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Inside a Sun

Saturday, December 27th, 2008

I looked up some pictures of the sun the other day. The Royal Swedish Academy’s Institute for Solar Physics made some nice photos with the Swedish Solar Telescope in 2002. That’s a sunspot in the middle, and those tube-like lines flowing into it are called spicules, or solar flux tubes. (I’ve long hypothesized that these spicules are in some sense alive.)

The sun-hungry scientists at the Institute for Solar Physics also made a four megabyte QuickTime video version of this picture, which is only a couple of seconds long, it’s 76 frames, covering a time duration of half an hour on the Sun. And you can find some more sunspot pix and videos at this Göttingen site.

I always like to think about making journeys into the sun. There’s been some books along these lines, but none of them is quite what I want. I’d like to be able to go inside the sun and merge into the scene and not be thinking “too hot.”

In my novel Frek and the Elixir, I did write about my character Frek making a trip to the inside of a star. It’s almost what I want, but I’d like to write another piece about this. In Frek, he’s wearing a special spacesuit made of “tweet,” with a “Sun Protection Factor ten-to-the-thirtieth power. Oinkment to shield your pigment.” He dives in with some friends.

The excess of light spilled over into Frek’s ears, nose, and sense of touch. Though his eyes were functioning, they were overloaded to the point of showing ragged checkerboards of feedback. His suit was using his other sense organs to process the overflow. It was almost like being a blind person, modeling reality from sound, smell and touch.

The sound of the sun was as the warm hubbub of human voices in a crowded room, with the buzz and throb of great machineries in chambers far below. The touch of the sun was like the bubbles and currents in the foamy white spot at the base of a waterfall. Tickling taps danced along the shell of Frek’s suit; little swirls plucked at his limbs. The smell of the sun was like a garden on a hot summer day, with vagrant breezes bringing a pleasant palette of scents. Frek could pick out roses, bean-blossoms, an anyfruit tree and the vinegary smell of a turmite mound.

[And then, to leave the star, they ride a solar flare.] It was incredible, a Nantucket sleigh ride through rough seas of sound, a romp up the blossom-scented stairway to heaven, a barefoot scamper across a million-note chrome xylophone.

I got a macro lens for Xmas. This picture here is of my cup of tea. I’d never noticed the cracks in the glaze before. And, see, there’s a path into the sun right along the lip of the liquid.

15 Memories of Christmas

Saturday, December 20th, 2008

I won’t be blogging over the next week. Here, to tide us over, are fifteen Christmas-related memories from my memoir, Nested Scrolls.

1. When I was a boy in Louisville, on Christmas Eve, we’d go to church and there’d be a Christmas pageant.

One year I was Joseph, and I had to spend twenty minutes in a robe staring into the Holy Cradle, which was a cardboard box with a light bulb in it. I passed the time by mentally estimating the volume of the Hi-C cans that had once filled the box, and comparing this volume to my estimated volume of the box.

The best part of the pageant was when three of the men at church would play the Three Kings and walk up the aisle singing verses of “We Three Kings.” At first I wouldn’t be able recognize them in their robes and makeup, and then I’d realize I knew them, and it was exciting to see them transformed.

Afterwards we’d go outside and the sky would be black with twinkling stars, the air thin and cold, and Christmas almost here.

On Christmas mornings, Mom would arrange a fan of books around the base of the tree for Embry and me. Some of the books were science fiction. Embry plowed through any and all the books—he was an omnivorous, inexhaustible reader. But it was I who cherished and pondered the SF.

2. One Christmas, my friend Niles and I both got large Erector Set kits, red metal boxes filled with struts, little nuts and bolts, wheels, and a real engine that you could plug into the wall. The kits came with instruction pamphlets filled with detailed drawings of things you might construct. After some preliminary projects, both of us set to work on the largest item in the book: a Parachute Ride, which was something like a merry-go-round, but with dangling seats.

We had endless consultations over the details—which weren’t all that clear in the pictures. Eventually I managed to build a Parachute Ride just like the one in the picture, but Niles wasn’t quite so patient as me, nor so inclined to follow detailed instructions, and his looked a little—different, not that it didn’t work just as well. I was intrigued by the evidence that you could in fact ignore instructions and still get something to work.

