I never thought I'd see this day: I'm abandoning physical books for an e-reader.
Before I explain why, I have to talk a bit about my previous internal digital battle: to mp3 or not? When the original iPod came out, I was dead set against it. I had my collection of hundreds of cds with their beautiful booklets full of art, photos, and lyrics. And the low sound quality of mp3s just wouldn't suffice. I can only describe the sounds on a nice pair of headphones as "harsh."
So, for a while I happily toted my portable cd player and a small holder of cds in my backpack. Then, I decided to upgrade to a portable unit that could play mp3 cds. Just as an option, of course. No way would I turn my back on cds!
Eventually, I decided to put some of my favorite albums on a mp3 cd just to have more variety available on my travels. It was during the process of ripping and burning (why must mp3 parlance have to be so violent?) that I realized that you can use different bit rates, and with decent settings, mp3s actually sounds as good as cds. (256 kbps vbr is my current setting of choice.)
That solved the sound problem, but no way in hell was I giving up my cd fetish. The look, the feel, the smell. How could I give it up? Funny thing is, after I started ripping all the cds I bought, they stayed on the shelf after the initial rip.
With much of my mp3 resistance melted away, the iPod and the gigs of music it could carry was inevitable. The new way was here. I shed a tear for my beloved cds and moved on.
Fast forward to now. There was no way in hell I was giving up my beloved books. The look, the feel, the smell. (Heard this one before?) And as a writer, there was an even stronger fetish: I want one of these with my name on the shelves one day. Why would I participate in the group murder that e-Readers represent?
While a piece of plastic will never truly replace a book, e-Readers have come a long way. They may not be as good as a real book, but they are an acceptable way to read (I grudgingly admit after playing around with Nooks and Kindles and iPads with a somewhat open mind.) And the real deal maker for me is the end of bookshelves.
I can hear the collective gasp from my fellow readers and writers. We need our bookshelves! We want to turn every room of our homes into libraries! I understand completely. My office is crammed with books, as well as board games. The living room is full of cds and dvds. There is a great comfort in hoarding the things we love, building a warm nest around ourselves.
But take a step back. I know it's hard to do. But what do you really care about? It's those beautiful words, and whether they're on a piece of paper you can fondle or a digital screen shouldn't really matter. Get rid of the confines of space, and it's possible to have even more of those words literally at your finger tips.
The elephant in the room is the effect the e-reader will have on bookstores and writers. The former is a cause for sadness, but I see the latter as an opportunity.
For bookstores, when every book is bought digitally, only the big boys that control the digital world will survive. All those great indie bookstores will slowly fade away. While that's unfortunate, I have to sheepishly admit that I buy almost all my books from Amazon anyway, so when all those cool bookstores go out of business, it's not like I'll have more blood on my hands.
For writers, however, I think a great opportunity is coming. Look at what mp3s did to the music industry. There are more opportunities for musicians now than ever before. Self publishing of music is possible, and cool indie online music stores have cropped up. I see something similar coming for writers. I have purchased pdfs directly from writer's sites, and when the reading public has less of an aversion to the digital screen, options will increase. All those indie minds out there will band together and find a way to create cool virtual indie bookstores.
You may wholeheartedly disagree with my assessment, but regardless of what any of us feel, we can't stop change. Demand will dictate supply, and those that adapt can have an exciting place in this brave new world.
Sunday, June 27, 2010
Saturday, June 12, 2010
Hiding Behind Fiction
My previous post was about my first public reading. I initially thought that I'd blog about the experience soon after, but in reality, I had far too much to process to talk about it until now.
The reason I've always been drawn to fiction is because you can talk about your feelings and experiences through a layer of abstraction. This provides an opportunity to give a fresh look at well-worn themes. It also allows the author to hide behind the story.
Writing a non-fiction piece, and then reading it in public, is a different kind of monster. I can't say that it's something I wanted to do. It was more of a compulsion. The difficulty of the task is shown in the fact that the piece I wrote is in second-person. While this is a powerful stylistic choice, I'd be lying if I claim that was the only reason I employed it.
When I stood before a crowd at art2art a couple weeks ago, I felt nothing. I was simply a conduit for the words on the page before me. I had written a short intro and placed it, in bold, at the top of the first sheet.
"Tonight, I’ll be reading an abbreviated version of a narrative non-fiction piece called 'Rewind.'"
I stumbled a bit on that simple sentence, but after that the words simply flowed from me.
"You realize one day that you don’t have memories, you have flashbacks."
As I launched into reminisces of my father's alcoholism, the protective wall I had built so long ago disappeared. For seven minutes, I was opening myself to the world.
"Then he begins to sharpen his hunting knife at the kitchen table. His eyes are red. He never looks up. He runs the whetstone against the blade too many times. It has to be razor sharp."
As I finished, my only concern was the feedback I'd get. The enormity of sharing my darkest places wouldn't really hit me until later. The audience applauded, but it was a kindness I expected. I waited to hear from people as we took a break between sets. I feared no one would say anything, that my inability to write had finally been exposed.
"She gives you a pair of work gloves, and tells you to pull out the bottom slat with a hammer. You work at it, and as you finally pull it away, an ocean of empty vodka bottles pour out, like hitting the jackpot on a slot machine."
I received encouraging words from the other artists in the front row, but this I also expected. I milled about for a bit, and no one else approached me. The dark voices I've grown to hate started to whisper in my head. I went to the restroom to be alone.
On the way back to the reading room, a woman approached me and thanked me for sharing the story. An older man asked me if I was a professional writer. When I answered no, he told me to keep at it. Others gave similar earnest feedback. For the first time in memory, I felt good about writing, instead of just viewing my compulsion as some form of self torture.
"You pour the bottle into the mop sink and fill it with water. You feel exhilarated by your daring. But you also feel very afraid."
After the event finished, a group went to a nearby bar, including my wife, Cathy, and one of the organizers (and our friend), Sue. The bar was full for a Celtics game and very loud. There were many of us grouped around a table, most of them strangers to me. I couldn't hear well. I found myself wishing that Cathy and Sue and I could be somewhere else having a quiet conversation.
I felt the darkness return. I grew uncomfortable that these people, these strangers, now knew about my childhood. I became sullen.
"The man who built thick ropes of muscle by driving a truck for hours a day, who won beer money by arm wrestling in bars, is gone. This man still has the same pot belly, but he slouches and his arms and legs have wasted away. You realize that you’re stronger than him now."
I realized the next day that I wouldn't be able to blog until I had time to process the experience. An inner struggle I'd fought all my life was waging its latest battle. Is it better to share your dark places or hide them?
"There is no final scene with a graveside speech, no coming to terms, no achieving inner peace. You simply grow to understand that everyone is human, with weaknesses and fears. Willing to try almost anything to escape from them.
You realize that had things been a little different, you could have turned out the same way. That if you’re not careful, you still might."
It took weeks, but I have my answer now. I want to write. I have many stories to tell.
But they will be fictional stories that I can hide behind. I'll show the world my dark places, but only through a filter.
It's the only way to end the war inside my head.
The reason I've always been drawn to fiction is because you can talk about your feelings and experiences through a layer of abstraction. This provides an opportunity to give a fresh look at well-worn themes. It also allows the author to hide behind the story.
Writing a non-fiction piece, and then reading it in public, is a different kind of monster. I can't say that it's something I wanted to do. It was more of a compulsion. The difficulty of the task is shown in the fact that the piece I wrote is in second-person. While this is a powerful stylistic choice, I'd be lying if I claim that was the only reason I employed it.
