Wednesday, September 18, 2013

Sex, Drugs, Violence and T.V.

Did you ever wonder just when television became so sexualized and violent? When gangsters, pimps and drug dealers became our top-rated dramas? It's ratings, but it goes deeper.

It happened over time. It starts with reality television in the 90s, which was also the decade the Sopranos started in. The nineties brought in the newly sexualized and violent content to two areas where drama was socially acceptable: police work and hospitals. Shows like Law and Order and ER brought the shock value, but were okay, since the heroes were cops and doctors. In the aughts is when it shifted to the bad guys being the focus.

There are a few threads here. First, we have the rise of graphic images and scenarios, which I contend for television starts in the 90s and increases in the past decade. Prior to then very graphic stuff wasn't on television. Second, the graphic stuff is increasingly on shows where anti-heroes, generally criminal, are the focus. Dexter, The Wire, Boardwalk Empire, Oz, Hannibal, and so on. This was not the lineup of characters in the seventies and eighties. Third, television in general is more and more emotionally charged, from reality tv, to the well-scripted dramas, to the news. Take a look at a pretty decent list of best tv shows (http://tinyurl.com/nu8wckr) and compare historically. Very few are so emotionally charged before 1990, and if they are, it's sympathetic for characters who you consider good people. If I'm wound up by an episode of M*A*S*H or Cheers, it's because I feel for the difficulties they're going through.

Lastly, while I get that people have for a while been hyperfocused around television – wanting to know who shot JR and who'll win the Super bowl – I feel as though the placation has increased, and due to the emotional intensity, is more dangerous. Watching television can now leave people feeling drained. And that is potentially very dangerous.

Instead of screaming at the Koch brothers, we're screaming at Skyler and Tony Soprano. We are invested in reality tv celebrities, because we want to see our choice make it to the final round. We have so much strong emotion on our televisions, we've saved none for the realities we must conquer to make our world a better place. Which is just the way they want it.

The other night Robert Reich was on The Daily Show, for his film ‘Inequality for All’. I read a lot of Reich for my “Loser Generation” series, and put money where my mouth is for the kickstarter that funded this movie. I am in complete agreement with Reich that money in politics is the most dangerous thing in our society today. I wrote about this at length, and I am motivated to fix and change it.

Yet sometimes I feel pulled between competing passionate subjects. I’m teaching ‘Current Social Issues’ this semester and the goal is to get the kids zealous about big issues. We’ve talked about genocide, modern slavery, and race discrimination regarding the death penalty. They are intrigued, and sort of sad, but not moved. You could say it’s my teaching, but I don’t think so. Because the other night, on dormitory duty, I saw a boy become impassioned by ‘Breaking Bad’ who was unmoved by human trafficking that same morning.

This is part of why the youth generation is a bunch of losers. It applies to Gen Y, the young professionals who aren’t in the streets protesting for equality and wage benefits befitting their dignity and degrees, and to the youth who are currently teens, raised in a decade of wire-tapping and standardized testing that has left them numbed and apathetic. Imagine your day: school is useless, or your job far below your training and education level, you go home and distract yourself with television which leaves you emotionally drained, and then what you don’t do is try and start a social movement, a protest, or a sit-in. And, like, look at Occupy, man. Like the youth’s parents learned, protests are a bummer, demonstrations are a drag. After an unfulfilling day, let’s sit around and get excited by meth dealers, murders and sexual victimization.


“Watching television is like taking black spray paint to your third eye.” ~ Bill Hicks

Tuesday, September 17, 2013

Visuals Revisited

I’m a visual guy.

Much of this comes from a rather unique childhood. My father collected rare children’s books, from the turn of the last century to the 50s. I grew up with an appreciation for illustration. My mom owned every Dr. Seuss book, and both parent’s houses were flooded with picture books. Both my parents liked art, so these books were chosen in large part for their visual value.

Rarely have I posted about this. I have posted an influence map, though, which is strikingly visual: Dr. Seuss, Hiyao Miyazaki, Salvador Dali, Alan Aldridge, MC Escher, Mercer Meyer, Graeme Base, Disney, Maxfield Parrish, Jim Henson, Dinotopia. All from childhood. The Disney visual element I wrote up once talking about Mary Blair. Also included in that influence map was The Mind’s Eye series, which I saw at an impressionable age. It, along with the 1993 game Myst, were the most influential things I saw in digital imaging.

