I stayed up until 1:30 a.m. Friday night/Saturday morning binge-watching episodes 5-8 of the new Prime Video series Cross, based on James Patterson’s Alex Cross detective novels. It’s quite a ride.
The “real” Saturday morning arrived (a little late) and I estimated I had about three hours of newspaper work left to do on this week’s edition, and even though the rest of Saturday beckoned after that, I took my time getting to it.
I could feel the free time waiting on the other side, but I just wanted to skip the work and relax. I thought about how much better I’d feel when the work was done, but instead I spent some time acting as if the free time was already here, effectively reducing the amount of open time that would be waiting on the other side.
As is my wont, my mind wandered to my unfinished books, imagining how happy/relieved I will be to write “The End,” and I realized that imaginary feeling is enough to satisfy me even though the actual feeling of writing “The End” is that much sweeter. I know, because I just started and finished a book in the month of October and I held the finished book in my hands this week.
I could write 10 books a year if I maintained the pace that resulted in Dejah & Summer in the Time of Magic. Meanwhile, by blogging every day I have produced about (let’s look it up) 125,000 words so far in 2024, the equivalent of two, three, six books or more depending on how you measure.
When I looked up my word count for the year, I took a quick sweep through my early January work and found a clip from a Mark Manson email I meant to write about but still haven’t. A reader named Teresa had said that her goal for 2024 is “to create more art than I consume.”
I wonder how she’s doing with that, but isn’t that a great goal in any case? How often have I stayed up until 1:30 a.m. binge-writing my next book? And why not? It’s fun to create art. Sure, it’s fun to consume it, but holy cow, that feeling when you’ve created something to be proud of.
Should I create a little sign that says, “GOAL: CREATE MORE ART THAN YOU CONSUME,” or should I just get busy?
Digging deep into the archives today, to Aug. 27, 2005, and a well-received essay from one of my first blogs, “Montag … and the strikes were striking thirteen.” I was writing as B.W. Richardson because the corporation I worked for discouraged its minions from having personal blogs. It will come as no surprise that that corporation still hasn’t adjusted well to the digital age. I miss B.W. sometimes.
As someone who came to libertarian thought from the right-hand side of the dial, I find the various discussions in the blogosphere about the Libertarian Left fairly interesting. Near as I can tell, I have moved from being a right-wing Republican wack job to being a leftie lunatic, without really budging much from my core beliefs.
When I recently discovered Murray Rothbard’s seminal exploration “Confessions of a Right-Wing Liberal,” I learned that I am not the first to experience this phenomenon. “Twenty years ago I was an extreme right-wing Republican, a young and lone ‘Neanderthal’ (as the liberals used to call us) who believed, as one friend pungently put it, that ‘Senator Taft had sold out to the socialists,'” Rothbard wrote. “Today, I am most likely to be called an extreme leftist, since I favor immediate withdrawal from Vietnam, denounce U.S. imperialism, advocate Black Power and have just joined the new Peace and Freedom Party. And yet my basic political views have not changed by a single iota in these two decades!”
I am bringing a water pistol to a nuclear conflagaration, because while all of these writers have sped through the works of Rothbard and Mises and a whole slew of other deep-thinking philosophers, I have always preferred to curl up with a good novel, an album or a movie, and fill my head with ideas that way. As you can guess by the top of my page, my influences are not the great essayists but Heinlein, Bradbury and Orwell, most significantly “The Moon is a Harsh Mistress,” “Fahrenheit 451” and “1984.”
I don’t know how important it is to define one’s self as left, right, moderate or whatever. The lines between them have blurred to the point where they’re all advocates of what John Twelve Hawks calls the Vast Machine anyway. The “left” I have always known created the Great Society, a lumbering bureaucracy that claims to care about the poor and downtrodden. The “right” seduced me with the absolute truth that “government is not the solution to our problems; government is the problem,” but when it defeated the “left” and took the power, nothing changed except the priorities for which the lumbering bureaucracy is deployed. Our supposedly limited-government administration, confronted with 9-11, expanded the power of the Vast Machine and created two new Cabinet posts. Much like the ancient Mickey Rooney shorts where the solution was “Hey! Let’s put on a show!” the answer to the challenges that confront us has become “Hey! Let’s create a new government agency!”
