Interview with Marshall Klimasewiski — Tonight!

marshallklim.jpgTonight, I’ll be talking with Marshall Klimasewiski, author of The Cottagers and now Tyrants, at 7:00 PM.

The event will take place at McNally Robinson, located at 52 Prince Street, New York, NY. The event is free, the conversation will also be available later as a podcast, but we will also be taking questions from the audience.

For more details on this event, go here.

To listen to my previous conversation with Mr. Klimasewiski, go here.

The Myth of Karma

One is tempted to look upon an array of serendipitous factors, particularly those that are strange and unfavorable, and find some cosmic justification for karmic retribution. Some are tempted to attribute this casual anarchy to a deity, but I prefer to embrace the innate timbre of chaos and exist within these wild whorls as naturally as possible, while likewise respecting the rights of those who require an explanation to be taken up among similarly bewildered but ultimately good-natured people on a weekly basis. Just don’t proselytize. That’s all I ask.

karma.gifMy morning started with a knock on the door. While I usually sleep like a log, I am particularly sensitive to unusual sounds. I was wispy-eyed, wearing a Jack Daniels shirt and boxers. The JD tee had been slipped on last night because it was clean, loose-fitting, and therefore comfortable. Had I known that the person knocking at the door was the property manager of the apartment building, I might have put on something different. But there was barely any time to think and the voice didn’t sound like a salesman. I was disoriented. The apartment was a mess, because I had been extremely busy trying to meet deadlines, which further embarrassed me. The purpose of the property manager’s visit involved investigating a leak from my radiator that was plaguing the neighbor downstairs. To add insult to injury, I pointed out to the property manager, with a surprising vocal lucidity, that a leak was coming from the apartment above me that I had neglected to report. It’s quite possible that this property manager had encountered other tenants who were dressed worse (or perhaps not at all), had their apartments in worse shape, and had permitted some plaster cavity to linger much longer than I had. But as far as I was concerned, this property manager was taking mental notes about my diseased character and the slipshod condition of my apartment, which he would then factor into some elaborate ledger about the curious and possibly mildly negligent people who dwelt in the units he managed. By my own exacting standards, I was a terrible tenant. Never mind that I have always paid my rent on time. But I’ve always had a minor sense of terror about the relationship between tenant and landlord, and this wasn’t helped when I moved out to New York and learned that, unlike California, one must renegotiate the lease every year, as opposed to permitting it to continue on month-to-month once the one year term has been satisfied.

The visit encouraged me to clean the apartment. At least partially.

I then attempted to find out why a good deal of checks owed to me had not been cut and had learned in nearly every instance that someone had been sick and that this surprisingly recurrent factor had caused many wrenches to clog up various hillocks of machinery. That not one of these checks would come through was, of course, quite unfortunate. It meant that the next few weeks of my life were likely to involve a considerably more penurious existence than I had anticipated. I then began scrounging around the apartment for pennies, nickels, dimes, and quarters, which I laid out in several stacks on my desk and later used to buy a bagel.

I then learned that I had been screwed over by the MTA. They had charged me twice for my monthly Metrocard. Forty minutes of my time was lost attempting to rectify this. My bank was exceedingly unhelpful. The MTA was slightly less unhelpful. But it was resolved after I was forced to adopt a bulldog temperament — not something I’m altogether proud of — to make things happen. One small victory after a few existential calamities.

Despite all this, I remain calm and hopeful. There is someone on this planet who had a worse day than I did. It isn’t schaudenfraude that makes me think this way; just a relative sense of where I stand and how fortunate I am. It’s much better to maintain some hard but by no means humorless fortitude in order to empathize. Even though I maintain an existence without religion, there is a small part of me that wishes to draw a correlation here that I know is quite false. I want to think that the same factors which spawned this morning’s motley madness likewise resulted in the unwonted earthquake in the United Kingdom or William Buckley’s death (the latter, in turn, made me think of Sam Tanenhaus, who must surely be regretting his decision not to finish his Buckley bio). This is entirely unreasonable, I know. But there remains a considerably visceral part of me that causes me to contemplate such associations of existence and to occasionally endorse them — particularly if I’ve had a few drinks.