I once wrote up what art I want to have in my house when I’m older. Some of those things I already own. Indeed, I just spent a tidy sum framing a number of prints I intend to keep for the rest of my life. It was a birthday and Christmas gift to me. Those now framed are: Mucha’s ‘Four Seasons’, Magritte’s ‘The Treachery of Images’, Giorgione’s ‘The Tempest’, Banksy’s ‘Weapon of Choice’, Panini’s ‘Picture Gallery with Views of Modern Rome’, Picasso’s ‘Three Musicians’, Escher’s ‘Drawing Hands’, and Raphael’s ‘School of Athens’. There is other art on my walls besides.

Last year I taught art history, and already have a lot of art books on my shelves, from ‘The Louvre: All the Paintings’ to beautiful coffee table works such as ‘Kashmir’, ‘The Orient Express’, ‘Medicine: A Treasury’ and ‘The Art of Alice in Wonderland’.

In the slightly more plebian realm I own a number of graphic novels, from ‘Bone’ to ‘Ed the Happy Clown’. I have Miller’s ‘The Dark Knight Returns’ and Gaiman’s ‘Miracleman: The Golden Years’, but this is as close as I get to trade paperback comic books. Ours was not a family, really, of reading X-Men and Wonder Woman, although my sister briefly was interested in the former.

Not that there weren’t comics. We had collections of ‘Foxtrot’, ‘Doonesbury’, ‘Bloom County’, ‘Calvin and Hobbes’, ‘Dilbert’, ‘Adam @ Home’, ‘Sally Forth’, ‘For Better or Worse’ and ‘The Farside’. As time went on we added more. I now have a good collection of ‘Sherman’s Lagoon’, my mom collects ‘Pearls Before Swine’, and I have particular collections of ‘The Boondocks’, ‘Get Fuzzy’, ‘King Aroo’, ‘Bizarro’, ‘Farley’ and ‘Gordo’.

I did once write something up on here of “20 Comics Artists (if you’re serious aboutcomics) and notably three of them were known to me from their web comics: Kazu Kibushi, who did ‘Copper’, Jeph Jacques, who does ‘Questionable Content’, and Aaron Diaz, who does ‘Dresden Codak’. The only web comic artist I might add to that particular list would be Vitaly S Alexius, who does ‘Romantically Apocalyptic’. This is a beautiful comic, but is not entirely hand-drawn, and so it would be sort of cheating to include.

Web comics are a part of my daily life and routine. Way back in this blog’s infancy, in 2007, I mentioned something to the effect, back when my writing style was pure Jon Carroll wannabe. Way back in 2002 I started reading ‘Sluggy Freelance’, with an impressive archive going back to 1997 or so. I got the books, loved the characters, followed it through high school and on through college. I don’t read it any more. I gave up somewhere around 2009, I think. Maybe later. I own four or five collections of it though.

You never know with web comics. In 2006 the great ‘A Lesson Is Learned But the Damage is Irreversible’ ended, only to publish a new comic in 2012. And for the past almost a year now – nothing more added but that one comic. ‘Mac Hall’ ended, only to be replaced by the same cast in ‘Three Panel Soul’. ‘The Meek’ was a very well-done online graphic novel, and hasn’t updated since November, 2012. Kate Beaton very rarely touches her ‘Hark a Vagrant!’ anymore, it seems. ‘Copper’, mentioned above, stopped updating with a random update in 2009. Little has changed since my ninth post on here, all those years ago.


Every Sunday there was a race between me, my sister and either my mom or dad (mom was more into the race, dad would often just read a different section and wait) to see who got the funnies. Every day, when the paper was delivered, there played out the same ritual. I no longer read any ‘newspaper’ comics except ‘Doonesbury’. I finally gave up on ‘Pearls Before Swine’ and ‘Get Fuzzy’ when I stopped laughing. Web comics have the space and creativity now. ‘Dresden Codak’ isn’t a punch line strip, but I want to know what happens, and am willing to wait months in between beautiful panels to see. Yesterday I got my kickstarter reward for backing his book project, namely an attractive, bound copy of his work. It went right next to the ‘Smithsonian Collection of Newspaper Comics’, collecting the works of Herriman, McKay, and the other pioneers of the genre. The visual legacy I inherited continues on.

Monday, September 2, 2013

Things Kids Should Read in High School

Working off the model I had, these are some books I read, and some I didn't until later, with some I read also having been removed. All in all I think these books would

1) Give them an appreciation for literature

2) Make history more accessible

3) Teach a proper ethics

The last is probably the most important, but not all such works need to be all three.