3. I spent a year at a boarding school in the Black Forest of Germany when I was thirteen. The school was run by some Quaker-like religious sect. For some reason, the biggest holiday of thier year seemed to be the First of Advent. This was the one day of the year when good food was served in our dorm. And in preparation for the First of Advent, each of the boarders had to make a little work of art to be displayed in the common rooms. The most popular projects to make were stellated polyhedra—I myself made a humble four-sided tetrahedral pyramid with a narrow pyramidal star-point glued onto each face, but the older boys made exceedingly intricate models, networks of a hundred or more squares, triangles, pentagons and so on, with a specially folded slender point growing out from each of the polygons.

My mother came over for a visit at Christmas, bringing me a number of the plastic airplane model-kits I liked, also an algebra textbook. I’d been concerned that I was missing out on my first year of algebra—back home, they started algebra in the eighth grade, and I’d been looking forward to it for several years, even though I didn’t exactly know what algebra was.

4. In the ninth grade, I attended such a small private school that they put me on the varsity football team. We played a full season against teams fielded by other private schools, and we lost every one of our games. I especially liked the away games, where we’d drive in a caravan of cars, sometimes quite a distance, down rainy two-lane Kentucky and Indiana roads, with stops at roadside restaurants for wonderful greasy dinners, and lots of manly joking and story-telling at our table.

Right before Christmas vacation, we had a sports banquet, and we all got letter sweaters. Coach Kleier made a speech in which he said there was one person here who exemplified his idea of courage: Rudy Rucker! Pop was proud and thrilled, he talked about this event for years. He said I was so small that when I stood up from my chair to get my letter, my height barely changed.

5. When I was home for Christmas vacation with my parents in the senior year of college, my brother was finally back from the army, and looking to stir up some trouble.

“I guess you’ll be needing one of these pretty soon, huh, Rudy?” said Embry, pointing at a full-page ad for diamond rings. Naturally he said this in front of my mother.

Mom started vibrating with joy and approval. She and Pop were crazy about Sylvia. The next thing I knew, I’d gone to the bank to withdraw my leftover construction-work money, and had driven with Mom to Galt Jewelers in DC to pick out an engagement ring. And while I was at it, I wrote Sylvia’s father, asking for permission to marry her. Sylvia told him to say yes. He appreciated this old-school approach, and made a point of getting the best possible stationery available to write me back.

6. Our parents were thrilled to have a granddaughter, and we all visited each other a zillion times, even flying Georgia over to Geneva for her first Christmas. Sylvia and I went out to play in the snow while her parents watched the baby.

“But you are still children, too!” exclaimed her father when we came in from the snow. “How can you have children?” I was twenty-three.

7. In Virginia, at age sixty, my father had a heart attack. In order to replace his clogged coronary arteries, his surgeon turned to bypass surgery.

This operation was still quite new. They opened up his whole chest, leaving a vertical scar at least a foot long. The drugs and the trauma had a bad effect on Pop. He became disoriented—once on the phone he was telling me that he could see American troops burning Vietnamese huts from his hospital room window, although, near the end of this conversation he said knew it was a hallucination. I can only imagine how freaky and unpleasant his dreams must have been.

He had to go back to the hospital a couple more times until his condition stabilized. I remember once, at Christmas time, we were visiting my parents with the three kids, and I snuck newborn Isabel into the hospital under my coat to cheer Pop up. Coming upon Pop happily cradling the baby, the night nurse smiled and said, “Congratulations.”

8. Mom, Pop and Sylvia’s parents were all at our house in 1977 for what was to be our last Christmas in Geneseo, New York.

It was a classic holiday—Georgia got a Barbie Townhouse that she’d been longing for, Rudy got a Lionel electric train on a loop of track, and Isabel had a nice red fire-engine that she could pedal. Sylvia’s father got us a new TV, and when I shorted it out by spilling a scotch and soda in through the vent on top, I took it back to the giant discount store it had come from, and they gave me a new one. Sylvia was in a sewing group with the manager’s wife, which helped.

We took the grandparents out to go sledding with the kiddies one afternoon, but that wasn’t a big success, as the temperature was fifteen below zero. The breeze coming up from the valley felt like the air from a freezer, like the fumes from dry ice.