When I stood before a crowd at art2art a couple weeks ago, I felt nothing. I was simply a conduit for the words on the page before me. I had written a short intro and placed it, in bold, at the top of the first sheet.
"Tonight, I’ll be reading an abbreviated version of a narrative non-fiction piece called 'Rewind.'"
I stumbled a bit on that simple sentence, but after that the words simply flowed from me.
"You realize one day that you don’t have memories, you have flashbacks."
As I launched into reminisces of my father's alcoholism, the protective wall I had built so long ago disappeared. For seven minutes, I was opening myself to the world.
"Then he begins to sharpen his hunting knife at the kitchen table. His eyes are red. He never looks up. He runs the whetstone against the blade too many times. It has to be razor sharp."
As I finished, my only concern was the feedback I'd get. The enormity of sharing my darkest places wouldn't really hit me until later. The audience applauded, but it was a kindness I expected. I waited to hear from people as we took a break between sets. I feared no one would say anything, that my inability to write had finally been exposed.
"She gives you a pair of work gloves, and tells you to pull out the bottom slat with a hammer. You work at it, and as you finally pull it away, an ocean of empty vodka bottles pour out, like hitting the jackpot on a slot machine."
I received encouraging words from the other artists in the front row, but this I also expected. I milled about for a bit, and no one else approached me. The dark voices I've grown to hate started to whisper in my head. I went to the restroom to be alone.
On the way back to the reading room, a woman approached me and thanked me for sharing the story. An older man asked me if I was a professional writer. When I answered no, he told me to keep at it. Others gave similar earnest feedback. For the first time in memory, I felt good about writing, instead of just viewing my compulsion as some form of self torture.
"You pour the bottle into the mop sink and fill it with water. You feel exhilarated by your daring. But you also feel very afraid."
After the event finished, a group went to a nearby bar, including my wife, Cathy, and one of the organizers (and our friend), Sue. The bar was full for a Celtics game and very loud. There were many of us grouped around a table, most of them strangers to me. I couldn't hear well. I found myself wishing that Cathy and Sue and I could be somewhere else having a quiet conversation.
I felt the darkness return. I grew uncomfortable that these people, these strangers, now knew about my childhood. I became sullen.
"The man who built thick ropes of muscle by driving a truck for hours a day, who won beer money by arm wrestling in bars, is gone. This man still has the same pot belly, but he slouches and his arms and legs have wasted away. You realize that you’re stronger than him now."
I realized the next day that I wouldn't be able to blog until I had time to process the experience. An inner struggle I'd fought all my life was waging its latest battle. Is it better to share your dark places or hide them?
"There is no final scene with a graveside speech, no coming to terms, no achieving inner peace. You simply grow to understand that everyone is human, with weaknesses and fears. Willing to try almost anything to escape from them.
You realize that had things been a little different, you could have turned out the same way. That if you’re not careful, you still might."
It took weeks, but I have my answer now. I want to write. I have many stories to tell.
But they will be fictional stories that I can hide behind. I'll show the world my dark places, but only through a filter.
It's the only way to end the war inside my head.
Monday, April 26, 2010
My First Public Reading
On May 22nd, I will be reading an abbreviated version of my non-fiction piece, "Rewind" at art2art. This will be my first public reading.
Here are a few thoughts about such an auspicious occasion:
I'm a genre fiction writer
Not only am I a genre fiction writer, but I'm damn proud to be one. While I enjoy and have great respect for literary writing, it's not my calling. My stories slither in my head, and refuse to be contained in a real world setting.
However, while the tales I want to tell invoke the supernatural, they're not examples of the bad genre fiction that have trained many literary writers to turn up their noses (at least I hope they're not). To me, genre fiction is a way to write about real people struggling with real problems through the fresh perspective of a fantastical prism.
For example, three short stories I'm working on now deal with, respectively, depression, alcoholism and adultery. Supernatural elements play second fiddle to these central themes, which to me is essential in elevating genre fiction to something more than an easy escape.
I'm not a non-fiction writer
Apart from blogging, I don't write non-fiction pieces. "Rewind" is the one exception, and if you attend art2art and hear me read it (or if you convince me to give you a copy), you'll see that it's more of a documentary of my childhood experiences than a constructed work. Memories flowed to the screen, written in such a way to best express how those memories felt to me.
The response from those who have read the piece has been very positive, and it is so painfully honest that it just makes the most sense to be my first public work. This will be the one chance to see the real me before I hide behind my fictional characters forevermore.
Why I'm scared shitless to read "Rewind" in public
There will be no place to hide when I'm reading about the worst parts of my life. We conceal our pasts carefully, only sharing them reluctantly, and soon I'll be publicly revealing mine to any that will listen.
But, as I explained to someone with whom I shared the piece, "You can’t create art if you hide parts of yourself. The parts you want to hide are where the art resides."
And I just officially quoted myself. About art. Pretty damn pretentious, I must admit.
Why I'm not afraid to fail
I have come to terms with my inner critic.
He's one tough son-of-a-bitch. He hates everything I do, and ridicules it in the meanest way possible. For a long time he kept me from writing, and even after I began, he prevented me from admitting I was a writer.
I've tried my best to kill him off, but that bastard refuses to die. So I've learned to live with him with two simple mantras: "It's impossible to be perfect," and "It's okay to be human."
Keeping this in mind allows me to write without competing with the world. It doesn't matter whether I'm great or terrible. Being great or rich or famous aren't the reasons why I write.
With those heavy burdens discarded, the only way I can fail is if I stop writing.
Why I write
I'm a professional software developer, which is a reasonably lucrative trade that I also happen to enjoy. I have plenty of fulfilling interests and hobbies that keep me busy. So why write, when it's so damn hard and time-consuming and most definitely not lucrative? Any explanation I could give is a poor approximation of what Kurt Vonnegut once said:
"Still and all, why bother? Here's my answer. Many people need desperately to receive this message: I feel and think much as you do, care about many of the things you care about, although most people do not care about them. You are not alone."
That is why I write. As simple as that.
Here are a few thoughts about such an auspicious occasion:
I'm a genre fiction writer
Not only am I a genre fiction writer, but I'm damn proud to be one. While I enjoy and have great respect for literary writing, it's not my calling. My stories slither in my head, and refuse to be contained in a real world setting.
However, while the tales I want to tell invoke the supernatural, they're not examples of the bad genre fiction that have trained many literary writers to turn up their noses (at least I hope they're not). To me, genre fiction is a way to write about real people struggling with real problems through the fresh perspective of a fantastical prism.
For example, three short stories I'm working on now deal with, respectively, depression, alcoholism and adultery. Supernatural elements play second fiddle to these central themes, which to me is essential in elevating genre fiction to something more than an easy escape.
I'm not a non-fiction writer
Apart from blogging, I don't write non-fiction pieces. "Rewind" is the one exception, and if you attend art2art and hear me read it (or if you convince me to give you a copy), you'll see that it's more of a documentary of my childhood experiences than a constructed work. Memories flowed to the screen, written in such a way to best express how those memories felt to me.
The response from those who have read the piece has been very positive, and it is so painfully honest that it just makes the most sense to be my first public work. This will be the one chance to see the real me before I hide behind my fictional characters forevermore.
Why I'm scared shitless to read "Rewind" in public
There will be no place to hide when I'm reading about the worst parts of my life. We conceal our pasts carefully, only sharing them reluctantly, and soon I'll be publicly revealing mine to any that will listen.
