone is affected. It seems everyone should be involved in the “maintenance” and understanding–if that’s the best we can do.

Audio Clips–the Next Best Thing to Video, etc.

Scene note: Kieran O’Shea is blind from an earlier incident and is being led home by Carlos’ senior sergeant. Don’t forget to look at my past few blogs for a coupon code allowing you to download a free digital (any format) copy of Harry’s Reality. Imagine hearing this scene rather than watching a video slide show promoting my novel. Which do you think would be more effective?

“Don’t pull me so hard, Harlan!” She struggled and pulled her arm free. “I can walk. Talk to me,” she ordered. “I’m not a child.”

“So you aren’t.” There was always something unsettling about that voice. Sergeant Harlan Leach was a scumbag, but he was also a ruthless survivor. After all, he had so far effectively evaded the cybert forces after the accident even with the loss of some of her Stealth garments. He was still a loathsome human being. He expected all others to bow to his self-serving, cold-hearted authority. It was time and experience that had made him Carlos’ chief sergeant, not strength of character. Hard times require hard people, and he was a good soldier when it counted.

Harlan hooked his arm gently around hers and guided her. Maybe he’s not so bad after all? Or so she thought until she felt the fabric of her cloak moving away from her skin as if picked up by the wind… There is no wind! Then a touch of her breast! Then she felt his touch lower and lower! She recoiled, tearing away from his grasp.

“Damn you! Damn you, Harlan! Haven’t you an ounce of decency?”

“What for? We live like rats. Might as well act like ’em.”

“You know why.”

“The Nests protects us,” he sneered.

“We’re all in this together.”

Now she is beginning to sound like Carlos.

“So what!” He was in her face. She felt his stinky hot breath when he opened his mouth. “I don’t need anyone. I can take care of myself…”

“I’m sure you can, Harlan.”

“…and I take what I want.” His tone was rough, edgy and menacing.

Sensing that he was reaching for her again, she swung her right arm back and forth wildly, hoping to keep him at bay, but she missed him palm forward, and struck him with her harder back-handed return—on the face, she guessed.

“Ow,” he squealed. “What’d ya go and do that fer?”

“Some of us aren’t ready to join the rats yet.” She hoped she was reading him right but he backed down too easily.

“Sorry.” He almost sounded genuine. Almost.

“What is it you really want, Leach?”

“Nuttin’. Just wanted a feel, tha’s all.” He sniffed. A cold? Bloody nose, more likely? The thought of that made her smile—which was not at all what he wanted from her.

She laughed hysterically as one can in Stealth gear —it was more like the body shaking really.

“Did you run out of cybersex toys? I’m surprised at you, Harlan. Taking advantage of a blind woman. You stupid bastard! Open my Stealth cloak for a peak and we’re both more exposed. Is that what you want?”

Silence.

“No answer, Harlan? Is it because you know I’m right?” Still silence. Has he left her? “I know you’re here, Leach. I can still smell you.”

I can just leave ya here, Bitch, he thought, standing belligerently a few feet away. Let the Cleaners get ya! Not exactly the kind of action you’d like, I’m sure. You got Carlos in your dreams, Honey?

While her depraved companion kept his thoughts to himself, Kieran was becoming increasingly uncomfortable with his silence.

“What no words, Leach? C’mon deal with me. Not thinking about leaving me here, are you?”

Who’s bluffing now? She was worried he might do just that—abandon her. She wouldn’t survive for long without the others. Maybe that’s best. Stop thinking like that, Kieran, she told herself.

“Getting you home safe—what’s in it for me?” He reached for her again. She thought she smelled and felt his presence but she heard his cold voice and could tell it was safely distant. Maybe he was planning to leave me to the Cyber street cleaners after all.

“What’s in it for you?” she responded incredulously, a whispered shout. “Your life, Asshole!” Then she spread it on thick. “If I don’t show up, guess who gets blamed! Not me, Sugar. You better find yourself another Nest.”

If I could just see your face, right now… Damn you!

“You know Carlos is just waiting for an excuse, don’t you?” she taunted. “Or are you dumb enough after all to be unaware that Carlos merely tolerates your presence while he is disgusted with you?”

Leach was aware, and knew his own survival to be more important than sex. He muttered something unintelligible.

“All right, damn it!” He touched her arm, which made her jerk it away. “I said I’m sorry. Now, let’s go.”