Freshman Year: The English 9 Catch-All

Catcher in the Rye. Hook 'em quick. Running away from school is fun, but bad.

Romeo and Juliet. Hook those who didn't like Catcher. Teen suicide is bad.

To Kill a Mockingbird. Segregation is bad.

The Power of One. Real bad.

Poetry: Poetry is a good way to express yourself. Some tried and true Freshman winners include Ozymandias by Shelly, Howl by Ginsberg, Ulysses by Tennyson, The Tyger by Blake, Do Not Go Gentle Into That Good Night by Thomas, The Road Not Taken by Frost, The Weary Blues by Hughes, The Red Wheelbarrow by Williams, A Boston Ballad by Whitman, Because I Could Not Stop for Death by Dickinson, The Tower by Yeats, and Ode on a Grecian Urn by Keats.

Short Stories: Short stories are fun! More tried and true works: The Short Happy Life of Francis Macomber by Hemingway, A Rose for Emily by Faulkner, A Good Man is Hard to Find by O'Connor, The Lady or the Tiger? by Stockton, An Occurrence at Owl Creek Bridge by Bierce, The Ones Who Walk Away from Omelas by le Guin, The Most Dangerous Game by Connell, A Very Old Man with Enormous Wings by Marquez, The Lottery by Jackson, The Yellow Wallpaper by Gillman, On Keeping a Notebook by Didion, A Modest Proposal by Jonathan Swift, The Telltale Heart by Poe, Harrison Bergeron by Vonnegut,  Man from the South by Dahl, The Nose by Gogol.

Sophomore Year: Western Civilization

The Iliad (selections). Where it all begins. Rage is bad.

Oedipus Rex. Incest is bad.

The Apology. Philosophy, on the other hand, is good. But kills you.

The Bible (selections: Genesis, Exodus, Job, Mark). God is going to be so mad at you...

Julius Caesar. Assassination is bad. Maybe.

Barabbas. Thank God you're not him.

Becket. Having to choose between two all-powerful allegiances is hard.

St. Joan. Even if you know what you're doing, things can still turn out badly.

Galileo. Sometimes selling out isn't a bad thing.

A Man for All Seasons. Having to choose between two all-powerful allegiances is hard, part two.

Candide. Enlightenment won't save you.

Crime and Punishment. Nothing will save you.

"In the Penal Colony". The death penalty is scary.

Hedda Gabler. Bitches be crazy.

Regeneration. World War One was really pointless, tragic.

The Plague. Life is really pointless, tragic.

Junior Year: O beautiful, for spacious skies...

The Scarlet Letter. Thank God we're not a bunch of Puritans anymore.

The Crucible. No, really...(Also McCarthy was a bad, bad man.)

"Benito Cereno" and "Bartleby". Moby Dick is too long, anyway.

"Self-Reliance", "Nature", "Civil Disobedience" and "Life Without Principle", Walden (Selections: Where I Lived and What I Lived For, Solitude, Higher Laws, Housewarming). "Let us spend one day as deliberately as Nature, and not be thrown off track by every nutshell and mosquito's wing that falls on the rails. Let us rise early and fast, or break fast, gently and without perturbation." Kids love language like that.

The Adventures of Huckleberry Finn. Get ready for some uncomfortable conversations.

Death Comes for the Archbishop. There's a lot of America out there.

The Jungle. Socialism is good.

Main Street. Americans are bad?

The Great Gatsby. Americans are complex.

The Grapes of Wrath. Depression is depressing.

A Streetcar Named Desire. Americans are tragic or hot with their shirts off.

The Old Man and the Sea. Fuck it, lets go to Cuba.

The Monkey Wrench Gang. We're not bad people if we save the planet.

Senior Year: Electives

Whatever. Some of the lit I read:

Philosophy (West and East): No Exit, The Painted Bird.

Epic Lit: The Odyssey, The Inferno, Love in the Time of Cholera, The Long Walk, The Alchemist.

Russian Lit: Fathers and Sons, The Cherry Orchard and Uncle Vanya, The Duel, The Overcoat, The Death of Ivan Ilyich, One Day in the Life of Ivan Denisovich, The Bronze Horseman (also Crime and Punishment and The Nose).

Thursday, August 29, 2013

Epic Rap Battles of History

Been watching Epic Rap Battles lately. Deep historical cuts. Here are my three favorites, to give a taste:

Gandhi v. Martin Luther King Jr.