But, as I explained to someone with whom I shared the piece, "You can’t create art if you hide parts of yourself. The parts you want to hide are where the art resides."
And I just officially quoted myself. About art. Pretty damn pretentious, I must admit.
Why I'm not afraid to fail
I have come to terms with my inner critic.
He's one tough son-of-a-bitch. He hates everything I do, and ridicules it in the meanest way possible. For a long time he kept me from writing, and even after I began, he prevented me from admitting I was a writer.
I've tried my best to kill him off, but that bastard refuses to die. So I've learned to live with him with two simple mantras: "It's impossible to be perfect," and "It's okay to be human."
Keeping this in mind allows me to write without competing with the world. It doesn't matter whether I'm great or terrible. Being great or rich or famous aren't the reasons why I write.
With those heavy burdens discarded, the only way I can fail is if I stop writing.
Why I write
I'm a professional software developer, which is a reasonably lucrative trade that I also happen to enjoy. I have plenty of fulfilling interests and hobbies that keep me busy. So why write, when it's so damn hard and time-consuming and most definitely not lucrative? Any explanation I could give is a poor approximation of what Kurt Vonnegut once said:
"Still and all, why bother? Here's my answer. Many people need desperately to receive this message: I feel and think much as you do, care about many of the things you care about, although most people do not care about them. You are not alone."
That is why I write. As simple as that.
Sunday, April 11, 2010
My Favorite Albums
Now that songs are just something you shuffle on your iPod, the age of the album is dead.
I have always been an album guy, and have fought the implications of the mp3 age, but even I find myself often just listening to a song or two instead of an entire album before moving on to another band. There was a time when I'd put a cd on and just listen start to finish. Back when artists had to actually worry about making enough good music to fill an album.
So in a sad celebration of a bygone age, I'd like to tell you about my favorite albums.
These albums are fairly diverse, but share some common traits. Foremost, they all have strong emotion. I react to music where an artist is showing true feelings, whatever they may be.
Emotion by itself is, of course, not enough to elevate an album to greatness. These albums also express those emotions through powerful lyrics and enthralling music. Lyrics are so important to me that I'll share a sample lyrics from each album that resonate with me.
So with no further adieu, in alphabetical order, some of my favorite albums.
Boys for Pele by Tori Amos
I have to admit, Tori Amos has always frightened me a bit, After all, if I'm to believe the album title, she wants to throw me in a volcano (google it). I was also never sure if the references she made to fairies was just being cutesy, or if she really frigging believes in Fairies.
Regardless of this (and some may say irregardless, because they're idiots), this album is phenomenal. The songs feature her on piano or harpsichord (yes!) with minimal accompaniment, and are uniformly haunting and mesmerizing. It's also a break-up album, which loads the album with the emotional outcry I yearn for in music.
The one knock I have is that the lyrics can get a bit surrealistic (what's this about the Pope's rubber robe?), but when she plays it straight, they hit like a punch to the stomach:
You say you packed my things
And divided what was mine
You're off to the mountain top
I say her skinny legs could use sun,
But now I'm wishing
For my best impression
Of my best Angie Dickinson
But now I've got to worry
Cause boy you still look pretty
When you're putting the damage on
Funeral by Arcade Fire
An album written in response to a series of funerals band members had to attend, Funeral drips with feeling. I'm a sucker for the moment in the song when the singer's voice breaks with emotion. When Win Butler sings, "Then we think of our parents, well what the hell ever happened to them?!" that's exactly what happens. Considering the inspiration for the album, it's just one powerful moment in an album full of them.
Sample lyrics:
You change all the lead
Sleepin' in my head to gold
As the day grows dim
I hear you sing a golden hymn,
The song I've been trying to sing
In the Aeroplane by the Sea by Neutral Milk Hotel
Perhaps my favorite album of all time (and "Two Headed Boy" is a contender for my favorite song of all time). It has everything I look for, though the lyrics can lean a bit too surreal, much like Tori. Still, I love to put on my headphones and listen to this start to finish.
Sample lyrics:
And one day we will die
And our ashes will fly from the aeroplane over the sea
But for now we are young
Let us lay in the sun
And count every beautiful thing we can see
Love to be
In the arms of all I'm keeping here with me, me
P.S. This album also has the two most angst-filled lines in music history, imho:
Your father made fetuses with flesh licking ladies
While you and your mother were asleep in the trailer park.
P.P.S. Their only other album really sucks. Sigh.
Midnight Organ Fight by Frightened Rabbit
Depression after a hard breakup seems to be a gold mine of inspiration. That's what this album tells me. It takes some effort to get me to think, Dude, you're more fucked up than even me. You need a hug! but this album pulls it off.
But even as Scott Hutchinson wallows in misery, whether comparing himself to an emotional leper, or beseeching someone to sleep with him even if she doesn't know his name because he needs "human heat," there's the glimpse of hope that for me is the most powerful aspect of melancholy music. If the album was a series of, "Everything sucks and I'm going to kill myself," why would anyone listen to it?
Instead, we have these lyrics:
Am I ready to leap
Is there peace beneath
The roar of the Forth road bridge?
...
These manic gulls scream it's okay
Take your life give it a shake
gather up all your loose change
I think I'll save suicide for another year
O by Damien Rice
A guy with a guitar and minimal accompaniment singing his heart out. What else can I say? Bonus points because he's Irish.
Sample Lyrics:
What I am to you is not real
What I am to you, you do not need
What I am to you is not what you mean to me
You give me miles and miles of mountains
And I'll ask for the sea
Plans by Death Cab for Cutie
I could say a lot about this great album, but it's all trumped by the time in my life when I got to know it. It was as if I was meant to hear this album at that time, to share hard feelings with someone else.
So all I can say is, as my grandmother lay dying in a hospital bed, I heard these words:
'Cause there's no comfort in the waiting room
Just nervous pacers bracing for bad news
And then the nurse comes round and everyone will lift their heads
But I'm thinking of what Sarah said, that "Love is watching someone die"
Turn on the Bright Lights by Interpol
Interpol is easily my favorite of the rash of "retro" bands that came out a few years ago. They took the Joy Division mantle and ran with it. The album can feel a bit cold and distant, but that can convey as much as a voice cracking with emotion.
Sample Lyrics:
You are the only person
who's completely certain
there's nothing here to be into
Undertow by Tool
I've always been a fan of heavy music, but too often it's generic and juvenile. Variations on either "fuck you" or "I'm an elf prince" set to the same old guitar riffs you've heard for the last 30 years just doesn't cut it.
Back in the early 90s, I caught a video on a late night music show, and I was absolutely stunned. The music was heavy, but unlike anything I'd heard before. The lyrics were personal and introspective. And the video itself... holy shit. A new high-water mark in heavy music had been reached in my view.
It took a while to find the album since they hadn't hit it big yet (but they soon would.) When I finally did find it, the entire album was at the same high level. And more amazing videos would follow.
Sample lyrics:
Why can't we not be sober?
I just want to start this over
Why can't we drink forever?
I just want to start this over
I am just a worthless liar
I am just an imbecile
I will only complicate you
Trust in me and fall as well
The Wall by Pink Floyd
If I have to pick the album that has affected me most, this is it. Never is music more powerful than when it shows you that someone else has had similar experiences to you. When I first heard The Wall, I knew that I wasn't the only person that felt the way I did. You learn as you get older that everyone is struggling with demons, but when you're a teenager, everyone else seems to have it together. I knew I didn't. And apparently Roger Waters didn't have it together either.