Pausing for a second to assess the situation, she moved her arm back and allowed him to get hold of her sleeve. He led her by clutching and tugging on the fabric in such a way that he would not even pinch her skin.

“Yes, Sergeant,” she saluted mockingly.

Leach dismissed her tone and escorted her at a safe distance, mindful not to touch any other body part but her arm. Damn bitch won this time, he thought. In fact, he practically forgot the incident with Kieran O’Shea even as he and she zigzagged silently through the Shadows back to the Nest. In his estimation, she was only a slut not worth giving a second thought.

However, what she had said about Carlos was true enough. They hated each other with a passion. Leach had hated Carlos for a long time. Through the fabric of his Stealth cloak, he ran a finger along the scar on his face where a Bio eye should be—a constant reminder of his hatred. He moved his fingers to the stainless steel socket that held a mechanical eye. There had been no cloned eye for him—too much damage to the bone structure, nerves and tendons. He had had to have an artificial, cybernetic one after the Bio docs Outside tried unsuccessfully to graft bone from his hip because the eye socket from his clone had not worked either. Too much damage to the facial structure and optical nerve they had said. His mechanical eye had its own pathway to his brain.

In the end, he went back Inside to a Cyber surgeon that, even with its perfect skills, could only make him part hated machine and part hideous human “to keep him operational.” For Leach, saying the operation was a success but the patient had died, was not just cliché. He was worse than dead; he was nothing. The machines did not even seem to notice when he got up and left to walk back Outside. He was an irrelevant Bio worth a quick repair to keep him pacified. Not even worth deleting.

I could have been a real leader but who’d pay attention to me with these hideous, raw scars and exposed metal-marked face? I look too much like the enemy.

I have always planned to do an audiobook as well as a traditional print copy of Harry’s Reality, but not self-printed. I have a good excuse for no audiobook. No studio. I may do some audio clips and post them on this site; I may even leave the background noise in and see how it does. However, I do think good audio clips can be just as effective as an art presentation turned into a video. Isn’t it really little more than moving pictures and information.

Early on I tried to publish Harry’s Reality traditionally, but at that time it wasn’t ready. It hadn’t been professionally edited, but I went through three agents who thought it worthwhile and received positive feedback from publishers, but no offers. I did, however, receive a handwritten letter from one publisher that encouraged me to re-write Makr as it was titled then to become what it is now: Harry’s Reality.

The question is always: if it is so good, why did you publish it as an e-novel instead of using traditional publishing? Impatience. Time. Wanting to move on. Wanting to test the new medium for writers and see if it was as some claimed–a better way to go for some writers. Harry’s Reality was written off and on over a long stretch of time and has gone through many gyrations. It has even been in present tense. I liked it. No one else seemed to–do it’d not in present tense. I was tired. E-books finally made sense.

I have heard others talk about why they write e-books, and this is what they say: “my subject matter has a limited audience,” or “the publishers have a handful of bestsellers and won’t publish new writers,” or “I don’t want to mess with all the prep work to get it to the publisher and the waiting.” The best one is “you have to be a celebrity to be noticed.” True. Whatever sells books. We, e-book or self-published hard copy writers, have to go door-to-door using the social media electronically so to speak. The fact is our e-books or self-published books still have a stigma attached as poorly written or researched, and most people like paper. I still like my novel. I aim to make it paper, too, but not on my dime.

One thing I do know. I will do some audio clips of Harry’s Reality. Tell me what you think.

My next book won’t take as long as Harry’s Reality to write and will require more research. More on that one later. I may start out trying to publish it traditionally. Who knows what the market will be like then? Right now, it’s a mess.

Invading Personal Space – A Capital Crime

Before I say anything: here’s the Coupon Code: NE22C for a free download of my science fiction novel, Harry’s Reality, in any digital form, from my Smashwords’ page. For limited time only. Feel free to buy from your e-reader library or another vendor.

Ever notice while watching television how extremely close people must be to talk to each other? Try it some time. It’s stifling. Breaks your personal space limit. You’ll feel a definite urge to push the other person away–that is unless you are intimate with them or at least family. It was weird to me as an actor and is still weird to me now.

