tag:blogger.com,1999:blog-4476038659595002902024-03-14T03:57:33.509-04:00The TOF SpotThe OFloinn's random thoughts on science fiction, philosophy, statistical analysis, sundry miscellany, and the Untergang des AbendlandesTheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.comBlogger1369125tag:blogger.com,1999:blog-447603865959500290.post-87444185963919275652023-10-01T14:52:00.004-04:002023-10-01T14:54:23.075-04:00Wonder and Anticipation, the Likes of Which We Have Never Seen<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhghJEmGlHkiPGsiHgpN9knS9p6ePWKemrGQ2Usbf75zHWdz57pGl1N5azS_6jPSSLxh8GEnZ01Nz6I4bc49-68fcqQKGQ7KmnPdAq8QjmOc0wU7ZxXxBuX1V9Db-Z5wCYgLhzTn0GsyM3uz732jlYWHMXdCepVkGhkW1uZ85DMAxuxs6ivVJICZDVkx-sR/s800/Dad%20the%20Author%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="686" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhghJEmGlHkiPGsiHgpN9knS9p6ePWKemrGQ2Usbf75zHWdz57pGl1N5azS_6jPSSLxh8GEnZ01Nz6I4bc49-68fcqQKGQ7KmnPdAq8QjmOc0wU7ZxXxBuX1V9Db-Z5wCYgLhzTn0GsyM3uz732jlYWHMXdCepVkGhkW1uZ85DMAxuxs6ivVJICZDVkx-sR/s320/Dad%20the%20Author%202.jpg" width="274" /></a></div><p></p><p style="text-align: left;">Hello family, friends and fans of Michael F. Flynn. </p><p style="text-align: left;">It is with sorrow and regret that I inform you that my father passed away yesterday, Sept 30, 2023. </p><p style="text-align: left;">He was sleeping peacefully in the home that he loved. His father built the home 70 years ago and my dad had an outsized attachment to it. Many happy memories of his childhood and of his parents, and his brothers, especially Dennis, were contained herein. </p><p style="text-align: left;">If you met or corresponded or conversed with Dad then you know that he was interested in a great many things in the world. If he asked you a question about something, it was because he really wanted to know, he wasn't just being polite. He liked to take the "devil's advocate" position in debates and arguments, especially political ones, much to the annoyance of my mother and probably many others. Dad was looking for a robust exercise in intellectual and rhetorical swordplay; he just didn't always see that sometimes people just want to have a conversation without being en garde. <br /></p><p style="text-align: left;">He had the ultimate dad sense of humor, and had an endless supply of terrible jokes, puns, and groaners, even when he was in the hospital in July. In "real life," he was a very easy going person. I could probably count on one hand the number of times I have heard my dad yell or curse. <br /></p><p style="text-align: left;">At his death, he had a lot of tabs open on his browser, on a variety topics. He always sought to learn about different things. Some of it was for his writing, some for the extensive family research he has always done, and some of it was just because he wanted to learn more about the universe, the planet we live on, and the people around him. </p><p style="text-align: left;">So if you take anything away from your time reading his works, his blog, interacting with him on social media or elsewhere, forget the politics and social commentary and the devil's advocacy, but take away that he was someone who just wanted to learn and engage with others, and keep that piece with you in your lives. </p><p style="text-align: left;">- His Daughter. <br /></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com59tag:blogger.com,1999:blog-447603865959500290.post-36561926263955013562023-09-24T12:14:00.004-04:002023-09-24T12:14:51.028-04:00A gratuitous commen<p> <span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"></span></p><div class="xdj266r x11i5rnm xat24cr x1mh8g0r x1vvkbs x126k92a"><div dir="auto" style="text-align: start;">from editor, Cat Rambo, in re <i>In the Belly of the Whale. </i></div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">"I absolutely loved this rollicking, expansive generation-ship world and the voice in which it’s told, a folksy but expansive epic full of wordplay and wonder. So much fun, and such a great cast of characters. While sometimes it felt like an awful lot of characters, they all manage to be distinctive and interesting, with dips in and out of their consciousnesses that showcase how powerful omniscient <span><a tabindex="-1"></a></span>point of view can be."</div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"> </div></div><p></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com2tag:blogger.com,1999:blog-447603865959500290.post-31855617291569422522023-08-17T08:28:00.003-04:002023-08-17T08:28:21.755-04:00Scrivening Part 7: Show and Tell<p> </p><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><h3 style="text-align: left;"><span><span style="font-family: verdana;"><span>Showing/Telling</span></span></span></h3></div><span style="font-family: verdana;"><span><b><span style="font-size: medium;"><span><span style="font-size: x-large;">S</span></span>ince
the rise of movies </span></b>followed by television, the common imagination has
shifted from words to images, from <i>logos </i>to <i>ikon</i>. Narration is in disfavor. Show, we are told, don't tell. But we ought to be judicious about it. There are a variety of ways to show things.</span></span><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: verdana;"><span><span style="font-family: verdana;"><span><b>1. Use evidence to support your claim. </b>Compare...</span></span> <br /></span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: verdana;"><span><blockquote><span style="font-family: courier;">Betsy was worried.</span></blockquote></span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: verdana;"><span>versus</span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: verdana;"><span><span style="font-family: courier;"><blockquote>Betsy
fiddled with the bottles on the sideboard, casting glances over her
shoulder at the door. Once, hearing footsteps in the hallway, she
muffled the clinking of the bottles and held her breath until the
footsteps continued on their way.</blockquote></span>Don't <i>tell </i>us Betsy is worried, <i>show </i>her being worried. Make the Reader worry </span></span><span style="font-family: verdana;"><span>also. </span></span><span style="font-family: verdana;"><span>As you can see, this may use a lot more word count; so...<br /></span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: verdana;"><span><b>1a. You don't have to show us <i>everything.</i></b> <br /></span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: verdana;"><span><i>Telling </i>is useful for passing time or informing the Reader without belaboring the point. Showing is best for <i>emotions, opinions and sensations. </i></span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: verdana;"><span>Telling is best done by having one of the characters think it. <br /></span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: verdana;"><span><blockquote><span style="font-family: courier;">Adam
watched Betsy fuss with the bottles. The way she kept glancing toward
the door, Adam thought she was worried about something. Should he be
worried, too?</span></blockquote></span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><b><span style="font-family: verdana;"><span>2. Replace <i>abstract </i>with <i>concrete,</i> and </span></span><span style="font-family: verdana;"><span><span style="font-family: verdana;"><span><i>vague </i>descriptions with <i>specific </i>sensory details</span></span> </span></span></b><span style="font-family: courier;"><span><span><span style="font-family: verdana;"> </span></span></span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: courier;"><span><span><span style="font-family: verdana;">Compare</span></span></span></span><div style="margin-left: 40px; text-align: left;"><span style="font-family: courier;"><span><span>Fanghsi said <u><b>anxiously</b></u>, “No Officer, you; so how you fly with birdies?” Her explanation did nothing to reassure him. </span></span></span><span style="font-family: courier;"><span><span><span style="font-family: verdana;"> </span></span></span></span></div><br /><div style="text-align: left;"><span style="font-family: courier;"><span><span><span style="font-family: verdana;">versus<br /></span></span></span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: courier;"><span><span><span style="font-family: verdana;"> </span></span></span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: courier;"><span><span>Fanghsi broke the silence. “No Officer, you; so how you fly with birdies?” <u><b>Anxiety oozed from him like juice squeezed from a melon.</b></u>
Her explanation that the bodyguards were a gift from her “particular
friend” did nothing to reassure him, <b><u>and he muttered something about
waving bright colors at bees</u></b>. <br /></span></span></span></div><div style="margin-left: 40px; text-align: right;"><span style="font-family: courier;"><span><span><span style="font-family: verdana;">-- <i>In the Belly of the Whale</i> (Flynn)</span></span></span></span><br /></div><span style="font-family: verdana;"><span> <br /><b>3. Avoid <i>too much </i>body language.</b></span></span></div><blockquote><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: courier;"><span><span>Mary opened her eyes and looked at the clock. <u><b>Her heart nearly leapt out of her chest.</b></u> The baby had slept nearly eight hours. But little Jane never slept more than four hours at a time. Something must be wrong. </span></span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: courier;"><span><span>Not again. <u><b>Her stomach rolled over</b></u> when she remembered the last time a child of hers had slept too long.</span></span></span></div></blockquote><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: verdana;"><span>That's
very showy, but with the leaping hearts and rolling stomachs, it is as
if the whole universe were contained in Mary's body. Compare that to...<br /></span></span></div><blockquote><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: courier;"><span><span>Mary
opened her eyes and squinted in the sunshine streaming in through the
open window. She stretched, feeling more relaxed than she had since...</span></span></span> </div></blockquote><blockquote><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: courier;"><span><span>She sat up and looked at the clock. It was after eight. Little Jane had slept through the night. For the first time. </span></span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: courier;"><span><span>Just like Billy. </span></span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: courier;"><span><span>Mary
flipped the covers back and stood. She snatched her robe from the back
of the chair and slipped it on. She wouldn't think about Billy. The
doctor said it wouldn't happen again. The odds against it were
astronomical. </span></span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: courier;"><span><span>Billy had been nearly six weeks old. Jane was almost two months. It was different this time. It had to be.</span></span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt; text-align: right;"><span style="font-family: verdana;"><span> -- Diane Callahan, <i>Quotidian Writer,</i> citing editor Robin Patchen</span></span></div></blockquote><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: verdana;"><span>Thoughts
cause emotions which cause actions, as any good Aristotelian would
know. Show the <i>thought </i>and show the <i>act</i>, let the Reader deduce the
emotion from these. </span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: verdana;"><span><b>4. Show emotion through dialogue</b><br /><br />In
the following excerpt, the harper and the scarred man are discussing a
point in a story the latter has been telling her. As usual, I see things
I would have done differently today, but the dialogue does show the
clash of personalities<br /></span></span></div><p><span style="font-family: verdana;"><span></span></span></p><blockquote><span style="font-family: verdana;"><span><span style="font-family: courier;">"...But, come, drink!” He raises his uisce bowl on high. “Drink to the quest!” </span></span></span></blockquote><span style="font-family: verdana;"><span><blockquote><span style="font-family: courier;">The
harper disagrees. “The quest itself means nothing. The heart of the
matter is Jason – and Medea – not the Fleece. The Argonauts could have
sought anything, and their fates would have been the same.”<br /></span></blockquote><blockquote><span style="font-family: courier;">The
scarred man strikes the table top with his flat, and the
bowls and the tableware, and a few nearby drinkers, jump a little.
“No! What you seek determines how you fail. Had Jason sought a Tin
Whistle or an Aluminum Coffee Pot instead of a Golden Fleece, the
failure would have run quite differently.” </span><span style="font-family: verdana;"><span><p><span style="font-family: courier;">“More
musically in the first case,” the harper allows, “and with greater
alertness in the second. But, must it always end in failure?"</span></p></span></span><span style="font-family: verdana;"><span><p><span style="font-family: courier;">“Always.” </span><br /></p></span></span></blockquote></span></span><span style="font-family: verdana;"><span><blockquote><span style="font-family: courier;">“Your
cynicism extracts a price. You can never know the thing in itself,
because you always look past it for a hidden reality. I would think all
failures alike. Coffee Pot or Golden Fleece, failure means you haven’t
obtained what you sought.” <br /></span></blockquote><blockquote><span style="font-family: courier;">“No,”
the scarred man mocks her. “Each failure is inevitably,
enormously different from all the others. Each man who seeks does so
for a different reason, and so can fail in a different way. Hercules
failed in the quest for the Fleece; but his failure was of a different
sort than Jason.” </span><span style="font-family: verdana;"><span><p><span style="font-family: courier;">“Jason secured the fleece,” the harper points out. </span></p></span></span><span style="font-family: verdana;"><span><p style="text-align: left;"><span style="font-family: verdana;"><span><span style="font-family: courier;">“That was his failure.”</span></span></span></p></span></span></blockquote></span></span><div style="text-align: right;"><span style="font-family: verdana;"><span><p style="text-align: left;">-- Flynn, <i>The January Dance</i>r</p></span></span></div><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk__gYiLsXis68Pl3kXVmseTY7cLRlziB9pAZ03696VYgO3tinE77LnrAr3ELpahYzGO8kEdsfC7nWR-1EUrskUOELwvBBnpgNgJd7N3AsZDDFCzXQq72nMPgd0R_6yWOxx5W44yyyKIFK2sFM7EcHBQdCkrWaKiumwScuLFIioqNu_qRkkQ4ZGaDthQ/s519/Divider.jpg" style="color: black; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="55" data-original-width="519" height="34" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk__gYiLsXis68Pl3kXVmseTY7cLRlziB9pAZ03696VYgO3tinE77LnrAr3ELpahYzGO8kEdsfC7nWR-1EUrskUOELwvBBnpgNgJd7N3AsZDDFCzXQq72nMPgd0R_6yWOxx5W44yyyKIFK2sFM7EcHBQdCkrWaKiumwScuLFIioqNu_qRkkQ4ZGaDthQ/s320/Divider.jpg" width="320" /></a></div><span style="font-family: verdana;"><span> </span></span><p></p><p><span style="font-family: verdana;"><span> A second reason for the ascendancy of pictures over words is that not only has the imagination of Western readers become primarily visual -- some pages of graphic "novels" may contain no words at all -- but also because much of what once needed description no longer does. Nineteenth century novels featured lush descriptions of places because their readers had likely never sen them. Nowadays, most have seen them on TV or movies that little telling is needed to evoke the place. </span></span></p><p><span style="font-family: verdana;"><span>The old word-oriuented media required time. Reading wants silence and logical skills. But the visual iconic media employs brevity, speed, change, urgency, variety and feelings. Compare older movies or even TV show with newer ones, and note hoe scenes have become quicker and sometimes exist only to deliver a couple of lines of snappy dialogue. The writer today faces the challenge of imitating the 'shows' without sacrificing the logic. <br /></span></span></p><p><span style="font-family: verdana;"><span> </span></span></p><br />TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com2tag:blogger.com,1999:blog-447603865959500290.post-53193181035951132532023-05-12T10:45:00.003-04:002023-05-12T10:45:34.058-04:00Teo<p> <i>Teodorq sunna Nagarajan has joined an expedition tasked with evaluating the"serving tray" as a suitable observation post for the Nooby Empire. The bulk of the party consists of a squad of rangers, who ride the borderlands tracking down outlaws, bandits and other malefactors. In this scene, Sharn Nickle is a part-time deputy marshal who drives the chow wagon. He is a </i>settler<i>, whose ancestors had once fled the Empire.</i><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
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</p><p class="MsoNormal"><span style="font-family: "Arial",sans-serif;"> </span></p><p class="MsoNormal"><span style="font-family: "Arial",sans-serif;"><span style="font-size: large;"><b><span style="color: red;">T</span></b></span>he stormwind howled
and fanned the rain horizontal. It lifted cloaks and <i>punchos </i>as if it deeply
resented the oilcloth keeping their wearers dry. The canvas cover on the chow
wagon whipped free of its bows and snapped maniacally, </span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">And the rangers
began to sing. </span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">It was hard to
make out the words, or even the tune, as the wind scattered them like so much
detritus, but Teo paused while helping Sharn secure his cover and tried to make
it out. </span></p>
<p class="MsoNormal" style="margin-left: .5in;"><i><span style="font-family: "Arial",sans-serif;">We’ll
track through the night </span></i></p>
<p class="MsoNormal" style="margin-left: .5in;"><i><span style="font-family: "Arial",sans-serif;">Or
by sunlight so hot,</span></i></p>
<p class="MsoNormal" style="margin-left: .5in;"><i><span style="font-family: "Arial",sans-serif;">For
we are the Rangers</span></i></p>
<p class="MsoNormal" style="margin-left: .5in;"><i><span style="font-family: "Arial",sans-serif;">And
you poor sods are not.</span></i></p>
<p class="MsoNormal" style="margin-left: .5in;"><i><span style="font-family: "Arial",sans-serif;">We’ll
turn our face toward snow and ice, </span></i></p>
<p class="MsoNormal" style="margin-left: .5in;"><i><span style="font-family: "Arial",sans-serif;">Toward
wind, rain, dust, or heat (yes, sizzling heat)</span></i></p>
<p class="MsoNormal" style="margin-left: .5in;"><i><span style="font-family: "Arial",sans-serif;">For
we are the Rangers</span></i></p>
<p class="MsoNormal" style="margin-left: .5in;"><i><span style="font-family: "Arial",sans-serif;">And
never know defeat.</span></i></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">“Catchy tune,”
said Teo as the wind died off and the rain softened to a steady cascade. “Too
bad they didn’t catch it.”</span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">Sharn yanked a
stay-rope tight, glanced up the column, then back to the task at hand.
“Imperials are full of themselves.” </span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">Teo shrugged.
“Long as there’s enough self to fill ‘em. Or are they all song and no <u>stunt</u>?”