In spite of the tensions, Christmas was cozy. I loved the pleasant physicality of lying on the rug like a dogfather in his den, with the kids crawling on me, poking and wrestling. Sylvia was great at assembling presents for us all, wrapping them up like works of art, writing cute labels, arranging them under the tree. By now a number of ornaments had migrated from our parents’ houses to ours. Little Rudy and I squeezed under the tree, staring up at the wooden figurines and the colored lights. Mom was endlessly considerate with the children. She’d relax in their presence, forgetting her worries, reading books to them, handing them toys, smiling and nodding.

9. My Lynchburg neighbor, R. G., liked mowing his lawn and trimming his hedges, but he didn’t have a hedge-trimmer. One day he convinced me to help him tidy up the top of his hedges by helping to hold his lawnmower up in the air and lower it onto the sprouts. We each holding two wheels, standing on either side of the hedge. After a couple of minutes, it became evident to me that this was a really bad idea, and we quit.

For as long as we lived there, R.G.’s wife never could learn how to spell my first name. Every year her Christmas card was addressed to “Rundy Rucker,” which delighted the kids.

10. Sometimes the children liked to give me a taste of my own rebelliousness. Like when some carolers came by our house one Christmas in Lynchburg, and I called them to come see, they crawled to the door on all fours, barking, making faces, and peering out at the carolers as if they had no idea what was going on. The more I scolded them, the harder they barked and laughed.

11. The holidays and vacations rolled by. Sylvia’s parents would come to us for Christmas, and we’d visit them in the summers. Mom or Pop would visit for holidays, too, but never at the same time. Sometimes we’d have Thanksgiving at Embry’s farm, the jolly kids sitting at their own little table.

A family’s parade of days, with Sylvia and I leading our troupe of three little pigs. It seemed like it would never end, but now, looking back, it didn’t last nearly long enough.

12. Sylvia’s parents came over for our first California Christmas, and her father, Arpad, gave me the money to buy a used surfboard and a wetsuit from a local surf shop.

“This was Chang’s board,” said the proprietor, eyeing the battered but attractively priced board I’d selected. “He…” The guy’s voice trailed off. I never did find out what happened to Chang.

13. I gave a special Christmas talk and demo at the IBM research lab in San Jose. I jacked my cellular automata card into one of their IBM PCs and connected it to this monster projector that they had. Nobody else had computer projectors back then, so it was incredibly exciting for me to see my images get so big. I wanted to take off my clothes and let the sparkling little squares of the CA graphics slide across my bare skin.

The guys loved my realtime animated images, and when I was done I got more applause than I’d heard since being on a panel with star writer Larry Niven at a science fiction convention. But then some execs took me into a conference room and started asking me, “What are CAs good for?”

14. In search of a big third act for my novel, Saucer Wisdom, I flew to Spearfish, North Dakota, to meet up with an artist friend of mine who lives there. His name is Dick Termes, and he paints primarily on spheres. He says that right after Christmas is the best time for gathering “canvases” to paint on, he picks up lawn-scale ball ornaments on sale at K-Mart, covers them in gesso and paints on these marvelous six-point perspective scenes. What’s six-point perspective? Well, you can look it up—Termes has a video explaining it on the Web.

15. In Fiji, Sylvia and I snorkeled a lot too. Over and over, looking ahead, we’d barely notice things disappearing—zip!—into hidey-holes. Eventually, with much patience, we were able to see that the little phantoms were bright-colored, fringed cones—like tiny, spiral feather-dusters. A local told us these were the feeding organs of creatures called Christmas tree worms. They lived in the coral, and they grew themselves hinged trapdoors like thumbnails to cover their holes.

I thought again of my old idea of there being forms of life that move so fast that we never quite see them. Why not? Only a few centuries ago, we were unaware of the creatures that are too small for the naked eye to see.

Merry Christmas, and a happy 2009!

Better Worlds

Tuesday, December 16th, 2008

As I’ve mentioned on this blog, I’m becoming more and more interested in the notion of self-publishing print-on-demand books and ebooks. So I decided to publish an art book on Lulu.

It’s called Better Worlds, and you can order your own printed copy for $29.99 right now! Printing and delivery takes a little over a week, so you can definitely get one by New Years Day, or maybe even by Christmas.