Cleopatra v. Marilyn Monroe

Rasputin v. Stalin

There's a new season coming up, and I think these would be good ideas:

  • Helen Keller v. Helen of Troy
  • Franklin Delano Roosevelt v. Theodore Roosevelt
  • Confucius v. Lao Tzu
  • Marie Curie v. Rachel Carson
  • Harvey Milk v. Alan Turing
  • Queen Elizabeth I v. Queen Elizabeth II
  • Pocahontas v. Sacajawea
  • Michelangelo v. Leonardo da Vinci
Feel free to suggest any of these on YouTube.

Wednesday, August 28, 2013

Plays

Earlier this year I read Wedekind's 'Spring Awakening', and during the past couple days two by Strindberg: 'A Dance of Death' and 'A Dream Play'. I've also read my Shaw (Major Barbara, Pygmalion, and St. Joan), my Chekhov (Uncle Vanya and The Cherry Orchard), my Wilder (Our Town), my Pirandello (Six Characters in Search of an Author), my Wilde (The Importance of Being Earnest) and of course my Ibsen (Hedda Gabbler and A Doll's House). Thus, the turn of, and first part of the century.

Moving on, in the 1940s, I've read Brecht (Galileo), Anouilh (Antigone, and later Beckett) and Sartre (The Flies, No Exit, Dirty Hands, The Respectable Prostitute). I suppose that decade also includes Williams (The Glass Menagerie and A Streetcar Named Desire) and O'Neill's Long Day's Journey into Night. Miller (The Crucible, and later Death of a Salesman) just squeaks in.

Conclusion: I am not fond of plays from the turn of the century to the mid-century. I like about four or five of those listed, tops.

Works subsequently published to those listed I have read eight: Beckett's 'Waiting for Godot', Hanberry's 'A Raisin in the Sun', Fo's 'Accidental Death of an Anarchist', Lawrence and Lee's 'Inherit the Wind', Bolt's 'A Man for All Seasons', Wagner's 'The Search for Signs of Intelligent Life in the Universe', Soyinka's 'Death and the King's Horseman' and Stoppard's 'Rosencrantz and Guildenstern are Dead'. I like two, maybe three of those.

But perhaps earlier?

Goethe's 'Faust'? No. The works of the foremost of the Spanish Golden Age, Lope de Vega? No. Japanese No Dramas? No.

I do like Moliere's 'The Misanthrope' and Racine's 'Phedre'.

And then you have Shakespeare. Romeo and Juliet, Julius Caesar, Hamlet, Coriolanus, King Lear, Macbeth, Othello, Measure for Measure, Much Ado About Nothing, A Midsummer Night's Dream, As You Like It, The Tempest, Richard II, Henry IV, Henry V. A few of those, less than half.

The play variously translated as something to do with Shakuntala, by Kalidasa, written in India in the 5th century - that's pretty good, if I remember correctly.

Skipping the Romans, whom I've not read, I end at the Greeks.

Aeschylus: Prometheus Bound: Not really Aeschylus, not really one I like. The Oresteia is okay, though.
Euripides: Medea and Hippolytus, no. The Bacchae, yes.
Sophocles: The Theban Plays, Philoctetes, yes. Ajax, no.

Aristophanes: The Frogs, The Birds, no. Lysistrata, The Clouds, yes.

All in all it would seem from such a list that I'm not fond of theater. But this is not the case. For I enjoy watching plays immensely. I have seen countless productions, at one point I took in about ten a year. I love watching plays. Oddly, though, most of the plays I've read, mostly for school, did little for me. Perhaps I know not how to read them properly, and need to see them to appreciate them. I'm pretty sure I'm not alone in this. I recall debates about Shakespeare 'on stage' vs 'on page'. I'm curious, though, in an idle way, as to why some people prefer one to the other, or if it is certain works broadly appeal that way.

Even as I was typing this I looked and saw I was committed to seeing two plays in the near future. And I just saw one earlier this week.

Sunday, August 11, 2013

Deep Archives: 'Musings'

The following was written around the start of high school. I recall the first section, in particular, as one I was proud of. I'm not sure how old it is, actually, but I think the best estimate would be from 2000. In tone, I was perhaps going for Twain's ironic, critical self-deprecation. Pretty ambitious for thirteen or fourteen. I recall these scenes so vividly, though, that the hideous run-ons and adolescent judgments don't dissuade me from posting. It was a rare synchronous heart-beat when my life seemed to match the optimistic visions of the City on the verge of a millenniumIt was a glorious, reflective, open-horizons, nostalgic time in my life. 