</span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">“And it’s not
even true,” Sharn complained. “Rangers know defeat. At the siege of Fall River
during the Civil War, an entire troop was wiped out to the last man.”</span></p><p class="MsoNormal"><span style="font-family: "Arial",sans-serif;"> </span><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">“Ain’t that generally what ‘wiped out’ means?" He thought Sharn unlearned on the nature of <i>defeat</i>. </span></p><p></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com3tag:blogger.com,1999:blog-447603865959500290.post-60102428779570585722023-04-21T11:47:00.003-04:002023-04-21T14:46:10.994-04:00Lynch Mob<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQoZEU9Uplm0LoDKt25wCITpLwck73fUc8dJjuF1PowB4w4vYTQN23Vw3oj4K5kUsCpIE3F3zey665s449N_X3-WluG4OJ2txISbCXhUPTAoJn4vQ87A7iQbNs5NNPNZat-2G8tsRrz-_ZXrlva3r3cv-ch6n7H7lFwk80iVNPwDuJPIBEeLjH8ER-0A/s519/2.%20Anne.gif" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="519" data-original-width="358" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQoZEU9Uplm0LoDKt25wCITpLwck73fUc8dJjuF1PowB4w4vYTQN23Vw3oj4K5kUsCpIE3F3zey665s449N_X3-WluG4OJ2txISbCXhUPTAoJn4vQ87A7iQbNs5NNPNZat-2G8tsRrz-_ZXrlva3r3cv-ch6n7H7lFwk80iVNPwDuJPIBEeLjH8ER-0A/w138-h200/2.%20Anne.gif" width="138" /></a></div><p>TOF's grandfather's grandmother, <b>Ann Elizabeth Lynch</b>, was born in Burlington VT, in Jun 1847. according to said grandfather, "two days after her parents arrived in America." She was , which tThe travel-savvy Reader will understand that Burlington was no two days travel from any seaport in 1847. Yet, the <i>Liber Baptismorum</i> of Rev Jeremiah O Callaghan confirms the date and place. It is likely that her parents came up the St Lawrence River to Grosse Isle quarantine station by Montreal, thence downLake Champlain to Burlington. </p><p>There were no immigration laws back then. Had there been, the Know Nothings would no doubt have put the Famine Irirsh in cages at the border, The Know Nothings held that, unlike the <i>old </i>immigrants, these <i>new</i> immigrants, being Catholic, could never fit into Anglo-Saxon, Protestant America. TOF's ancestress is thus [in modern lingo] the anchor baby of wetbacks. <br /></p><p>The Irish Famine was st its height, and Daniel and Bridget, Ann's parents, no doubt thought it was a good time to get out of Dodge. The Dungarvan food riots were answered by dragoons firing into the crowd. Dungarvan was just down the Waterford coast from Stradbally, where the Lynches lived. The ships on which the 1847 Irish migrated to the border often arrived with typhus fever rampany and enough dead on the voyage that they were called "coffin ships."<br /></p><p></p><p>The ice on the St Lawrence broke up late that year,and May 1847 “started with ice an inch thick - and the first vessel to arrive, the <i>Syria</i>, arrived at Grosse Isle Quarantine on 17 May. She arrived with 84 cases of typhus fever on board and nine deaths on the voyage. Less than a week later the catastrophe had taken place and was beyond control…. Four days after the <i>Syria</i>, on May 21, eight ships arrived with a total of 430 fever cases.” (Cecil Woodham-Smith, The Great Hunger. 1963)</p><p>As many as 10,000 people died of the typhus, including heroic Canadian doctors who stayed to treat them. For Ann to be born in Burlington in early June, 1847, her parents would have had to arrive at Grosse Isle between late May and early June, and been in the thick of things. <br /></p><p>Daniel Lynch and Bridget Barry - came from Co Waterford. Family lore named the place Bannalynch. But there is no such locale. There is a <i>Ballylinch </i>in Stradbally Parish. [Stradbally, <i>An Sraid Bhaulle,</i> means "the (one) street town"]. The <i>Tithe Applotment Book</i> (in which occupants of rural properties were assessed to support the Church of Ireland, even if they were Catholic or Presbyterian) does not name any Lynches in Ballylinch, but does list a Daniel Lynch in neighboring <i>Ballinvalloona</i>. (Don't ya luv Irish place names?) But since Ann's father was only a teenager the year of the assessment, this is not him. </p><p>Daniel's age in US Census records put his birth in Jan 1819 and, lo! such a birth appears in the records of Stradbally Parish. Daniel Lynch, born in Jan 1847 to John Lynch and Joann Whitty. But under the Rule of Two {"Where there is one, there is likely another."] we find in Jul 1819 <i>another </i>Daniel Lynch baptized in Stradbally. The parents of the second Daniel are Patrick and Catherine. So which is it to be?</p><p>The Irish custom of the time was to name the first-born boy and girl after the father's parents, the second-born after the mother's, and the third-born after the parents themselves. Daniel and Bridget named their first daughter Ann and their first son John, and none of them Patrick (They did christen last daughter Catherine.) So John and (Jo)ann seem the likely parents. However, the naming custom was only a custom, not a law of nature, so this is an educated guess.<br /></p><p> TOF found a marriage record for John Lynch and Ann Whitty in Feb 1817 in Stheirtradbally Parish. Since Daniel was born in Jan 1819, he was likely their first-born and hence, John's father was likely Daniel, possibly the one listed in the Tithe Applotment Book. Scouring the parish baptisms for Stradbally, we find the following children born to John and Ann: Daniel (1819), Bridget (1822), Mary (1824), and James (1834). The ten-year gap between Mary and James is suspiciously un-Irish, but as it stands, John's parents may have been named Daniel and Bridget. After that, the names of John's children's match those of Daniel jr. But the handwriting in the parish book is horrible and despite finding 28 Lynch baptisms between 1815 and 1835, TOF may have overlooked some!</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin7dnEwwhCBQbJRNNA1NDa8eGoVBg4YaC3P9dlJuoAXHdMY9o4ywsnYbNzDvSxraa46dcGaJe-bpccnkLlbR7MXGRCCkMNgFHjZYUwa-QqHSLgWHumOEuXtxn6__VBRSUK72URN7R_atDOq957-Wgme_KY_2JwmLfP7F1axYIPWg4ejI7s8SLPwr1TRA/s284/Tillie%20Blanche%20Anne%20Daniel%20and%20Little%20Dan.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="185" data-original-width="284" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin7dnEwwhCBQbJRNNA1NDa8eGoVBg4YaC3P9dlJuoAXHdMY9o4ywsnYbNzDvSxraa46dcGaJe-bpccnkLlbR7MXGRCCkMNgFHjZYUwa-QqHSLgWHumOEuXtxn6__VBRSUK72URN7R_atDOq957-Wgme_KY_2JwmLfP7F1axYIPWg4ejI7s8SLPwr1TRA/w400-h261/Tillie%20Blanche%20Anne%20Daniel%20and%20Little%20Dan.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ann Lynch Flynn (2nd from right) visiting her son Daniel (r).Others: d/law Tillie, grd/law Blanche (in back) and grandson "Uncle Dan" (kid) with hair!<br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /> <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3lE7wUofAwgAJImWp2J6XkmSi_4fiFOVN0IsthnDxUACIpzNP9lWXRXTxWvVovcM4JHO585rsT4BwhJHKokhZjvh9FAqhlUFfMqouw31meeFNIMZNjuO4fhQLjSMp97fz3hS9qNt8qekW9-HyqsCIdmbGr8LCbT7nct7LQBMUznEAht_VSujwAawgUg/s728/Lynch%20branch.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="728" data-original-width="720" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3lE7wUofAwgAJImWp2J6XkmSi_4fiFOVN0IsthnDxUACIpzNP9lWXRXTxWvVovcM4JHO585rsT4BwhJHKokhZjvh9FAqhlUFfMqouw31meeFNIMZNjuO4fhQLjSMp97fz3hS9qNt8qekW9-HyqsCIdmbGr8LCbT7nct7LQBMUznEAht_VSujwAawgUg/w395-h400/Lynch%20branch.jpg" width="395" /></a></div><br /><p><br /></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com2tag:blogger.com,1999:blog-447603865959500290.post-84565787954943293332023-04-06T11:30:00.000-04:002023-04-06T11:30:00.576-04:00Scrivening<p> <span>"Don't bug him about the blog," writes a commentor with the mysterious and ominous name of Unknown, "he's busy WRITING stuff for you."</span></p><p><span>For those who may be wondering <i>what</i> TOF is writing, the following is a some-ary; that is, some of what is in progress. Several of them have appeared intermittently as Opening Passages here in this vast wasteland known as the TOF Spot. </span></p><ul style="text-align: left;"><li><span><b><i>The Shipwrecks of Time. </i></b>Set in Milwaukee WI during the early 1960s. This concerns the search for a mysterious medieval text known as the Peruzzi Manuscript. The danger does not so much lie in finding it as in being known to be researching it. Somebody may not want it found.<br />This novel is complete and has already been rejected by one publisher. </span></li><li><span><b><i>In the Belly of the Whale. </i></b>Set in a multigenerational starship two centuries into a thousand-year transit to Tau Ceti. The challenge was to find an approach to the subject that has not been over-done. They forgot they were on a ship? Aldiss did that wonderfully in Starship, FTL makes their trip meaningless? Done and done again. <br />This novel is also done and is now in the hands of the publisher who requested it. </span></li><li><span><b>"Adventures in Mythistory."</b> Fact article. How history is
recast as myth, with special attention to the Hypatia Myth and to
fiction-writing. This article is complete, but languishes in uncertainty
as to what to do with it.</span></li><li><span><b>"The New World." </b>Short Story. A small flotilla of junks, sent by Srivijaya to find the southwest passage around Africa to the fabled land of Tai Ch'in. This is complete, but as it is a section in a longer, collaborrative work that may or may not see daylight, needs a little tweeking to enhance a standalonr, Currently steeping.</span></li><li><span><b>"The Journeyman: On the Mangly Steppe." </b>Teodorq sunna Nagarajan accompanies a scouting party setting out to the '<i>serving tray'</i> to assess its suitability as an observation post to keep an eye on the mangos of the steppe. The party is led by an imperial from the Nooby Empire and includes a troop of imperial rangers, as well as a handful of settlers from the frontier settlement of Stubborn Man plus one local [i.e., pre-settlement] who is unafraid of the ghosts said to haunt the serving tray. Nooby has more advanced technology than Cuffy or Yavalprawns: cap pistols, chuffers anf the singing wire. <i>In Progress.<br /></i></span></li><li><span> </span><span><b>"Red Clay Man" </b>A short story in which a H. erectus discovers how to think. <i>In Progress.</i></span></li><li><span><b><i>"</i>The Laws of Science and the Ignorant Chicken."<i> </i></b>A fact article on the Dappled World of Science. <i>In Progress.</i></span></li><li><span> <b>"Hunter's Moon."</b> Mickey, the POV from "In Panic Town on the Backwards Moon," finds a mysterious death at the Hadley Ran above Falcon's Landing on the Moon. <i>Idle</i>.</span></li><li><span><b>"Mayerling."</b> Kronprinz Rudolf contemplates suicide at his hunting lodge near Mayerling. <i>Idle</i>.</span></li></ul><p><span><br /></span></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com3tag:blogger.com,1999:blog-447603865959500290.post-90821785776027228592023-04-01T20:56:00.003-04:002023-04-01T20:56:53.530-04:00The Journeyman: On the Mangly Steppes<p> <!--[if gte mso 9]><xml>
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</p><h2 style="text-align: center; text-indent: 0in;"><span style="mso-bidi-font-family: Arial;">The
Journeyman: On the Mangly Steppes</span></h2>
<p align="center" class="MsoNormal" style="text-align: center; text-indent: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;">by Michael F. Flynn</span></b></p>
<p class="MsoNormal" style="text-indent: 0in;"><span style="font-family: "Arial",sans-serif;"> </span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><u><span style="font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">For my part, I travel not to go anywhere, but to
go.</span></u></p>
<p align="center" class="MsoNormal" style="text-align: center;"><u><span style="font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">-- Robert Louis Stevenson</span></u></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">\</span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial",sans-serif;">a tall one, warm</span></b></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">Teodorq sunna
Nagarajan the Ironhand sat on the patio of the Turf and Peak and enjoyed a
schooner of beer. Or he would have enjoyed it had it been chilled rather than
warm.</span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">“If yer honor
wisht it cold,” the serving wench told him when he complained, “come ye back in
winter, though I doubt ye would like it then. The winds offen the steppes fetch
tolerable deep snow outen the east.” </span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">Teo grunted at
this wisdom and fell to considering the eastward vista. To the northeast, the
Mangly Steppe rolled away, enough like the Great Grass of his home to stir a
twinge of memory, though the grass here was short and yellow. </span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">To the
southeast, mountains heaped upon mountains like stallions upon mares, reaching their
apotheosis in the snowcapped peaks lining the horizon. He wondered if the sight
triggered nostalgia in the heart of his boon companion, Sammi o’ th’ Eagles, a
hillman from the mountains west of the Great Grass.</span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">He rather hoped
the surer route to Varucciyaman would be across the steppes but suspected for
that very reason that Fate would send him into the mountains. </span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">While he
pondered these things, he had been watching also the approach of a rider loping
from the steppe. No one else in the saloon or its patio seemed to pay mind, although
some had laid casual hands on their sidearms. </span></p>
<p class="MsoNormal"><u><span style="font-family: "Arial",sans-serif;">When in
Cuffy</span></u><span style="font-family: "Arial",sans-serif;">, the saying ran, <u>do
as the Cuffs</u>. He had left Cuffland in his horse’s dust, but if this was the
way the locals greeted visitors, he would go along with the gag. He hooked his
foot around his duff, pulled it close, and unfastened its thongs.</span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">The rider proved
to be a man with a sun-burnt face and a hunched-back. He galloped up to the
hitch-rail before the patio and leapt from his saddle in a billowing of his dirty-white
robes Teo noted a battered old musket in a saddle scabbard, a short, curved
sword in another, and a recurved bow tucked behind the cantle. When he strode into
the saloon, the rider left this arsenal behind, and Teo supposed from this that
he bore concealed arms. That the stranger was unarmed was too risible a notion to entertain.</span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">The hunchback brushed
close by Teo and, not to be outdone by his eyes, Teo’s nose detected the strong
whiff of sweaty horse and sweaty rider and the suggestion that the rider had
not bathed in a very, very long time. </span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">Curiosity – and
prudence– twisted him in his seat to watch. </span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">The rider
breasted up to the bar and croaked in the local <u>djabbah</u>, “Wishkaybah. Long
and hard be the ride that lieth behind my horse’s hooves.” At least, Teo
thought he said that. He was still learning <u>djabbah</u>. </span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">The barkeeper, a
tall, gangly man with prominent eyes, stretched his frame to maximum height and
said from that lofty altitude, “We don’t be sarvin Mangos here.” </span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">Teo made no
sense of this, inasmuch as the stranger had not ordered a mango. He wondered if
the stranger and the barkeeper were having two different conversations. Others
in the saloon were taking notice, and another patron at the bar said, “Get this
smelly huncher outta here,” which, save for the effect of bad odors in confined
spaces, struck Teo as inhospitable. </span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">But the
stranger said nothing. He studied the faces in the room and, harvesting visages
ranging from the merely curious to the openly hostile, shrugged and departed
with an arrogant stride. Teo opened his duff. He could not have said why, but as
they said on the Great Grass, <u>the fool builds a shelter once the storm has
passed</u>.</span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">When the
stranger reached the patio, he whipped a knife from under his robe and
completed the motion with a swipe across the throat of one of the drinkers
seated at the tables there. The man fell gripping his throat, blood spurting
between his fingers, and the stranger leapt upon his horse with a yelp of
triumph. Guiding the steed with his knees, he pulled his bow from behind the
saddle. He knocked an arrow in one smooth action, twisted in the saddle as he
galloped off, and loosed it into the heart of another drinker. </span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">Teo thought
this an intemperate response to the previous snub and retrieved his own bow
from his duff. Unstrung as it was, the bow curled in a tight circle, and Teo’s shoulders
and biceps bulged as he pulled the limbs back to fit the bowstring to the nocks.
</span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">A tall man with
short, sandy hair had come to stand beside him. “That thar Mango’s a-galloping off,”
he said, returning his sidearm to its scabbard. </span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">Teo looked up,
saw the receding figure and the plume of dust in his wake. He nodded. “Yah.” He
pulled an arrow from the quiver in his duff.</span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">“He’s outta
range,” the sandy man suggested helpfully.</span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">Teo looked up
again, nocked the arrow to the string. “Nope.” He loosed his shaft.</span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif;">It struck the distant
horse in the rump, and the steed bucked and reared until the rider flew off and
struck the ground head-first. The horse continued to buck, trying to rid itself
of the pain in its hindquarters. </span></p>
<span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">“Damn,” said Teo. “I missed.” </span><p></p><p><span style="font-size: x-small;"><i><span style="font-family: "Arial", sans-serif; line-height: 200%;">(c) 2023. Michael F Flynn </span><span style="font-family: "Arial", sans-serif; line-height: 200%;"><br /></span></i></span></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com5tag:blogger.com,1999:blog-447603865959500290.post-76005204440629671562023-04-01T20:29:00.005-04:002023-04-01T20:29:59.876-04:00The New World - Opening passage<p> </p><p style="text-align: center;"><b><span style="font-size: large;"> The New World</span></b></p><p style="text-align: center;">by Michaelmf Flynn<br /></p><p> Đặng Văn Denizci, <i>puhāvam </i>of <i>Golden Wind</i> for Sriwijaya’s Palembang, stood in the bow of the <i>junk</i> and studied the eastern horizon through his farseer, praying to the Buddha that he would raise land before the crew grew more mutinous than it already had. After a long voyage across seas both strange and hazardous, a bit of solid land would not go unappreciated. Fleshpots would be nice, too.</p><p>He had the fleet’s latitude and, if old Kartawidjaja’s cartographers had known their craft, it ought to be close to that of the fabled Tai Ch’in; but he had lost his longitude and had no idea how distant the exotic “Far West” might yet lie along this latitude. It was all very well for Farūq to say “Hug the African coast north to the Pillars,” but not when coast, wind, and current all conspired to bend his course west to the balmy isles of the Orang-Awok. <br /></p><p>Four weeks westing before he had found favorable winds and currents. But he had been five weeks now on his easting and it seemed as if he had somehow misplaced an entire continent.<br /></p><p>Văn Denizci kept his glass level by long practice, absorbing the rolls with his knees and hips. This Western Ocean was choppier than the seas that lapped the Home Islands; but he was more than grateful to be out of the terrible swells and ferocious winds of the Southern Ocean and would accept this rough chop with gratitude.</p><p>A following wind tousled his long, black hair, blowing it forward into his face. He brushed it back impatiently and adjusted his headband. Then he straightened and blew his breath out, lifting his drooping moustaches, and handed the farseer to first officer Budhiharto, who stood beside him. \</p><p>“What do you make of that cloud on the horizon. Four points sisi kiri.” He pointed off to the left. The Melayu tongue was not tonal like Yüeh or Min-dong, but Deni hailed from the kingdom of Mìng-uŏk in Fukien and, like most Turco-Yüeh, he spoke Melayu with a habitual sing-song. The old Empire had gone out like the tide now these many centuries since, but such legacies had been left behind in the South like the flotsam of a great wreck.<br /><br />Budhi was the opposite of Denizci in every way: short and round where the captain was tall and lean, blank where the captain was thoroughly inked, and possessing a guileless face where the captain owned the look of a hungry sea-eagle. He stared at the indicated spot for several minutes before lowering the glass. “Black smoke…,” he said. “Storm cloud? Volcano, maybe.” <br /><br />“Maybe. Volcano means land, though.” <br /><br />Budhi shook his head. “But smoking volcano means bad land. I remember when Tandikat blew his top… I’d say wide berth, <i>bapak</i>.”<br /><br />Deni retrieved the farseer and studied the cloud once more. A smudge, barely discernible, hugging the nearly invisible horizon. “Might be only a rain cloud,” he temporized. Was it a large cloud far off or a small one closer in? Distance was hard to judge with nothing but the trackless ocean for scale. He sniffed the air but could taste no land in it. </p><p><span style="font-size: x-small;"><i>(c)2023 Michael F Flynn</i></span><br /><br /></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com0tag:blogger.com,1999:blog-447603865959500290.post-22955995684504895382023-02-07T22:00:00.005-05:002023-09-25T17:43:54.371-04:00O Tempo, O Morae!<h1 style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"> <span style="color: red;">On the Nature of Poetry</span></span></span></h1><p><span style="font-family: arial;"><span style="font-size: medium;"></span></span></p><blockquote><span style="font-family: arial;"><span style="font-size: medium;"><i>Had poetry no nature,<br />How would you know <br />You had written one? </i></span></span></blockquote><p></p><p><span style="font-family: arial;"><span style="font-size: medium;">And yes, the title of today's post is a pun on Cicero's famous epigram, "</span></span><span style="font-size: medium;"><span style="font-family: arial;"><i>O tempora</i>, <i>o mores."</i></span></span><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;">TOF once heard a member of a writers group explain that she did not wish to be confined by rules, and so her poem fell into no particular pattern, But then how do we know it was a poem rather than some perhaps pithy prose lopped into lines? That is called Advertising Copy, in which "<b><i>Eat at Joe's. Open all night</i></b>.: becomes</span></span></p><p><span style="font-family: arial;"></span></p><blockquote><span style="font-family: arial;"><span style="font-size: medium;"><b>Eat<br />At Joe's<br />Open all night.</b></span></span></blockquote><span style="font-family: arial;"><span style="font-size: medium;">(Which actually does have a pattern. It is a doubling of syllables: 1-2-4.) <br /></span></span><p><span style="font-family: arial;"><span style="font-size: medium;">The Art of poetry consists not of gushing thoughts -- nothing gushy about Beowulf -- but of patterns of sounds. It is the ability of the artisan to express those thoughts, gushy or not, within constraints. Poetry without the form is like tennis without the net.The oomph depends on the thought rather than on how it is expressed. And most of our thoughts,,, Well, Faithful Reader may complete <i>that </i>thought. </span></span></p><h3 style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="color: red;">Pitter Pattern</span><br /></span></span></h3><p><span style="font-family: arial;"><span style="font-size: medium;">If poetry is patterned sound, what are the patterns? </span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;">That depends on the sounds. Each language has its own grace and beauty, and the best forms take advantage of this. That is why <b>haiku </b>are so prototypically Japanese and come awkwardly to English-speaking lips. In Japanese, there is no strong stress and the pattern emerges from the rhythm of the syllables, English OTOH has very strong stresses, and the poetry come from the "beat." Think of Robert Browning's poem "How They Brought the Good News from Ghent to Aix."<br /></span></span></p><p><span style="font-family: arial;"></span></p><blockquote><span style="font-family: arial;"><span style="font-size: medium;"><b>I <i>sprang </i>to the stirrup, and <i>Joris</i>, and he;<br />I <i>galloped</i>, Dirck <i>galloped</i>, we <i>galloped </i>all three;</b></span></span></blockquote><p><span style="font-family: arial;"><span style="font-size: medium;"> in which the beat invokes galloping horses. Or Kipling's "In the Neolithic Age"</span></span></p><p><span style="font-family: arial;"></span></p><blockquote><span style="font-family: arial;"><span style="font-size: medium;"><b>In the Neolithic Age savage warfare did I wage <br /> For food and fame and woolly horses' pelt.<br />I was singer to my clan in that dim, red Dawn of Man,<br /> And I sang of all we fought and feared and felt. </b></span></span></blockquote><p><span style="font-family: arial;"><span style="font-size: medium;">in which the rollicking, singing beat evokes the music hall, building tothe famous last lines</span></span></p><p><span style="font-family: arial;"></span></p><blockquote><p><span style="font-family: arial;"><span style="font-size: medium;"><b>Here's my wisdom for your use, as I learned it when the moose<br /> And the reindeer roamed where Paris roars to-night:—<br />"There are nine and sixty ways of constructing tribal lays,<br /> "And—every—single—one—of—them—is—right!"<br /></b></span></span></p><p><span style="font-family: arial;"></span></p></blockquote><p style="text-align: center;"><span style="font-family: arial;"><span style="font-size: medium;">which is to say that there is no one pattern for poetry. A version sung by the great Leslie Fish skips a verse or two and changes a now-obscure reference, but indicates how poetry should be sung aloud.