The most important aspect to this album to me, however, is that it is a mountain you climb as you progress in your life. At least that's what happened to me. When I was an angry teenager struggling in what felt like a hostile world, the album seemed like a blueprint: If I build a wall around myself, no one can hurt me anymore. I'll be safe.
Then one day, when you're older and have gained more perspective, when you reach the peak of the mountain and see what's on the other side, you realize this is just what the album is cautioning you not to do. Roger Waters had built that wall, and it was a terrible mistake. The day I realized this, my life was changed. And that's why this is such an amazing album.
Sample lyrics:
All alone, or in two's
The ones who really love you
Walk up and down outside the wall
Some hand in hand
And some gathered together in bands
The bleeding hearts and artists
Make their stand
And when they've given you their all
Some stagger and fall, after all it's not easy
Banging your heart against some mad bugger's wall
With All Due Respect by The Young Dubliners
This is an album of classic Irish folk songs (and a couple Pogues songs) done as rock songs. Being Irish, and a lover of Irish music, this one is a slam dunk for me. Especially since Irish music has the emotion I seek in spades.
Sample lyrics:
On Raglan Road of an autumn day
I saw her first and knew
That her dark hair would weave a snare
That I might one day rue
I saw the danger and I passed
Along the enchanted way
And said let grief be a fallen leaf
At the dawning of the day
...
Oh I loved too much and by such, by such
Is happiness thrown away
(I have to say I love the repetition of "by such," which implies to me such emotion that the singer is catching his breath and has to start the line over. Of course, it's probably just filling a measure, but I prefer my interpretation.)
The consistent greatness dilemma
Several of my favorite bands are not on this list, and these bands of course have made some of my favorite albums. The problem is, I can't pick one of their albums as a favorite. So instead of listing of several albums by each band, here are a bunch of bands that have too many great albums to list (and some that suck, so be warned):
Eels
The Frames
Hayden
Iron Maiden
Jethro Tull
Okkervil River
Radiohead
Josh Ritter
Bruce Springteen
I have always been an album guy, and have fought the implications of the mp3 age, but even I find myself often just listening to a song or two instead of an entire album before moving on to another band. There was a time when I'd put a cd on and just listen start to finish. Back when artists had to actually worry about making enough good music to fill an album.
So in a sad celebration of a bygone age, I'd like to tell you about my favorite albums.
These albums are fairly diverse, but share some common traits. Foremost, they all have strong emotion. I react to music where an artist is showing true feelings, whatever they may be.
Emotion by itself is, of course, not enough to elevate an album to greatness. These albums also express those emotions through powerful lyrics and enthralling music. Lyrics are so important to me that I'll share a sample lyrics from each album that resonate with me.
So with no further adieu, in alphabetical order, some of my favorite albums.
Boys for Pele by Tori Amos
I have to admit, Tori Amos has always frightened me a bit, After all, if I'm to believe the album title, she wants to throw me in a volcano (google it). I was also never sure if the references she made to fairies was just being cutesy, or if she really frigging believes in Fairies.
Regardless of this (and some may say irregardless, because they're idiots), this album is phenomenal. The songs feature her on piano or harpsichord (yes!) with minimal accompaniment, and are uniformly haunting and mesmerizing. It's also a break-up album, which loads the album with the emotional outcry I yearn for in music.
The one knock I have is that the lyrics can get a bit surrealistic (what's this about the Pope's rubber robe?), but when she plays it straight, they hit like a punch to the stomach:
You say you packed my things
And divided what was mine
You're off to the mountain top
I say her skinny legs could use sun,
But now I'm wishing
For my best impression
Of my best Angie Dickinson
But now I've got to worry
Cause boy you still look pretty
When you're putting the damage on
Funeral by Arcade Fire
An album written in response to a series of funerals band members had to attend, Funeral drips with feeling. I'm a sucker for the moment in the song when the singer's voice breaks with emotion. When Win Butler sings, "Then we think of our parents, well what the hell ever happened to them?!" that's exactly what happens. Considering the inspiration for the album, it's just one powerful moment in an album full of them.
Sample lyrics:
You change all the lead
Sleepin' in my head to gold
As the day grows dim
I hear you sing a golden hymn,
The song I've been trying to sing
In the Aeroplane by the Sea by Neutral Milk Hotel
Perhaps my favorite album of all time (and "Two Headed Boy" is a contender for my favorite song of all time). It has everything I look for, though the lyrics can lean a bit too surreal, much like Tori. Still, I love to put on my headphones and listen to this start to finish.
Sample lyrics:
And one day we will die
And our ashes will fly from the aeroplane over the sea
But for now we are young
Let us lay in the sun
And count every beautiful thing we can see
Love to be
In the arms of all I'm keeping here with me, me
P.S. This album also has the two most angst-filled lines in music history, imho:
Your father made fetuses with flesh licking ladies
While you and your mother were asleep in the trailer park.
P.P.S. Their only other album really sucks. Sigh.
Midnight Organ Fight by Frightened Rabbit
Depression after a hard breakup seems to be a gold mine of inspiration. That's what this album tells me. It takes some effort to get me to think, Dude, you're more fucked up than even me. You need a hug! but this album pulls it off.
But even as Scott Hutchinson wallows in misery, whether comparing himself to an emotional leper, or beseeching someone to sleep with him even if she doesn't know his name because he needs "human heat," there's the glimpse of hope that for me is the most powerful aspect of melancholy music. If the album was a series of, "Everything sucks and I'm going to kill myself," why would anyone listen to it?
Instead, we have these lyrics:
Am I ready to leap
Is there peace beneath
The roar of the Forth road bridge?
...
These manic gulls scream it's okay
Take your life give it a shake
gather up all your loose change
I think I'll save suicide for another year
O by Damien Rice
A guy with a guitar and minimal accompaniment singing his heart out. What else can I say? Bonus points because he's Irish.
Sample Lyrics:
What I am to you is not real
What I am to you, you do not need
What I am to you is not what you mean to me
You give me miles and miles of mountains
And I'll ask for the sea
Plans by Death Cab for Cutie
I could say a lot about this great album, but it's all trumped by the time in my life when I got to know it. It was as if I was meant to hear this album at that time, to share hard feelings with someone else.
So all I can say is, as my grandmother lay dying in a hospital bed, I heard these words:
'Cause there's no comfort in the waiting room
Just nervous pacers bracing for bad news
And then the nurse comes round and everyone will lift their heads
But I'm thinking of what Sarah said, that "Love is watching someone die"
Turn on the Bright Lights by Interpol
Interpol is easily my favorite of the rash of "retro" bands that came out a few years ago. They took the Joy Division mantle and ran with it. The album can feel a bit cold and distant, but that can convey as much as a voice cracking with emotion.
Sample Lyrics:
You are the only person
who's completely certain
there's nothing here to be into
Undertow by Tool
I've always been a fan of heavy music, but too often it's generic and juvenile. Variations on either "fuck you" or "I'm an elf prince" set to the same old guitar riffs you've heard for the last 30 years just doesn't cut it.
Back in the early 90s, I caught a video on a late night music show, and I was absolutely stunned. The music was heavy, but unlike anything I'd heard before. The lyrics were personal and introspective. And the video itself... holy shit. A new high-water mark in heavy music had been reached in my view.
It took a while to find the album since they hadn't hit it big yet (but they soon would.) When I finally did find it, the entire album was at the same high level. And more amazing videos would follow.
