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Kickstarter for TRANSREAL TRILOGY + ALL THE VISIONS. “Two Ducks.”

Thursday, May 1st, 2014

I’m running a new Kickstarter project: Transreal Trilogy + All the Visions.

What’s the new project? Four novels bound as two books.
And what is “transrealism”? Your usual life, only it’s an SF novel!

Transreal Trilogy contains:
The Secret of Life: A 60s college student learns he’s a saucer alien.
White Light: A hipster math professor travels to the afterworld.
Saucer Wisdom: A cult author tries to write about alien abductions.

All the Visions is a short, autobiographical, non-SF that novel I composed on the typewriter with an 80-foot scroll of paper in 1983. Inspiration? Jack Kerouac’s On the Road. The underground classic returns in a new edition, smooth and strange.

On another subject, I just finished a new painting, “Two Ducks.”

“Two Ducks” oil on canvas, April, 2014, 20” 16”. Click for a larger version of the painting.

The two ducks might be two people you know, or the warring dyad within yourself, or the cosmic yin/yang. Or all of the above. Which are YOU today…the calm duck or the angry duck?

Either way, dear duckie, I’d be grateful if you can help with the Transreal Trilogy + All the Visions project.

One way of looking at it is that you’d just be putting in advance orders for the books. The paperback, hardback, and ebook editions will be out this summer, in July, 2014.

Free Books, Inverse Power Laws, New Paradigm

Tuesday, April 22nd, 2014

I made a new “Free Books” page with links to five of my books that are in free Creative Commons licensed ebook editions, plus five more books that can be read for free online, either as webpages or as PDF files. Ten free books! Go get ‘em.

As I say on that page, I release free editions of my books for several reasons. One is to keep the books alive and in circulation far into the future. A second reason is to allow those unfamiliar with my work to sample it for free. A third reason is to allow open access to my books for research and teaching. A fourth reason is that giving away books builds an author’s “name brand” and may ultimately bring in book sales, speaking engagements, and commissioned story gigs.

We’re seeing a new paradigm for how creative artists support themselves. I’m thinking about writers in particular, but some of this applies to musicians, painters, photographers, film-makers and other kinds of artists as well. I’m thinking in particular of the writers and so on who aren’t in the tiny top one-percent of their field. There will always be money at the top—but surprisingly little on the bottom. The “long tail” doesn’t do artists much good once the tail is only a hairs-breadth above the zero axis.

This phenomenon has to do with the pestiferous inverse-power-law curve, also known as the scaling law. if you’re the hundredth-most popular writer, you earn a hundredth as much as the most popular one. Instead of a million dollars, you get ten thousand bucks. Or maybe just a thousand (the law may have a scaling exponent). That’s how nature is. It’s not anyone’s fault.

The scaling law applies across the board—to the populations of cities, the number of hits on websites, the heights of mountains, the number of friends that people have, the areas of lakes, and the sales of books. The Nth biggest one racks up something like 1 over N as much as the number-one biggest dpes. Or there can be a scaling exponent, and maybe the Nth-ranking person only gets 1 / (N-squared) as much. It’s a natural phenomenon, and you can’t exactly be mad about it. Instead you have to deal with it.

I go into this in some detail is section “5.3 Commercial and Gnarly Aesthetics” of my nonfiction tome, The Lifebox, the Seashell, and the Soul—here’s a link to that section of the book, which is currently living online as a huge PDF file. And shown below is a graph, with explanation, having to do with various ways in which author advances might be skewed.


[Drawing by Isabel Rucker for The Lifebox, the Seashell, and the Soul. Caption for this figure is copied below.]

The curve shows the inverse power law Advance = $1,000,000/ Rank. The double lightning bolt indicates where I had to leave out six or seven miles of space so as to fit in the point marking where the most popular writer gets a million bucks. Despite this big spike, the total area under the curve between one and one thousand is only about six million, which represents the total in book advances that society hands out to the top thousand writers. The two straight lines show a couple of options for how a central committee might allocate six million dollars to a thousand writers in a “more equitable” fashion. The horizontal line depicts the possibility of giving each writer a flat six thousand dollars, irregardless of popularity. And the sloping line shows the option where the most popular writer gets $l0,000 and the thousandth most popular writer gets $2,000.