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</span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;">Different languages find patterns differently. Ancient Greek found its groove in patterns of long and short syllables, as in the opening of the Iliad:</span></span></p><p><span style="font-family: arial;"></span></p><blockquote><p><span style="font-family: arial;"><span style="font-size: medium;"><b>μῆνιν ἄειδε θεὰ Πηληϊάδεω Ἀχιλῆος<br />οὐλομένην, ἣ μυρί᾽ Ἀχαιοῖς ἄλγε᾽ ἔθηκε,<br />πολλὰς δ᾽ ἰφθίμους ψυχὰς Ἄϊδι προΐαψεν<br />ἡρώων, αὐτοὺς δὲ ἑλώρια τεῦχε κύνεσσιν<br />5οἰωνοῖσί τε πᾶσι, <br /></b></span></span></p><p><span style="font-family: arial;"></span></p></blockquote><p><span style="font-family: arial;"><span style="font-size: medium;">which translates as</span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;"></span></span></p><blockquote><span style="font-family: arial;"><span style="font-size: medium;">Sing, goddess, the anger of Achilles, son of Peleus,<br />destructive as it was, which gave the Achaeans much grief;<br />and it hurled down to Hades many strong souls<br />of heroes, and made them spoils for the dogs<br />and every bird;</span></span></blockquote><p></p><p><span style="font-family: arial;"><span style="font-size: medium;">It's hard to see the poetry there, because it is not the bumpity-bump of English, but the aa-a-aa of ancient Greek. The translation looks like free verse1 <br /></span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;">I modified this as a template for the opening of <i>In the Lion's Mouth </i></span></span></p><span style="font-size: medium;"><span style="font-family: arial;"><blockquote><i>Sing, O harper, the anger of Donovan buigh,<br />That graced us all with boundless grief,<br />And left brave men a prey to dogs and kites<br />As we foresaw upon that fateful day<br />When Donovan buigh and Those of Name<br />First fell out.</i></blockquote></span></span><p><span style="font-family: arial;"><span style="font-size: medium;">but it incorporates elements of English poetry -- note the alliterations and rhythm. </span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;">Greek 'quantitative; poetry' was prestigious enough that when the Romans wrote their own epic, they tried the same gimmick, even though the native lilt of Latin lay elsewhere. Virgil famously opens the <i>Aeneid </i>with these lines</span></span></p><p><span style="font-family: arial;"></span></p><blockquote><span style="font-family: arial;"><span style="font-size: medium;"><b>Arma virumque canō, Trōiae quī prīmus ab ōrīs<br />Ītaliam, fātō profugus, Lāvīniaque vēnit<br />lītora, multum ille et terrīs iactātus et altō<br />vī superum saevae memorem Iūnōnis ob īram;</b></span></span></blockquote><p><span style="font-family: arial;"></span></p><blockquote><span style="font-family: arial;"><span style="font-size: medium;"><i>I sing of arms and the man, he who, exiled by fate,<br />first came from the coast of Troy to Italy, and to<br />Lavinian shores – hurled about endlessly by land and sea,<br />by the will of the gods, by cruel Juno’s remorseless anger, </i></span></span></blockquote><p><span style="font-family: arial;"><span style="font-size: medium;">Latin has the property that the endings of words tell us what English tells us with prepositions and word order. Hence, Latin words can be arranged almost any order for poetic effect. The first line <i>literally </i>reads</span></span></p><p><span style="font-family: arial;"></span></p><blockquote><span style="font-size: medium;">arms-(of) man-(and) sing-(I), Troy-(of) who first from coast,</span></blockquote><p></p><p><span style="font-family: arial;"><span style="font-size: medium;">We know <span style="color: red;"><b>ab ōrīs</b></span> (<i>from coast</i>) applies to Troy, not Italy, because </span></span><span style="color: red;"><b><span style="font-family: arial;"><span style="font-size: medium;">Trōiae </span></span></b></span><span style="font-family: arial;"><span style="font-size: medium;">is in the genitive and </span></span><span style="color: red;"><b><span style="font-family: arial;"><span style="font-size: medium;">Ītaliam </span></span></b></span><span style="font-family: arial;"><span style="font-size: medium;">is in the accusative. Not until we get to <span style="color: red;"><b>qui </b></span>do we get the subject of the subordinate clause, which we recognize because it is in the nominative case, (The subject of the main clause =I= lurks in the suffix of can<b>o</b>.)</span></span></p><h3 style="text-align: left;"><span style="color: red;"><span style="font-family: arial;"><span style="font-size: medium;">Browbeating English Submit ye Saxons</span></span></span></h3><p><span style="font-family: arial;"><span style="font-size: medium;">The Latinate grammarians of post-Renaissance England kept trying to shoehorn the feet of English into the boot of Latin. They couldn't manage it with the long and short syllables because English lengthens her vowels by ablauting, not by holding the sound for two beats [<i>morae</i>] instead of one as Greek and Latin did. So the classical meters were reinterpreted as heavy and light stress instead. An iamb was originally a-aa, short-long. In English, this became ba-BOOM, light stress-heavy stress.</span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;">But when we look at Old English, we see that Anglo-Saxon poetry used alliteration for its pattern-making. The line is broken in two with a pause between and the same consonants are repeated. In Beowulf, for example:</span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;"></span></span></p><blockquote><span style="font-size: medium;"><b>H<span style="color: red;"><u>w</u></span>æt. <span style="color: red;"><u>W</u></span>e <span style="color: red;"><u>G</u></span>ar<span style="color: red;"><u>d</u></span>ena in <span style="color: red;"><u>g</u></span>ear<span style="color: red;"><u>d</u></span>a<u>g</u>um,<br /><span style="color: red;"><u>þ</u></span>eodcynin<u>g</u>a, <span style="color: red;"><u>þ</u></span>rym <u>g</u>efrunon,<br />hu <span style="color: red;"><u>ð</u></span>a æ<span style="color: red;"><u>þ</u></span>e<span style="color: red;"><u>lin</u>g</span>as e<span style="color: red;"><u>llen</u></span> fremedon.</b></span></blockquote><p></p><p><span style="font-family: arial;"><span style="font-size: medium;">Seamus Heaney tried to keep much of this in his English translation. [It takes an Irishman to properly translate Anglo-Saxon poetry into English!]<br /></span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;"><b></b></span></span></p><blockquote><i><span style="font-size: medium;"><b>S</b>o. The <b>S</b>pear-<b>D</b>anes in <b>d</b>ays gone by<br />And the <b>k</b>ings who ruled them had <b>c</b>ourage and greatness.<br />We <b>h</b>ave <b>h</b>eard of those <b>p</b>rinces’ <b>h</b>eroic cam<b>p</b>aigns.</span></i></blockquote><p></p><p><span style="font-family: arial;"><span allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" iframe="" src="https://www.youtube.com/embed/6lImDxPlMSw" style="font-size: medium;" title="YouTube video player" width="560"></span></span></p><h3 style="text-align: left;">
<span style="color: red;"><span style="font-family: arial;">It's Time to Rhyme</span></span></h3><p><span style="font-family: arial;"><span style="font-size: medium;">Late Latin poetry turned to rhyme and therefore classicists insisted that English poetry ought to rhyme as well. This is easy to do in Latin, since standardized case endings provided ready-made rhymes.<br /></span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;"><b></b></span></span></p><blockquote><span style="font-size: medium;"><b>Tantum ergo sacra<span style="color: red;"><u>mentum</u></span><br />veneremur cern<span style="color: red;"><u>ui</u></span><br />et antiquum docu<span style="color: red;"><u>mentum</u></span><br />novo cedat rit<span style="color: red;"><u>ui</u></span><br />praestet fides supple<span style="color: red;"><u>mentum</u></span><br />sensuum defect<span style="color: red;"><u>ui</u></span></b></span></blockquote><p><span style="font-family: arial;"><span style="font-size: medium;">Rhyming is much harder in English than in Latin, which is why it requires greater art to pull it off in English. Done poorly, unless for humorous effect, it becomes doggerel, especially if dome in a thumping beat. Hence, many would-be poets resort to blank verse ir even free verse, It seems easier; but it isn't. We can do those poorly as well.</span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;">Gerard Manley Hopkins used a pattern he called 'sprung rhythm'. In the following poem, addressed to a child crying because the lovely golden leaves are falling from a tree, one almost fails to notice the rhymes in the face of invented words like 'unleaving' [shedding leaves], 'wanwood' [barren trees] or 'leafmeal' [leaves scattered about]<br /></span></span></p><p style="text-align: center;"><span style="font-family: arial;"><span style="font-size: medium;"><b>Spring and Fall</b><br /><i>to a young child<br /></i></span></span></p><p style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"></span></span></p><blockquote><blockquote><span style="font-family: arial;"><span style="font-size: medium;">Márgarét, áre you gríeving<br />Over Goldengrove unleaving?<br />Leáves like the things of man, you<br />With your fresh thoughts care for, can you?<br />Ah! ás the heart grows older<br />It will come to such sights colder<br />By and by, nor spare a sigh<br />Though worlds of wanwood leafmeal lie;<br />And yet you wíll weep and know why.<br />Now no matter, child, the name:<br />Sórrow’s spríngs áre the same.<br />Nor mouth had, no nor mind, expressed<br />What heart heard of, ghost guessed:<br />It ís the blight man was born for,<br />It is Margaret you mourn for.</span></span></blockquote></blockquote><span style="font-family: arial;"><span style="font-size: medium;"></span></span><p></p><p><span style="font-family: arial;"><span style="font-size: medium;">The confluence of rhyme, rhythm, and alliteration provides a rich bouillabaisse, with a variety of rhyme schemes and rhythm meters. Larger forms, like ballads, sonnets, epics, and the like are also available, Then there are forms that use patterns of repeated words (</span></span><span style="font-family: arial;"><span style="font-size: medium;"><a href="https://poets.org/glossary/sestina" target="_blank">sestina) </a></span></span><span style="font-family: arial;"><span style="font-size: medium;">or whole repeated sentences </span></span><a href="https://poets.org/glossary/sestina" target="_blank"><span style="font-family: arial;"><span style="font-size: medium;"></span></span></a><span style="font-family: arial;"><span style="font-size: medium;"><a href="https://poets.org/glossary/villanelle" target="_blank">(villanelle</a></span></span><span style="font-family: arial;"><span style="font-size: medium;">), such as Dylan Thomas' "Do not go gentle into that good night."</span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;">.TOF once attempted a sestina and wrestled with it until it had defeated him. He failed to alter the meanings of the repeated words each time they appeared. Presented for your horror and disgust:</span></span><b> </b></p><p><b></b></p><blockquote><p><span style="font-family: arial;"><span style="font-size: medium;"><b>Though finer points of their philosophy may prove obscure</b><br /><br />Alas we seem alone; no other mind takes form<br />On this fair Earth – nor any other place<br />That eye can see or instruments appraise.<br />From distant stars no missives we receive.<br />As if in that vast vacuum no soul<br />Abides save only those we call our own.<br /><br />Such life, we’re told, will be unlike our own; <br />That’s true for trivia: species, body, form, <br />Appetites and senses foreign to our soul. <br />(What lusts do bats endure when squeaks they place, <br />What pleasures due to echoes they receive? <br />Our minds cannot conceive what bats appraise.) <br /><br />But not unlike entire, for kinship we appraise<br />Beneath those accidents they call their own: <br />They too preserve, perfect what they receive. <br />(The struggle to survive is higher form<br />Of that by which a boulder holds its place.<br />Inertia is but life deprived of soul.) <br /><br />They will pursue the good known to their soul, <br />Whatever good it is that they appraise<br />In foreign far-flung interstellar place. <br />Survival’s urge is much alike our own, <br />Though executed through some other form:<br />Those powers and appetites that they receive.<br /><br />Do bats admire the echoes they receive?<br />Do certain sounds enrich their very soul?<br />What drives impel the unfamiliar form <br />On distant stars we do not yet appraise?<br />Far from and yet alike unto our own<br />They are, no matter where their outré place.<br /><br />And what awaits, would we fare to their place<br />Or they to ours? What welcome to receive?<br />A sister mind? A tasty snack? A pet to own?<br />It all depends on what completes their soul <br />And how both good and ill they do appraise.<br />When seeing us, what image do they form?<br /><br /><i>L’Envoi</i><br />A place within each soul <br />Receives and does appraise<br />Its own and other’s form.</span><br /></span></p><p><span style="font-family: arial;"><span><span style="font-size: medium;"><br /></span></span></span></p><p><span style="font-family: arial;"><span><span style="font-size: medium;"><br /></span></span></span></p><p><span style="font-family: arial;"><span><span style="font-size: medium;"><br /></span></span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;"></span></span></p></blockquote><p><span style="font-family: arial;"><span style="font-size: medium;"><br /></span></span></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com0tag:blogger.com,1999:blog-447603865959500290.post-85756449837607953832023-02-03T07:41:00.000-05:002023-02-03T07:41:11.168-05:00Ode to the Hog of Grounding<p><span style="font-size: medium;"> </span></p><div><div class="" dir="auto"><div class="x1iorvi4 x1pi30zi x1swvt13 xjkvuk6" data-ad-comet-preview="message" data-ad-preview="message" id="jsc_c_6n"><div class="x78zum5 xdt5ytf xz62fqu x16ldp7u"><div class="xu06os2 x1ok221b"><span style="font-size: medium;"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xdj266r x126k92a"><div dir="auto" style="text-align: start;"><br /></div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">On Groundhog Day, the rodent sees</div><div dir="auto" style="text-align: start;">His shadow on the ground then flees</div><div dir="auto" style="text-align: start;">Back to his burrow, safe and sound,</div><div dir="auto" style="text-align: start;">And so Winter hangs around.</div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">(Or is it SHE? Die Deitsche say</div><div dir="auto" style="text-align: start;">GrundSAUsdag all on that day.)</div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">Hence, the paradox. O'ercast skies</div><div dir="auto" style="text-align: start;">Cast no shadows when rodents rise;</div><div dir="auto" style="text-align: start;">And so announce the coming spring</div><div dir="auto" style="text-align: start;">With all the pleasures rodents bring.</div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">Burma Shave!</div></div></span></span></div></div></div></div></div>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com1tag:blogger.com,1999:blog-447603865959500290.post-25759158418140005262023-01-19T21:08:00.000-05:002023-01-19T21:08:34.445-05:00Shunwords<p><span style="font-size: large;"><span style="font-family: arial;"> Recently, TOF happened upon the following list of words to avoid in one's scrivening and thought to share it with his Faithful Reader. The original YouTuber was unbearably chatty and triggers one of TOF's Pet Peeves [<i>vide infra</i>], so he will not actually link it here. However, a few comments may be in order. </span></span></p><p><span style="font-size: large;"><span style="font-family: arial;">First, at the risk of falling into the Spanish Barber Paradox, TOF will state the <span style="color: red;"><b>First Unbreakable Law of Writing;</b></span> viz., <i>There are no unbreakable laws. </i>IOW, each of these shunwords may find a seat at your verbal table, "if God be willing and the creeks don't rise." Foremost among these occasions is dialogue, where any sort of verbal infelicity may be allowable as a means of characterization.<br /></span></span></p><p><span style="font-size: large;"><span style="font-family: arial;">Second, you should shun these words because they usually weaken or distance your prose or add bulk without adding value. The OP kept saying "passive vice," which was TOF's Peeve. She meant passivity as such, not specifically the passive voice. The latter is a particular grammatical form in the conjugation of verbs. It should indeed be eschewed, save in scientific papers, where it has been customary, and in TOF's blog, for its arch flavor.</span></span></p><p><span style="font-size: large;"><span style="font-family: arial;">Third, the list is neither magical nor proprietary. TOF is neither the first nor will he be the last to take note of them. Nor is the list epistemically closed. The Reader may append other words should he be so inclined.</span></span></p><p><span style="font-size: large;"><b><span style="color: red;"><span style="font-family: arial;">The List [in order alphabetical]<br /></span></span></b></span></p><ul style="text-align: left;"><li><span style="font-size: large;"><b><span style="color: red;"><span style="font-family: arial;">definitely </span></span></b></span></li></ul><p><span style="font-size: large;"><span style="font-family: arial;">You should definitely shun this word. (See what I did there? Nyuk-nyuk.) Nothing is lost were TOF to have written instead "You should shun this word." It is one of a family of shunwords that includes <b><span style="color: red;">actually, really, very,</span></b> and similar general intensifiers (<i>vide infra</i>). In the sentence </span></span></p><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: verdana; font-size: large;"><span><blockquote><span style="font-family: courier;">Betsy was definitely worried.</span></blockquote></span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: verdana; font-size: large;"><span>omitting the intensifier loses nothing:<br /></span></span></div><div class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><span style="font-family: verdana; font-size: large;"><span><span style="font-family: courier;"><blockquote>Betsy <span style="font-family: verdana;"><span><span style="font-family: courier;">was worrie<span style="font-family: verdana;">d</span></span></span></span></blockquote></span></span></span><span style="font-family: verdana; font-size: large;"><span></span></span></div><div><ul style="text-align: left;"><li><b><span style="color: red;"><span style="font-size: large;"><span style="font-family: arial;"> </span><span style="font-family: arial;">is/was</span></span></span></b></li></ul><span style="font-size: large;"><span style="font-family: arial;">But it's still not quite there. The OP called this "passive voice," but the criminal act here is <i>telling </i>rather than <i>showing</i>. Dropping the word "definitely" still leaves the sentence flaccid. Is/was is a colorless word. Other verbs may serve. Instead, the writer should <i>show </i>us Betsy being worried:<br /></span></span></div><div><span style="font-size: large;"><span style="font-family: arial;"></span><br /></span></div><div><div style="margin-left: 40px; text-align: left;"><span style="font-family: verdana; font-size: large;"><span><span style="font-family: courier;">Betsy
fiddled with the bottles on the sideboard, casting quick glances over her
shoulder toward the door. Once, hearing footsteps in the hallway, she
muffled the clinking of the bottles and held her breath until the
footsteps continued on their way.</span></span></span></div><ul style="text-align: left;"><li><span style="color: red;"><b><span style="font-size: large;"><span style="font-family: arial;">just</span></span></b></span></li></ul><div style="text-align: left;"><span style="font-size: large;"><span style="font-family: arial;">This word is just unnecessary in most cases. It is the literary equivalence of filler, adding bulk without adding value. </span></span><br /></div><div style="margin-left: 40px;"><span style="font-size: large;"><span style="font-family: arial;"></span></span></div><ul style="text-align: left;"><li><span style="color: red;"><b><span style="font-size: large;"><span style="font-family: arial;">seem</span></span></b></span></li></ul><div style="text-align: left;"><span style="font-size: large;"><span style="font-family: arial;">"Seem" is a wimpy word.</span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-size: large;"><span style="font-family: arial;"><span style="font-family: courier;">The dark corridor seemed ominous. </span><br /></span></span></div><div style="text-align: left;"><span style="font-size: large;"><span style="font-family: arial;">First, to whom does it seem so? Second, is the corridor ominous or not. This is like "was." It doesn't <i>say </i>anything. "Seem" might be okay to use in portraying a POV for a character, but there are usually better ways to make the point. Show the corridor in such a way as to make the Reader <i>feel</i> it, </span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-size: large;"><span style="font-family: arial;"><span style="font-family: courier;">The corridor loomed dark before her. A draft wafted through it coaxing a low moan from the walls. Somewhere in the darkness a door creaked.</span><br /></span></span></div><ul style="text-align: left;"><li><span style="color: red;"><b><span style="font-size: large;"><span style="font-family: arial;">somehow</span></span></b></span></li></ul><span style="font-size: large;"><span style="font-family: arial;">Another wimpy word. Don't tell us a thing <i>somehow</i> happened. Show us how it <i>did </i>happen. Or else in POV how it reflects the character's ignorance. </span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: courier;"><span style="font-size: large;">Somehow, Betsy found herself walking down that corridor. </span></span></div><div><span style="font-size: large;"><span style="font-family: arial;">Really? I bet</span></span></div><div><div style="margin-left: 40px; text-align: left;"><span style="font-size: large;"><span style="font-family: arial;"><span style="font-family: courier;">Summoning her last scrap of courage, Betsy walked down the corridor.</span></span></span><br /></div><div style="margin-left: 40px;"><span style="font-size: large;"><span style="font-family: arial;"></span></span></div><ul style="text-align: left;"><li><span style="color: red;"><b><span style="font-size: large;"><span style="font-family: arial;">somewhat/slightly </span></span></b></span></li></ul><span style="font-size: large;"><span style="font-family: arial;">More wimpery! Compare:</span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: courier;"><span style="font-size: large;">Betsy was slightly afraid.</span></span></div><div><span style="font-size: large;"><span style="font-family: arial;">versus</span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: courier;"><span style="font-size: large;">Betsy was afraid.</span></span></div><div><span style="font-size: large;"><span style="font-family: arial;">versus</span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-size: large;"><span style="font-family: arial;"><span style="font-family: courier;">Betsy's trembling diminished with each step, but never ceased entirely.</span><br /></span></span></div><div><ul style="text-align: left;"><li><span style="color: red;"><b><span style="font-size: large;"><span style="font-family: arial;">start</span></span></b></span></li></ul><span style="font-size: large;"><span style="font-family: arial;"> Do not <i>start </i>doing something; just <i>do </i>it, Compare:<br /></span></span></div><div><span style="font-size: large;"><span style="font-family: arial;"></span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: courier;"><span style="font-size: large;">Betsy started to walk down the dark corridor.</span></span></div><div><span style="font-size: large;"><span style="font-family: arial;">versus</span></span></div><div><div style="margin-left: 40px; text-align: left;"><span style="font-family: courier;"><span style="font-size: large;">Betsy walked down the dark corridor.</span></span><span style="font-size: large;"><span style="font-family: arial;"><span style="font-family: courier;"> </span></span></span><br /></div><div style="margin-left: 40px;"><span style="font-size: large;"><span style="font-family: arial;"></span></span></div><ul style="text-align: left;"><li><b><span style="color: red;"><span style="font-size: large;"><span style="font-family: arial;">then</span></span></span></b></li></ul><div style="margin-left: 40px; text-align: left;"><span style="font-size: large;"><span style="font-family: arial;"><span style="font-family: courier;">Betsy took a deep breath then stepped into the darkened hallway.</span></span></span></div></div><div><span style="font-size: large;"><span style="font-family: arial;">The Reader is no doubt already familiar with the usual passage of time. There is no need to tell him that after one thing happens, <i>then </i>another happens. </span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-size: large;"><span style="font-family: arial;"><span style="font-family: courier;">Taking a deep breath </span></span></span><span style="font-size: large;"><span style="font-family: arial;"><span style="font-family: courier;">Betsy </span></span></span><span style="font-size: large;"><span style="font-family: arial;"><span style="font-family: courier;">stepped into the darkened hallway.</span></span></span><span style="font-size: large;"><span style="font-family: arial;"> <br /></span></span></div><div><ul style="text-align: left;"><li><span style="color: red;"><b><span style="font-size: large;"><span style="font-family: arial;">very/really</span></span></b></span></li></ul><span style="font-size: large;"><span style="font-family: arial;">These words fall into the family of general intensifiers (cf. <span style="color: red;"><b>definitely</b></span>, <i>supra</i>). It is almost always better to find a more intense word <i>simpliciter.</i> For example, change:</span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: courier;"><span style="font-size: large;">The vampire's teeth were very sharp.</span></span></div><div><span style="font-size: large;"><span style="font-family: arial;">to</span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: courier;"><span style="font-size: large;">The vampire's teeth were nails piercing her neck,</span></span></div><div><span style="font-size: large;"><span style="font-family: arial;">Or change<br /></span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: courier;"><span style="font-size: large;">Gareth spoke in a really loud voice.