Sample lyrics:
Why can't we not be sober?
I just want to start this over
Why can't we drink forever?
I just want to start this over
I am just a worthless liar
I am just an imbecile
I will only complicate you
Trust in me and fall as well
The Wall by Pink Floyd
If I have to pick the album that has affected me most, this is it. Never is music more powerful than when it shows you that someone else has had similar experiences to you. When I first heard The Wall, I knew that I wasn't the only person that felt the way I did. You learn as you get older that everyone is struggling with demons, but when you're a teenager, everyone else seems to have it together. I knew I didn't. And apparently Roger Waters didn't have it together either.
The most important aspect to this album to me, however, is that it is a mountain you climb as you progress in your life. At least that's what happened to me. When I was an angry teenager struggling in what felt like a hostile world, the album seemed like a blueprint: If I build a wall around myself, no one can hurt me anymore. I'll be safe.
Then one day, when you're older and have gained more perspective, when you reach the peak of the mountain and see what's on the other side, you realize this is just what the album is cautioning you not to do. Roger Waters had built that wall, and it was a terrible mistake. The day I realized this, my life was changed. And that's why this is such an amazing album.
Sample lyrics:
All alone, or in two's
The ones who really love you
Walk up and down outside the wall
Some hand in hand
And some gathered together in bands
The bleeding hearts and artists
Make their stand
And when they've given you their all
Some stagger and fall, after all it's not easy
Banging your heart against some mad bugger's wall
With All Due Respect by The Young Dubliners
This is an album of classic Irish folk songs (and a couple Pogues songs) done as rock songs. Being Irish, and a lover of Irish music, this one is a slam dunk for me. Especially since Irish music has the emotion I seek in spades.
Sample lyrics:
On Raglan Road of an autumn day
I saw her first and knew
That her dark hair would weave a snare
That I might one day rue
I saw the danger and I passed
Along the enchanted way
And said let grief be a fallen leaf
At the dawning of the day
...
Oh I loved too much and by such, by such
Is happiness thrown away
(I have to say I love the repetition of "by such," which implies to me such emotion that the singer is catching his breath and has to start the line over. Of course, it's probably just filling a measure, but I prefer my interpretation.)
The consistent greatness dilemma
Several of my favorite bands are not on this list, and these bands of course have made some of my favorite albums. The problem is, I can't pick one of their albums as a favorite. So instead of listing of several albums by each band, here are a bunch of bands that have too many great albums to list (and some that suck, so be warned):
Eels
The Frames
Hayden
Iron Maiden
Jethro Tull
Okkervil River
Radiohead
Josh Ritter
Bruce Springteen
Monday, April 5, 2010
Tough Love for My Testicles
It was an event that has to happen every so often. Considering it's been eight years since the last time, it was overdue.
I had a physical.
Now, I have a queue of excellent excuses for why it's taken so long to get back to a doctor's office.
There was how my previous doctor canceled an appointment, leading to me procrastinating before making a new one. After all, I thought we had a special connection, and he went and just canceled. Was I supposed to go running back to his arms without letting him feel a slight chill from my cold shoulder?
Of course, he decided to join Doctors Without Borders (or something similar, hell if I can remember) before I could go crawling back, so that ended that relationship.
A replacement doctor took his place, so I was all set. Almost. Turns out, Dr. I-Can't-Remember-Her-Name-Because-She-Never-Saw-Me wasn't setup with my insurance yet, so I'd have to wait until her paperwork went through for another physical.
Then she left the hospital, and I was a man without a doctor.
Most people would rectify the situation, especially after the nagging letters started coming from the insurance company about needing a new PCP. But I had been burned twice, and my heart was still tender. I was in no rush to race back to a medical relationship that would leave me feeling so ignored and, yes, unloved.
Add on to this the fact that the worst news of my life is most likely to come in a doctor's office, and my subconscious mind had no problem whispering thoughts of procrastination into my hospital-phobic head.
So eight years passed.
Now, when it comes to medical mentality, my wife and I are polar opposites. When she gets a splinter, she wants to run to the hospital to make sure it won't make its way to her heart and kill her in her sleep. And if I were to cut off a hand, I would most likely explain to her, "If I just rinse it with water, it should be fine."
(This showed itself in one of the more horrific events of my college years. I managed to put a gash in head by being a total jackass. It involved a high jump down a flight of stairs with a low overhang. As I sat with blood literally gushing down my face, the EMT tried to take me to the hospital. When I attempted to talk my way out of going, he simply stated, "Do what you want, but you'll have to sign a waiver." Only the threat of Northeastern being free and clear of the lawsuit I had in the back of my mind made me agree to going to the Emergency Room. That low overhang was their fault, damn it, not my idiocy and deciding to jump down flights of stairs.)
My wife goes to a women's clinic, and is quite fond of her doctor. She's also sick of me blowing off routine medical checkups. This led to her making me an appointment.
So I went, and here's what happened.
I arrived at the clinic feeling a bit awkward. After all, it's a practice for women. Cathy had assured me that husbands are welcome, but when I arrived, the place was, as they say in French, sans sausage. I felt like the creepy guy in a movie that's trying to find his wife in a woman's shelter who had run away after years of abuse.
Pushing that feeling aside, the signing-in/waiting room process was quite nice, actually. Then a friendly medical assistant took me to the "pod" and did the whole height/weight measurement.
(I was pretty happy at this point, since Dr. "I'm going to go save the world" had basically called me a tubby son-of-a-bitch when we last met, and now I was 40 lbs lighter. This was also my first line of defense when this doctor made the old BMI reference and alluded to the fact I was still a tubby son-of-a-bitch. The "I just lost a lot of weight," angle was a sure-fire way out of the healthy living speech I'd heard way too many times already.)
So Dr. Y arrived after a long wait, and things went well. She did the usual interview. Family medical history, current medical issues, etc. We discussed my least favorite health topic, the numerous lipomas that dot my torso and arms, a chronic source of minor pain. She gave me the same advice I'd heard before: they were so small and numerous as to no merit removal unless they grew bigger or hurt more. No surprises there.
We moved on to the disrobing part of the festivities. There's a certain ritual to this process, one I almost disrupted by being ready to simply get naked as soon as she told me I'd need to put on a johnny. (When a woman tells me to get naked, I don't dilly-dally.) Then the voice of reason in my head reminded me that is was not appropriate to remove clothes yet, and waited for her to leave before I switched attire.
When she returned after what I have to assume to be another patient visit (it took a while), the typical poking and prodding ensued. Then she started talking about my testicles, and things went downhill fast.
My testicles are, by and large, my good buddies. Now Dr Y was telling me about all the horrible things that could happen to them, with cancer being at the top of the list. This kind of information makes me giggle nervously. (That's right, I literally start giggling. Sigh.)
She then informed me she was going to teach me how to give myself a testicle examination. I had heard tips in the past about this process, but this was going to be a show-and-tell.
It started innocuously enough, with her feeling the lymph nodes in the crooks between my legs and crotch, having me feel them as well. Then she proceeded to the Boys.
In my memory, I swear she said, "You really have to roll them around." She might have used a different wording than that, but she proceeded to treat them like a pair of marbles free to roll around in sack. My giggling really kicked in now, and I fought the urge to scream, "THEY'RE ATTACHED IN THERE!!!"
Now, one question I've been asked a couple times by women is, is there a risk of getting... "excited" by this attention? For me, the answer is no for two simple reasons:
(And also, I know every women reading my bitching is thinking, "At least you don't need an exam that involves a speculum!" I do not, and I'm very grateful about this. And I'm sorry you do.)