Pretty ambitious for thirteen or fourteen.



I was sitting, mild mannerly, on the red velvet chaise in the all but empty fourth floor of the San Francisco Opera House, with my pen in one hand and the section of the paper which contained the comics in the other. I say ‘all but abandoned’, for as I sat intermediately placing the butt-end of the pen in my mouth and holding it, with no real fear of its falling, like a cigarette smoker, two women came out of the office outside of which I was waiting, and the taller, pretty brunette addressed me.

“The bard at work, eh?”

I had never before seen this woman, and was concerned as to why she had addressed me as a bard. She explained, at no prompting from my part, except, perhaps, that of the concernedly puzzled look on my face, that she had seen me sitting on a chaise in an all but abandoned opera house, pen in one hand and paper in the other, and that she assumed I was writing poetry in such a romantic situation. I replied that I was, indeed as she had then asked, waiting for somebody inside. She and her companion then took the elevator down, talking about me as they entered it.

Well. A few moments. I started to wander about on the abandoned floor and snooped around the abandoned bar finding an abandoned bottle of wine, champagne, or some other spirit. Why it had been abandoned in the stripped bar with a light casting a dilapidated shadow upon it, never mind its being uncovered, was quite beyond me. I looked at the golden label, or more specifically the black writing upon it, and found no clue as to what the bottle might contain. I was tempted to make a lift, but thought better of it, and sat back on the chaise for a moment, only to stand up again and start clicking my pen while pacing.

The particular clicking was such so that, in reverberation of the hallways, it sounded to those still within the office as if there was a rogue tap dancer in the halls. This likeness was do to the fact that I had the effect in mind whilst clicking, and therefore sought to emulate the sound as nearly and rhythmically as I could.

*           *           *

I am supposing that if I were to have seen the needle, my reaction would have been far more violent than it was. On the sixth floor of the Kaiser building in San Francisco, on Divisadero and Geary, I was being ‘injected’, (though I prefer the term ‘shot’), by a small Asian nurse, whose name, though the second time I had seen her that week, I had not yet caught. The shots were Hepatitis B booster and Meningitis. The previous Tuesday it had been a PPD (the bubble in the arm) and a Tetanus booster. My left arm was in severe pain those days.

I have always hated needles. They make me bleed. I do not take aspirin, so this bleeding’s cause is yet unknown. I believe that it is do to my lack of vein-space. I do believe that my veins are at all times practically full to the hilt, and that the excess fluids pumped into me create a little overflow at the source.  Like dunking a glob of vanilla ice cream deeper into one’s root beer with a spoon or straw, and inevitably seeing the now lighter colored soda run down the glasses’ edge. I figure that if I had had more injuries in my yet so young a life that maybe I would not have such a copious volume of blood still about me, but these thoughts are morbid, and best not considered for too long of a period, especially when one is in a room unoccupied but for oneself and the needles.

*           *           *

I enjoy going to restaurants alone. I was dining at Louis’, a San Francisco institution, in the second to last booth round the back, looking at the fog and ocean. There had been someone drowned, the busboy at the next table was reporting to the customers that it had been on purpose, and the authorities were present down near the ruins of the Sutro Baths. And so I observed them scurry below as I sipped my drink with a spoon.
The rest of the nearby area was closed for renovation until that August. The Cliff House, the restaurant which I had intended to patronize, was also closed during this renovation. So I had settled for Louis’. After all, I had come out all this way, and was pleased with my service, chili cup, and patty melt, so all was not lost.

*           *           *

The worst thing about the San Francisco Symphony is that the windows have large concrete half-pillars blocking the view every seven feet or so. Since these same windows were the feature that made the Symphony’s architecture appealing, for God knows the rest of it wasn’t, I found this a shame. And even though I had passed through the lobby and tiers of the building innumerous times I had not previously found so glaring a fault in its windows.

I do suppose that I am becoming more observant with age.

The only flaw that the symphony had before the windows were noticed was the staircase. That staircase had scared the hell out of me, even when I was little. A good thing I suppose, considering the literal translation of the phrase. Another wonderful side effect of the aging process aforementioned is that one’s perception of height becomes more acute. Whenever I walked these halls I stayed in the middle, an equidistant gap formed on either side from the stair case and the windows.