</span></span></div><div><span style="font-size: large;"><span style="font-family: arial;">What, compared to a fake loud voice? Try</span></span></div><div><div style="margin-left: 40px; text-align: left;"><span style="font-size: large;"><span style="font-family: arial;"><span style="font-family: courier;">Gareth shouted.</span></span></span><br /></div><div style="margin-left: 40px;"><span style="font-size: large;"><span style="font-family: arial;"></span></span></div><h3 style="text-align: left;"><span style="color: red;"><span style="font-family: arial;"><span style="font-size: large;">Passive Voice</span></span></span></h3></div><div><span style="font-family: arial;"><span style="font-size: large;">Sometimes more than a word ought be shunned, but a construction. Passive Voice is an example. In fiction, the passive voice wimps out because it evicts the actor from the subject slot and replaces it with the recipient. In the active voice, an actor does a thing. In the passive voice, a thing is done (by an actor). The actor is oft omitted, too. Compare:</span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: arial;"><span style="font-size: large;"><span style="color: red;"><b>Active voice: </b></span><span style="font-family: courier;">The parched vampire drained Betsy's blood. </span></span></span></div><div><span style="font-family: arial;"><span style="font-size: large;">Here, the vampire is the actor and the subject of the sentence.</span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: arial;"><span style="font-size: large;"><span style="color: red;"><b>Passive voice: </b></span><span style="font-family: courier;">Betsy's blood was drained [by the parched vampire] </span></span></span></div><div><span style="font-family: arial;"><span style="font-size: large;">In this version, the recipient of the act [Betsy's blood] is made the subject of the sentence, and the actor [the vampire] is exiled to a modifying phrase, to cower behind a preposition.</span></span></div><div><span style="font-family: arial;"><span style="font-size: large;"> </span></span></div><div><span style="font-family: arial;"><span style="font-size: large;">Passive voice is not mere passivity. Betsy is inactive in the blood-draining. It is the <i>structure</i> of the sentence that distances the Reader from the narrative.</span></span></div><div><h3 style="text-align: left;"><span style="color: red;"><span style="font-family: arial;"><span style="font-size: large;">Overkill sentences</span></span></span></h3></div><div><span style="font-family: arial;"><span style="font-size: large;">Another macroshun is the extra sentence at the end of a paragraph.</span></span></div><div style="margin-left: 40px; text-align: left;"><span style="font-family: courier;"><span style="font-size: large;">The frigate rotated slowly on her long axis as she orbited the Moon. The melted rent down her side marked where a laser cannon had opened her interior to the vacuum. A debris cloud surrounded the wreck, and fitful sparks flashed in the oxygen outgassing from her fittings. No one answered our hails. <span style="color: red;"><b>The ship was utterly destroyed</b></span>.</span></span></div><div><span style="font-family: arial;"><span style="font-size: large;">Oh, was she now? No fooling? You mean Faithful Reader couldn't pick up on that from the description? The last sentence in that passage should be utterly destroyed. </span></span><br /></div>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com7tag:blogger.com,1999:blog-447603865959500290.post-24553516678206748492023-01-01T16:52:00.003-05:002023-01-01T16:52:45.894-05:00The Secret of Western Dominance<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://candacerobbbooks.files.wordpress.com/2016/12/6a21f0cfc30f69e020fcd0de044fe169.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="500" data-original-width="704" height="142" src="https://candacerobbbooks.files.wordpress.com/2016/12/6a21f0cfc30f69e020fcd0de044fe169.jpg" width="200" /></a></div><br /> What do the New York Philharmonic, the Los Angeles Dodgers, a steel mill, and a chapel of Benedictine nuns have in common? <p></p><p>Nothing more or less than the rise of the West from a backwater to a formerly dominant position in the world -- as well as her later decay. </p><p>There are any number of factors that contributed. For example, the specific shoreline of Western Europe, her broad continental shelf, the winds and currents of the Atlantic, the freedom of women, etc. No big thing in history has a single causal factor. </p><p>But what of the Philharmonic, Dodgers , et al.?</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://images.freeimages.com/images/large-previews/3d2/orchestra-1426215.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="240" src="https://images.freeimages.com/images/large-previews/3d2/orchestra-1426215.jpg" width="320" /></a></div>The playing of a symphony [or similar work] requires 1st and 2nd Violins, Violas, Cellos, Double Basses, Flutes, Clarinets, Oboes, Bassoons, French Horns, Trumpets, Trombones, and others each playing a different line of music and yet producing a coordinated whole. The Dodgers require pitchers, catchers, 1st basemen, 2nd basemen, shortstops, third basemen, and sundry outfielders each doing his own thing, yet playing together toward a harmonious outcome. The same can be said of the crane operators, puddlers, millwrights, chemists, metallurgists, inspectors, mechanics, accountants, salesmen, managers, et al. who comprise the steel mill; not to mention the sundry voices that comprise a choir. <p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/fXeFq4KlRf8" title="YouTube video player" width="560"></iframe> </p><p>A key invention of medieval Christendom was polyphony, in which several voices in a choir sang different lines which combined harmoniously and contrapuntally into a whole. This mentality informed the newfangled "corporate persons," like universities and guilds, which also featured different people doing different things that combined into a whole. The modern corporation is an example of such communal enterprise. So s an orchestra or a team sport. Teamwork and coordinated disparate roles were a key factor in the rise
of the West. It's one of the reasons, the West entered the middle ages a
follower but emerged as a leader. </p><p style="text-align: right;">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/4gWCiLexilY" title="YouTube video player" width="560"></iframe> </p><p>Other cultures were quite adept at top-down, not so accomplished at bottom-up. An Indian raga played on the sitar is a masterpiece of virtuosity. The melodic lines are complex and the development subtle and intricate; but the only second voice is that of the rhythm beat of the tabla, and that is more like an accompanist than a colleague. There were no orchestras in India -- or in China, Japan, or the House of Submission. There were no corporations. Team sports like polo were more like a bunch of guys all trying to do the same thing than a variety of different roles all trying to do different things, but in a coordinated manner. Likewise, communal singing is not polyphonic if everyone is trying to sing the same melody.</p><p></p><p>As the rest of the world picked up on corporate effort, they began also to excel. One finds orchestras everywhere. Japan fields excellent baseball teams; India, outstanding cricket teams. Japan organized world-class industrial corporations; India has begun to do so now that the "red tape Raj" has been trimmed back.</p><p>But of late, Western music has been subsiding into noise. After a polyphonic heyday that gave us the Mmas and the Papas in popular tunes, the blending of multiple voices has shed first counterpoint, then harmony, and finally melody, so that we are left with mere rhythm. The coordination of disparate voices in parliaments and congresses has faded into a search for a Leader who, like the One Man of China, the rajah or the emir, or the Emperor of Rome, can guide us out of our troubles. We have begun to put our faith into autocracy rather than group effort.</p>
<div style="text-align: left;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/N-aK6JnyFmk" title="YouTube video player" width="560"></iframe></div>
TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com2tag:blogger.com,1999:blog-447603865959500290.post-53975327337823736852022-12-19T17:33:00.001-05:002022-12-22T21:00:19.448-05:00De libero arbitrio<h3 style="text-align: left;"><span style="font-family: arial;"><span><span style="color: #e06666;"><span style="color: red;">A perennial issue <span style="font-size: small;"><span style="color: black;"><span style="font-weight: normal;">has come up again elsewhere. Yes, Tofians, another physicist has strayed from the pasture. Sabine Hossenfelder posted a YouTube video a while back which the Algorithm presented to TOF's oculars for sober consideration. In it, Dr Hossenfelder provides her insight as a physicist on the philosophical concept of Free Will. She doesn't buy it. (But then, she was forced to say so by vast impersonal forces, wasn't she?) Her objections remind TOF of Mary Midgley's dictum that those who spurn philosophy are usually in thrall to obsolete forms of it; in this case, to 18th/19th century mechanistic philosophies. Most of her objections were considered by T. Aquinas <span style="background-color: black;"><span style="color: #cccccc;">a millennium and a half </span></span>more than half a millennium <span style="background-color: #ffe599;"><span><span style="background-color: black;"></span></span></span>ago. In fact, Tommy raised a great many more than she does, but she undoubtedly believes hers are new and Modern. She has at least framed them in a Modern Way and presumes that Science!</span></span></span></span></span></span></span><span face=""Calibri",sans-serif" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">™</span><span style="font-family: arial;"><span><span style="color: #e06666;"><span style="color: red;"><span style="font-size: small;"><span style="color: black;"><span style="font-weight: normal;"> (a method for investigating the metrical properties of material bodies) is somehow apropos for investigating the ontology of philosophical concepts! Had her only tool been a hammer, I am sure that Free Will would have possessed sterling, nail-like qualities.<br /></span></span></span></span></span></span></span></h3><h3 style="text-align: left;"><span style="font-size: small;"><span style="font-weight: normal;"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zpU_e3jh_FY" width="320" youtube-src-id="zpU_e3jh_FY"></iframe></div></span></span></span><br /></h3><h3 style="text-align: left;"></h3><h3 style="text-align: left;"><span style="font-family: arial;"><span style="font-weight: normal;"><span><span style="font-size: small;">But</span><span style="font-size: small;">, TOF (I hear you say), you cogent codger of cogitation, if the mind's outputs are the product of mere external forces, should we pay any more attention to S. Hossenfelder's brain-outputs than to the whisperings of trees rustled by the wind? <br /></span></span></span></span></h3><h3 style="text-align: left;"><span style="font-family: arial;"><span style="font-weight: normal;"><span><span style="font-size: small;"><b>Answer:</b> TOF is retired and has just delivered myself of a novel; so there is nothing urgent on his plate.</span></span></span></span></h3><h3 style="text-align: left;"><span style="font-family: arial;"><span style="font-weight: normal;"><span><span style="font-size: small;">Let the games begin! </span></span></span></span></h3><h3 style="text-align: left;"><span style="font-family: arial;"><span style="font-weight: normal;"><span><span style="font-size: small;">Nota bene: For those unfamiliar with the Questions genre, the format lays out</span></span></span></span></h3><ol style="text-align: left;"><li><h3 style="text-align: left;"><span style="font-family: arial;"><span style="font-weight: normal;"><span><span style="font-size: small;">the Question to be determined</span></span></span></span></h3></li><li><h3 style="text-align: left;"><span style="font-family: arial;"><span style="font-weight: normal;"><span><span style="font-size: small;">the Principle Objections against it</span></span></span></span></h3></li><li><h3 style="text-align: left;"><span style="font-family: arial;"><span style="font-weight: normal;"><span><span style="font-size: small;">A single supperting statement (Sed contra = but on the other hand...0<br /></span></span></span></span></h3></li><li><h3 style="text-align: left;"><span style="font-family: arial;"><span style="font-weight: normal;"><span><span style="font-size: small;">The determination of the writer (Respondeo - I answer that...)</span></span></span></span></h3></li><li><h3 style="text-align: left;"><span style="font-family: arial;"><span style="font-weight: normal;"><span><span style="font-size: small;">Responses to each of the initial objections </span><br /></span></span></span></h3></li></ol><h3 style="text-align: left;"><span style="font-family: arial;"><span style="font-weight: normal;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe8AO-pav6i1UnZZo9_9JMJVCWJDuCL6QHX2Q-NTfsV5tQZNIL4_4qLLT1bqPygWu4WPe55EG2_AFpBu14KPRYpBuTZrb2noWxflQfdD8R6h8_Mr1VPo_8h-85ge9RBLqS4thW9YoRa4eAqU8EKDGP_-wCZzellmz6ULTK7htfEn1kgRo55H_zGmRDiw/s519/Divider.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="55" data-original-width="519" height="34" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe8AO-pav6i1UnZZo9_9JMJVCWJDuCL6QHX2Q-NTfsV5tQZNIL4_4qLLT1bqPygWu4WPe55EG2_AFpBu14KPRYpBuTZrb2noWxflQfdD8R6h8_Mr1VPo_8h-85ge9RBLqS4thW9YoRa4eAqU8EKDGP_-wCZzellmz6ULTK7htfEn1kgRo55H_zGmRDiw/s320/Divider.jpg" width="320" /></a></div></span></span></span></h3><h3 style="text-align: left;"><span style="font-family: arial;"><span><span style="color: #e06666;"><span style="color: red;">Quaestio: Whether the Will be Free</span><br /></span></span></span></h3><p><span style="font-family: arial;"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
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<![endif]--><span style="color: red;"><b><span face=""Arial", sans-serif" style="font-size: 12pt;">Objection 1</span><span face=""Arial", sans-serif" style="font-size: 12pt;">. </span></b></span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">It would seem
that the Will is not free because the brain is physical matter, composed of
atoms, and therefore its acts are determined by the physical forces acting upon it.
If we knew all the forces acting on a person, we would see that he had no
choice but to to do as he did. [Hossenfelder 2020] <br /></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span style="color: red;"><b><span face=""Arial", sans-serif" style="font-size: 12pt;">Objection 2</span><span face=""Arial", sans-serif" style="font-size: 12pt;">. </span></b></span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">Furthermore, physical
Laws are expressed in differential equations and given the initial
conditions, all future states can be thereby calculated. As </span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">Hossenfelder</span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">'s brain atoms put out, "<i>the whole
story </i>of the universe <i>in every single detail</i> was determined already at the Big Bang. We are just watching it play out.” [Hoss., op cit]<br /></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span style="color: red;"><b><span face=""Arial", sans-serif" style="font-size: 12pt;">Objection 3</span></b><span face=""Arial", sans-serif" style="font-size: 12pt;"><b>.</b> </span></span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">It would seem
that the Will is not free because no one chooses that which he deems repugnant, but always chooses that which seems best. The Big Bang resulted in Sabine Hossenfelder's brain atoms emitting, “your choice is determined by what you want.” Therefore, the Will is not free to choose otherwise. </span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">[Hoss.,op cit]</span></span></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span class="hgkelc"><span face=""Arial",sans-serif" lang="EN" style="font-size: 12pt; mso-ansi-language: EN;"><b><span style="color: red;">Objection 4. </span></b>Psychologist Benjamin Libet conducted experiments that showed that the
brain “registers” the decision to make movements <i>before </i>a person consciously
decides to move. </span></span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">And p</span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">sychologist Daniel Wegner’s brain
state declared, “The experience of willing an act arises from interpreting
one’s thought as the <i>cause </i>of the act.” Our sense of making choices or
decisions is just an awareness of what the brain has already decided for
us." </span><span class="hgkelc"><span face=""Arial",sans-serif" lang="EN" style="font-size: 12pt; mso-ansi-language: EN;">Therefore, decisions are made subconsciously by the brain and
not by the Will.</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><span style="color: red;"><b>Objection 5. </b></span>According to law professor Barbara H. Fried, "our worldviews,
aspirations, temperaments, conduct, and achievements...are in significant part determined by accidents
of biology and circumstance.” Therefore, the will is not free and we should not hold malefactors blameworthy. [Fried 2013]</span><span class="hgkelc"><span face=""Arial",sans-serif" lang="EN" style="font-size: 12pt; mso-ansi-language: EN;"><br /></span></span></span></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"></span></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="color: #e06666; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><b><span style="color: red;">Sed contra.</span></b> </span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">Mathematician and physicist Alfred North Whitehead said,
“Scientists animated by the purpose of proving themselves purposeless
constitute an interesting subject for study.” [<i>The Function of Reason</i> (1929), Beacon Books, 1958, p. 16]<br /></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><span style="color: red;"><b>Respondeo. </b></span>First let us clarify what is meant by a motion of the Will;then of what is meant by its freedom. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><span style="color: red;"><b>1. The Will is the appetite for the products of conception</b></span>, i.e., for <b>concepts</b>. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">As such, it is analogous to the Emotions, which are appetites for <b>percepts</b>, that is, for concrete objects directly perceived [or recalled] by the senses. The Will may supervene over the Emotions. This can be seen by comparing the animal emotion to eat when it is hungry versus the human decision to forego the food for the sake of a diet or a holy fast. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">We can diagram the human psyche as below </span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">[Fig 1] </span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">. It i</span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">ncor</span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">porates the basic stimulus-response loop common to all animals; viz., </span></span></p><ul style="text-align: left;"><li><span style="font-family: arial;"><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><b>Sensation. </b>Stimuli</span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> [photons, compression waves, pheromones, ...] </span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> spray like a fire hose on the outer senses, the organs of sight, hearing, smell, et al. The neural impulses thus triggered arrive in <i>different </i>areas of the brain at <i>different </i>instants.</span></span></li><li><span style="font-family: arial;"><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><b><span style="font-size: small;">Perception</span>. </b>The inner senses select and unite these sensations via </span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><b>the common sense</b> and form an whole-istic "image" via the <b>imagination. </b>The Image can later be recalled by<b> memory</b>.The Image is less detailed than the immediate Sensation, and the Memory, less detailed still.</span><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><b> </b>The <b>estimative </b>power of the imagination deems the percept desirable or obnoxious. This re-cognition may be hard-wired or learned.<b><br /></b></span></span></li><li><span style="font-family: arial;"><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><b>Emotions. </b>This engenders an appetite for [or revulsion to] the perceived concrete particular.</span></span></li><li><span style="font-family: arial;"><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><b>Motion. </b>This triggers the animal to approach or retreat from the perceived object. Motion may also be triggered without emotion via the <b>autonomic </b>nervous system: hearts beat, stomachs digest, and struck knees jerk without any particular desires.<br /></span></span></li></ul><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTuXxIxHHvsT3mMzCh4d8dFj2JcJ8xuojAoLGwGpUOBP9uNDXhxKK4DqgwsoiIbWo2mwRnjFUAImVaRIyIi7PkhkWVNy4pkKHoR0S5_Dl2duNu32zHfgpj80JzSHLIyKmLqFXQObxZxm96_BhTtmJQ4gWb4WIMt0uqcwmBdb9tuDenc6oPXVeSCp7jpQ/s1112/Human%20anima.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="508" data-original-width="1112" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTuXxIxHHvsT3mMzCh4d8dFj2JcJ8xuojAoLGwGpUOBP9uNDXhxKK4DqgwsoiIbWo2mwRnjFUAImVaRIyIi7PkhkWVNy4pkKHoR0S5_Dl2duNu32zHfgpj80JzSHLIyKmLqFXQObxZxm96_BhTtmJQ4gWb4WIMt0uqcwmBdb9tuDenc6oPXVeSCp7jpQ/w653-h298/Human%20anima.jpg" width="653" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Fig 1. Schematic of sensitive and rational psyche</i><br /></td></tr></tbody></table><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">Thus far, all animals. For <i>rational </i>animals, i.e., for creatures able to give reasons for their acts, two additional powers are appended; viz., </span></span></p><ul style="text-align: left;"><li><span style="font-family: arial;"><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><b>Intellect </b>reflects on the percepts and "pulls out" [abstracts] <b>concepts</b>. Like the <i>estimative </i>power of the <i>imagination</i>, the <i>deliberative </i>power of the <i>intellect </i>deems the concept desirable or not. <br /></span></span></li><li><span style="font-family: arial;"><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><b>Volition </b>then <b>wants </b>the desired concept [or rejects an undesireable one]. This wanting/not wanting supervenes on any parallel visceral emotion raised by direct perception [incl. memory] of the concrete particular, such as a pleasant taste of this apricot or gentle touch of that silk scarf. For example:<br /></span></span></li></ul><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"></span></p><blockquote><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"></span></p><blockquote><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span><span style="font-size: small;"><i>Adam perceives </i></span></span><span><span style="font-size: small;"><i>a barking Rottweiler and abstracts a concept of dog that he finds frightening. His Will produces</i></span></span><span><span style="font-size: small;"><i> a fear of dogs in general, and thereafter wants avoid all canines. This is quite different from the direct and immediate fear-reaction to the actual Rottweiler. </i></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span><span style="font-size: small;"><i>Bertha encounters a rampaging mob smashing store windows and looting, and she feels in the moment an instinctive fear and desires to avoid it. But then her intellect apprehends that the mob is rioting for social justice, a concept of which her Will approves. She overrides her fears and either approves or even joins in to get her fair share of the loot.</i></span></span></span></p></blockquote></blockquote><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">In humans, every act of the Intellect is accompanied by an act of the Imagination. Try <i>conceiving </i>of triangularity without <i>imagining </i>a specific triangle: perhaps an equilateral triangle, a scalene triangle or the musical instrument, or even a love triangle. Try to conceive of "dog" without imagining a specific dog: perhaps a scruffy mutt or a French-groomed poodle. Since the Imagination involves Sensory memories, a neural pattern will appear in the brain.<br /></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">It is easy to mistake imaginative behavior for the intellective. The former permits at least some animals to be trained. </span>A bear can be taught to dance because he esteems the dance as good due to the rewards he is given for doing it; but few bruins take up ballet on their own. Cathy OTOH conceives of ballet in the abstract after perceiving instances of it in particular and deems it a good, and so takes lessons and rehearses. Debbie with the same perceptionsdeems it a waste of her time,</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikNV4Ohzt48etriK5n7bFg3IXTFq8EThQM_zxJVz6abiAOECxkMw5BxN2mvK3gFCzsIpSteJ63sugfL-f0Dz13plSRg_A7Ro5D8iivZun2o6DDbxeN1VHiNTzuj2JJSkYOOzEC7djzZevrhJ-YuQfbdFT97Yne_FN8URG-vGuhjQENQDzebmocmgJzEQ/s1020/Motion%20-%20instinct%20vs%20ratopnal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="359" data-original-width="1020" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikNV4Ohzt48etriK5n7bFg3IXTFq8EThQM_zxJVz6abiAOECxkMw5BxN2mvK3gFCzsIpSteJ63sugfL-f0Dz13plSRg_A7Ro5D8iivZun2o6DDbxeN1VHiNTzuj2JJSkYOOzEC7djzZevrhJ-YuQfbdFT97Yne_FN8URG-vGuhjQENQDzebmocmgJzEQ/w640-h226/Motion%20-%20instinct%20vs%20ratopnal.jpg" width="640" /></a></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span><b>2. What do we mean by freedom of the Will? </b></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span><i>Freedom is the absence of compulsion</i>. (Chastek, 2014a). So the Will is free to the extent that it is not compelled [or determined] toward any one particular decision or blocked in its natural movement toward the Good. Think <i>free </i>fall. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span> </span></span><span style="font-family: arial;"><span>In
college, TOF and his classmates noted that when the armed robber sticks
a gun in your ribs and says, "Your money or your life!" the choice is
not free, but compelled, We raised this objection with the spirit that
no one in history before the evolution of the college sophomore had ever
thought of it. Then what is that word <i>OR </i>doing in the sentence? But
everyone would choose to relinquish the money rather than the life!