So anyway, back to my testicles getting worked over. The process was so uncomfortable for me that after she was finished, it took me a minute to realize that she had not proclaimed the Boys riddled with malignancy. Hurray, little buddies! You're not (currently) trying to kill me.
This brought us to the end of our little adventure. She told me to get dressed and head to the lab area to get blood drawn and a tetanus and pertussis shot. The lab tech proceeded to draw the blood and was ready to send me packing before I pointed out that the tetanus shot was checked off as well. (Gotta be on your toes at a hospital.)
Then I was off to the rest of my day, a bit sore, but otherwise in good health.
I may even do it again before eight years pass.
PS: That tetanus shot is hurting like a mother fucker right now...
I had a physical.
Now, I have a queue of excellent excuses for why it's taken so long to get back to a doctor's office.
There was how my previous doctor canceled an appointment, leading to me procrastinating before making a new one. After all, I thought we had a special connection, and he went and just canceled. Was I supposed to go running back to his arms without letting him feel a slight chill from my cold shoulder?
Of course, he decided to join Doctors Without Borders (or something similar, hell if I can remember) before I could go crawling back, so that ended that relationship.
A replacement doctor took his place, so I was all set. Almost. Turns out, Dr. I-Can't-Remember-Her-Name-Because-She-Never-Saw-Me wasn't setup with my insurance yet, so I'd have to wait until her paperwork went through for another physical.
Then she left the hospital, and I was a man without a doctor.
Most people would rectify the situation, especially after the nagging letters started coming from the insurance company about needing a new PCP. But I had been burned twice, and my heart was still tender. I was in no rush to race back to a medical relationship that would leave me feeling so ignored and, yes, unloved.
Add on to this the fact that the worst news of my life is most likely to come in a doctor's office, and my subconscious mind had no problem whispering thoughts of procrastination into my hospital-phobic head.
So eight years passed.
Now, when it comes to medical mentality, my wife and I are polar opposites. When she gets a splinter, she wants to run to the hospital to make sure it won't make its way to her heart and kill her in her sleep. And if I were to cut off a hand, I would most likely explain to her, "If I just rinse it with water, it should be fine."
(This showed itself in one of the more horrific events of my college years. I managed to put a gash in head by being a total jackass. It involved a high jump down a flight of stairs with a low overhang. As I sat with blood literally gushing down my face, the EMT tried to take me to the hospital. When I attempted to talk my way out of going, he simply stated, "Do what you want, but you'll have to sign a waiver." Only the threat of Northeastern being free and clear of the lawsuit I had in the back of my mind made me agree to going to the Emergency Room. That low overhang was their fault, damn it, not my idiocy and deciding to jump down flights of stairs.)
My wife goes to a women's clinic, and is quite fond of her doctor. She's also sick of me blowing off routine medical checkups. This led to her making me an appointment.
So I went, and here's what happened.
I arrived at the clinic feeling a bit awkward. After all, it's a practice for women. Cathy had assured me that husbands are welcome, but when I arrived, the place was, as they say in French, sans sausage. I felt like the creepy guy in a movie that's trying to find his wife in a woman's shelter who had run away after years of abuse.
Pushing that feeling aside, the signing-in/waiting room process was quite nice, actually. Then a friendly medical assistant took me to the "pod" and did the whole height/weight measurement.
(I was pretty happy at this point, since Dr. "I'm going to go save the world" had basically called me a tubby son-of-a-bitch when we last met, and now I was 40 lbs lighter. This was also my first line of defense when this doctor made the old BMI reference and alluded to the fact I was still a tubby son-of-a-bitch. The "I just lost a lot of weight," angle was a sure-fire way out of the healthy living speech I'd heard way too many times already.)
So Dr. Y arrived after a long wait, and things went well. She did the usual interview. Family medical history, current medical issues, etc. We discussed my least favorite health topic, the numerous lipomas that dot my torso and arms, a chronic source of minor pain. She gave me the same advice I'd heard before: they were so small and numerous as to no merit removal unless they grew bigger or hurt more. No surprises there.
We moved on to the disrobing part of the festivities. There's a certain ritual to this process, one I almost disrupted by being ready to simply get naked as soon as she told me I'd need to put on a johnny. (When a woman tells me to get naked, I don't dilly-dally.) Then the voice of reason in my head reminded me that is was not appropriate to remove clothes yet, and waited for her to leave before I switched attire.
When she returned after what I have to assume to be another patient visit (it took a while), the typical poking and prodding ensued. Then she started talking about my testicles, and things went downhill fast.
My testicles are, by and large, my good buddies. Now Dr Y was telling me about all the horrible things that could happen to them, with cancer being at the top of the list. This kind of information makes me giggle nervously. (That's right, I literally start giggling. Sigh.)
She then informed me she was going to teach me how to give myself a testicle examination. I had heard tips in the past about this process, but this was going to be a show-and-tell.
It started innocuously enough, with her feeling the lymph nodes in the crooks between my legs and crotch, having me feel them as well. Then she proceeded to the Boys.
In my memory, I swear she said, "You really have to roll them around." She might have used a different wording than that, but she proceeded to treat them like a pair of marbles free to roll around in sack. My giggling really kicked in now, and I fought the urge to scream, "THEY'RE ATTACHED IN THERE!!!"
Now, one question I've been asked a couple times by women is, is there a risk of getting... "excited" by this attention? For me, the answer is no for two simple reasons:
- There is nothing sexy about a doctor's office and a cancer exam. I don't care if a naked super model was giving the Boys a look-over, Mr. Happy is not going to salute.
- While some guys may dig ball abuse (and some go as far as to pay for the service, I've heard), my little buddies do not like being worked over. It only makes me giggle nervously.
(And also, I know every women reading my bitching is thinking, "At least you don't need an exam that involves a speculum!" I do not, and I'm very grateful about this. And I'm sorry you do.)
So anyway, back to my testicles getting worked over. The process was so uncomfortable for me that after she was finished, it took me a minute to realize that she had not proclaimed the Boys riddled with malignancy. Hurray, little buddies! You're not (currently) trying to kill me.
This brought us to the end of our little adventure. She told me to get dressed and head to the lab area to get blood drawn and a tetanus and pertussis shot. The lab tech proceeded to draw the blood and was ready to send me packing before I pointed out that the tetanus shot was checked off as well. (Gotta be on your toes at a hospital.)
Then I was off to the rest of my day, a bit sore, but otherwise in good health.
I may even do it again before eight years pass.
PS: That tetanus shot is hurting like a mother fucker right now...
Wednesday, January 27, 2010
Life of a Code Monkey
It happens at every party. I'm chatting with someone I just met, and he asks me what I do for a living. (It's always a he, women don't talk to me at parties.) I tell him I'm a computer programmer, and his eyes glaze over. For however long I decide to talk about my profession, he'll nod at the right times, and make the occasional "mmm" of interest, but he's checked out, judging at what point it would no longer be rude to talk to someone else.
This doesn't bother me, because if you're not part of the club, software development is a boring jumble of jargon and acronyms. Also, as essential as computers are, no one wants to know how they work. They're like cars: as long as they get us where we're going, we don't give a shit about what's under the hood.
But I've decided to explain the life of a code monkey, and you might just find it interesting if you come along for the ride. This will be no party patter full of vague pleasantries, this will be the straight dope. So just step right this way.