But I don’t think I really believe in karma. I observe good people who are screwed over. I observe incorrigible people who are rewarded for being assholes. The correct thing to do in life is to try and be as good as possible. But it’s also important to be as true to who you are as possible. And often this truth gets in the way of being good. There is, I must confess, a great delight I frequently experience in being bad. Of course, my sense of bad is rooted in a baroque set of ethics that would take too much time to explain. But I try not to go out of my way to hurt people. And if I do hurt people, which is often unintentionally, I try to atone with positive actions to others.

The standard understanding of karma is this: what goes around comes around. I find this to be less true in practice than it is in principle. I suppose I believe that if you are ultimately true to who you are, you will encourage other people to be true to who they are. And if karma is rooted upon this sense of personal truth, then I approve of this. (And this seems to be more philosophical than religious.) But this karmic idea is more rooted in action, as opposed to some cosmic overseer who lays down the law for the universe.

If karma is rooted on coincidence, however, I cannot subscribe to it. And I don’t see how any reasonable person can fully put their faith in this. In fact, the sooner that other people understand this, the sooner we can put the self-help industry out of business. Really, they’ve made too much money exploiting human suffering.

The universe is based on one simple Newtonian precept: for every action, there is an equal and opposite reaction. While this rule applies to gravity, I think it likewise applies to life. But since human beings decide how or when or if they wish to respond, one simply can’t anticipate when that “equal and opposite reaction” will occur. (And sometimes, it occurs from the unlikeliest of sources.) Hence, the giddy vales of chaos. Which is a lot more fun than sitting around worrying about when something will happen.

So I look at this morning’s unpleasant events and I figure that it’s something I can write off as a reaction to something bad I’ve done somewhere along the line. And I look at the good things that happened today, such as taking notes on some really good stories in Marshall Klimasewiski’s Tyrants (who I’ll be interviewing in person tomorrow at 7PM at McNally Robinson; details here), listening to the pleasant rustle of the plastic sheet beneath my bagel as the door to my neighborhood cafe was opened and a great gust came in through the aperture, and making a glum-looking boy, who was throwing paper detritus at me in the cafe, laugh.

There’s certainly an ignoble self-justification of my own character flaws here, but nobody’s perfect. (I’m certainly not a saint.) Certainly the universe isn’t. But if it were, then life wouldn’t be nearly so interesting.

A Can of Grape Soda

It’s safe to say that most of us fail to observe where our food comes from. I am currently examining an empty aluminum can of Welch’s Grape Soda, which was imbibed about four hours ago and was abandoned on my desk. In tall and semi-gothic lettering, the words NEW YORK appear — as if to suggest some homestate affinity, perhaps a reason for another beverage enthusiast to slap me on the back with an avuncular gusto as we down a few cans of Welch’s. Less comforting than these words is the NATURAL & ARTIFICIAL FLAVOR, which was somehow invisible to me when I procured the soda in questions. These words are more troublesomely legible than NEW YORK. And I ponder whether this is really a strong selling point. Turning the can on my side, I learn that I have put into my system the following ingredients:

carbonated water, high fructose corn syrup, grape juice concentrate, citric acid, natural and artificial grape flavors, sodium benzoate (preservative), red 40, blue 1

The drink was “produced under the authority of Welch Foods, Inc.,” which I am assured is “a cooperative” based out of Concord, Maine. And yet the drink was “canned by Pepsi-Cola Bottling Company of New York, Inc.” So I’m wondering where Welch Foods’s authority left off and Pepsi-Cola’s bottling began, and I’m pondering what happened between Concord and Queens. (College Point is fairly close to LaGuardia.) There isn’t an answer on this can. We accept that some complicated process has occurred and we don’t ask questions about whether any of this is good for us.