Maybe so, but no one says that a free choice is necessarily the stupid
one, or that it is not arrived at by weighing the pros and cons <i>in the chooser's value system. </i>For
example, Frank is trained in hand-to-hand combat and notices that the
robber's gun has the safety engaged. Having more facts at his disposal,
he reaches a determination to grapple with the robber, rather than hand
over his hard-earned cash. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span>Those accustomed to dealing with inanimate matter may be inclined to call such things 'forces' rather than 'information,' but their <i>Weltanschauung </i>was formed in the era of dead machines, well before the development of software, so they are inclined to conceive the mind as full of gears, levers, and billiard balls,<br /></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span>In particular, there are many things that free will is not. <br /></span></span></p><ul style="text-align: left;"><li><span style="font-family: arial;"><span>Free Will is not random .</span><span> </span></span></li><li><span style="font-family: arial;"><span>Free Will i</span></span><span style="font-family: arial;"><span>s not unpredictable .</span><span> </span></span></li><li><span style="font-family: arial;"><span>Free Will </span></span><span style="font-family: arial;"><span>is not unreasoned.</span><span> </span></span></li><li><span style="font-family: arial;"><span>Free Will </span></span><span style="font-family: arial;"><span>is not unmotivated.</span><span> <br /></span></span></li></ul><span style="font-family: arial;"><span>Quite the contrary. As the appetite of the Intellect, <i><b>the Will is a rational power</b></i>. It moves in accordance with the judgements of the Intellect and so always has reasons for its motions. Compare this to the Modern, Nietzschean Triumph of the Will, which elevates Wanting over Thinking.<br /></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span><b>3. That the Will is free can be easily seen. </b></span></span></p><ul style="text-align: left;"><li><span style="font-family: arial;"><span>a) It is impossible to want what we do not know.</span></span></li><li><span style="font-family: arial;"><span>b) Our knowledge is often imperfect or lacking. </span></span></li><li><span style="font-family: arial;"><span>c) Therefore, our wants have "slack" or "degrees of freedom."</span></span></li></ul><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span>Suppose Edgar deems World Peace a good thing and therefore desires it. But of what does this Peace consist? By what means might it be achieved? Edgar may be uncertain or unclear on the best course to take and decides to </span></span></p><ul style="text-align: left;"><li><span style="font-family: arial;"><span>join the World Peace Association and participate in street theater. <i>OR</i> </span></span></li><li><span style="font-family: arial;"><span>write stern letters to the <i>New York Times</i> in support of Peace. <i>OR </i> </span></span></li><li><span style="font-family: arial;"><span>conquer all his rivals, as Caesar Augustus did. <i>OR</i>...<br /></span></span></li></ul><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span>The Will is free to the extent that is it not determined to a particular course of action.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span>When knowledge is complete, the Will cannot withhold consent. For example, the Intellect apprehends proposition "1+1=2," as those symbols are normally understood, as a true statement and therefore the Will necessarily chooses, "Yes." </span></span></p><span style="font-family: arial;"><span>This may not be the Late Modern's notion of Free Will, but it is not "changing the definition." It is how the freedom of the Will was defined by the people who first discussed it; e.g.., Thomas Aquinas. In fact, he listed <i>twenty-four </i>objections to the Question, including most of those raised again by Late Moderns.</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-family: arial;"><span><b>4. Not all acts of a human are free. </b>Some are autonomic, like the knee jerk, others can be ascribed to genetic factors, to habits, to training, and so on. Aquinas gave the example of a scholar unwittingly stroking his beard while deep in thought. A trained musician does not deliberate over each note before he plays it, but has practiced the piece so thoroughly that it has become muscle memory and he plays without thinking about bodily movement. Free choice entered into the decision to learn the piece in the first place -- to engage in the behavior that through repetition became a habit. Note the distinction between the abstract, concept of deciding to learn the piece and the physical acts of moving the fingers. It may well be the case that most acts fall into this latter category, which is why Aquinas distinguished between "acts of a human" in general and specific<span style="font-size: small;">ally "hum</span>an acts," i.e., rational acts. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; mso-margin-top-alt: auto;"><span style="font-size: small;"><span style="font-family: arial;"><span><span>Chastek noted that "the difference between a Relativistic and Newtonian view of the world is
negligible in everyday practical units. In the same way the free actions
of human beings are a negligible amount of the total actions in a single human body) and so the
difference between a universe of complete determinism and one with free human action is negligible. Nevertheless, the great
scientific revolutions turned on seeing the significance in things that
were negligible within their context." [Chastek 2013]</span></span></span></span></p><p><span style="font-family: arial;"><b><span style="color: red;">Reply to Objection 1. </span></b>This objection begs the question. It presumes as an act of faith that a host of “hidden variables” are there whether discoverable or not. </span></p><p><span style="font-family: arial;">Furthermore, since under this objection our thoughts are simply brain states determined at the Big Bang and our thinking is just as much an illusion as our willing. Yet, this is never mentioned by deniers of free will. <br /></span></p><p><span style="font-family: arial;">Indeed, if actions are determined by outside factors=, <i>all</i> action is an illusion, since there are no factors outside the universe, the universe cannot act </span><span style="font-family: arial;">[Chastek, 2014b]</span><span style="font-family: arial;">, and we are back to Parmenides and Zeno's paradoxes.<br /></span></p><p><span style="font-family: arial;"><span style="color: red;"><b>Reply to Objection 2. </b></span>This objection is Calvinism in fancy dress. The math approximates certain metrical properties of empirical reality, and as the great physicist Henri Poincare noted, these calculations grow increasingly uncertain as we extend their range or increase their precision t0 "the whole story of the universe in every single detail." Whether wittingly or not, he cast doubt on the very idea that quantitative models could be used to predict the future (Ekeland, 1988: 35). </span></p><p><span style="font-family: arial;">Paleontologist S. J. Gould once wrote that if the “tape of evolution” were rerun, we would not expect the same species to emerge. And if a purely mechanical process like natural selection is not deterministic, why should we nail the human Will to the doors of the Big Bang? If the extinction of various species today was written already into the Big Bang, it is hard to see how any selection at all is possible, whether natural selection or free will. </span></p><p><span style="font-family: arial;"><span style="color: red;"><b>Reply to Objection 3. </b></span>The Will is determined to the Good as its final cause just as the Intellect is determined to the True. But the generic desire for Good includes many diverse specific goods and does not compel the Will to any specific one. “If there is only one possible way to achieve the end, then the reason for willing the end and the reason for willing the means are the same. But such is not the case in the matter under discussion, since there are many ways to achieve happiness. And so human beings, although they necessarily will happiness, do not necessarily will any of the things leading to happiness [Aquinas 2003: Q.VI]. That the Will always chooses the apparently best alternative does not coerce the Will, since it is the deliberation as to the best is up to the individual. A free choice is not random or unmotivated. Hossenfelder's version of Nietzsche’s Triumph of the Will – “what you want determines what you choose” -- is akin to "wet streets cause rain." It gets things precisely backward since what you want just is the product of the will. <br /></span></p><p><span style="font-family: arial;"><span style="color: red;"><b>Reply to Objection 4. </b></span> "All contemporary neuroscience-informed arguments against free choice confuse Buridan’s Ass Decisions with rational-moral ones" (Chastek 2018). Libet's experiment did not address desires for abstracted concepts, and so did not address the Will's freedom. It involved only simple physical movements, such as flexing the wrist, and these might well have only physical causes or inclinations.They do not seem to advance the Will's motion toward the Good. <br /></span></p><p><span style="font-family: arial;">Participants in Libet's experiment were asked to note the moment at which they were consciously aware of the decision to move, while EEG electrodes attached to their head monitored their brain activity. Activity in the supplementary motor area (SMA) was designated a "readiness potential" and defined as the real "moment of decision." Aside from the imprecision of self-reporting the moment of conscious awareness or the somewhat arbitrary designation of the brain activity as the actual decision point, the SMA is usually associated with <i>imagining </i>movements rather than actually performing them. So, it is not implausible that the SMA activity would precede the subject's self-reporting of decision. None of this lays a glove on Free Will. Even if the decision to move was made by Freud's imagined "subconscious," that subconscious is part of the person. </span></p><p><span style="font-family: arial;"><span style="color: red;"><b>Reply to Objection 5.</b></span> Our habits, inclinations, abilities and such are among those factors which we consider when making a deliberate choice. A free choice is not an unmotivated one. And if malefactors should not be fined or imprisoned because they were not responsible for their decisions, why should physicists be given Nobel prizes for theirs?<br /><br /><span>
</span></span></p><h3 class="MsoNormal" style="line-height: normal; text-align: left;"><span style="font-family: arial;"><span><span style="font-size: 12pt;"> <span style="color: red;">References</span></span></span></span></h3><span style="font-family: arial;"><span>
</span></span><ol style="text-align: left;"><li><span style="font-family: arial;"><span><span style="font-size: 12pt;">Aristotle (350 BC). <i><a href="http://classics.mit.edu/Aristotle/nicomachaen.html" target="_blank">Nicomachean Ethics</a></i>, tr. W.D. Ross</span></span></span></li><li><span style="font-family: arial;"><span><span style="font-size: 12pt;">Chastek, James (2009), <a href="https://thomism.wordpress.com/2009/12/30/free-will-and-electrodes/" target="_blank">Free will and electrodes</a> (Just Thomism, December 30, 2009)</span></span><span><span style="font-size: 12pt;"> <br /></span></span></span></li><li><span style="font-family: arial;"><span><span style="font-size: 12pt;">______ (2013) "<a href="https://thomism.wordpress.com/2013/01/12/free-will-as-negligible/" target="_blank">Free will as negligible</a>." (Just Thomism, January 12, 2013) </span></span></span></li><li><span style="font-family: arial;"><span><span style="font-size: 12pt;">_______ (2014a) "</span></span><a href="https://thomism.wordpress.com/2014/06/04/the-free-will-defense/" target="_blank"><span><span style="font-size: 12pt;">The free will defense</span></span></a><span><span style="font-size: 12pt;">" (Just Thomism, </span></span><span><span style="font-size: 12pt;">June 4, 2014)</span></span><span><span style="font-size: 12pt;"> </span></span></span></li><li><span style="font-family: arial;"><span><span style="font-size: 12pt;">______ (2014b) </span></span><span><span style="font-size: 12pt;">"<a href="https://thomism.wordpress.com/2014/06/24/the-necessity-of-soul-from-the-reality-of-action/ " target="_blank">The necessity of soul from the reality of action</a>." (Just Thomism,June 24, 2014)</span></span></span></li><li><span style="font-family: arial;"><span><span style="font-size: 12pt;">______ (2018) "<a href="https://thomism.wordpress.com/?s=free+will" target="_blank">Free will and final causality</a>" (Just Thomism, </span></span><span><span style="font-size: 12pt;">January 26, 2018).</span></span><br /></span></li><li><span style="font-family: arial;"><span><span style="font-size: 12pt;">Ekeland, Ivar (1988). <i><a href="https://archive.org/details/mathematicsunexp00ekel/mode/2up" target="_blank">Mathematics and the Unexpected</a></i>. (Univ of Chicago Press)<br /></span></span></span></li><li><span style="font-family: arial;"><span><span style="font-size: 12pt;">Flynn, Michael (2016).<i><a href="https://tofspot.blogspot.com/2016/02/in-psearch-of-psyche-lets-get-moving.html" target="_blank"> In Psearch of Psyche: Let's Get Moving.</a></i> The TOFSpot.</span></span></span></li><li><span style="font-family: arial;"><span><span style="font-size: 12pt;">Fried, Barbara H. (2013). "<a href="https://www.bostonreview.net/forum/barbara-fried-beyond-blame-moral-responsibility-philosophy-law/" target="_blank">Beyond Blame</a>" (Boston Review. June 28, 2013)<br /></span></span></span></li><li><span style="font-family: arial;"><span><span style="font-size: 12pt; line-height: 107%;">Hossenfelder, Sabine (2020) "<a href="https://www.youtube.com/watch?v=zpU_e3jh_FY" target="_blank">You don't have free will, but don't worry.</a>" (YouTube Oct 10, 2020)</span></span></span></li><li><span style="font-family: arial;"><span><span style="font-size: 12pt; line-height: 107%;">Searle, John R. (1990) "<a href="http://www.jstor.org/stable/3130074 " target="_blank">Is the Brain a Digital Computer?</a>" in <i>Proceedings and Addresses of the American Philosophical Association, </i>Vol. 64, No. 3 (Nov., 1990), pp. 21-37 (American Philosophical Association) <br /></span></span></span></li><li><span style="font-family: arial;"><span><span style="font-size: 12pt; line-height: 107%;">Thomas Aquinas (2003). <i><a href="https://isidore.co/misc/Res%20pro%20Deo/Logic/Logic%20Course%20Material/Aquinas%20Texts/Aquinas%20(Newer%20PDFs)/Quaestiones%20Disputatae%20de%20Malo%20ENGLISH.pdf" target="_blank">Quaestiones Disputatae de Malo</a></i> (<i>On Evil</i>). tr. Richard Regan (Oxford University Press)</span></span></span></li></ol><br /><br /><br />TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com11tag:blogger.com,1999:blog-447603865959500290.post-71087210689470195002022-11-11T20:49:00.008-05:002022-11-11T20:55:30.978-05:00At the Eleventh Hour <p></p>
<div class="post-header">
<div class="post-header-line-1"></div>
</div>
<div><p></p><span style="font-size: small;"><span style="font-family: verdana;"></span></span><span style="font-size: small;"><span style="font-family: verdana;"><span><span style="font-weight: normal;">... of the 11th day of the 11th month of 1918, the guns in
Europe fell silent at last. The United States built a wall inscribed
with the names of </span></span></span></span><span style="font-size: small;"><span style="font-family: verdana;"><span><span style="font-weight: normal;">58,220 servicemen killed or missing in the nine years' war in Vietnam, more than twice as many as in three days at Gettysburg.
The AEF doughboys engaged the Hun from </span></span></span></span><span style="font-size: small;"><span style="font-family: verdana;"><span><span style="font-weight: normal;"><span class="ILfuVd"><span class="hgKElc">Oct 21, 1917 to Nov 11, 1918 and</span></span>
suffered 116,516 killed or missing, i.e., about twice as many total as
in Vietnam and 13x more on a yearly basis. No wall was ever built for
the doughboys and no memorial became official until 2004 -- in Kansas
City. A DC memorial was dedicated in 2021.<br /></span></span></span></span><span style="font-size: small;"><span style="font-family: verdana;"></span></span><span style="font-size: small;"><span style="font-family: verdana;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYYupE2L8xM1r9B1_DTJUfHnnBxtBUz6G7KZCfCy0hBCHVRKwoFUJ5ujWOUZTvvkDxH1M1X8bDg9f2vs7zJrPhbiIKDygDrdF_IKXALiG9kkK7eyF47lE0aCrSBhH9Pr5o6UOBtmO_KNcH/s278/Harry+304+Eng+No.2.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="278" data-original-width="184" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYYupE2L8xM1r9B1_DTJUfHnnBxtBUz6G7KZCfCy0hBCHVRKwoFUJ5ujWOUZTvvkDxH1M1X8bDg9f2vs7zJrPhbiIKDygDrdF_IKXALiG9kkK7eyF47lE0aCrSBhH9Pr5o6UOBtmO_KNcH/w169-h256/Harry+304+Eng+No.2.jpg" width="169" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: x-small;">Pfc Harry F Singley,<br />304th Eng. AEF</span></i><br /></td></tr></tbody></table> </span></span></div><div><span style="font-size: small;"><span style="font-family: verdana;">Today
is the 104th anniversary of the Armistice, an event nearly forgotten
now, blended as it has been with veterans of all wars. <b>Harry
Singley</b>, 304th Engineers, describes the day in a letter published in the local paper: <br />
</span></span><div style="text-align: right;">
</div><p><span style="font-size: small;"><span style="font-family: verdana;">
<i>"It was on Sept. 26 when the big drive started in the
Argonne Forest and I saw all kinds of things that I never witnessed
before. We started out on the night of the 25th. At 9 o'clock we
commenced a tank road and worked our way almost to the German's front
line trenches. At 2:30 one of the greatest of all barrages was opened.
It was said that between 3500 and 4000 guns, some of them of very large
calibre, went off at that hour just like clock work. We worked on this
road under shell fire until about 3:45 and then went back until the
infantry went over the top at 5 o'clock. We followed with the tanks.
That is the way the Americans started and kept pounding and pushing
ahead until the great day on Nov. 11. ...<br />
<br /></i></span></span><span style="font-size: small;"><span style="font-family: verdana;"><i>It was some life. I am proud that I went through
it, for nobody on the Hill [i.e., Fountain Hill, PA] will have anything on me... I was a little
with sneezing or tear gas. It made me sick but I remained with the
company for I did not like to leave my detachment at any time for if
something would happen, I thought, there would be plenty of help. I
felt much better in a few days. A small piece of shrapnel splinter hit
me below the knee. Otherwise I was lucky. ..."</i></span></span></p><p><span style="font-size: small;"><span style="font-family: verdana;"></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX9ovrYQtwdEGH3aEFjCSSf1BPYAeLP8iQnz2cr08yUIYBz48ypS-2WhinqrqOrP5rs0d1wVjTGwcezsQAJym6zon4xzwm9z_u4ew2Ze71LbbC0n_LqWYy5aR8A1GsNc2C2AWxlnpwQGmg/s2048/1918+Francis+and+James+in+uniform.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1290" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX9ovrYQtwdEGH3aEFjCSSf1BPYAeLP8iQnz2cr08yUIYBz48ypS-2WhinqrqOrP5rs0d1wVjTGwcezsQAJym6zon4xzwm9z_u4ew2Ze71LbbC0n_LqWYy5aR8A1GsNc2C2AWxlnpwQGmg/s320/1918+Francis+and+James+in+uniform.jpg" width="202" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: x-small;">Cadet Flynn (seated) </span><span style="font-size: small;"><span style="font-family: verdana;"><span style="font-size: small;"><span style="font-family: verdana;"><span style="font-size: x-small;">Older </span></span></span></span></span><span style="font-size: x-small;">. </span><br /><span style="font-size: x-small;">brother James was in the Navy</span></i><br /></td></tr></tbody></table><span style="font-size: small;"><span style="font-family: verdana;">#</span></span><p></p><p><span style="font-size: small;"><span style="font-family: verdana;">TOF's
other grandfather, Francis T Flynn (Sr), at eighteen, was in the cadet
corps at Catholic University in Washington DC. As he later recalled,</span></span></p><blockquote class="tr_bq">
<span style="font-size: small;"><span style="font-family: verdana;"><span><i>So
while I was working on this piece-work job [making artillery shells for
the French Army at Ingersoll-Rand], the principal of the high school,
Sr. Felicita, called me on the telephone and told me, she said, "I sent
your credits to Catholic University and you can be admitted without a
College Board or any sort of examination, provided you are voluntarily
inducted. </i></span></span></span></blockquote><span style="font-size: small;"><span style="font-family: verdana;">
</span></span><blockquote class="tr_bq">
<span style="font-size: small;"><span style="font-family: verdana;"><span><i> So this was in the month of June and away I set
sail. I was down at Catholic University then from June until New
Years. ... [W]e were snowed into taking an ME course, because they were
short on officers. They said, "If you take this ME course, you will
get to Camp Meade quicker. The seniors will go first, then the juniors,
then the sophomores, et cetera, y'know. But if you take the mechanical
engineering course, you'll see action quicker than you would if you
took any other course. What I really wanted to take was Philosophy and
Letters and there was only one guy who held out for that... He later
became a monsignor. </i></span></span></span></blockquote><span style="font-size: small;"><span style="font-family: verdana;">
<span>Note that "you'll see action sooner" was regarded</span><span> as an enticement. And also that he was really into
Philosophy and Letters. Then, when the Armistice broke out, his parents
begged him to stay in college. "We'll find the money somehow." But he
thought he was much smarter than they -- unlike 18/19-year olds today --
and took the train back home. It was, he thought later, the biggest
mistake of his life -- except that he married the Girl Next Door
(literally) and produced my father, which from TOF's point of view was
of considerable importance. </span><br />
</span></span><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><span style="font-size: small;"><span style="font-family: verdana;"><img border="0" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLEKjEMkNfEgRUHwatDkNcxd0OY4cH5vzi8JLH6a38h5bXJMWHiaoz5oUIknLAStyPoauNhfyXrwNuef8j39_I_gNFK8L-u7du2jl5IvOAU0Y8YOsPODn7yKDqiqxnmjzvK0yhp9a1QMne/w143-h258/Pere's+Cousin+Tommy.jpg" style="margin-left: auto; margin-right: auto;" width="143" /></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: verdana;"><i>Sgt. Tommy Flynn</i></span></span></td></tr>
</tbody></table><span style="font-size: small;"><span style="font-family: verdana;"><span><span style="font-weight: normal;">###</span></span></span></span><p></p><p><span style="font-size: small;"><span style="font-family: verdana;"><span><span style="font-weight: normal;">Since Armistice Day has become Veterans Day, let's scope out the veterans in
my family and the Marge's include the following. Not all have been
named. </span></span><br />
<br /></span></span></p><h3 style="text-align: left;"><span style="font-size: small;"><span style="font-family: verdana;"></span></span><span style="font-size: medium;"><span style="color: red;"><b><span><span style="font-family: verdana;">The Vietnam War</span></span></b></span></span></h3><p><span style="font-size: small;"><span style="font-family: verdana;"></span></span><b><span style="font-size: small;"><span style="font-family: verdana;">Sgt. Tommy Flynn, </span></span><br /><span style="font-size: small;"><span style="font-family: verdana;"></span></span><span style="font-size: small;"><span style="font-family: verdana;">CAC team Papa Three, USMC</span></span></b></p><span style="font-size: small;"><span style="font-family: verdana;">
</span></span><span style="font-size: small;"><span style="font-family: verdana;">
My father's cousin lived with villagers in the mountains near Cam Lo
just a few miles south of the DMZ, and was severely wounded. He later wrote a book about his
experience, <i>A Voice of Hope</i>. In <a href="http://www.vietvet.org/visit/px/reviewvoiceofhope.htm" target="_blank">a review of this book</a>, <span style="font-weight: normal;">Joni Bour wrote:</span><br />
</span></span><blockquote class="tr_bq">
<span style="font-size: small;"><span style="font-family: verdana;"><span style="font-weight: normal;">"The idea was to somewhat integrate with the
Vietnamese people in order to gain their trust and friendship and
ultimately military intelligence that would help us find the bad guys. It sounds good, and at times
it was probably very good, because the Vietnamese were helped with schools and
sanitation and protection from the Viet Cong. But it was
also an extremely dangerous assignment. CAC soldiers lived near a village and survived mostly
on their own. It was a small compound that was flooded when it rained and was overrun
several times by the Viet Cong. On one such occasion, Mr. Flynn was severely
wounded in the face, neck and thigh. He spent weeks in several hospitals and then
a hospital ship with his jaw wired shut, before being mistakenly sent back to the
war. He was given a choice; he could work in the rear or go back to his CAC squad.
He was either a little nuts, or little bit more brave than most of us,
because he chose to return to his squad.</span></span></span></blockquote><span style="font-size: small;"><span style="font-family: verdana;">
### <br />
</span></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-left: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><span style="font-size: small;"><span style="font-family: verdana;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg19HrFBvkmCAJijM3I9vikD4PUEnBdmcj6aqsEnFbJu0bOvUl8hbIZwmBUmVo16j5RGEKeF9lX342Gifs6e15oILnBXTnoSZDQ4SipCFeWY4WjrUWEekyjwbQdh2tzdmBWYtiooreJMaOk/s1600/5.+Young+Joe.PNG" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg19HrFBvkmCAJijM3I9vikD4PUEnBdmcj6aqsEnFbJu0bOvUl8hbIZwmBUmVo16j5RGEKeF9lX342Gifs6e15oILnBXTnoSZDQ4SipCFeWY4WjrUWEekyjwbQdh2tzdmBWYtiooreJMaOk/s320/5.+Young+Joe.PNG" width="227" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: verdana;"><i>Joe Flynn was discharged as corporal</i></span></span></td></tr>
</tbody></table><h3 style="text-align: left;"><span style="font-size: medium;"><span style="color: red;"><span><span style="font-family: verdana;"><b>World War II</b></span></span></span></span></h3><span style="font-size: small;"><span style="font-family: verdana;"></span></span><span style="font-size: small;"><span style="font-family: verdana;"><b>Pfc. Joseph Flynn</b>, </span></span><br /><span style="font-size: small;"><span style="font-family: verdana;"></span></span><b><span style="font-size: small;"><span style="font-family: verdana;">5th Eng. Btn., 5th Marine Division, USMC</span></span></b><p><span style="font-size: small;"><span style="font-family: verdana;">
My father served on <b><a href="https://www.youtube.com/watch?v=x5kCqvsO_7c" target="_blank">Iwo Jima</a></b> and in the Japanese Occupation. The photo
on the left is the only time he ever wore dress blues. It was actually a false-front "uniform" used only for the picture. <br />
<br />On Iwo Jima, he went in with the first wave along with his captain.
He was to establish battalion liaison and take the word back to his
unit. </span></span></p><p><span style="font-size: small;"><span style="font-family: verdana;">During the fighting, he had a number of close shaves. In one case,</span></span><span style="font-size: small;"><span style="font-family: verdana;"> a
Japanese shell hit right in front of
him while he was bringing anti-tank grenades from the dump to the front,
and the explosion lifted him up and sent him hurtling through the air
to land on his back. He was totally numb and deaf and thought he was
paralyzed. But gradually feeling and hearing returned and when he
checked himself, he had not gotten so much as a scratch. He ought to
have gotten a Purple Heart, but this was Iwo Jima, and you had to bleed
to get such a medal. </span></span><span style="font-size: small;"><span style="font-family: verdana;"><br /></span></span></p><span style="font-size: small;"><span style="font-family: verdana;">
He
remembers, too, the moment they unfurled that flag atop Suribachi, from
the heights of which Japanese snipers had been shooting them in the
back as they pushed north.
There had been a smaller flag earlier, but the commanding general
ordered a larger one that could be seen from every point on the island.