The most important thing I have to say about the software industry is that I love the former and hate the latter. Software can be exhilarating. It can even be artful, if you're not afraid to look under the hood. But just like any art form, it must be translated into a monetary value if you plan to eat. That means art becomes a business, and business is the domain of businessmen. For businessmen, there is no art, just products and profits. Welcome to the industry.
But for a moment, let's hold the beasts at bay and live in a code monkey utopia. For someone who really cares about software, how you build something is just as important and what you build. For the end user, it can be very hard to tell how well a piece of software is constructed. Certainly, if a program doesn't work properly and is filled with bugs, it's easy to measure its quality. But two developers could produce two programs that, in the user's eye, are identical. Yet one of them may be a masterwork crafted by a talented artisan, while the other is held together by duct tape and is just sufficient enough to earn a paycheck.
In a short period, this difference may not matter to the user, but if he has to live with an evolving piece of software over time, the difference will become apparent. Every change that is made will lead to many problems in poor software. In good software, the changes have much less effect and are much quicker to implement. When another code monkey comes along to maintain a product, he will curse the paycheck collector and praise the artisan. (Briefly, before complaining how much better it could have been done. More on that in a second.)
So for a software artisan, there is a passion to deliver what a user needs, and lay the groundwork for what will be one day needed. This will be done in as simple a manner as possible, but no simpler. It will be fairly easy to understand (compared to other code, at least) and it will be elegant. It will feature the latest ideas and patterns from the thriving community of other passionate programmers. For the layman, it will just be a piece of software that will be cursed when it doesn't do things as well as expected, and taken for granted otherwise. For a code monkey, it will be art.
Chasing this grail of great code is an intoxicating process. When I'm in the zone with no distractions, time disappears. The world fades away, and there's only the code emerging before me and the endless battle of making the computer concede to my whims. Suddenly I'll realize that the day is almost done and I haven't even had lunch yet. Anyone who has thrown himself into art of any sort will know this experience.
I wanted us to stay in my little code monkey utopia for a while. I was hoping the visit would last until the inevitable arrival of the suits. I could keep talking about the joy of making great software, the rush of struggling with a problem for hours to finally solve it, or the glorious feeling when a fellow code monkey looks at your work with awe. But the clouds have come, and the rain is starting to fall.
The price of chasing the software grail is the never-ending need for scholarship. The fundamentals of development evolve constantly, and how to apply them changes even more rapidly. Best practices and patterns have to be followed on an almost daily basis to stay current. Imagine being a writer and having to buy a new dictionary every few years because the current one just doesn't apply anymore. Imagine awaking from a ten-year coma to find you can't even read your favorite author's latest work. Such is the life of a code monkey.
Another problem is that even before we have to submit our creations to the product machine, we code monkeys have to co-exist. To keep the contrast going with writing, imagine writing a novel with ten other people. How far would you get before things would end so very badly. Even if you agreed to an over-arching plot and who would write which chapters, the fact is that disparate parts have to make sense as a whole. That means a lot of communication and compromise. And code monkeys, like any artists, have plenty of pride and ego.
Throw in a few writers who are just there for the sweet writer paycheck (okay, the analogy breaks down here, but let's move on), and suddenly you may feel like Cormac McCarthy writing the conclusion of a story that Dan Brown began and features a middle section contributed by Stephanie Meyer. (And if you're a fan of either writer, I'm very sorry, on many levels.) Even worse, imagine you have to add content between those writers. On a good day, you'll think you put Cormac's prose to shame, and on a bad one, you'll feels as if you abuse the English language even worse than Dan and Stephanie combined.
Despite these challenges, software can still come together in greatness, and despite all the brotherly fights amongst code monkeys, there's still mutual respect. If the only challenge was to deliver great software, developers could work together well enough to achieve that goal.
But software has to be sold. Which means it has to be done before someone else does the same thing. And even if you finish first, if someone else makes it cheaper or better later, you have to react or be put out of business.
There's the b word. Let's begin our descent into darkness.
I mentioned that, on a superficial level, code of vastly different quality can look the same. Better quality takes time, and time is money. That means that the quicker software is built, the happier the businessmen are. While poor code will be more expensive in the long run, and will potentially alienate users (now called "clients" in business parlance), to many profit-driven minds, the equation is simply that money now is better than money later.
Before I paint too bleak a picture, I can't say that every sales-oriented person in the software industry is short-sighted and greedy. There are many people who "get it" and understand the big picture. Some even respect the art of software.
But software has to be sold for software to be made. Someone has to sell it. That means the good guys have to compete with the slimiest, most dishonest jerk at the sleaziest company that ever managed to stay in business long enough to shit out some software (or at least promise to one day shit out software.)
Thus, the life of a code monkey is building something in the time frame that was promised in order to make a sale. To go back to the writing analogy one more time, imagine getting a call from your agent that you have to write a 500 page teenage vampire novel in four weeks. (Insert your own Stephanie Meyer joke here.)
So in that situation, what does a code monkey do? That's the hard reality of being a software developer. We care. We want to make art, but we also have to make a product. So we do our jobs the best we can, balancing what was sold with what we yearn to make. We deliver a book that's half the expected length in twice the promised time. We stick to the theme, but do our best to make it a meaningful, worthwhile creation. The client grumbles about the disparity between promise and product, but is satisfied in the end.
The result may be flawed, but damn it, it is art.
This doesn't bother me, because if you're not part of the club, software development is a boring jumble of jargon and acronyms. Also, as essential as computers are, no one wants to know how they work. They're like cars: as long as they get us where we're going, we don't give a shit about what's under the hood.
But I've decided to explain the life of a code monkey, and you might just find it interesting if you come along for the ride. This will be no party patter full of vague pleasantries, this will be the straight dope. So just step right this way.
The most important thing I have to say about the software industry is that I love the former and hate the latter. Software can be exhilarating. It can even be artful, if you're not afraid to look under the hood. But just like any art form, it must be translated into a monetary value if you plan to eat. That means art becomes a business, and business is the domain of businessmen. For businessmen, there is no art, just products and profits. Welcome to the industry.
But for a moment, let's hold the beasts at bay and live in a code monkey utopia. For someone who really cares about software, how you build something is just as important and what you build. For the end user, it can be very hard to tell how well a piece of software is constructed. Certainly, if a program doesn't work properly and is filled with bugs, it's easy to measure its quality. But two developers could produce two programs that, in the user's eye, are identical. Yet one of them may be a masterwork crafted by a talented artisan, while the other is held together by duct tape and is just sufficient enough to earn a paycheck.
In a short period, this difference may not matter to the user, but if he has to live with an evolving piece of software over time, the difference will become apparent. Every change that is made will lead to many problems in poor software. In good software, the changes have much less effect and are much quicker to implement. When another code monkey comes along to maintain a product, he will curse the paycheck collector and praise the artisan. (Briefly, before complaining how much better it could have been done. More on that in a second.)
So for a software artisan, there is a passion to deliver what a user needs, and lay the groundwork for what will be one day needed. This will be done in as simple a manner as possible, but no simpler. It will be fairly easy to understand (compared to other code, at least) and it will be elegant. It will feature the latest ideas and patterns from the thriving community of other passionate programmers. For the layman, it will just be a piece of software that will be cursed when it doesn't do things as well as expected, and taken for granted otherwise. For a code monkey, it will be art.
