Footnote re “in sync”

Julian Assange was arrested in sync with his organization’s world-shaking release of State Department cables. In sync as correlation is fact, check the calendar. In sync as causation? Arguing that would require first understanding the (historically predictable) “official” version of the causation: The arrest was due to some combination of surprisingly empty sexual misconduct allegations that turned into this:

But arguing causation is not necessary, for “in sync” comes from the word synchronicity, which means “together in time”: correlation. The word has an exact meaning, and that is the meaning I am using.

Extra material for Salon George W. Bush painting article

Today Salon published my and Amy O’Neal’s new article, “Portrait of a failed president: Inside the art of George W. Bush.” As is usual in this industry, they made some changes. So, some extra text and images here for you.

Below are the images buried in the article’s slideshow. (Except for Felipe Calderón, whose portrait I took a picture of, the images come from TheBushCenter’s Flickr.)

Portrait of Tony Blair

Portrait of the Dalai Lama

Portrait of Felipe Calderón

Exhibit wall

While Vladimir Putin’s false-flag bombings of his own Moscow remained in, George H.W. Bush’s connection to the JFK assassination came out. Here’s that text:

He once said he didn’t remember where he was when John F. Kennedy was assasinated, which is like saying you don’t remember where you were when Apollo 11 landed on the moon or the twin towers came down. As journalist Russ Baker’s thorough book Family of Secrets reveals, Poppy was actually in Dallas the day before and probably the morning of November 22, 1963, when military intelligence figures led Kennedy’s motorcade to its fate. Poppy was also a friend of George de Mohrenschildt, Lee Harvey Oswald’s handler, and closely tied to Allen Dulles, whom JFK removed from the CIA directorship. Not to mention Poppy’s ties to Texas oil barons whose tax breaks JFK wanted to end. Draw your own conclusions about this “gentle soul.”

Also I want to note that Bush raised more than half a billion dollars for the complex. Presidents raise money for their libraries while in office (as well as after), which means the fundraising is an opportunity for influence to be exerted. Even foreign leaders can give sitting presidents secret donations for their libraries.

Creative Commons License

Extra material for Salon George W. Bush painting article by Douglas Lucas is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. It does not affect your fair use rights or my moral rights. You can view the full license (the legalese) here; you can view a human-readable summary of it here. To learn more about Creative Commons, read this article. License based on a work at www.douglaslucas.com. Seeking permissions beyond the scope of this license? Email me: dal@riseup.net.

The Value of the Stratfor Leak

My speech at Foley Square

On November 15, hacktivist Jeremy Hammond was unjustly sentenced to ten years in prison for, among other actions, hacking confidential emails out of the Austin-based private intelligence firm Stratfor. WikiLeaks published these emails as the Global Intelligence Files. I’ve been researching them intensively for more than a year, and have published two articles on my research at WhoWhatWhy, one on General David Petraeus and one on the Drug Enforcement Administration’s Special Operations Division seeking White House permission to kill Mexican drug lord El Chapo. That second also includes a lot of my research into Stratfor’s informants and clients.

The day of Jeremy’s sentencing hearing, I gave a speech at Foley Square outside the courtroom and some interviews about the value of the Stratfor leak. The leak will continue to benefit researchers for years and years. Journalist Chris Hedges (Wikipedia), journalist Alexa O’Brien (Website, Twitter), and defense attorney Jay Leiderman (Website, Twitter) also spoke at Foley Square.

If you want the short version, check out this interview of me conducted by Jeff Durkin (Twitter) of We Are Change Connecticut (Website, YouTube). It was right after the speech. The interview is about seven minutes long and came out really well.

If you want the long version, here is a video of all four speeches and more by Small Affair (Twitter, Tumblr, Donate, Occupy the Stage). My part is from 36:00 minutes to 49:30. Small Affair also took the picture at the top of this post. Below the video is the prepared text of my speech.

Content on this page requires a newer version of Adobe Flash Player.

Get Adobe Flash player

This morning we saw young but longtime hacker and political activist Jeremy Hammond unjustly sentenced to ten years in prison for, among other actions, hacking confidential emails out of the Austin-based private intelligence firm Stratfor, the leak of which WikiLeaks is now publishing. The five million-plus emails Jeremy provided to us through WikiLeaks span 2004 to 2011 and consist of internal and external correspondence, files, and records of the firm’s analysts, spies, executives, writers, and other employees.