The impact of that flag on morale was incalculable, he said. <br />
<br />
During the Occupation, he had the dubious privilege of walking through the middle of Nagasaki not long after it was nuked. <br />
<br />Afterward,
on two occasions, he was offered the opportunity to be brevetted to
officer and sent to OCS. This was because of the initiative he had shown
on several occasions during the battle. However, he was anxious to
return home and get on with the urgent business of becoming my father
before my mother (a/k/a the Sweetheart of the Seventh Fleet) could be
tracked down by the aforesaid admirers of her morale-boosting snapshot. <br />
###<br />
</span></span><h3>
<span style="font-size: small;"><span style="font-family: verdana;"><b><span style="color: red;"><span style="font-size: medium;">The Great War</span></span><br />Pfc. Harry Singley, </b><br />304th Eng., 72nd "Rainbow" Div., AEF</span></span></h3><span style="font-size: small;"><span style="font-family: verdana;"></span></span><span style="font-size: small;"><span style="font-family: verdana;"><span>My
grandfather on my mother's side went "Over There" and served in the <a href="https://www.youtube.com/watch?v=921z4LAHvak" target="_blank"><b>St. Mihel, Meuse-Argonne Offensive</b>.</a>
This was the offensive in which the famous Lost Battalion was cut off
and surrounded. His narrative appears at the beginning of this post. He
was a
combat engineer, which means he had to build things in the middle of
battle. The Great War was the first "industrial strength" war and nobody
at the time thought it was the first of a series. They thought it was
the "War to End All Wars," so there was still a touch of innocence and
idealism about
the whole endeavor. None of us grandkids ever heard him talk
about his experiences. Like most of the Silent Generation, he was
markedly silent on the whole thing. <br />
</span><br /></span></span><span style="font-size: small;"><span style="font-family: verdana;"></span></span><span style="font-size: small;"><span style="font-family: verdana;"><span>###</span><br />
</span></span><br />
</div><span style="font-size: small;"><span style="font-family: verdana;"><span>Earlier
military engagements in TOF's family don't count. Great grandfather, <b>Fernand E. O. Cantrel</b> served </span>as a 2nd Cannon Conductor in the 12th Regt. of Artillery, Tonkin Gulf Expedition, 1884, which participated in the <a href="https://en.wikipedia.org/wiki/B%E1%BA%AFc_Ninh_Campaign" target="_blank">Bac Ninh campaign</a> in the First Brigade (de l'Isle) and the <a href="https://en.wikipedia.org/wiki/L%E1%BA%A1ng_S%C6%A1n_Campaign" target="_blank">Lang Son and Tuyen Quang campaigns</a>
in the Second Brigade (de Négrier). It's possible other Flynncestors
participated in the odd Fenian rising or so in Ireland, or in the <a href="https://www.youtube.com/watch?v=IBoa_Pj1DTA" target="_blank">1848 republican revolution</a> in Germany or the earlier resistance to French invasions. </span></span><span style="font-size: small;"><span style="font-family: verdana;"><span><a href="https://www.youtube.com/watch?v=n-y2ox2HPnc" target="_blank">Cromwell's Council</a> issued an order to apprehend the person of
<b>Fiachra O'Flynn</b> in 1648, describing him as armed and dangerous. But none of these qualify for US Veterans Day.</span></span></span><span style="font-size: small;"></span><div><span style="font-size: small;"><span style="font-family: verdana;">
<br />
<span>The Flynns arrived in the US after the
Civil War and while the Singleys and Schwars arrived a decade earlier, none of them were in it, so far as I know. </span>
<span>Nor
do we know of anyone involved in the Indian or Spanish-American Wars,
so, at this time we turn to the maternal ancestry of the Incomparable
Marge!</span><br />
</span></span><h3>
<span style="font-size: small;"><span style="font-family: verdana;"><span style="color: red;"><span style="font-size: medium;">US Civil War</span></span><br />Pvt. John H. Hammontree, <br />Co. H, 5th Tenn. Inf., US Vol. </span></span></h3><span style="font-size: small;"><span style="font-family: verdana;">
</span></span><div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><span style="font-size: small;"><span style="font-family: verdana;"><a href="http://www.mkwe.com/ohio/images/cumbgap6.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEiBrEXtgvlf3nh8aZCkF8gZKUdpA45i3mS5isScYG50VkJE0mHqN3QTJcfl8k-L9i_NSa6NqbX-9Dsanb47GwprVvU0bxQ7JAXgb_MLe4mhiGlmpmBfDHuFjN0o5qWfPUcX-qrvmhQ71ShsekQ=s0-d" width="320" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span>Evacuation of Cumberland Gap</span></span></span></span></td></tr>
</tbody></table>
<span style="font-size: small;"><span style="font-family: verdana;"><span>The
great-great grandfather of the
Incomparable Marge joined the Union Army when Confederates come into
East Tennessee and told the fellas there 'you boys better be a-wearing
gray come morning' or y'all be hanged.' Well, them hill people didn't cotton to
that at-all, and so they lit out that night acrosst the mountains to
sign up with Buell's army of the Ohio. Nine Hammontree cousins signed up for
the same company, as was common in those days. <br /></span></span></span></div><span style="font-size: small;"><span style="font-family: verdana;">
<span>
</span>
<br />
</span></span><span style="font-size: small;"><span style="font-family: verdana;">
<span>
</span>
</span></span><div>
<span style="font-size: small;"><span style="font-family: verdana;"><span>
John fought in the Campaigns of Cumberland Gap, Stones River, Chattanooga, Knoxville, and <b><a href="https://www.youtube.com/watch?v=AAFEWL0-1sc" target="_blank">Atlanta</a></b>.
He was shot in the left leg during the attack on Confederate positions
at Resaca. He seems to have been returned to duty in time for the
Nashville Campaign. After the war, he died of complications stemming
from his wound. </span></span></span><br /></div><span style="font-size: small;"><span style="font-family: verdana;">
</span></span><div>
<h3>
<span style="font-size: small;"><span style="font-family: verdana;"><span style="color: red;"><span style="font-size: medium;">Creek War (War of 1812)</span></span><br />Pvt. James Hammontree, <br />Capt. Duncan's Co. of Col. Bunch's Regiment (2nd Regt., East Tennessee Militia).</span></span></h3>
</div><span style="font-size: small;"><span style="font-family: verdana;"></span></span><span style="font-size: small;"><span style="font-family: verdana;"><span>Margie's grandfather's </span></span></span><span style="font-size: small;"><span style="font-family: verdana;"><span><span style="font-size: small;"><span style="font-family: verdana;"><span>grandfather's </span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: verdana;"><span><span style="font-size: small;"><span style="font-family: verdana;"><span><span style="font-size: small;"><span style="font-family: verdana;"><span>grandfather</span></span></span></span></span></span> fought at the <b><a href="https://www.youtube.com/watch?v=9aB2PkGZhsk" target="_blank">Battle of Horseshoe Bend</a></b> under Gen. Andrew Jackson in the Creek (Red Stick) War. This was
subsumed into the War of 1812.<br />
<br />
Andrew Jackson's official report of the Battle of Horseshoe Bend (27 March 1814) <a href="http://www.tennessee.gov/tsla/history/military/1812reg.htm">mentions</a>
that "a few companies" of Colonel Bunch were part of the right line of
the American forces at this engagement. The
muster rolls list some casualties from this battle in the companies led
by Captains Moses Davis, <i>Joseph Duncan</i>, and John Houk. Other men
from this regiment remained at Fort Williams prior to Horseshoe Bend to
guard the post -- provision returns indicate that there were 283 men
from Bunch's regiment at the fort at the time of the battle. James' brother <b>William </b>was also at the battle, and his brother <b>Jacob </b>had
been in a previous militia regiment. There were a variety of more
distant Hammontrees in other theaters of the war. </span><br />
<span><br />Later,
when James had died, his widow Nancy had a heck of a time trying to
collect the pension that was owed her. Bureaucracy is not new.</span><br />
</span></span><h3>
<span style="font-size: small;"><span style="font-family: verdana;"><span style="color: red;"><span style="font-size: medium;">The Revolution</span></span><br />Pvt. John Hammontree, <br />Capt. John Mountjoy's Co. of Foot, 10th Virginia, Continental Line.</span></span></h3><span style="font-size: small;"><span style="font-family: verdana;">
</span></span><h3>
</h3><span style="font-size: small;"><span style="font-family: verdana;">
<a href="http://www.archives.gov/education/lessons/revolution-images/images/valley-forge.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhYgaym9m95wYWaIdOs2mh8QBW0chkaj4oKo77AJJMuEOO0EaGNpZUB_6UZrPXzDDGPiJFJlCBsOItaXHabZ0DYc90qWcS43pySKnhQFqsLYXo9Cz5kq-UeZjscFYoqWFfGnwN5EAffuRnWceWospoCYeG6TVwofIE-FMoKFeQNMub6ZPNTxqgFuuN7FlsoZKAeMgg=s0-d" width="320" /></a><span>James Hammontree's great uncle John enlisted in the 10th Virginia at an
unknown date and may have seen action with the 10th at Brandywine
and Germantown before entering winter quarters at <b><a href="https://www.youtube.com/watch?v=dP_1V158QX0" target="_blank">Valley Forge</a></b>. In
January 1778, he was reported "sick in camp" and he died there on 24 Feb
1778. </span><span></span><br />
</span></span><h3>
<span style="font-size: small;"><span style="font-family: verdana;">
Pvt. Harris[on] Hammontree, <br />Capt. Wm. Cunningham's Co. of Foot, 1st Virginia, Continental Line.</span></span></h3><span style="font-size: small;"><span style="font-family: verdana;">
</span></span><h3>
<span style="font-size: small;"><span style="font-family: verdana;"><span> </span></span></span></h3><span style="font-size: small;"><span style="font-family: verdana;">
<span>The 1st Virginia has <a href="http://en.wikipedia.org/wiki/1st_Virginia_Regiment">a long ancestry</a>, and exists today as the 276th Eng. Battalion of the Virginia National Guard. John Hammontree's younger brother <b>Harris Hammontree </b>enlisted
in the 1st Virginia on Feb. 12, 1778, <i>after </i>the regiment had gone into
encampment at Valley Forge. In April and June he was reported as
"sick," but unlike his older brother, he survived. He likely
participated in the battle of Monmouth in June 1778 after Baron von Steuben had trained them. Most of the
regiment was captured by the British at Charlestown, South Carolina, on
May 12, 1780, but Harris may not have been with the
regiment at that point. He was killed by Indians on the Virginia frontier, 25 July 1781.</span></span></span></div><p><span style="font-size: small;"><span style="font-family: verdana;"><span>### </span></span></span></p><p><span style="font-size: small;"><span style="font-family: verdana;"><span> </span><br />
<br />
</span></span></p><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: verdana;"><span></span></span></span></div><br />TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com0tag:blogger.com,1999:blog-447603865959500290.post-54155332010815542932022-10-25T20:19:00.000-04:002022-10-25T20:19:54.960-04:00Opening Passages VI: Moonrise at the Tatamy Book Barn<p> <span style="font-size: small;">This completed alternate fiction was rejected bt <i>Analog</i>, but since the main characters had their different lives in other <span style="font-family: "Times New Roman", serif;"><i>Analog </i>yarns, it's hard to see where else it may find a home. The Book Barn in question existed years ago, but eventually went under. Its collection became the Quadrant Used Book store in downtown Easton, PA. The old building in Tatamy, repurposed, still exists.<br /></span></span></p><p><b><span style="font-family: "Times New Roman",serif; font-size: 20.0pt; mso-bidi-font-size: 7.0pt;"><span> </span><span> </span><span> </span><span> </span>Moonrise
at the Tatamy Book Barn</span></b>
</p><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: center; text-indent: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt; mso-bidi-font-size: 10.0pt;">by Michael F. Flynn</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-indent: 0in;"> </p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: center;"><i><span style="mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Some books are to be tasted, others to be
swallowed, <br />
and some few to be chewed and digested<u>.</u></span></i></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: center;"><span style="mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span style="mso-spacerun: yes;"> </span>– Francis
Bacon, <i>Studies</i><u>.</u></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">The waving
branches and fluttering leaves created moiré patterns across the hiking trail beside
the creek. The late afternoon heavens were still pale blue, studded with high
popcorn clouds, but the restless foliage prophesied stormier weather coming.
The westerlies chivvied glowering black cumulus ahead of them, and the
fishermen, gauging the sky, had abandoned the creek in a splashing of waders.
It was a matter of luck, the locals said, whether storms would roll down the valley
between Kittatinny Ridge and South Mountain. </p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">But Cindy did
not believe in luck, or at least not in the sort of luck that you didn’t make
for yourself. Rain clouds drive out sunshine like bad money drives out good. She
had a meal in her belly and some money in her pocket, thanks in large measure
to a diner willing to accept hard work in lieu of hard cash, but she really
ought to give some thought to shelter for the night. A bedroll and camping gear
perched atop her backpack but there had been nothing resembling a campground since
leaving that diner.</p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">She enjoyed
nights under the stars. As a child, she had dreamt of being an astronaut, and
the night sky possessed for her a wistful allure. But the stars tonight seemed destined
to cower behind sullen clouds and she was less eager to sleep under driving
rain. </p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Thunder
rumbled in the west like God clearing his throat. </p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Cindy exited
the tree-shrouded trail to find herself facing a paved road. To the right, the
road skipped over the creek on a brief concrete bridge to join the state
highway. To the left, it curved north and out of sight. It didn’t look like
there would be much in the way of accommodations either way. The fleshpots of
Xanadu might be just around that bend, but she harbored doubts. </p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">That left the
big stone-and-wood building directly across the road. A large board sign above
the entrance proclaimed it the <b style="mso-bidi-font-weight: normal;">Tatamy
Book Barn:</b> <i>Old and Used Books</i>. In the parking lot three cars and a
pick-up truck, also old and used, suggested that the building remained open. </p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">God dumped a
truckload of scrap metal on the sky, which turned bright brass for an instant,
and that made up her mind. Cindy hitched up her backpack and strode confidently
toward the entrance – just as the heavens let loose. </p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Stride became
run, but she was drenched before she reached the door. She ducked through and
backed against it, as if the tempest would try to force its way after her. The
woman behind the counter looked up at this sudden eruption, took in Cindy and
her sodden appearance, and cocked a rueful smile. “Come in,” she said, “I’ll
give you shelter from the storm.” </p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><span style="font-size: x-small;"> (c) 2022. Michael F. Flynn</span><br /></p>
<p></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com1tag:blogger.com,1999:blog-447603865959500290.post-32342267737718954022022-10-21T18:10:00.015-04:002022-10-21T18:31:15.461-04:00Opening Passages V: <p><span style="font-size: medium;">This opening os for a fact article, essentially done, but being rewritten, </span><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"> <span style="font-size: large;"><b>Adventures in Mythistory</b></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><b>by Michael F. Flynn </b><br /></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt;"><span style="font-size: medium;"><i>“We need
to share truths with one another, and not just truths about atoms, stars, and
molecules, but about human relations and the people around us.”</i></span></p>
<p align="right" class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: right;"><span style="font-size: medium;">-- William M. MacNeill, “Mythistory”</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: medium;">While rightly decrying junk science in his
Alternative View, John Cramer repeated junk history when he mentioned “the Flat
Earth consensus that existed before the voyages of Columbus and Magellan”
(Cramer, 2015:61). No such consensus existed (Consolmagno, 2016:267-8). The standard
medieval astronomy text was Sacrobosco’s <i>“On the sphere of the world.”</i>
Thomas Aquinas took the world’s sphericity for granted (<u>Sum. theo.</u> 1.1.1
adv. 2); and it was central to the medieval science fiction classic, <i>The
Travels of Sir John Mandeville.</i> In the latter, “Sir John” <span>sets
forth to discover new life and new civilizations, encountering alien beings
like blemyae,<a href="#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 200%;">[i]</span></span></span></span></a> and
in hard SF <u>Analog</u> fashion, uses an astrolabe to show how the changing inclination
of the pole star at different locales demonstrates the Earth’s sphericity: </span></span></p>
<p class="MsoNormal" style="line-height: normal; margin: 0in 0in 6pt 0.5in; text-align: left; text-indent: 0in;"><span style="font-size: medium;"><i><span>“So I say truly that a man could go all round the
world, above and below, and return to his own country, provided he had his
health, good company, and a ship.”</span></i><span> (Mandeville 1983:128). </span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt;"><span style="font-size: medium;">Yet t<span>he
flat earth myth, </span>concocted by Washington Irving for his fictionalized
biography of Columbus, persists in popular culture. Like all myth, it serves to
“reinforce the values and attitudes of the community, offer satisfying
explanations of the major features of the world as experienced by the
community, and legitimate the current social structure” (Lindberg 2007: 7-10). That
is, the purpose of myth is satisfaction, not journalism. We are smart, the
story assures us, and our ancestors were stoopid. </span></p><span style="font-size: medium;">
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</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><span style="font-size: medium;">Mythmaking
may be deliberate. Mussolini concocted a mythistory of a resurrected Roman
Empire. Defeated Confederates conjured the Lost Cause; defeated Germans, the
Stab in the Back. Triumphant Tudors demonized Richard III. And after Kennedy’s
death, his administration became the mythic “Camelot.” </span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><span style="font-size: medium;">But myth can
also be unintentional, caused by losing context over time, sanding off details,
reifying abstractions, or fusing characters. The “Children’s Crusade” is an
example. (<span style="color: black; font-family: "Times",serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Dickson. 2008) </span>This erosion can
require as much as three centuries before real events become grand narratives (Vansina
1985: 23-24). Thus, in common culture, certain events of the 1600s had become by
the 1900s Foundation Myths for the Modern Ages: The complexities of
Massachusetts Bay coalesced into <i>The First Thanksgiving</i>; those of
Jamestown, into <i>Pocahontas</i>. Galileo became <i>The Martyr for Science</i>.
Newton had an <i>Annus Mirabilis</i>. </span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><span style="font-size: medium;">Myth presents
Types: valiant hero, brave traitor, cowardly traitor, old fogey scientist,
iconoclastic young scientist, and so forth. Each comes on stage to strike
characteristic poses and perform iconic deeds. Early SF was replete with such fables.
</span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><span style="font-size: medium;">But to write <u>realistic</u>
SF, we need characters with motives and purposes. Motives drive a character
forward and may be unclear, even to the character. The author may unveil these
motives by selectively revealing a backstory (e.g., Dickens, <i>A Christmas
Carol)</i>. Purposes, on the other hand, pull the character forward and are
generally explicit in the plot.<a href="#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 200%;">[i]</span></span></span></span></a></span>
</p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><span style="font-size: medium;">To do this, we
need to know how people really behave, not how we want them to behave to
advance the plot. History, biography, and direct observation help. But
historical facts, the subject of this article, are prone to mythologizing. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"> </p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .2in; mso-para-margin-bottom: 1.2gd;"><span style="color: black; font-family: "Times",serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">6. Consolmagno, Guy.