What if we expand that personal space and make it against the law for someone to contact you without being screened. People do influence us. Right. Now, being anywhere near someone, even by accident, sends you running in the other direction because it’s against the law to have contact that isn’t pre-approved or matched.

The basis for Harry’s Reality began with people being so offended when people invaded their personal space that it finally became a capital crime. To socialize without permission was against the law. Where did that idea come from. Mere extrapolation. Taking one idea as far as you can. Usually to the point it only makes sense to the society. Here’s the original: we are so tied to our gadgets it seems there is no room for people. But you could start earlier with any idea proposing purposeful human exclusion.

Thus, you have my contemporary extrapolation that society may become to uncomfortable with itself, isolate itself, and rely more and more on machines. Right now those devices are fun and very useful. Well, you know what they say? Too much of any good thing… By the way, my last post was in part the germ of the novel, Harry’s escape from Inside, without knowing what awaited him. Man has this tendency to risk his life to explore the unknown–for what? We all have our reasons.

It’s been a reflective week. A lot of thinking, running chapters in my head. Next month is looking up. I’ll have an opportunity to see, if not explore, a bit of the area where my next novel will take place–central and south america. Both novels will be the first of a series, but I take a while to develop them as best I can so their characters are well drawn for future books.

I suppose I’m crossing an unwritten science fiction law here in that my books will be a combination of sci-fi and superstition/adventure/suspense as opposed to sci-fi/fantasy. If you like Harry’s Reality, you’ll like the next book, too. What seems to be mis-identity and misadventure, propels a “good-time Charley” to take life seriously and “man up.”

The last killer out fused the entrance with a blaster, melting the façade and door into molten rock and red-hot, glistening steel jelly. Must be to keep in any wounded or barely alive Bios, but why? Harry wondered. The cybertank will destroy anything that lives when the entire structure is reduced to rubble. So why do it now? Why waste resources tormenting the intended victims? Why?

Physically stronger and more resolute now, Desiree clung tightly to Harry. Dar acknowledged in her heart that this was what the other woman had wanted all along. She’d been quietly keeping alert, and now suddenly searched through her purse. How could she have forgotten she had it? Not like it would have made a difference anyway. Ironically, she had expected to use the mini-blaster to persuade a few Outsiders to give her the information she needed to do her job. Forget you, Makr! I’ll not do your dirty work anymore.

Harry saw Dar reaching in her purse. He thought she, too, might be losing control.

“This is no time for make-up, darling…er…Dar,” Harry said. What he saw looked like a make-up case.

She put it back inside her purse. “I guess I’m just a little jittery,” she said, snapping her purse shut.

“We’re all frightened,” he said gently. “We’ve survived this long…who knows, we might make it after all.”

Although only seconds had passed, hiding and waiting in the shadows seemed infinitely longer. It was getting hard to breathe without breathing too hard, too fast, and too loud. Harry knew something about hyperventilating. They had to wait until the way was clear—totally clear of Cyber.

Whirrrrrrr!! Whoooosh!! “Warning! Warning!” The women gasped. Harry knew that sound.

A street cleaner cybert whisked by on a magnetic layer, dissolving and vaporizing dust and dirt. Road kill and Touchable remains, thought Dar. All the same now!

“Streets must be clear. Clear the streets for cleaning. Remove all essential obstacles.” The cleaning cybert’s urgent voice meant it had noticed their presence, but its capacity for thinking was not as well developed as most menial labor cyberts. It would suck and dissolve what human pieces still remained, however small. To the cybert, they were merely obstacles, obstructions to cleaning. The small cybert sprayed a cleaning solution to dissolve a pool of blood, sucked it inside and exhaled a harmless white vapor.

Remember the free coupon to download “Harry’s Reality” in any digital form from Smashwords.com. What begins as a “military” science fiction novel ends far from it. I think you’ll enjoy it.

Monday’s Reality

“Hello,” Desiree’s whisper broke the silence and resonated loudly in a room where people never actually talked with one another.

She heard a gasp or two, and with her night vision contact lenses spied some heads moving to get a look. This Insider even perspires more than the others.

“Hello, I said,” Desiree insisted. “I’m talking to you silly.”

Harry flinched.

Gotcha!

“Yes, you!”

Silently, Harry turned stiffly in his chair, ever so slightly—only a few inches away from the voice, pretending not to hear, trying hard to be inconspicuous. Squinting in the darkness, he tried to see what he both feared and needed: Bio contact.