I want to talk for a few minutes about why what Jeremy did has been and will continue be so beneficial to us—that is, I want to talk about the value of the Stratfor leak, which is Jeremy’s contribution to what we can call the historical record or humankind’s knowledge repository or simply just the Internet. For more than a year, I’ve been intensively researching the complete cache of Stratfor documents in WikiLeaks’ possession. I’ve published two in-depth articles at WhoWhatWhy using my research, have a third coming out soon there, and many more in the works.

When WikiLeaks began publishing the Stratfor leak, which it calls the Global Intelligence Files, much of the reaction from the US mainstream media was dismissive. The Atlantic published an article the same day WikiLeaks announced the leak, titled “Stratfor Is a Joke and So Is WikiLeaks for Taking It Seriously.” The Atlantic writer, of course, did not read the five million-plus emails. Rather, he was probably acquainted with Stratfor’s free email newsletter reports and media appearances and was itching to discredit WikiLeaks and its source, who we now know was Jeremy. But what the Atlantic writer was acquainted with was just the surface of Stratfor.

The firm does so much more. In the 2004 to 2011 time span the leak covers, Stratfor provided training and created custom intelligence products—reports, predictions, assessments—for big corporations such as Hunt Oil, National Oilwell Varco, Parker Drilling, Lockheed Martin, Dow Chemical, and for government arms such as the Defense Intelligence Agency, the Department of Homeland Security, the US Marines, and many more. These people weren’t reading the free email newsletter reports. They were buying intelligence products such as Stratfor’s Yemen attack database, in which Stratfor catalogued incidents of violence in Yemen with precise information such as GPS coordinates. They were, in Emerson Electric’s case, paying more than a hundred and fifty thousand dollars a year for phone and email access to Stratfor employees who would brief them on political, economic, and security factors affecting their operations. So much of the information Stratfor was providing these clients is available to us now thanks to Jeremy, and most of it hasn’t been researched yet.

National security journalist Joshua Foust said this week that Stratfor isn’t that much different from a private investigator. P.I.s don’t have the clientele I just listed. They also don’t have Stratfor’s informants, who included Israeli Prime Minister Benjamin Netanyahu, Mexican diplomat Fernando de la Mora Salcedo, and DEA supervisor William F. Dionne, whom I interviewed and who provided Stratfor information off JWICS, a top-secret US government computer network. Much of what these informants were telling Stratfor is available in the leak, again thanks to Jeremy, and most of it, again, hasn’t been researched yet. So we still don’t yet know the full extent of Jeremy’s contribution.

Joshua Foust also said this week that the Stratfor emails “weren’t surprising” for people in the know. That’s false. And he said “weren’t surprising” as if the leak is already over. We’ve barely scratched the surface. The mainstream media in the US doesn’t want to research the information I’ve been describing, they’re not familiar with it, they don’t care. They bash Jeremy’s contribution on the one hand, but on the other hand, the New York Times (as documented by the NYT Examiner), NPR, and other news organizations collaborate or share information with Stratfor behind the scenes. That’s the US mainstream media for you, hypocritical. Turn them off.

There are easily decades’ worth of research remaining for the Stratfor documents. Not only are there more than five million emails, but many of them have PDF attachments of up to hundreds of pages each. Examples of these attachments include intelligence bulletins from the Drug Enforcement Administration’s El Paso Intelligence Center, Texas Department of Public Safety threat assessments and situation reports, and intelligence products created by Department of Homeland Security state fusion centers. There are even intelligence products created by Stratfor competitors whom the firm was studying such as Total Intelligence Solutions, the Institute of Terrorism Research and Response, and Oxford Analytica. So Jeremy didn’t just provide us with information from Stratfor, but also from other private intelligence firms and government intelligence organizations. Again, most of this material hasn’t been researched yet.

But here are some of the greatest hits of what has been uncovered so far.

The previously unknown Trapwire surveillance system was one of the biggest Stratfor revelations. This company with CIA ties developed software for CCTV cameras that identifies or supposedly identifies suspicious behavior and manages and cross-references suspicious behavior reports from different locations and time periods. It also integrates information from license plate readers and other surveillance inputs. Trapwire has been deployed in DC, Seattle, LA, Las Vegas casinos, Atlanta, the London Stock Exchange, and right here in the NYC subways, 500 cameras’ worth according to Stratfor in 2010. If someone “sees something, says something” about you in a New York subway, your “suspicious activity report” possibly goes to TrapWire. Thanks to Jeremy, we better understand mass surveillance, which is crucial, because giving the people who brought us mass incarceration, more than two million people behind bars in the US, the technology to incriminate anyone, whether rival politicians or ordinary citizens, is obviously an immense threat to freedom.