Why is nature filled with inverse power laws, also called scaling laws? Oddly enough there doesn’t seem to be any really clear explanation—I’ve seen attempts, but none of them quite add up. My personal opinion is that the explanation has something to do with the fact that natural processes are, as Wolfram has it, universal computations…you can see my conjecture to this effect buried in the text of my Lifebox tome here.

So what-frikkin-ever, that’s the computation-theoretic underpinnings of why artists have it hard. The practice is that, in order to make it, it helps to have patrons, whales, special gigs. Kickstarter is part of the answer here—asking your fanbase to directly support you and, yes, fishing for a few deep-pocketed whales in the fanbase.

And having the name recognition can impel people to ask you to give talks, or do some kind of consultation. Early on I might have been so flattered that I didn’t ask for money when some business was asking me to give a talk or a reading to their employees. “You’ll make it up in increased books sales,” was the belief. But now it’s backwards. Your income from book sales is in the toilet, and it’s gonna be staying there for the foreseeable future. So you ask the businesses to pay you to speak.

But what if the people inviting you say, “Oh, we don’t do that.” That can be tough. If it’s something like a small SF gathering, and they clearly don’t have money, then there’s no use pushing. But schools will pay, and businesses can pay. Always ask. If people with serious money want to stonewall me, there’s the building-the-brand and egoboo temptation to knuckle under and speak anyway. But I’m doing that less than I used to. I get a bad feeling when I knuckle under to a fat cat. They gotta give me something, even if they want to call it “travel expenses” instead of “honorarium.”

The street performers in Manhattan pass the hat, of course, and to make sure you don’t melt away, they pass the hat just before their best and final trick. I’ve never actually been in a position of literally passing a hat after a talk. Sometimes you do it indirectly, like in a book store where people are supposed to buy your book, or at a more informal gathering where you try and sell some of your books directly from the podium, books that you brought in the trunk of your beat-up traveling-snake-oil-salesperson or country-musician-type car.

But on my new “Free Books” page I am, for about the first time, electronically passing the hat, that is, I put a “Make a Donation” button the page.

In the same vein, I’ll be launching a Kickstarter for my next project on May 1. It’ll be called “Transreal Trilogy + All the Visions.” But that’s another story. Stay tuned!

Rucktronics, Inc., marches into the future!

NYC Photos, April, 2014. Post #2. Plus Brainwash Reading

Wednesday, April 16th, 2014

Last week I did a reading at this cool café / laundromat near 7th and Folsom St. in San Francisco. The Brainwash. And here’s a podcast of my reading, which was about twenty minutes long, including some brief Q&A.

I read the ending of the new edition of my Kerouac-style scroll novel, All the Visions. In May I’ll be planning to run a Kickstarter for a Transreal Trilogy + All the Visions project. The trilogy will contain reprints of The Secret of Life, White Light, and Saucer Wisdom.

The event was organized by David Gill, who teaches at San Francisco State, and who runs a small SF magazine called Pravic. He’s shown here playing SF-style boop-whoop music on his computer. He doesn’t always look like this—I asked him to look like a sinister mad scientist, a request to which he responded with a perhaps disconcerting alacrity.

We had a decent crowd, including such luminaries as V. Vale, Marian Wallace, Ted Hand, and Dave Pescovitz.

So now let’s jump back to NYC. This is the foreshortened curtain at the new Woody Allen musical version of Bullets Over Broadway (seen from below). When the curtain came up some flapper-type dancers were in that same pose. Best musical show I’ve ever seen. Great to forget yourself in the laughter of a crowd.

Times Square is so freaking chaotic. Especially when, as I already mentioned, you don’t know which direction is which when you come up from the subway. Times like this, Google Maps on your cellphone isn’t all that helpful—the currents are too strong to let you figure it out, and maybe it’s not a great idea to be blindly waving around your phone in a crowd of a twenty thousand louche strangers. So you bumble along like an molecule in a rushing river.

Huge limos ply the streets.

People hurrying past. Such an anthill. And you’re one with the ants.

Buskers all over the place, good music. Classy Bethany (?) fountain area in Central Park, string quartet, kind of. The walls are, like, Renaissance.

The new World Trade Center tower is almost done. With the antenna it’s supposed to be 1776 fee tall. A fairly simple design, but strong, iconic. Takes awhile to get onto the grounds, like with airport-style searches and all that, although eventually I guess it’ll have to be wide open so people can actually be using the place.