*           *           *

My mother’s dog’s name had been ‘Gorda’ at the ASPCA. This term meant ‘fat bitch’ in Spanish and was an unsuitable name for the middle-aged, round, mild-mannered mutt. So the name was changed to something better, yet close enough to be identifiable by the dog, to the previous. The name ‘Gerta’ was decided upon. It reminded my mother of the name ‘Greta’, a name which did not fit this dog at all. I was, at first overjoyed at the name choice. It allowed me in public to address the dog as though her name was ‘Goethe’, which sounded more dignified to me, and was an apparently undetectable difference to the dog from the made up nonsense of ‘Gerta’. However when my mother once accompanied me on one of the walks of her dog I accidentally said ‘Goethe’ instead of ‘Gerta’. My mother corrected me by saying that the dog’s name was ‘Gerta’, not ‘Goethe’, and my months of subversive name calling came to an end then and there.

*           *           *

I resolved on public transportation that I should not learn to drive. I did not have any desire to drive and while riding the bus I made yet a further discovery that led me to believe that to stop taking the buses would be a bad idea. There were a surprisingly great number of pretty women on the buses whom I had never noticed previously, but whose presence over the past few days I was becoming more attuned to.

The current fashions of the day accentuated girls’ hips, butt, thighs, and breasts. In this glorious age of acne cleansers girls whose faces may once in yesteryear have been scorned were now smooth and, there is no other word, silken. I refer to those faces of white girls, for I took little to no interest in the faces and bodies of other raced girls, unless given reason to do so. I will admit, though, I had a fondness for the look common to girls from India, and the like places.


But, my eyes upturned from my H.G. Wells and glued to a curvaceous pair of Levis,  I realized that such a departure from the world of public transportation was also more then the loss of pleasant viewing. I would be at higher risk of danger to myself and others. The cost would be far greater, the environmental damage greater than that of the city’s electrical buses, and I learning to drive would be unnecessary. They argued that it was more convenient. Not so: the buses in San Francisco ran everywhere. They cited far fetched emergencies and worst case scenarios. I cited the existence of ambulances. So the arguing continued, I clearly victorious, but the opponent too damned stubborn to admit their fault, likely stung by the fact that they, as automobile owners, had succumb to all of the terrible vices I named associated with such devices. I am, in fact, sure that this is the case. For with each refutement I gave, the greater grew their anger towards my public transportation position. I did not, of course, speak of the greatest value of all.

Tuesday, August 6, 2013

Why I Write

"I see that it is invariably where I lacked a political purpose that I wrote lifeless books and was betrayed into purple passages, sentences without meaning, decorative adjectives and humbug generally."


George Orwell, "Why I Write"

Dear neglected blog,

The reason I write is usually boredom. It is seldom to elucidate, rarer still to motivate. Many of my posts are curiosities only - an interesting tidbit on World Heritage Sites or the Rock and Roll Hall of Fame or Nobel Prize winners. Partially this is my fascination with lists, but partially it is because I blog when I've nothing to do. When there are no books to read (or more honestly I am avoiding reading a book because my humor dictates whether I devour or shun a work at a specific time) no television shows to watch, no friends to drive home from karaoke, that is when I write.

Things have been busy recently. That History of the Novel class I thought I was teaching needed a lot of prep, then was cancelled, then I was told I'm teaching AP Euro, which now needs a lot of prepping. I had an annual get-together to attend in upstate New York. I discovered one of my pupil's father worked for Lehman Brothers. Lehman Brothers! That's a month of reeducation right there.

Suffice to say what with all that stuff, combined with getting a new apartment and on and on, I've not been bored enough to write.

But the fact I write mostly due to boredom is slightly troubling. I find my best, and favorite, work is that which, like Orwell's quote, is political. I told myself years ago I would enter politics. Now I am seriously considering it.

I could put off seriously considering it for a long time. During my twenties I was going to teach. Teaching is a noble, and respected field. It's a good background from which to get elected. Also helps that I'm pretty good at it. Politics is my passion, though, and what I always knew I'd do eventually. The question was what do you do to start. You can't just go in and run for office, you need to learn things and build up a base, etc.

And the reality is that if I want that base, and that experience, I need to start transitioning now. I'm 27. If I want to run for office in my thirties, to build up to a national career in my forties, the time is ticking. 2014 will be another election year. The initial steps will have to be taken shortly. 

So there may be a shift, then, in why I write. These days I write because I'm bored. In the future I may write when there's information concerning America you need to know.