Chasing this grail of great code is an intoxicating process. When I'm in the zone with no distractions, time disappears. The world fades away, and there's only the code emerging before me and the endless battle of making the computer concede to my whims. Suddenly I'll realize that the day is almost done and I haven't even had lunch yet. Anyone who has thrown himself into art of any sort will know this experience.
I wanted us to stay in my little code monkey utopia for a while. I was hoping the visit would last until the inevitable arrival of the suits. I could keep talking about the joy of making great software, the rush of struggling with a problem for hours to finally solve it, or the glorious feeling when a fellow code monkey looks at your work with awe. But the clouds have come, and the rain is starting to fall.
The price of chasing the software grail is the never-ending need for scholarship. The fundamentals of development evolve constantly, and how to apply them changes even more rapidly. Best practices and patterns have to be followed on an almost daily basis to stay current. Imagine being a writer and having to buy a new dictionary every few years because the current one just doesn't apply anymore. Imagine awaking from a ten-year coma to find you can't even read your favorite author's latest work. Such is the life of a code monkey.
Another problem is that even before we have to submit our creations to the product machine, we code monkeys have to co-exist. To keep the contrast going with writing, imagine writing a novel with ten other people. How far would you get before things would end so very badly. Even if you agreed to an over-arching plot and who would write which chapters, the fact is that disparate parts have to make sense as a whole. That means a lot of communication and compromise. And code monkeys, like any artists, have plenty of pride and ego.
Throw in a few writers who are just there for the sweet writer paycheck (okay, the analogy breaks down here, but let's move on), and suddenly you may feel like Cormac McCarthy writing the conclusion of a story that Dan Brown began and features a middle section contributed by Stephanie Meyer. (And if you're a fan of either writer, I'm very sorry, on many levels.) Even worse, imagine you have to add content between those writers. On a good day, you'll think you put Cormac's prose to shame, and on a bad one, you'll feels as if you abuse the English language even worse than Dan and Stephanie combined.
Despite these challenges, software can still come together in greatness, and despite all the brotherly fights amongst code monkeys, there's still mutual respect. If the only challenge was to deliver great software, developers could work together well enough to achieve that goal.
But software has to be sold. Which means it has to be done before someone else does the same thing. And even if you finish first, if someone else makes it cheaper or better later, you have to react or be put out of business.
There's the b word. Let's begin our descent into darkness.
I mentioned that, on a superficial level, code of vastly different quality can look the same. Better quality takes time, and time is money. That means that the quicker software is built, the happier the businessmen are. While poor code will be more expensive in the long run, and will potentially alienate users (now called "clients" in business parlance), to many profit-driven minds, the equation is simply that money now is better than money later.
Before I paint too bleak a picture, I can't say that every sales-oriented person in the software industry is short-sighted and greedy. There are many people who "get it" and understand the big picture. Some even respect the art of software.
But software has to be sold for software to be made. Someone has to sell it. That means the good guys have to compete with the slimiest, most dishonest jerk at the sleaziest company that ever managed to stay in business long enough to shit out some software (or at least promise to one day shit out software.)
Thus, the life of a code monkey is building something in the time frame that was promised in order to make a sale. To go back to the writing analogy one more time, imagine getting a call from your agent that you have to write a 500 page teenage vampire novel in four weeks. (Insert your own Stephanie Meyer joke here.)
So in that situation, what does a code monkey do? That's the hard reality of being a software developer. We care. We want to make art, but we also have to make a product. So we do our jobs the best we can, balancing what was sold with what we yearn to make. We deliver a book that's half the expected length in twice the promised time. We stick to the theme, but do our best to make it a meaningful, worthwhile creation. The client grumbles about the disparity between promise and product, but is satisfied in the end.
The result may be flawed, but damn it, it is art.
Sunday, January 10, 2010
Be Very Quiet
It's late, and everyone's asleep. We'll have to be quiet or they'll hear us. I want to tell you something.
Just got back from walking the dog. It's fucking cold out there. I had my pajamas on and the wind would tear through the bottoms and sting my legs. Bo seemed impervious, and he was annoyed when I pulled him to come back.
Back inside the house, I kept my coat and hat on as I shivered off the cold, giving the dog a treat for having the decency to save his waste for outside. His reaction was neutral, hungry for the snack but yearning for the meat treats instead of the peanut butter biscuits. He scampered away. I could hear him plop down and start munching feet from Cathy as she slept. The white noise machine, the antidote to my snoring and apnea, mostly drowned him out.
I sat here for a while, knowing I really wanted to say something, but not sure what it was. I knew you don't want to hear all my really deep thoughts, I barely even care about them myself. They seem like perpetual distractions to the business of living, a constant annoyance.
It's okay, you don't have to tell me you care, you might wake someone up.
When it's this cold, it makes you ache in your soul. It makes me glad I don't live in New Hampshire anymore. If it's cold in Boston, it's insanely fucking cold up in Milan. It was so cold there, I used to be happy to see the school bus coming.
On nights like these, when we're the only ones still awake, it's tempting to tell you all my secrets, to unburden myself of things only I know. But there's not much to tell, only trifling things that are of little interest and could cause awkwardness when we meet again in the bright light of day.
I know you're thinking that I should share with you, that it won't change anything. That you can be trusted.
I'm sure you can, but we're simple animals, we're programmed to behave a certain way. Just like how if I had taken Bo's biscuit away before he had finished it, he would have growled at me in an unexpected show of aggression.
But I guess I have to share at least one secret with you. It is late, after all, and we're the only ones still awake. And you have been very quiet.
Wait. I can hear Cathy stirring. If she gets up, she'll want to know what we're talking about. I better not tell you now. I'm going to try and sneak into bed. You'll have to leave as quietly as you can.
Be careful, the front door squeaks.
Just got back from walking the dog. It's fucking cold out there. I had my pajamas on and the wind would tear through the bottoms and sting my legs. Bo seemed impervious, and he was annoyed when I pulled him to come back.
Back inside the house, I kept my coat and hat on as I shivered off the cold, giving the dog a treat for having the decency to save his waste for outside. His reaction was neutral, hungry for the snack but yearning for the meat treats instead of the peanut butter biscuits. He scampered away. I could hear him plop down and start munching feet from Cathy as she slept. The white noise machine, the antidote to my snoring and apnea, mostly drowned him out.
I sat here for a while, knowing I really wanted to say something, but not sure what it was. I knew you don't want to hear all my really deep thoughts, I barely even care about them myself. They seem like perpetual distractions to the business of living, a constant annoyance.
It's okay, you don't have to tell me you care, you might wake someone up.
When it's this cold, it makes you ache in your soul. It makes me glad I don't live in New Hampshire anymore. If it's cold in Boston, it's insanely fucking cold up in Milan. It was so cold there, I used to be happy to see the school bus coming.
On nights like these, when we're the only ones still awake, it's tempting to tell you all my secrets, to unburden myself of things only I know. But there's not much to tell, only trifling things that are of little interest and could cause awkwardness when we meet again in the bright light of day.
I know you're thinking that I should share with you, that it won't change anything. That you can be trusted.
I'm sure you can, but we're simple animals, we're programmed to behave a certain way. Just like how if I had taken Bo's biscuit away before he had finished it, he would have growled at me in an unexpected show of aggression.
But I guess I have to share at least one secret with you. It is late, after all, and we're the only ones still awake. And you have been very quiet.
Wait. I can hear Cathy stirring. If she gets up, she'll want to know what we're talking about. I better not tell you now. I'm going to try and sneak into bed. You'll have to leave as quietly as you can.
Be careful, the front door squeaks.
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