Those big memorial holes are still there, they give me a lump in my throat, unexpectedly. Such a graphic image of death…you flow down in the sparkling waterfall, your life’s course runs in maturity along that calm plat area, and then it’s down into the deep dark hole of death.

We hit Washington Square Park just for old time’s sake. Like this tree. You do get hungry for plants in Manhattan.

Busker with a grand piano at Washington square. Playing good stuff.

I always like looking at Wall Street and Lower Manhattan too. No idea what this structure is, but it looks nice with the people. Kind of a Federico Fellini vibe.

All the way down at Battery Park where you can get the ferries, I saw an easy photo, wharf pilings and a number.

And then back uptown.

I like the buildings reflected in each other. It’s the One World Trade Center again here.

A slanted bottom façade on the building on the left.

And the makeup mirror in our bathroom…

Trip to Manhattan, April 2014. Post #1.

Wednesday, April 9th, 2014

My wife Sylvia and I are back from a week in Manhattan. I saw my agent and some editors, bought books at the awesome Strand, saw Woody’s great new musical, “Bullets Over Broadway,” hit the museums, ate well, enjoyed the crowds—all the wonderful old and new buildings, all the amazing faces. I shot a bunch of photos, and I’ll be blogging them in the next few posts.

This is in Battery Park, at the bottom of Manhattan where you get the ferry to Staten Island or to the Statue of Liberty. Street performers stand on little ladders, swathed in bronze-looking robes, with Statue of Liberty masks. Here’s two of them going off duty, hiking up their skirts. One of them was a five-foot-tall Puerto Rican lady.

Huge crowds in front of the Metropolitan museum, like the crowd in, say, Bosch’s painting of Jesus on the way to the cross. So much life, so much consciousness. Even now that everyone has a camera, people might kind of glare at you when you photograph them…that can make the picture better.


Click for a larger version of this photo.

One day we rode the subway to Brooklyn Heights, found this little area by the Brooklyn Bridge called DUMBO (a deliberately off-putting acronym for Down Under the Manhattan Bridge Overpass), and got the city ferry up to 34th St. in midtown Manhattan. Beautiful long ride, only $6. I merged two shots of lower Manhattan for the image above. You can see the new World Trade Center building, they also call it One World Trade Center. I put all that stuff in the sky as a way of merging the different colors of sky that were in the two photos I used.

A wedding party was shooting group pictures there under the Brooklyn Bridge. Love that gold ruching in the one dress. A lot of the New Yorkers have these great old-school accents, it’s a joy to listen to them, it feels as linguistically off-beat as being in, like, Scotland.

We did some time in the shopping areas of course, both Fifth Avenue and down on Broadway in SOHO. This shot is in the downtown Bloomingdales. I dig those horizontal fashionista hands, just so.

A richly graffiticized truck; with a portrait of a graffitist who has spray-cans for his/her eyes. I never actually saw anyone using one of the new public rental bikes.

Dig this sinister subway entrance near the MOMA on 53rd St. With 666 for the address. The guy is kind of mysterious and glamorous.


Public art sculptures by Tom Otterness.

One of the subway stops downtown had this little bronze statue of a tiny, wondering, uncertain couple, they’re about three inches tall. Me and my wife feeling this way at times. Like when you come up out of a subway and can’t decide which way is uptown or downtown, and the sky’s so gray you can’t find east and west.

This is in the 5th Ave Uniqlo store. I dig what a fractured, collage-looking grid the scene was. You can see me in the middle, reflected in a mirror…I’m riding down an escalator. Such a mental charge to be in these wild scenes all day.

On that ferry ride, we saw some great crumbly Bladerunner-type scenes. New York is always falling down, always being built back up. Like a human body.

Saw this guy on Wall Street, right outside a huge brokerage house. The giant blow-up rat had only the most tenuous connection with the issue that he was protesting about. It wasn’t like he was saying brokers or rats, no, he was exercised about some fine point about methods of asbestos removal, like maybe he hadn’t been able to get the contract to do it. But if you’ve got a giant blow-up rat, why not use it?

Kept seeing this image of the singer M.I.A on the cover of Wild magazine on news-stands. My kids use the word “ferosh” (short for ferocious), for this kind of expression. Photos of newsstand offerings is time-honored tradition among city street photographers, you understand.


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