I don’t know if I completely trust “the authority of Welch Foods, Inc.” And yet I placed my trust in this authority when I decided to enjoy a can of grape soda, little realizing that I was experiencing a form of “high fructose corn syrup” that Michael Pollan has probably fulminated about somewhere. I am especially disturbed that grapes are not a part of this beverage, at least not in any direct manner. It’s all concentrate and natural and artificial grape flavors here. But what of the grapes? Did anybody inspect these? In the rush to mass produce cans of Welch’s, did someone decide to skimp out on the grapes? “The authority of Welch Foods, Inc.” may very well be an austere and ruthlessly efficient force that keeps the cans running down their tracks on time and into the ebullient hands of consumers like me, but I really want to know where the grapes come from. And this website isn’t exactly forthcoming about which grapes are used.

When I obtained the can of grape soda, I naively believed that some jolly group of vintners had smashed the grapes with their feet, that there was some natural process that permitted the grapes to ferment, and that everybody had congratulated each other on a job well done. But the truth is I know nothing about the complex machinery that put this drink together. Perhaps there was scant human intervention. I’m pretty sure that what I happily ingested was probably quite bad for me. 51 grams of sugar in one can! I mean, that’s phenomenal and it’s certainly a sign of high fructose. At least Welch’s is being clear on that point. (Of course, they have to, what with federal law and all.) But Welch’s hasn’t exactly been forthcoming about how much sugar this is. They have informed us, quite predictably, that the can contains 12 fluid ounces (or FL OZ for short, which suggests that one should probably floss shortly after knocking back a cold can of grape soda). In parentheses, we are informed that this amount is also 355 milliliters. But why not be forthright about what this amounts to in grams? It’s probably because 12 ounces is roughly about 340 grams. Which means that one sixth of this beverage is composed entirely of sugar! That’s more sugar than someone is likely to spoon into a cup of coffee!

I must conclude that Red 40 and Blue 1 are both forms of food coloring that are hiding some terrible truth about what these grapes have been through or how they have been sullied by the fructose and the concentrate.

There is a 1-800 number on the side of the can urging me to leave a “consumer comment.” But it’s now too late for me to call and I fear that this number exists for me and other consumes to explain to Welch’s how I feel about their beverage, perhaps in polite and enthusiastic terms. But the truth of the matter is that I have questions, not comments. And the person who would answer at this 1-800 number might panic because they didn’t have these answers at their fingertips. Or I might have to climb my way up the bureaucratic ladder to find out who does know. “Uh…grape juice concentrate. I’ll have to get approval from Bob before I can tell you what this is.”

The Pepsi-Cola Bottling Company of New York, Inc. is based in College Point, New York. It is a place that employs 1,100 people and made $166.60 million in 2007. There are two bottling plants and six warehouses. Yahoo! Finance assures me that this is “one of the largest private bottlers in the U.S.” But it doesn’t tell me where the grapes come from.

The Welch’s website assures me that their beverages are made from dark grapes. And there is this:

These dark grapes contain flavonoids, which are a likely source of heart heath benefits. Both red wine research and purple grape juice research have shown antioxidant, anti-clotting, and arterial flexibility benefits. Many scientists believe that these properties are linked to heart health.

I am somewhat suspicious of flavonoids. They sound too much like the “electrolytes” that the futuristic population of Mike Judge’s film, Idiocracy, so passionately believed in. And while flavonoids are indeed good for you, a UC Berkeley study in 2000 revealed that high concentrations of flavonoids, particularly in supplements sold at health food stores, may assist in cancer formation. A 2007 article from Science Daily is somewhat more encouraging, pointing out that high-sugar drinks with flavonoids are still beneficial because of the flavonoids.

So many questions! But then trying to find answers is what the Internet is for. Thankfully, there are a few enthusiasts out there who care about these seemingly pedantic but alarming issues. A new blog, Food Mapping, appears determined to use topographical technology to answer these questions. It promises “a visual representation of the how, where, and why of our food.” And it has (so far) explained the effects of humans eating too much fish and has provided helpful maps for local dairies. It also led me in turn to this map of New Orleans, in which one can view an overlay of stores, restaurants, and sundry markets across the city — important questions for anyone curious (and indeed hopeful) about how this ravaged city can restore itself after Katrina.