He listened for the voice again, but his nervous anticipation made his sweat stream uncontrollably. He felt a spring of moisture roll down his side, despite his heavy, neutralizing antiperspirant.

Harry couldn’t help noticing the inviting and delicate fragrance of flowers coming from the same direction as the voice he had heard moments ago and he felt anxious once again. It seemed the scent was created for him alone. The olfactory assault makes the situation even more dangerous.

Desiree saw her prey was frozen with fear. Some hero you are, she thought.

He could barely see, his eyes glazing over with trepidation and indecision. Desiree took advantage of the opportunity to place her ticket, number side down, with a message scribbled on the back, on the very table in front of him. He flinched helplessly a second time as he saw her invading his personal space. He had not been this close to another Bio before—not that he could remember or thought-blink—for years.

Blinking himself back to reality, his jaw dropped as she thrust the note in front of him. I won’t look, I won’t read it! he thought. His body stiffened.

Thought-blinking isn’t working. He’s too nervous. Should have done it sooner, he thought. If he ever needed it, he needed it now!

Is this Makr’s doing? agonized Harry. If so, all is lost anyway. Always the cynical Harry.

In light of this revelation, he reasoned he would lose nothing if he read the note now. Yet he continued debating with himself about reading it. Mindful of this hesitation, Desiree persisted in her physical seduction by pulling her shoulders back—thereby extending her breasts, tilting her head, raising her right eyebrow, and smiling. She blew him a kiss. Who could resist that?

Harry wiped the sweat from his brow with a handkerchief and tried to dry his palms with the saturated cloth without much luck.

A drink! He needed a drink to calm his nerves. More noticeably agitated, he fumbled holding his drink, spilling some of it on the counter. Finally, with a barely audible screech that sounded like thunder in his mind, he inched his chair back, ready to bolt.

Damn! He couldn’t breathe. Need more air! More air! Makr, where the Hell are you?

Harry was on the verge of hyperventilating while the less than vigilant Desiree added more bait to her trap to captivate her prey. She smiled. It was the self-assured smile that finally melted his resistance.

Harry imagined he was about to open a door to Hell, but he reached for it anyway. He knew better, but he reached…grasped at the unknown. He spied a look at the note. It said, “I choose you.” Interesting thought, chosen but not matched. But he could do it. He’d have to overcome the unnatural fear that had been bred into him; however, he was determined to try.

He could pass on a match tonight and justify it later. He could say he was sick, which was true; his stomach was churning and bubbling, and he was certainly nauseous. One more personal invasion and he knew he’d lose his lunch. The moment he started up from his seat a Cyber waiter scurried to his table and wiped away the liquid Harry had spilled without knowing it.

Harry died…or thought he had.

His heart stopped. Not really, perhaps only for a fraction of a second as it skipped a beat, but he was sure his end was near.

Whose reality is it this time? This time it would be his, he resolved.

As he left Cyber Match Central to be with Desiree, and with no attempt at getting Cyber approval, Harry readied himself for one hell of a ride.

Taken.

On a dreary Monday’s reality, there’s very little anyone can do about it. Listen to music, doodle, diddle, putter around the house. I’m flowing in and out with the rain. I know it’s good for the earth, but I hate the cold wet of fall. I remember a reality of ups and downs.

Ever hear a song by Melanie called “Animal Crackers.” She sings in her scratchy, little girl voice, “I don’t eat animals and they don’t eat me.” Of course, it was the ’70s or late ’60s. I remember liking her music, but I discovered it while in the Marine Corps so you know I wasn’t living the psychedelic reality. Ironically, neither was Melanie at the time. It was all hype. I saw her short time later in an intimate concert. In a very short time, she had become an extraordinary mother with three children, and a great singer or she was all of these all along. So, she wasn’t up and down at all. A dreary Monday with rain. For a real pick me up she would sing, “Psychotherapy.” That was always good on a Monday.

My Monday offering is a free copy of Harry’s Reality to those reading this who have shown the patience to read to the end. I hope someone will enjoy it and feel compelled to write a positive review on Smashwords or whatever vendor you decide, or even Goodreads. Here’s the Coupon Code: NE22C to use on my Smashwords page. It’s good for a limited time only. Maybe a month. I’d like to get a buzz going. Thanks for reading.