I don’t believe in left or right anymore. I don’t look at the pigment of a man’s skin and decide what I think of him, and I don’t look at a big business leader or an aging hippie and make assumptions about their thought processes. The key to understanding a person lies in getting to know that person as an individual, not in knowing what category he belongs to. The real divide in America is not between left and right, which have turned out to be different flavors of the Vast Machine, but between those who trust government and those who trust individuals.
Am I left or right? I despise abortion because I see human life being flushed out of existence as if he or she was a cancerous tumor. I despise the death penalty because two wrongs don’t make a right and state executions make my skin crawl. I don’t think it’s the government’s business to license marriage, and if some church wants to declare a gay couple married, more power to it. I think the larger any organized human venture becomes — church, state or business — the more dangerous it becomes and the less it nurtures the best of humanity.
Again, maybe better thinkers than I have already come to these conclusions in scholarly tomes, but it comes down to this: If you think the state is the best vessel for solving our dilemmas and challenges, you’ve lost my attention. If you think we as individuals can work together to find solutions — voluntarily and nonviolently — I’m listening.
It’s a huge task. Ninety-nine percent of those participating in last year’s election voted for a candidate who advocated state solutions and expansion of the American empire. Most of the time it seems the best we can do is keep talking about these ideas and stay out of the way of the Vast Machine.
I guess I now belong to the libertarian left, having watched the nation lurch to the right around me as Rothbard and many others did before me. But I’m also still a Reagan Republican in many ways — with the emphasis on Reagan’s words, not his administration’s actions (and deleting any references to asserting the American promise at the point of a gun). What is “left” and what is “right” seem to vary with the seasons. Maybe we’re all ambidextrious in the end. The real eternal theme seems the individual versus the state. I’ll trust the person next to me as opposed to the amorphous bureaucracy every time.
I am pleased to report that my favorite line of dialogue has been restored in the BluRay edition of Godzilla Minus One, which was released this week: “We can’t rely on the U.S. or Japanese government.” I was dismayed when the Netflix translation watered down the line, but the disc restores the theatrical translation by Anthony Kimm.
Are you surprised at all that I bought the BluRay on the first day it was available? It’s been a treat watching the various features that are included along with the film. “The Making Of” feature is fascinating, seeing how the scenes were filmed in a specific order to take advantage of the actors’ time. As each actor’s scenes are completed, they’re given flowers and an opportunity to make a little speech. So many of them say they feel honored to be part of a Godzilla movie, a series that one actor even said is how Japan is represented to the world.
The 7-year-old inside me is tickled to see such a great movie emerge from a franchise that was so silly for awhile.
When I was a young comic book nerd, I believed that great stories could be told in that format, and my fellow comic book nerds know that Amazing Spider-Man #33 and Fantastic Four #51 are among the proof of that theory. I obviously wasn’t the only true believer — so many great stories were told that they had to coin the term “graphic novel.”
And so when a great movie is made in the giant-monster genre, I’m over the moon. Arguably only two truly great films had been made featuring giant monsters — King Kong (1933) and Gojira (1954). And now there are three.
Godzilla has seen a resurgence in popularity over the past decade, since Hollywood got involved and made the very fine movie Godzilla (2014) and its sequels, but Godzilla is a Japanese creation and their work is clearly the best. Of the half-dozen Godzilla movies made in the last 10 years, clearly the best are Shin Godzilla and Godzilla Minus One, products of Toho Studios.
You may not be able to rely on the U.S. or Japanese governments, but you can surely rely on Toho to deliver.