It’s self-evident that independent experts and enthusiasts need to investigate these culinary mysteries. And perhaps with serious inquiry, we might loosen a few answers into the great mysteries we blindly accept. Perhaps there is a can of grape soda somewhere that is completely transparent about the manner it is manufactured and canned and that doesn’t use nearly as much sugar. Or perhaps drinking grape soda is an unhealthy fait accompli. One obvious solution would be to avoid grape soda. But wouldn’t it be better to know precisely what one is avoiding?

The Devil and Miss Cody

Diablo Cody’s win over Tamara Jenkins for the Best Original Screenplay Oscar is perhaps the most egregious Oscar victory since Oliver! beat out 2001 for Best Picture in 1968. If this were a just universe, the appropriate executives would have taken Cody out behind the shed shortly after reading Juno and shot her down like an old dog. Instead, the Academy awarded Cody the Oscar for relying upon cultural references over emotional conviction, for using characters who are ironically detached rather than prepared to face the visceral realities of responsibility, and for encouraging Jason Reitman to employ the most insipid use of angst-ridden indie rock in cinema I’ve seen in some time.

diablocody.jpgLet us be clear on this. I saw all five Best Picture nominees. And while I liked the other four, it is an outrage that so many thinking people have been duped by Juno. Ellen Page’s snarky one-note performance, originating from the same creative morass that spawned such execrable “wonders” as Napoleon Dynamite, Little Miss Sunshine, and Wes Anderson’s films after The Royal Tenenbaums, is considered multilayered and superlative. Nobody has had the balls to call out Reitman for relying so heavily upon great character actors like Rainn Wilson and Allison Janney to disguise his creative deficiencies. Juno was nothing more than an extended episode of Arrested Development — a dreadful film in which such filmmaking tactics as six consecutive cuts of a van driving in front of a suburban house are considered “clever” and in which Michael Cera has been encouraged to abdicate his talent in favor of being typecast as the nice guy (and he will most certainly be typecast, if he takes another one of these damnable roles).

Juno is a film that would rather have its titular protagonist cry out “Thundercats, ho!” while she is going into labor than express anything tantamount to fright or second thoughts. It is a film content to have Jason Bateman name-check Herschell Gordon Lewis and Sonic Youth instead of having him emote over the difficulties of getting older. It is a film content with such cheapshots as Jennifer Garner presented as a yuppie mom caricature and another mom (played by Darla Vandenbossche) mocked for being older and overweight. (In fact, Vandenbossche’s sole purpose for being in this film is to be ridiculed by Cody. What does that say about emerging talent?) This is a film designed for people who do not feel or embrace the world in any genuine way. With the exception of Juno’s parents (played by Allison Janney and J.K. Simmons), I felt nothing for any of the characters in this film. They were uninteresting, solipsistic, and as hackneyed as the flattest of paper dolls. I was appalled at the film’s reliance upon artifice over conviction. Handing over the Oscar to that inarticulate waif Sofia Coppola was one thing. But giving it to Cody for Juno last night was a true injustice.

The best original screenplay of 2007 — Tamara Jenkins’s The Savages, which bristled with emotion and intelligence — was entirely ignored by both the Academy and the purported streetcred of the Independent Spirit Award for a film phonier than a second-hand Hallmark card. If awards ceremonies are anything to go by, Hollywood is in trouble. Homegrown talent can’t measure up. Not only is Hollywood awarding its acting laurels to the Europeans, but it now feel content to dismiss any screenwriter who dares to pursue the human heart in conflict with itself. It’s the hip adding machines like Cody who now matter. But despite Cody’s penchant for taking off her clothes, the naked truth of true emotion eludes her.

Insert Interview Excerpt Here

Folks, I am a bit knackered. So I hope you’ll pardon the silence on this end. It’s been a six interviews in seven days and trying to meet deadlines kind of week — and one interview even involved a crazed three hour drinking session. But there are some really interesting pieces in the works from some other writers and some exciting folks in store for Segundo. And four new podcasts were released a few days ago. I’ll have capsules later. And I’ll also have an excerpt from a rather amazing figure up here tomorrow. Bear with me.

In the meantime, Nick Antosca has given me one very good reason to despise Jay McInerney.