The book is a 98-page quality paperback, 9 by 7 inches, and includes full-page images of all forty-seven of my paintings, printed in high-quality color (400 dpi). I also have comments on each of the pictures in there. Here’s the introduction:

I took up painting in 1999 and quickly I fell in love with the medium. I started with oils, and switched to acrylics, as they’re more amenable to quick set-up and clean-up. My studio is a plastic chair and table in our back yard.

I enjoy the exploratory and non-digital nature of painting, and I love the luscious mixing of the colors. Usually I make a quick sketch with broad brush. Sometimes I have a specific scenario in mind, other times I don’t think very much about what I’m doing, I just paint and see what comes out. Sometimes I’ll even start with an abstract pattern and slowly tweak the blobs into objects. Once I know where I’m going, I’ll polish the painting through two or three or even more iterations. I’m never in a rush to finish.

My pictures are realistic in the sense that they contain recognizable objects and landscapes, but fantastic in their use of heightened colors, cartoony simplifications, and odd scenarios. Many of images are telling a little story.

It’s possible to buy prints of my pictures, and even some of the individual paintings—information can be found on my website, www.rudyrucker.com/paintings.

Enjoy my dreams of better worlds.

This week I finished my latest picture, a big guy called Welcome to Mars, and, yes, that’s the last picture in the Better Worlds book. I wanted to paint a big science-fictional scene. Note that, in the title, I’m using “Mars” in the generic SF sense of “a strange alien planet.”

As I often do, I started out with an abstract pattern created by using up the paint remaining on my palette from my previous painting. The first thing I got was a big yellow triangle. And then I thought of it as being a beam emanating form a flying saucer. That green band of monstrous beings was originally a line of foliage, and then it became a hive creature with multiple eyes and mouths. The very last thing I added was the group of little people and critters watching the saucer land—or maybe it’s taking off. It represents a new order.

The pair of people in front were originally going to be Romeo and Juliet again, but now I think of them as a President-elect and his wife at a U.S. Inauguration! The Obamas? Welcome to Mars, guys.

Step off the straight and narrow, and take a walk in Rudy’s Better Worlds!

(By the way, you can see medium-res images of all the paintings on my Paintings page.)

SOFTWARE in Hollywood

Tuesday, December 9th, 2008

Today’s text is from my memoir-in-progress, Nested Scrolls, and many of the photos are from the Los Gatos Christmas parade.

For the years 1990-2001, my novel Software was under option to a series of film companies, ending up at Phoenix Pictures. Every year someone would renew the option, and I’d get a few thousand more bucks. It was an exciting run, with dozens of ups and downs, and I went to a bunch of Hollywood meetings.

I took Rudy Jr. down there with me one time, to see Scott Billups, who was for a time slated to direct the film. Scott kept telling us about a helicopter skiing trip he’d taken, going on and on about the “long lines of powder,” which seemed like a bad sign. He had a connection with Mike Medavoy, the studio head at Phoenix Pictures.

“Mike’s got a new wife, and she’s running him ragged,” Billups told us.

“Is she beautiful?” I asked.

“Whatever she didn’t have, Mike bought her,” said Billups.

Medavoy wasn’t liking the script that Billups’s writer had come up with, so Phoenix hired the screenwriters from Toy Story, and gave them strict instructions not to read my book, but to work only from the existing scripts—there were four prior scripts by now, one of them by my cyberpunk friend John Shirley.

The fifth script was horrible, and they kept getting worse—soon we were up to version eight. By now Billups was being edged out, but Medavoy stayed active. I went down for another meeting and everyone was really encouraging.

One of the assistant producers and I went to strip club after that meeting. Sylvia couldn’t believe it, me in a strip club with my producer.

“What a sleaze-bag that guy must be!”

Actually, if the truth be told, it was my idea to go see the strippers. It seemed like the right thing to do. And the club was right next to the airport.

The scripts kept getting worse—we were up to version ten before long. The film agent I was using then, Steve Freedman, told me that by now Phoenix had spent over a million dollars on test shots and discarded screenplays. I was alarmed that they’d thrown out so much money on such shit. But Steve said it was all good.

“The million dollars makes Medavoy pregnant. If he tries to back out, I say, ‘No, you’re pregnant, you’ve got to make the film.’”

I had one last meeting with Mike Medavoy. He finally wanted my advice on how to doctor the script. They flew me to LA first class, and a limo picked me up at the airport. Like so many people in LA, the driver was talking about the Business, and she was happy to hear I was going to a script meeting.

