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Gossamer WheelFifty years ago, I was four and a half.

Fifty years ago, I learned that people die.

By that age, I knew what death was; I had already experienced the death of a loved one. One morning our cat, Cricket, dragged herself home, wounded beyond repair, crushed and half blind. My parents put her down. My mother explained it to me. We stood in the sun on our neighbor’s back porch, looking out over the salt marsh that Cricket loved to prowl. The air was warm and filled with the scent of salt and kelp. My mother stood behind me and told me of the wounds Cricket had suffered. She put a hand over one of my eyes to show me what it would have been like for her. I was saddened by it, of course–Cricket and I had a special bond; she trusted me enough to have her litter of kittens under my bed–but the way my mother explained it, I could see that it was a necessary thing. She was suffering, and the only way to end that suffering was to end her life. It was an act of love, an action not taken lightly.

But fifty years ago, I learned that people could die, too.

At that time, beyond my parents, my friends’ parents, friends of my parents’, and teachers, I knew of only two adults: Walt Disney and President Kennedy.

Fifty years ago today, President Kennedy died. Within the year, my mother would die. Shortly after that, Walt Disney would also be dead.

Those three deaths affected me profoundly. The grief born of that triple loss colored my outlook for decades; it affects me still, to be honest. From my place here on the far side of that tragic education, I can’t tell you how I am changed, only that I am changed.

Looking back fifty years, I remember that I was brought home early from school. I remember adults weeping, men in tears, a thing I had never seen. I felt infected by their grief, swept along by the current of their emotions. I had little concept of what a President was, but I knew who he was, and a few days later, when we watched the funeral on our small television, when I saw that riderless horse fighting the reins, fractious with distress, it all hit home.

People die, too.

Love them while you can.

k

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Gossamer Wheel

In outlining the new book, I create histories. As a result, and today being Veterans’ Day, I was reminded of something I discovered back in 1990.

You see, some American families have a long and celebrated history of military service. My family does not. Some families can measure their generations from war to war. My family cannot. (more…)

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Fifteen years ago, Disney got their hands on Hua Mulan, the legendary Chinese heroine, and used her to anchor their decidedly meh-worthy film, Mulan. Disney’s treatment was not the first film attempt to tell the story of this 6th century legend (the first film was made in 1927) nor, thankfully, was it the last.

Mulan: Rise of a Warrior (2009) is a live-action portrayal of the classic story of a young woman who, to save her ailing father, poses as a young man and takes his place in the military during the battles between the nation of Wei and the tribes of the Mongolian steppes. She spends twelve years a soldier, rising through merit, achieving the rank of general. When the war is resolved, she refuses the offices and lauds offered her for her service, and instead returns home to her village.

While no one is going to really mistake Zhao Wei for a man, she is by far the best choice from the other reported candidates under consideration. Moreover, Zhao turns in a strong performance, building layers of nuance and contradictory emotions, melding fury with vulnerability, grief with honor, and showing us through a strong and character-driven script a real character of strength.

Movies from China tend to have three things I dislike. I don’t like “wire” movies, where everyone is unconstrained by the laws of physics. I don’t like the Hong Kong Cinema kung fu movies, where again, physics are optional. And I don’t like the thoroughly predictable and incredibly depressing endings that a lot of movies out of modern Chinese cinema seem to have.

Therefore, this Mulan is a winner on several levels. It is not a “wire” movie, the battles (though many) are fairly earth-bound in their construction and execution, and though the film doesn’t end with a Big Red Bow, it’s a believable and realistic (for the time) outcome to an exceptionally unusual situation. More importantly, it’s a satisfying ending, and that’s too rare in the modern Chinese cinema (in my opinion).

Some of the characters are rather two-dimensional; villains are villainous without reason, and tyrants are tyrannical because it moves the plot along. Secondary characters are generally the same quirky but loyal caricatures of soldiers you’ll find in any film about the military. However, these failings do not pull down the whole movie. The complexity of characters like Mulan, Wentai, Fei, and the Rouran princess keep this film above the norm, and the intricacies of their relationships–the depth of their thoughts and reactions–keep us engaged.

Also worth mention is the exceptional costume design and art direction, which combine to give a verisimilitude to the exteriors, armor, and battles that can only enhance our enjoyment. Nothing stands out, here, as being anachronistic.

Exception to the above: for some reason, the director chose to cast a Russian singer, Vitas, as a servant to the Mongol khan. He seems to be there solely for his talent as a singer (his falsetto voice is remarkable), but he stands out like, well, like an Anglo amidst the Mongol horde. Frankly, I found him a distraction, and totally unnecessary to the tale.

Overall, though, I really enjoyed this movie, and would recommend it for any rainy weekend this winter.

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In retrospect, yesterday’s post was a bad idea and very out of character. I had misgivings and hesitated before posting, but I ascribed those feelings to being “brave” and maybe even a bit “edgy” with my choice of topic.

Nope. Instead, it came across as a petulant, whinge-filled pity-fest served with a big side of “Buy my book and tell me it’s grand.”

Ew…and therefore…my apologies. That was not what I wanted to say, and that is not what I want this blog to be about.

Here’s what I want to say, instead. (more…)

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I’m biased. There. I said it.

I’m biased, in that I like the books I’ve written. I can’t help it. Frankly, I wouldn’t be able to get through the writing part of being a novelist without liking the books I write. Writing a book I didn’t like? Not gonna happen.

So, I’m biased, and that’s unfortunate, because it makes it impossible for me to understand why Unraveling Time didn’t sell.

And I want to know.

Seriously. I want to have an honest, open conversation about why this book didn’t sell. (more…)

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Kurt R.A. Giambastiani

I’m always curious, when readers leave comments about my books, as to which of my novels is their favorite and why.

The answers are always varied. Sometimes it’s the subject matter, the period, or the setting. For others, it’s the characters who populate the pages. Occasionally, it’s just je ne sais quoi, that certain “something” that resonates with a particular reader.

Recently, though, the question was turned around; someone asked me what my favorite was. (more…)

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You all know I’m a Browncoat and a fan of “Castle,” as well. I may have also mentioned that one of my guilty pleasures is reading the “Richard Castle Mysteries,” the series of novels ghost written under the Richard Castle nom de plume.

I’m generally not a fan of mystery novels. I find them too formulaic and (frankly) unbelievable. I admit, I went through a Nero Wolfe phase in my youth, scarfing up every dog-eared Rex Stout paperback I could find, but I recovered. These days, the only ones I can read are police procedurals because, let’s face it, who’s more likely to come into contact with murders and murderers time after time: an old pensioner from Sussex, or a homicide detective?

I’ve read all the Nikki Heat books, and am reading Deadly Heat now. Part of my enjoyment of these books is the conceit; I’m reading a book “written” by a fictional character, a book that is mentioned in the TV series, and which often debuts on bookshelves on the same night it debuts on the television show. The book mimics action played out during the previous season in the TV show, as if it were really the product of this fictional character’s fictional life. And built within the book are characters and references to events that appear in the television show. It’s a wonderful gimmick that I really enjoy. Now, throw in a handful of “self-awareness” references, such as acknowledgments that thank not only characters from the show, but also (by first name only) actors who portray those characters. And then, to top it off, toss in a handful of really “meta”  references, pointing back to “Firefly” and other works the actors have done outside the “Castle” world.

In all, it’s layers upon layers, fiction upon fiction, all with a wink and a nod to the real world and real life. (more…)

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