2016. “Medieval Cosmology and World Building,” in <u>Medieval Science Fiction,</u>
ed. Carl Kears & James Paz (King’s College London).</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .2in; mso-para-margin-bottom: 1.2gd;"><span style="mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">7. Cramer, John. 2015. “The Retarding of Science,”
(Analog, Oct. 2015)\</span></p>
<p class="MsoListParagraph" style="line-height: normal; margin-bottom: .2in; mso-add-space: auto; mso-add-space: auto; mso-list: l1 level1 lfo2; mso-para-margin-bottom: 1.2gd; tab-stops: .5in; text-indent: -.25in;"><span style="color: black; font-family: "Times",serif; mso-fareast-font-family: Times; mso-fareast-language: EN-US;"><span style="mso-list: Ignore;">8<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="color: black; font-family: "Times",serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">8. Dickson, Gary. 2008. <i>The Children's Crusade: Medieval History, Modern
Mythistory</i> (Palgrave Macmillan; 2008 edition (November 8, 2007)</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .2in; mso-para-margin-bottom: 1.2gd;"><span style="mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">16. </span>Lindberg, David C. 2007. <u>The
Beginnings of Western Science: The European Scientific Tradition in
Philosophical, Religious. and Institutional Context, Prehistory to A.D. 1450</u>,
2nd ed. (Univ. of Chicago Press)<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .2in; mso-para-margin-bottom: 1.2gd;">17. <span style="mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Mandeville, John. 2014. <u><span style="mso-bidi-font-style: italic;">The Travels of Sir John Mandeville</span>,</u> trans. C.W.R.D.</span> <span style="mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Moseley
(Harmondsworth: Penguin)</span> On line: http://www.gutenberg.org/files/782/782-h/782-htm.</p>
<p class="MsoListParagraph" style="line-height: normal; margin-bottom: .2in; mso-add-space: auto; mso-add-space: auto; mso-list: l0 level1 lfo1; mso-para-margin-bottom: 1.2gd; tab-stops: .5in; text-indent: -.25in;"><span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">23.<span style="font: 7.0pt "Times New Roman";"> </span></span></span>23. Vansina,
Jan. 1985. <u>Oral Tradition as History</u>. (University of Wisconsin Press) </p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; tab-stops: .5in;"> </p>
<div style="mso-element: endnote-list;"><br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="edn1" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: medium;"><a href="#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 200%;">[i]</span></span></span></span></a> <i><b>blemyae</b></i>:
Headless men whose faces are on their torsos. <br /></span></p><p class="MsoEndnoteText"><a href="https://www.blogger.com/#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">[i]</span></span></span></span></a> <span style="font-size: medium;"><a href="#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 200%;"></span></span></span></span></a></span><b>motive/purpose.</b>
You may recognize Aristotles two causes of becoming: efficient cause and final
cause.</p>
</div>
</div>
<p></p><div><hr align="left" size="1" width="33%" /><div id="edn1">
<p class="MsoEndnoteText"><br /></p><p class="MsoEndnoteText"><span style="font-size: medium;"> </span></p><p class="MsoEndnoteText"><span style="font-size: medium;"><span style="font-size: x-small;">(c)2022 Michael F. Flynn </span><br /></span></p>
</div>
</div>
<p></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com0tag:blogger.com,1999:blog-447603865959500290.post-37107307376964564992022-10-19T15:06:00.004-04:002022-10-19T15:06:33.677-04:00Opening Passages IV: Hunter's Moon<p>This is the beginning of a short story. I know whodunnit and how. I just don't know how Mickey figures it out. <!--[if gte mso 9]><xml>
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Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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</p><h2 style="text-align: center; text-indent: 0in;"><span style="font-family: "Times New Roman",serif;">Hunter’s
Moon<span style="font-size: small;"><br />by Michael F Flynn </span><br /></span></h2>
<p></p><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">As nearly
as anyone could reconstruct matters afterward, it happened like this.</p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><i>Zdravko
Sirajov was standing on the peak of Mt. Hadley watching the </i>Meteors
Nouvelle<i>. It was the best seat, if he had been sitting and, as it turned
out, would have been better for him if he had been. The view was stunning – over
100 klicks in every direction. You could gaze northwest across Putrid Marsh all
the way to the rimwall of Great Archimedes and eastward across the lesser Apennines
to the broad plains of Serenity. But the little group had come up to look at
Earth, not their own neighborhood. </i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><i>Detlef
Streicher stood in front of Sirajov, but a little below the crest so as not to block
Sirajov’s view of the Earth. Maria Pereira, a bone of contention between the
two men, remained behind on the Moon buggy with Klement Chou, the driver, while
Pete Hendaye had placed himself off to the side, as if to detach himself from
the whole business. </i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><i>Streicher and
Sirajov had been sniffing around Maria almost from the time she had made her
“one small step” and learned of the severe sexual imbalance in the Moon. Each
man had schemed after ways to be alone with her or at least to exclude the
other and had come to blows over the matter on two earlier occasions. It was
hard to say to what extent Maria was oblivious to the struggle around her and
to what extent she may have encouraged it.</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><i>Earth was
in half phase that day, and its night side blinked with fireflies as the rubble
of the asteroid burned up in her atmosphere. Everyone oohed and aahed as they
always do when watching meteor showers, even from the other side of the sky;
though Klement griped to Maria that the previous year had been more
spectacular. </i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><i>Below
them, at the foot of the mountain, nestled the tidy settlement of Falcon’s
Landing and Pete remembered afterward thinking how much more comfortable it
would have been to watch on the big screen from inside the dome. Or not watch
at all. He thought the whole thing was a big bore. </i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><i>Sirajov
had grown tired of the display and had turned to go down the backside of the
hill, likely to sit beside Maria on the buggy, but Streicher checked his
chronometer and said, “Wait, the best part is coming.”</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><i>“It better
be a damn sight more spectacular than up to now.”</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><i>It was. </i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><i>Something
hard and fast smashed Sirajov’s polycarbonate faceplate and opened the oxygen
regenerator behind his head with an exit hole like a blossoming flower. Blood
and brains splashed out in a flash-frozen mist. </i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><i>Maria
screamed all the way down to Falcon’s Landing.</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><i>#</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><span style="font-size: x-small;"> (c) 2022. Michael F Flynn</span><br /></p>
<p></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com1tag:blogger.com,1999:blog-447603865959500290.post-42473067380028480412022-10-17T20:29:00.001-04:002022-10-17T20:29:11.377-04:00Opening Passages III: The Chieftain<p><i> This is the opening chapter of a novel TOF started writing in a night class he took from John Dunning, lo, these many years ago. It is sorta kinda complete, but it sucks. A few years ago, TOF conceived of rewriting it as a magical fantasy, but with the magic understated.</i><br /></p><p> </p><p> </p><p></p><p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-indent: 0in;"></p><blockquote><i>Uair
robo tarisi le macaib Ruaidri a n-airecht fein arna cuired do cech oen fo leth
dib-sin, acht mad Cormac mac Tomaltaig Meic Di<span style="font-size: small;">armata & </span>Dauith O Flainn
& a aes grada archena.</i></blockquote><p></p>
<p align="right" class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: right;"><span style="mso-spacerun: yes;"> </span>– Annála Connaught,
1225</p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-indent: 0in;"><span style="font-size: 9.0pt;"></span></p><blockquote><p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-indent: 0in;"><span style="font-size: small;"><span>The sons of Ruaidri felt confidence in their own
lieges, having been asked to come into the country by each one separately,
except Cormac son of Tomaltach Mac Diarmata with Dauid O Flainn and the rest of
his officers.</span></span></p><span style="font-size: small;"><span><span> </span></span></span></blockquote><p align="right" class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: right; text-indent: 0in;"><span style="font-size: small;"><span><span></span>– Annals of Connaught,
1225</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"> </p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-indent: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 18.0pt;">Prologue:
Knockmoy</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Death was in
the room; but Death was patient.<span style="mso-spacerun: yes;"> </span>Such
was his cruelty.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Garbed in the
gray robes of a monk, Cathal of the Red Hand O Conner, king in Connaught, lay on a pallet of down-filled cushions and
moaned.<span style="mso-spacerun: yes;"> </span>Hands limp; bones protruding
like rocks from the weathered earth; sweat glistening pond-like on skin; red-rimmed
eyes filled with rheum that trickled down sunken cheeks.<span style="mso-spacerun: yes;"> </span>There was a smell in the air: one part each
of sweat, urine, wine, the burnt odor of rushes in their sconces, the incense
the monk sprinkled on his brazier, the heavy, pungent beeswax of the votive
candles.<span style="mso-spacerun: yes;"> </span>There were sounds in the
air:<span style="mso-spacerun: yes;"> </span>the barking of dogs outside in the
courtyard, the murmuring of the monk at prayer, the harsh, labored breathing of
the dying man.<span style="mso-spacerun: yes;"> </span>Cathal’s head moved to
the side and a moan passed his lips, low and barely audible.<span style="mso-spacerun: yes;"> </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><span></span></p><a name='more'></a>Felim O
Conner, watching his father die with as much detachment as he could muster,
thought, <i>Dear God, spare him any more of this.</i><span style="mso-spacerun: yes;"> </span>The monk wet a kerchief in the water bucket
and spread it across the king’s forehead, his lips moving in constant prayer.<span style="mso-spacerun: yes;"> </span>Felim could feel the force of it, feel the
grace the holy man called down into the small, hot room.<span style="mso-spacerun: yes;"> </span>It was cool, like a spring breeze.<span style="mso-spacerun: yes;"> </span>Was the monk praying for life or for release,
he wondered?<span style="mso-spacerun: yes;"> </span>Were they engaged, he and
the monk, in a sort of spiritual tug-of-war that kept Cathal paused uncertainly
on the borderland of death?<span style="mso-spacerun: yes;"> </span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Felim searched
his memories for the strong, smooth-muscled man who had tossed him terrified
and laughing into the air, to catch him and embrace him in arms like oaken
beams.<span style="mso-spacerun: yes;"> </span><u>Trust me</u>, his father’s
ghost proclaimed through pale, frozen lips.<span style="mso-spacerun: yes;">
</span><i>In my arms, you will always be safe.</i><span style="mso-spacerun: yes;"> </span>Felim listened for some echo in his heart of
those lost days; but it was too many years, and he found only sadness at the
long passing of a man who in all important ways had died already.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">He cast a
covert glance at his brother, Hugh, who stood rigidly at the foot of the bed
tugging constantly on his lower lip.<span style="mso-spacerun: yes;">
</span>There was a need to break the silence of dying.<span style="mso-spacerun: yes;"> </span>“What news of Turlough?” he said.</p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Hugh started
and his face set into its wonted petulance. “Cormac will tell us.<span style="mso-spacerun: yes;"> </span>I’ve sent for him.” </p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Felim
grunted.<span style="mso-spacerun: yes;"> </span>And what could Cormac hope to
learn that was not already plain to see?<span style="mso-spacerun: yes;">
</span>“How many chiefs can we number?”<span style="mso-spacerun: yes;">
</span>There was a hidden meaning there, a text beneath the text.<span style="mso-spacerun: yes;"> </span><i>How many chiefs have you already turned
against us?</i><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">But Hugh was
deaf to subtexts.<span style="mso-spacerun: yes;"> </span>He turned back to the
deathbed.<span style="mso-spacerun: yes;"> </span>“Turlough will not take the
High Seat from me.<span style="mso-spacerun: yes;"> </span>If his own father did
not give him the white rod when he had the choice, by what right would he take
it from me?”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"><u>By right
of arms...</u><span style="mso-spacerun: yes;"> </span>But Felim did not voice
the thought.<span style="mso-spacerun: yes;"> </span><i>When Cathal dies, every
clan chief west of the Shannon will fly to the sword</i>.<span style="mso-spacerun: yes;"> </span>He paced the room.<span style="mso-spacerun: yes;"> </span>It felt good to move around, as if the motion
implied a destination.<span style="mso-spacerun: yes;"> </span>He wondered if he
should pray for his father’s death.<span style="mso-spacerun: yes;"> </span>“He
is taking a long time of it.”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Hugh looked
back sharply.<span style="mso-spacerun: yes;"> </span>“Who?<span style="mso-spacerun: yes;"> </span>Cormac arriving or father departing?”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Felim did not
answer.<span style="mso-spacerun: yes;"> </span>His restlessness brought him
once more to the bedside, where he gazed again at his father.<span style="mso-spacerun: yes;"> </span>Torchlight danced in vacant eyes.<span style="mso-spacerun: yes;"> </span>In Cathal’s gaunt, wasted face he could see
Hugh.<span style="mso-spacerun: yes;"> </span>Fat, foolish Hugh.<span style="mso-spacerun: yes;"> </span>Soon-to-be king Hugh.<span style="mso-spacerun: yes;"> </span>With the Foreigners castled at Athlone, Connaught needed no fool for her king.<span style="mso-spacerun: yes;"> </span><i>Why, father?<span style="mso-spacerun: yes;"> </span>Why him, and not me? </i><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">No response
came that he could hear.<span style="mso-spacerun: yes;"> </span>He did not have
the grace for it.<span style="mso-spacerun: yes;"> </span>“Turlough does have a
claim,” he said.<span style="mso-spacerun: yes;"> </span>Goading Hugh was one of
the few pleasures left him.<span style="mso-spacerun: yes;"> </span>“Himself
being the material-of-a-king.”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Hugh answered
through lips white from the pressure of them.<span style="mso-spacerun: yes;">
</span>“Turlough’s father chose his brother...”<span style="mso-spacerun: yes;">
</span>He dipped his head toward the figure on the cushions.<span style="mso-spacerun: yes;"> </span>With love?<span style="mso-spacerun: yes;">
</span>With impatience?<span style="mso-spacerun: yes;"> </span>“...and Cathal
chose me.”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">And so,
Rory’s only wise act and Cathal’s only foolish one lay in their choice of
successor.<span style="mso-spacerun: yes;"> </span>There was an irony in that, a
symmetry of the sort that delighted schoolmen; as if the entire world were a
syllogism and events were fashioned to balance and play off one another.<span style="mso-spacerun: yes;"> </span>Yet, if the world was a puzzle, it was not
one to which Felim had found the key.<span style="mso-spacerun: yes;">
</span>God had a plan, the monks said.<span style="mso-spacerun: yes;">
</span>But precious secret He kept it.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Outside the
chamber, dogs gave tongue and Felim heard the thud of spear shafts striking the
planking of the floor.<span style="mso-spacerun: yes;"> </span>A gilly opened
the door and tugged his forelock, “Begging your honors’ pardon, but The McDermott
is come.”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Felim and
Hugh exchanged glances.<span style="mso-spacerun: yes;"> </span>Even the monk
looked up from his vigil.<span style="mso-spacerun: yes;"> </span>“Send him in,”
Hugh said.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">The door
swung wide and the torches danced in the sudden rush of air.<span style="mso-spacerun: yes;"> </span>A brawny, sandy-haired man entered, his face
flushed from the wind of his riding, and his cloak dusty with the miles behind
him.<span style="mso-spacerun: yes;"> </span>He took in the room at a glance and
strode to the deathbed.<span style="mso-spacerun: yes;"> </span>A bonnaught
closed the door, shutting them all in together.<span style="mso-spacerun: yes;">
</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">“Is he still
with us?”<span style="mso-spacerun: yes;"> </span>Cormac asked.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">“A matter of
opinion,” Felim answered.<span style="mso-spacerun: yes;"> </span>“One foot in
heaven, the other lingering in the clay.<span style="mso-spacerun: yes;">
</span>It will be God’s mercy when he dies.”<span style="mso-spacerun: yes;">
</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Cormac
nodded, silent.<span style="mso-spacerun: yes;"> </span>A man sparing with
words, Felim thought, until the drink had loosened his tongue; brave in battle;
dogged, if not too clever.<span style="mso-spacerun: yes;"> </span>But then Ireland
abounded in men who were clever, or thought they were, and Felim prized the
ones who were not.<span style="mso-spacerun: yes;"> </span>Cormac struck a pose:
arms crossed and legs akimbo.<span style="mso-spacerun: yes;"> </span>“I received
your message at the Rock and came straight off,” he said to Hugh.<span style="mso-spacerun: yes;"> </span>The McDermott held Moylurg and the Plain and
was nearly a king himself.<span style="mso-spacerun: yes;"> </span>He marshaled
the Host of Connaught, whichever O Conner held the White Rod, serving from
conviction, tradition and self-interest – and with the confidence of a man
whose own stronghold was unbreakable.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Hugh took
Cormac by the arm and led him to the other side of the room, away from Felim
and the monk.<span style="mso-spacerun: yes;"> </span>Felim found a stool and
pushed it with his foot next to the bed.<span style="mso-spacerun: yes;">
</span>Sitting, he thrust his great, long legs out, feeling the tired muscles
stretch, and linked his hands behind his head.<span style="mso-spacerun: yes;">
</span>He made no secret of listening.<span style="mso-spacerun: yes;">
</span>Cathal’s labored moans formed a macabre background, as if of distant
warpipes.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">“Turlough and
his brother wintered at The O Neill’s stronghold,” Cormac told them without
prompting, “and by all appearances meant to stay until the Second Coming.<span style="mso-spacerun: yes;"> </span>But a week since, they were gone, and no one
has seen them.<span style="mso-spacerun: yes;"> </span>I had this from an O
Donnell who guested with me on his way to the Holy Land.”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Hugh tugged
on his lip again.<span style="mso-spacerun: yes;"> </span>“Is there talk of them
coming back into Connaught?”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Cormac
glanced from Hugh to the sickbed and back.<span style="mso-spacerun: yes;">
</span>“Talk of little else.<span style="mso-spacerun: yes;"> </span>I spoke
with The O Heyne, too, who has ears in unlikely places.<span style="mso-spacerun: yes;"> </span>He was all crafty like a fox and full of
maybe this and maybe that.”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">“Where does O
Heyne stand if the sons of Rory come back?”<span style="mso-spacerun: yes;">
</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">“Ah, he does
not stand. He dances,” Cormac said dryly.<span style="mso-spacerun: yes;">
</span>Felim, listening, could not restrain a smile over the adroit phrasing. <span style="mso-spacerun: yes;"> </span>O Heyne would bear watching.<span style="mso-spacerun: yes;"> </span>“And the others?” he asked.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Hugh sent a
scowl in his direction, irritated at the interruption.<span style="mso-spacerun: yes;"> </span><u>Who is king here?</u> his face asked, and
Felim’s hard grin answered, <u>Not you.<span style="mso-spacerun: yes;">
</span>Not yet.</u></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Cormac missed
the byplay.<span style="mso-spacerun: yes;"> </span>“That, I know not.<span style="mso-spacerun: yes;"> </span>Few were the men traveling this winter, with
the sickness about.<span style="mso-spacerun: yes;"> </span>Gossip stayed behind
walls.<span style="mso-spacerun: yes;"> </span>O Heyne and my northern pilgrim
were the first guestings at the Rock since the sun turned south.”<span style="mso-spacerun: yes;"> </span>He hesitated.<span style="mso-spacerun: yes;">
</span>“You may have heard.<span style="mso-spacerun: yes;"> </span>Donn Cathaig
McGarrity is dead, too, this past February.”<span style="mso-spacerun: yes;">
</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">“Then Donn Oc
is chief.”<span style="mso-spacerun: yes;"> </span>The words drifted from
Felim’s lips, as if someone else had spoken them.<span style="mso-spacerun: yes;"> </span>Involuntarily, he glanced at his father,
wondering whether, despite appearances, Cathal might not be aware of the
jackals worrying his bones, and himself still wearing them.<span style="mso-spacerun: yes;"> </span>A fine thing to take to the grave!<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Hugh turned,
his face pinched into that hard pout that Felim knew from childhood.<span style="mso-spacerun: yes;"> </span>“Clan McGarrity holds the lands around
Cruachan.<span style="mso-spacerun: yes;"> </span>I’ll have a man I can trust in
its Seat.”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Felim chose
his next words with exquisite care.<span style="mso-spacerun: yes;">
</span>“Donn Oc is not a friend; but we may yet keep him from becoming an
enemy.<span style="mso-spacerun: yes;"> </span>He is the darling of all the
young men, and we need warriors of his skill against the Foreigners.”<span style="mso-spacerun: yes;"> </span>He kept his voice calm, though the effort
cost him.<span style="mso-spacerun: yes;"> </span>Cormac, silent, looked from
one brother to the other, his face unreadable.<span style="mso-spacerun: yes;">
</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">“We may need
the Foreigners,” Hugh said cryptically, “more than we need Donn Oc.”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Meaning that,
if the chiefs went with Turlough, Hugh would call in the Foreigners in their shirts
of iron.<span style="mso-spacerun: yes;"> </span>Felim’s lip curled.<span style="mso-spacerun: yes;"> </span>“So the rabbit would summon the fox for
aid.”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Oh, and how
that old comparison still rankled!<span style="mso-spacerun: yes;">
</span>Rabbit Hugh!<span style="mso-spacerun: yes;"> </span>Hugh stepped toward
him with an arm half-raised and Felim rose to meet him.<span style="mso-spacerun: yes;"> </span>The monk, startled, backed into the corner by
the fire.<span style="mso-spacerun: yes;"> </span>Cormac moved smoothly between
the two brothers, separating them.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">“Sure,” he
said easily, “the knot of the Clan McGarrity needs no untying tonight.”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Felim nodded
and held both hands up.<span style="mso-spacerun: yes;"> </span><i>Felim,</i>
warned his father’s voice, look after your brother.<span style="mso-spacerun: yes;"> </span>Take care of him.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">He looked
sideways at the old man.<span style="mso-spacerun: yes;"> </span>I’m sorry
father.<span style="mso-spacerun: yes;"> </span>There had once been love, he
remembered.<span style="mso-spacerun: yes;"> </span>He had loved the old
man.<span style="mso-spacerun: yes;"> </span>But this one foolish decision had killed
it.<span style="mso-spacerun: yes;"> </span>He wondered if Cathal had known that
before the shadows took him.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Hugh placed a
hand on Cormac’s shoulder.<span style="mso-spacerun: yes;"> </span>“I want you
to visit the principal chiefs and sound them out in this matter.<span style="mso-spacerun: yes;"> </span>O Taidg, O Flannigan, O Flynn...<span style="mso-spacerun: yes;"> </span>All of them.<span style="mso-spacerun: yes;">
</span>But go without ceremony; go as a friend.<span style="mso-spacerun: yes;">
</span>Be subtle.”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Felim tried
to imagine Cormac being subtle and discovered thereby the limits of imagination.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">The McDermott
ran his fingers through his hair and nodded.<span style="mso-spacerun: yes;">
</span>His tongue darted out and wet his lips.<span style="mso-spacerun: yes;">
</span>He knows, Felim thought, how uncertain lies the ground before us.<span style="mso-spacerun: yes;"> </span>The marshal was perfectly capable of playing
the turtle.<span style="mso-spacerun: yes;"> </span>He could lace himself fast
behind the walls of the Rock and dare all comers, until peace came by
exhaustion and mutual consent.<span style="mso-spacerun: yes;"> </span>Without
The McDermott, Hugh’s cause was lost and, like it or no, Felim was tied to his
brother’s fate.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">“Especially,
David O Flynn,” Felim said.<span style="mso-spacerun: yes;"> </span>“Find what <u>he</u>
intends if Turlough waves the bloody shirt.”<span style="mso-spacerun: yes;">
</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Hugh turned
and frowned.<span style="mso-spacerun: yes;"> </span>“And why The O Flynn,
especially?”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">“Curiosity,”
Felim told him.<span style="mso-spacerun: yes;"> </span>“I know exactly why he
will choose his path.<span style="mso-spacerun: yes;"> </span>I just don’t know
which path that will be.”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">Cormac
laughed and slapped his thigh, raising a cloud of dust from his kilts.<span style="mso-spacerun: yes;"> </span>“And is that not the very spit of the
man!”<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;"> </p> <br /><p></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com0tag:blogger.com,1999:blog-447603865959500290.post-88700466124368478592022-10-15T15:36:00.003-04:002022-10-15T15:36:43.877-04:00Opening Passages II<p><span style="font-size: medium;"> <i>Another opening snippet, this of an alternate history. It continues with vignettes of them=prominent Wieners: J Strauss Jr, Herzl, Freud. Bruckner, Mahler, the Emperor, Klimt.<b><br /></b></i></span></p><p><span style="font-size: medium;"><b><i></i><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span style="font-size: large;">Mayerling </span></b></span><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; text-indent: 22.3pt;"><span style="font-family: "Times New Roman",serif;">And what is this specter galloping
so madly through the Vienna Woods in a morning not yet graced with sun? The way
is steep and hilly and, in the dark, difficult to see. A misstep would kill the
horse, perhaps its rider. Yet he does not rein in, for death echoes with every
hoof-beat. His cloak snaps behind him and brushes the whispering black fir
boughs where they encroach on the uncertain roadway. Foam flecks the nostrils
of his steed. The hooves throw up clots of mud and dirty snow. Hard riding from
the Baden railhead! </span></p>
<p class="MsoNormal" style="line-height: normal; text-indent: 22.3pt;"><span style="font-family: "Times New Roman",serif;">The weather has warmed, the snow is
sluggish. The breath of man and beast are bright puffs of steam in what meager
moonlight pierces the black lace of trees. The rider is silent, intent on his
perilous course, his face half-concealed by a muffler of yellow and black. He
knows what lies behind him, in that gay, nervous city on the Danube. He does
not know what may lie before. </span></p>
<p class="MsoNormal" style="line-height: normal; text-align: center; text-indent: 22.3pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman",serif;">I</span></b></p>
<p class="MsoNormal" style="line-height: normal; text-indent: 22.3pt;"><span style="font-family: "Times New Roman",serif;">Sometimes beginnings can be seen in
a death, and endings found in a squalling birth. </span></p>
<p class="MsoNormal" style="line-height: normal; text-indent: 22.3pt;"><span style="font-family: "Times New Roman",serif;">Vienna in the January of 1889 is a
butterfly, and the Emperor Franz Josef its cocoon. Within his dull and dutiful
manta, impatient larvae stir. </span></p>
<p class="MsoNormal" style="line-height: normal; text-indent: 22.3pt;"><span style="font-family: "Times New Roman",serif;">Not least of these worms is Crown
Prince Rudolf Franz Karl Josef von Hapsburg, a slender man for such a weight of
names. The prince believes in progress and industry and liberalism, but he is
tomorrow’s emperor and in Vienna
it is always yesterday. The Empire is a fairy tale, full of castles and princesses.
There is no room in it for smokestacks or for so impertinent a thing as a <u>bourgeoisie</u>.