Outside the Phoenix building, I met Steve Freedman. He wasn’t a big-time agent by any means. I’d hired him more or less at random. He looked more feral and weasel-like than I’d remembered from our earlier meetings. He was wearing a Mexican wedding shirt with the tail hanging out. I was wearing black silk pants, black silk sport shirt, black silk jacket and wraparound black shades. Mr. Cyberpunk.

Steve had been somewhat manic during our recent phone conversations, so I warned him not to be throwing in extra story ideas of his own. He agreed readily, and claimed that at the end of the meeting he’d corner Medavoy and get us our final deal.

We cooled our heels in a side room for a half hour, chatting with an assistant producer. Medavoy was stuck in a meeting, running a little late.

“So who’s he meeting with?” I asked the assistant producer.

“Arnold Schwarzenegger.”

The Terminator! Right here! Arnold was starring in film called The Sixth Day that Phoenix was to release in a few months. Soon Arnold walked by with his body guard, coming out of his meeting. He was short, as the big stars always are. He glanced over, checking us out.

And now it was our turn with Mike Medavoy. It was him, me, Steve, and a couple of assistant producer guys. One of these two appeared to be wearing foundation makeup and lipstick. Or maybe he was made of plastic. My focus was on Medavoy. He was an Irish-looking guy, in preppy clothes.

He said he was worried about the project, and that he was embarrassed to have spent over a million dollars. He longed to hear a decent plot line, clearly broken into three acts.

I’d been preparing for this. By now I understood the Hollywood obsession with three acts. I began pitching my version, talking for five or ten minutes, but I went too slow.

Medavoy interrupted, weary and impatient. “Tell me the second act before I have to kill myself.”

Flop sweat. I rushed through the second act, but I only got in a few words about my third act before Medavoy cut me off.

“Hard to make all that work,” he said, dismissing my ideas.

And then he told how he envisioned the movie. A thriller. Lots of chase scenes. An epic battle for the spaceport, with American soldiers against robots. A general and a colonel for the lead characters.

“Big base on the Moon,” continued Medavoy. “It’s, I dunno, why not the Octagon?”

I was flabbergasted, horrified, uncomprehending. “Octagon?”

“Like the Pentagon where the military is. I was just there on a tour last week. They have two war rooms now. It’s great.”

I glanced over at Steve Freedman. He was grinning ear to ear with his head nodding Yes like a plaster dog with its head on a spring. He’d never actually seen Medavoy before. He was in paradise just sitting at this meeting. There was no way he was going to corner this studio head and tell him he was pregnant.

And then Medavoy’s underlings were hustling us out. Steve and I walked across the street and had lunch in the SONY cafeteria, a couple of Hollywood losers, cheering ourselves up with thick sandwiches and staircase wit. I started rapping about pumping up the third act with a flying robot mosquito loaded with a mind-virus to sting the President. I picked up the frilly toothpick from my sandwich and zoomed it around, menacing Steve with it, and he was laughing. He told me his father had been a Hollywood agent too.

The Software project was dead. A couple of months later, Phoenix Pictures sent the new Schwarzenegger movie, The Sixth Day, into the theaters.

This film carries strong echoes of my Ware books. The central idea in The Sixth Day is to record someone’s brain software and then to load that personality onto a tank-grown clone of that person.

These happen to be a pair of ideas that appeared, arguably for the very first time, in my novels Software and Wetware. It took me some years of thought and effort to come up with these twists. They hadn’t been obvious or “in the air.” But by now cyberpunk was old news, and my books had been kicking around the Phoenix offices for a decade.

The villain in The Sixth Day wears horn-rimmed glasses just like mine and is called “Drucker.” Might the film-makers have been driven by a Raskolnikov-like compulsion to confess their crime?

“Yes, I killed the old woman with an axe! Yes, I stole Dr. Rucker’s ideas!”

So did I sue? Well, Mom always said it’s tacky to sue. I’m a writer, not a lawyer. And, after all, I had picked up a fair amount of money from Hollywood by repeatedly rolling over those option agreements for ten years. Why bite a hand that might feed me again?

[For still more on this, see my earlier blog entry on Remembering Software in Hollywood.]


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