History is suspended, his father ageless. Rudolf’s dashing, storybook features
have grown gaunt and his eyes hollow from the eternal waiting. He is become a
prince of masks, changing them as needed, perpetually ignored, perpetually
dismissed. Respect is all he asks. He is Inspector General of the
Royal-and-Imperial Army – and is never told of staff meetings. He wears the
uniforms of a dozen regiments – and serves in none. He would like a kind word
from his father. There is no telling what color his butterfly wings will flaunt
when he explodes at last from the cocoon. That might depend on how long he must
wait – or whether he waits. Recently, he has bought a farm near Mayerling to
use as a hunting lodge. </span></p>
<p class="MsoNormal" style="line-height: normal; text-align: right; text-indent: 22.3pt;"><span style="font-size: x-small;"> (c) 2022. Michael F Flynn</span><br /></p>
<p></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com0tag:blogger.com,1999:blog-447603865959500290.post-86259064808502317122022-10-13T16:21:00.001-04:002022-10-13T17:13:20.038-04:00Opening Passages I<p> Herewith, the opening passages of sundry works in process, in no particular order.</p><p><br /></p><h3 style="text-align: left;"><b>Muffler Man and the Great Telepresent Bank Heist</b></h3><p> by Michael F. Flynn<br /><br />When they finally let Darymple out of jail, he decided to go straight. </p><p>It was a simple choice. The Tangerine Bar and Grill sat directly across Fox Avenue from the main entrance of the Southampton County lock-up. </p><p>Darymple paused at the curbstone and brushed the sleeves of the rumpled, dull grey suit that the county imagined to be a Fashion Statement. Then he studied the buildings across the street: a grocery store, a dry cleaner, a beauty shop. A bank occupied the corner at Ninth Street, and Darymple contemplated its location so near the county prison. Bravado? A taunt?</p><p>Darymple shrugged. He made one last effort to straighten the jacket -- the textile firm had discovered the secret of Permanent Unpress -- and then crossed Fox Avenue to the bar. </p><p>Inside, Algernon Anderson was sitting at the bar nursing a bourbon and water. He turned when Darymple entered and beamed as if he had just discovered a long-lost relative. “Ted!” he said. “Long time, no see.” </p><p>Darymple gave him a weary look. “Three years, two months, seven days.“ </p><p>Al made a motion over his drink. “Otto, another bourbon for my friend here.” He looked at Darymple. “You have any cash on you?” </p><p>“I just got out of the joint, Al. They give you fifty bucks when you leave. They think that gives you a New Start in Life. How did you know to wait here?” </p><p>Al waved a hand. “You get out today, right? Where you gonna go first? Are you going to go grocery shopping? No. The beauty salon? No. The dry cleaners....” He studied the suit carefully, then waved a hand. “Naah, I figure first thing you’re gonna need is a drink, so am I right?” Al smiled and dared Darymple to find a flaw in his reasoning. As if to support him, Otto came and placed the bourbon in front of Darymple. Then he carefully walked to the far end of the bar and became interested in the scenery outside. </p><p>“There’s a bank on the corner,” Darymple pointed out, just so Al wouldn’t think he was too clever. “I mighta gone there. You know, like for old times’ sake.” </p><p>Al brushed that off, too. “You’re a planner, Ted. You don’t do things like that off the cuff. Too much can go wrong. Besides, I couldn’t wait for you there. Hang around a bank too long not doing anything in particular, and the guards might remember your face, which it could be real embarrassing in our line of work.” </p><p>Darymple gave up. “All right. All right. You figured I’d come here, so you figured you’d come and wait for me. So, the next question is why?” </p><p>Al looked surprised. “Why? For a job, of course.” </p><p>Darymple looked at him. “A job?” </p><p>“That’s what I said.” </p><p>“Al, do me a favor and lean forward just a little bit. That’s right. Now look out the window over there. What do you see?” </p><p>“The county jail.” </p><p>“Right. I just got out, so I'm not hiring right now. Sorry."<br /></p><p> "Naah. It's me got a job for you."<br /></p><p>"You want to sit here and plan a job while looking out the window at the local lock-up?” </p><p>“Naw, of course not.” </p><p>“Well, then...” </p><p>“Otto’s got a back room which it doesn’t have no windows. Well, maybe a small one way up high on one wall, but it looks out over that alley, so you can’t see the -- ” </p><p>“Al? Maybe you also forgot that I just got out. I already know what it looks like inside, so I don’t need to go back to refresh my memory...” </p><p>“See, it’s like riding a bicycle.” </p><p>Darymple paused and looked at Anderson. “A bicycle.” </p><p>“Sure. You fall off, the best thing is you get right back on and take another ride.” </p><p>“You mean the best thing for me is to get back inside?” </p><p>Anderson gave him a funny look. “No. Whatever gave you that idea?” </p><p>“You did.” </p><p>“No, I didn’t. I was gonna suggest a job -- ” </p><p>“So I could take a fall, like off a bicycle -- ” </p><p>“No, I meant doing a job is like riding a bicycle and going in stir is like falling off.” </p><p>Darymple thought about that. “Why didn’t you say so?” </p><p>“I did say so. I don’t know where you get these ideas, Ted. I really don’t.” </p><p>Darymple sighed again. He remembered that he sighed a lot around Al. “Okay, Al. Tell me about the job. Then I can tell you no, and we can get on to other things.” </p><p>“Don’t be silly. What you gonna do, sell brushes door to door? That’s not you.” Al handed both drinks to Darymple and led him toward the back of the bar. There were two doors there, marked ‘Men’ and ‘Women,’ only under each sign was an arrow pointing to the other door. Al nodded to them as they went by. “I bet Otto gets a lot of ‘em that way.” </p><p>“Otto is a priceless comedian,” </p><p> “Look, the best thing about my idea is we don’t get caught.” He opened the door for the back room. Darymple looked at him before going in. </p><p>“That’s what you said the last time. You and that holographic projector.” </p><p>Al spread his hands. “How was I to know it was upside down? This time it’s a cinch we don’t get caught.” </p><p>The back room was stacked high with liquor cartons. A bare bulb hung from a cord from the ceiling. There was a felt-topped card table underneath. Darymple handed Al his drink and pulled out one of the folding chairs. He slumped into it. “Okay. I’ll bite. Why won’t we get caught?” </p><p>Al grinned. “Because we won’t be there!” </p><p>Darymple said nothing. He only sat there looking at Al. Al continued grinning. Darymple continued looking. After a while, Al placed his bourbon on a coaster, folded his arms and leaned on the table. “Tell me, Ted. Have you ever heard of telepresence?” <br />#</p><p><i><span style="font-size: x-small;">(c) 2022. Michael F Flynn<br /></span></i><br /></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com0tag:blogger.com,1999:blog-447603865959500290.post-31404198328828690582022-10-13T10:05:00.000-04:002022-10-13T10:05:15.233-04:00I Forgot<p><span style="font-size: medium;">Other items languishing unfinished. When I copied from the old machine and pasted to this shiny new one, I remembered. </span></p><ul style="text-align: left;"><li><span style="font-size: medium;"><b>"Muffler Man and the Great Telepresent Bank Heist." </b>A couple scenes written in a comic caper story, but it may be out of date.Fans of Dortmunder may recognize the pastiche.</span></li><li><span style="font-size: medium;"><b>"The Laws of Science and the Ignorant Chicken." </b>A fact article on the dappled world. Why scientific laws can never be universal and a Theory of Everything is probably impossible. h/t philosopher Nancy Cartwright</span></li><li><span style="font-size: medium;"><b>"Moonrise at the Tatamy Book Barn." </b>Complete, but rejected at Analog. It features several characters from other stories living different lives; to wit, Jacinta Rosario, Roberta Carson, and Heinrich von der Berge.<br /></span></li></ul><p><span style="font-size: medium;"><br /></span></p><p><span style="font-size: medium;"><br /></span></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com1tag:blogger.com,1999:blog-447603865959500290.post-55299722259221497402022-10-12T14:41:00.000-04:002022-10-12T14:41:14.722-04:00Contents of the Belly<p>Roster <br />Prologue <br />1. Role Call <br /></p><p style="margin-left: 40px; text-align: left;"><i><span style="font-size: x-small;">The Whale as she was – In the Burnout – ‘Excellence, we have a problem’ – Damned capewalkers – Nobody’s body – Ling-ling shows her ankle– Kicking the can down the road – A pedestrian observation. </span></i><br /></p><p>2. Nobody <br /></p><p style="margin-left: 40px; text-align: left;"><span style="font-size: x-small;"><i>The captain knows which way to go – “Near as I tell, he doesn’t exist.” “Excellence, you cannot allow this.” “Dead Man get around plenty before he is dead.” There was something mighty important about that envelope. – Carpet call. </i></span><br /></p><p>3. Inquiries <br /></p><p style="margin-left: 40px; text-align: left;"><i>Shoe leather and sit-flesh. – One stroke each – a bluecape in splendor – the airs of Pigwhistle – The Whale as she was. – Dandi Nandi. </i><br /></p><p>4. Sightings <br /></p><p style="margin-left: 40px; text-align: left;"><i>A walk through the wild side.. – Scuttlebutt in the flower market. – Were they ‘boo poles, or not? – Stars don’t grand jete. – He has the devil’s eyes. – This chicken was once a chicken. – Crazy eights. </i> <br /></p><p>5. Discoveries <br /></p><p style="margin-left: 40px; text-align: left;"><i>My sister is a freemartin. – an Extravagance – a liverwurst sandwich – a meeting of the Guild – nothing comes from nothing – a walk in the park </i><br /></p><p>6. Investigations <br /></p><p style="margin-left: 40px; text-align: left;"><i>That’s really not his best side. – A curvaceous grandfather. – All gristle and bone. – Fort Freedom. – Let nature take its course. </i><br /></p><p>7. Preparations <br /></p><p style="margin-left: 40px; text-align: left;"><i>Orders are orders – “It’s just that you worry me so.” – The answer was ‘very.’ – “Money and mouth should co-locate.” </i> <br /></p><p>8. Expeditions I <br /></p><p style="margin-left: 40px; text-align: left;"><i>“What this shit?” – Winsome Alabaster's superpower.– Twelve are too many. – "In Burnout, no easy routes." – Walking on wall not so easy as it looks. – A rest stop. </i><br /></p><p>9. Consequences <br /></p><p style="margin-left: 40px; text-align: left;"><i>A ringularity – The bloody aftermath. – The Undine Place Massacre. </i><br /></p><p style="text-align: left;">10. Expeditions II <br /></p><p style="margin-left: 40px; text-align: left;"><i>Dead body stink after four days – The tracks of her tears. – “She was our irritating little skite.” – Are there bags enough? </i><br /></p><p style="text-align: left;">11. Expectations <br /></p><p style="margin-left: 40px; text-align: left;"><i>A cat among the pigeons. – A meeting of the powers. – Ling-ling eavesdrops – Chen brings a message – An empty seat. </i> <br /></p><p style="text-align: left;">12. Trials <br /></p><p style="margin-left: 40px; text-align: left;"><i>A death sentence concentrates the mind wonderfully. – Professional pride. – A stoatin idea </i><br /></p><p style="text-align: left;">13. Tribulations <br /></p><p style="margin-left: 40px; text-align: left;"><i>Don’t go home. – Broken carrot sticks. – They were only on loan – The long farewell – “Perhaps he intended to brace her.” – “We’ll just have to go and fetch them.” </i><br /></p><p style="text-align: left;">14. Setbacks <br /></p><p style="margin-left: 40px; text-align: left;"><i>Back in the nick – Through the Bubble –inter legere –– Ling-ling sits her Exams. – Mulligatawny </i><br /></p><p style="text-align: left;">15. Searchings <br /></p><p style="margin-left: 40px; text-align: left;"><i>Wilderness Road – Down among the pipes – It’s hard to follow someone who knows you by sight – Recruities </i><br /></p><p style="text-align: left;">16. Confrontations <br /></p><p style="margin-left: 40px; text-align: left;"><i>The tripartite oath – In Pass’ Christine – battle at Hanging Bridge </i><br /></p><p style="text-align: left;">17 Restorations <br /></p><p style="margin-left: 40px; text-align: left;"><i>A cry in the night – caraway – In the fo’c’sle – “Put the two propositions together.” </i><br /></p><p style="text-align: left;">18 Afflictions <br /></p><p style="margin-left: 40px; text-align: left;"><i>Goliad’s retreat – a parking ticket – a mathematical model – Beneath trees. </i><br /></p><p style="text-align: left;">19 Aftemaths (I) <br /></p><p style="margin-left: 40px; text-align: left;"><i>Perhaps he seduced an Excellent’s Woman – A surprise visit. – No words would ever do, </i></p><p style="text-align: left;">20. Promotions <br /></p><p style="margin-left: 40px; text-align: left;"><i>A labor of love. – With enough predictions, some are bound to come true. – Organson receives a briefing. – Lucky’s luck runs out. </i><br /></p><p style="text-align: left;">21 Commotions <br /></p><p style="margin-left: 40px; text-align: left;"><i>A new Number Three. – Battle honors. – Peng agreed to do me a favor. – Do you know how deep the fen-fen is that you’ve stepped in? – A humiliation. – Holy shit. </i><br /></p><p style="text-align: left;">22. Resolutions <br /></p><p style="margin-left: 40px; text-align: left;"><i>At Comm Central Plaza – A great wave of thirst – “By the Bood, there’s another one!” – The true coriander.. </i> <br /></p><p style="text-align: left;">23. Disruptions <br /></p><p style="margin-left: 40px; text-align: left;"><i>A trigger warning. – “What be da meaning o’ dis bustle?” – In the dark. – That can’t be good. – What the hell is going on? – A pair of eyes. </i><br /></p><p style="text-align: left;">24 Exhortations <br />25 Mutinies <br /></p><p style="margin-left: 40px; text-align: left;"><i>Hamdu is a big boy. – Lifted out of the press - What is the difference between a surgeon’s scalpel and a sledge hammer? - “Hit the deck!” </i><br /></p><p style="text-align: left;">26 Aftermaths (II) <br /></p><p style="margin-left: 40px; text-align: left;"><i>Her tactics had succeeded – “What is he doing here? – No words would come. – The scalpel and the sledge. – “He’s very good at that.” </i><br /></p><p style="text-align: left;">27 Escapades <br /></p><p style="margin-left: 40px; text-align: left;"><i>A burnsider learns patience. – A true captain. – On the tram platform. – Justice or mercy? – Why are you smiling?. </i><br /></p><p style="text-align: left;">28 Executions <br /></p><p style="margin-left: 40px; text-align: left;"><i>Are you one of us? – The curse of Winsome Alabaster, – Pale men and crossbows. - The execution of Li Son. – The Orphans – The sergeants – Regulation 18.3 </i> <br /></p><p style="text-align: left;">29 Incidents <br /></p><p style="margin-left: 40px; text-align: left;"><i>Highsteeple and Hexenplaza – The Storming of the Brig –Incident at Power House – The Siege of Undine Place – Maintenance first of all – You may need to evacuate – Only madmen. </i> <br /></p><p style="text-align: left;">30 Captives <br /></p><p style="margin-left: 40px; text-align: left;"><i>“We must be removing ourselves from this place” – An altogether tougher nut – “He thinks we’re in the Imperial Fleet Marines.”– Lǎo dàjīngxiǎoguài. – “We can handle ourselves.” </i><br /></p><p style="text-align: left;">31 Executions (II) <br /></p><p style="margin-left: 40px; text-align: left;"><i>The hauteur of Sophie Masterson - "We can defeat them in detail." – Tommi Two Stones needs a woman – Regulation 18.872 – Two brothers. – Tommi Two Stones throws a strike. </i> <br /></p><p style="text-align: left;">32 Complications <br /></p><p style="margin-left: 40px; text-align: left;"><i>The only thing left is style. – Little Face scouts the rear – She can keep a cool head in a firefight. – The distress of Hamdu Organson. </i> <br /></p><p style="text-align: left;">33 Presentations <br /></p><p style="margin-left: 40px; text-align: left;">"<i>Two more, and I got the whole set." – “That won’t last.” - Unleashing hell. – In the captain's cabin. – “That’s a suitably vague charge." – Heroes of the Mutiny </i> <br /></p><p style="text-align: left;">34 Constitutions <br /></p><p style="margin-left: 40px; text-align: left;"><i>A constituent assembly. – L’envoi </i><br /></p><p style="text-align: left;">Tech notes <br /><br /><br /></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com1tag:blogger.com,1999:blog-447603865959500290.post-7758788813672722262022-10-12T10:24:00.000-04:002022-10-12T10:24:10.190-04:00What's TOF Up To These Days<p><span style="font-size: medium;"><span style="font-family: helvetica;"> TOF, as noted supra (or infra) has completed the draft for <i><b>In the Belly of the Whale </b></i>and dispatched it to meet its fate. It is set on a multi-generation starship 200+ years into a thousand-year voyage to Tau Ceti, whose Planners had forgotten one very large thing in designing the ship and its social ecology.<br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">Earlier, he had released into the wild the novel <i><b>The Shipwrecks of Time</b></i>, written on spec, now facing an unknown future. This </span></span><span style="font-size: medium;"><span style="font-family: helvetica;">is set in the alien world of 1965 Milwaukee. </span></span><span style="font-size: medium;"><span style="font-family: helvetica;">It involves a group of historians who discover traces of an immortal Danish barbarian, the problem being he doesn't want to be found. <br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">TOF has nothing in the queue elsewhere, but several pieces lying about iin various stages of incompleteness; to wit:<br /></span></span></p><ul style="text-align: left;"><li><span style="font-size: medium;"><span style="font-family: helvetica;"><b>"Adventures in Mythistory." </b>A fact article about how pukka history becomes myth. Essentially complete, but where to send it?<br /></span></span></li><li><span style="font-size: medium;"><span style="font-family: helvetica;"><b>"Hunter's Moon." </b>Perhaps half done. A 'shooter' on the Lunar railgun sending bulk goods to Mars has died. Was it really the freak accident it seemed? Mickey, the troubleshooter for Phobos Port Authority, sent to Luna on other business, gets involved. Mickey was first seen in the story, "In Panic Town on the Backward Moon."<br /></span></span><span style="font-size: medium;"><span style="font-family: helvetica;"></span></span></li><li><span style="font-size: medium;"><span style="font-family: helvetica;"></span></span><span style="font-size: medium;"><span style="font-family: helvetica;"><b>"Mandarins."</b> Maybe complete. It is a section from an Alternate History I was writing with Someone Else, but there has been no movement in a couple of years and I am thinking of decoupling it from the larger story and fashioning it as a stand-alone. The Great Navigator has been sent with a small fleet by Sri Vijaya's Palembang to find the sea route to the fabled Empire of the Romans<br /></span></span></li><li><span style="font-size: medium;"><span style="font-family: helvetica;"></span></span><span style="font-size: medium;"><span style="font-family: helvetica;"> </span></span><span style="font-size: medium;"><span style="font-family: helvetica;"><b>"Little known Speedbumps on the Happy Highway of Progress." </b>A series of vignettes in which various of the Naked Apes make technological breakthroughs that don't quite work out. Three or four have been written.<br /></span></span></li><li><b><span style="font-size: medium;"><span style="font-family: helvetica;">"The Journeyman: In the Mankiller Mountains</span></span></b><span style="font-size: medium;"><span style="font-family: helvetica;"><b>." </b>A few sentences. Teodorq sunna Nagarajan and Sammi of the Eagles desire to cross the mountains on the other side of which is said to be the fabled village of Varucciyaman. But the snow-capped mountain range is called the Mankillers. "That can't be good," says Teddy. <br /></span></span></li><li><span style="font-size: medium;"><span style="font-family: helvetica;"><b>"Red Clay Man." </b>A prehistoric ape-man, biologically human, becomes ontologically human when at puberty he invents language. A few paragraphs written.<br /></span></span></li><li><span style="font-size: medium;"><span style="font-family: helvetica;"><b>"Res Cogitans on the Town."</b> The protagonist, participating in an experiment designed to show free will is an illusion, quits in disgust. A freak traffic accident results in his <i>res cogitans</i> popping loose from his <i>res corpora</i> and entering another's body. Envision a series of "head-hopping" encounters. Nothing written yet.<br /></span></span></li><li><span style="font-size: medium;"><span style="font-family: helvetica;"><i><b>The Chieftain. </b></i>A novel involving David O Floinn and his son Fiachra during a civil war among the O Connors for the kingship of Connaught in the 1220s, These are actual historical characters, named in the <i>Annala Connaughta,</i> as are all other Mjor Players, as well as the course and events of the war. The good news is that an entire rough draft exists. The bad news is that it sucks. It was written decades ago when TOF was taking a novel-writing course taught by John Dunning at the University of Denver. About four or five chapters have been rewritten to add a fantasy magical element; but the draft is now out of reach downstairs.<br /></span></span></li></ul><p><span style="font-size: medium;"><span style="font-family: helvetica;">Which of the above would Faithful Reader wish to see?<br /></span></span></p>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com8tag:blogger.com,1999:blog-447603865959500290.post-10223989067412716082022-10-11T20:02:00.002-04:002022-10-15T15:47:34.452-04:00Red Clay Man<p><span style="font-size: small;"> </span></p><div><div dir="auto"><div class="x1iorvi4 x1pi30zi x1swvt13 xjkvuk6" data-ad-comet-preview="message" data-ad-preview="message" id="jsc_c_1x8"><div class="x78zum5 xdt5ytf xz62fqu x16ldp7u"><div class="xu06os2 x1ok221b"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto" style="font-size: small;"><div class="xdj266r x11i5rnm xat24cr x1mh8g0r x1vvkbs x126k92a"><div dir="auto" style="text-align: start;">I have begun a short story of excruciating difficulty; viz., "Red Clay Man." It is a prehistoric tale of a young lad who, upon reaching puberty, has a Helen Keller moment and devises "language." What makes it difficult is that I must tell the tale using language, which will distort the reader's understanding. Hence, I am feeling my way into the story using an omniscient narrator, while the characters themselves (other than Red Clay) are more the Show-Don't-Tell sorts. The paragraph of opening stands at the moment, thus:</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div style="margin-left: 40px; text-align: left;"><i>They called him Red Clay Man from his custom of smearing his forehead with a paste he made from the red clay above the lagoon. This was a feat, since the clay could be scraped only by standing on a precarious ledge above the crocodile-infested waters, but Red Clay Man did not realize this yet. 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<p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; margin-left: 40px; text-align: left; text-indent: 0.5in;"><i><span>Let’s call him Red Clay Man, after his
custom of smearing his forehead with a paste he makes from the red clay above
the lagoon. This is not his name for himself. He doesn’t have one because he
doesn’t need one. He knows who he is, and so do the other Naked Apes hanging
out on that wide and bountiful island. </span></i></p><div style="margin-left: 40px; text-align: left;">
</div><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; margin-left: 40px; text-align: left; text-indent: 0.5in;"><i><span>Nor does he need names for the other accouterments
of his world. No one needs to be told that he is eating a banana, or that the
sun is shining, or that this is a brown snake and so best avoided. Red Clay
knows these things as he knows all else: directly through his senses. He is a
“show, don’t tell” kind of guy.</span></i></p>
<p class="MsoNormal" style="line-height: normal;"> </p>
</div></div></span></div></div></div></div></div>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com2tag:blogger.com,1999:blog-447603865959500290.post-77158550786241625822022-10-11T20:02:00.001-04:002022-10-11T20:02:31.028-04:00In the Belly of the Whale<p> The draft has been turned over to TOF's agent, to be presented to Shahid, the most esteemed editor. It weighs in at 130,000 words, somewhat longer than TOF intended. Perhaps it will be cut down a bit.</p><div class="separator" style="clear: both; text-align: center;"><a href="http://www.atlasoftheuniverse.com/12lys.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="480" src="http://www.atlasoftheuniverse.com/12lys.gif" width="640" /></a></div><p><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">The three southbound sister ships are:</span><br /><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"></span><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">1. The Whale, off the Quito Beanstalk for t Ceti, 11.9 lights south by rimward</span><br /><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"></span><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">2. The Indiaman, off the Borneo Beanstalk for e Indi, 12.0 lights south by coreward</span><br /><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"></span><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">3. Big River, off High Nairoby Beanstalk for e Eridani, 10.5 lights south by rimward</span><br /><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"></span><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"></span><br /><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"></span><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">All these destinations are in the lower margin of the map. </span></p><p><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">In addition, two decades before, was launched</span><br /><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"></span><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"></span><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"></span></p><div class="x78zum5 xdt5ytf xz62fqu x16ldp7u"><div class="xu06os2 x1ok221b"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x x4zkp8e x676frb x1nxh6w3 x1sibtaa xo1l8bm xi81zsa x1yc453h" dir="auto"><span><div class="xkhd6sd x1g2khh7 x4uap5 xyinxu5"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">0. Red Dwarf, off the Quito Beanstalk for Proxima, 4.2 lights sou'west by coreward<br /><br />No one knows if Big Dog, Little Dog, or the Queen of the North were ever launched<br /><br />Chart by "The Atlas of the Universe," showing stars within 12.5 ly <div class="x1i10hfl xjbqb8w x6umtig x1b1mbwd xaqea5y xav7gou x9f619 x1ypdohk xt0psk2 xe8uvvx xdj266r x11i5rnm xat24cr x1mh8g0r xexx8yu x4uap5 x18d9i69 xkhd6sd x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz xt0b8zv xzsf02u x1s688f" role="button" tabindex="0"><br /></div></span></div></span></span></div></div>TheOFloinnhttp://www.blogger.com/profile/14756711106266484327noreply@blogger.com1