My work at WhoWhatWhy on the Stratfor documents, thanks to Jeremy, includes an article about General David Petraeus, whom Stratfor shows was probably having an extramarital affair prior to previously known, which besides possibly being a military offense, suggests his mistress Paula Broadwell, who was an intelligence officer, may have had him in her crosshairs for a long time. That makes more sense of Petraeus’s downfall from the CIA and gives a better picture of internal government struggles. Another article of mine is on the Drug Enforcement Administration’s Special Operations Division seeking White House permission to assassinate Mexican drug lords. That’s a picture of the increasing militarization of law enforcement and the possible broadening of US assassination policy to merge the war on drugs with the war on terror–a push for a so-called “narcoterrorism” policy. Later this month WhoWhatWhy will publish another Stratfor article of mine of Mexican military presence in the US and US military presence in Mexico. Thanks, Jeremy.

Another contribution of his are the revelations in the media outlet Narco News about the US and Mexican governments easing the path for certain cartels to traffic drugs into the country. Instead of improving the Mexican economy so poor people don’t join cartels or legalizing drugs, the US and Mexican governments pick favorites among drug cartels in hopes that a preferred balance of power among them will reduce the drug war violence. Meanwhile they arrest people for smoking pot. This is a picture of what the drug war really is. And I’ve seen in my research that even Congresspeople are listening to Stratfor on so-called narcoterrorism issues.

Thanks to Jeremy, we learned private intelligence was looking for connections between Alexa O’Brien’s campaign finance reform group US Day of Rage and Islamic fundamentalism, which of course carries the threat of Alexa being smeared as a terrorist. That particular Stratfor memo was cited in her and Chris Hedges’ court case against indefinite detention that went to the Supreme Court. We also learned thanks to Jeremy that the Department of Justice has a sealed indictment against Julian Assange of WikiLeaks, indicating the severity of the US government’s efforts against journalists and the Internet. This revelation was cited by Assange in an affidavit to Swedish police.

There are plenty of other revelations in the Stratfor documents. Those are just some of the greatest hits. You can get involved researching the Stratfor documents yourself. Look them up on the WikiLeaks website, where there is a search engine to look through them.

You might say, Okay, so we grabbed a few headlines, and maybe a few legal documents benefitted, but what’s the use, what does it all add up to? We know Jeremy’s legal case was unjust. The FBI knew Stratfor was being hacked for weeks and did not stop it, and entrapped Jeremy through their informant Sabu. Judge Preska denied Jeremy bail wrongfully. And the sentencing is irrational: if Jeremy had broken into the Stratfor building in Austin and walked off with hard drives, he might have a prison sentence of only about a year. There were other actions he did, but since the US government is cracking down on the Internet and journalists and their sources, he’s stuck with a much more severe sentence. So now he’s in prison. Are the news headlines, past and future, worth that? He says so, but are they really?

Yes. For one, these revelations are examples of why more and more people are ceasing to take the US government and traditional politics seriously. The fewer people trust in the Democratic Party, the better. People who grow disgusted with the System as a result of revelations such as these will begin to look to themselves and solidarity for solutions. Solutions such as the commons or mutual aid. Instead of trying to reform or overthrow the government, we can simply practice governance. Internet technology is a tool that makes mass collaboration for mass self-govenance possible, which is something Heather Marsh writes about, if you know her work. If not, read it.

The best way to look at what Jeremy did is to see it as a permanent contribution to humankind’s knowledge base, our knowledge base, the Internet. Think about checking your phone to look something up. We all know what it’s like to look something up online and find an answer, and we all know what it’s like to feel grateful when we find an especially good answer. That’s the sort of gratitude we should feel toward Jeremy. He improved our knowledge; he’s given us better answers, and they are answers about some of the most important things: what the powers who try to control us are doing. With better information, we can make better decisions and govern our own lives.

Fundamentally, Stratfor is a profit-driven business. It influences big business, government, and the media. It’s an organ of the powerful, but despite its power over all our lives, Stratfor’s employees are not vetted by the people and it’s not open to Freedom of Information Act requests. The knowledge it held between 2004 and 2011 was locked up behind closed doors.

But Jeremy freed it. For that, journalists owe him hard work researching the Stratfor documents, and we all owe him our thanks.

That evening, Vivien Weisman (Twitter) interviewed me about Barrett Brown and my Stratfor research to include in her upcoming documentary The Reality Wars, which is about hacktivists.

Also that evening, I was interviewed on Lorax Live (Website, AnonOps Radio, Twitter, Facebook) about the value of the Stratfor leak. The audio is not online yet, but I will update this page when it is.

Creative Commons License

The Value of the Stratfor Leak by Douglas Lucas is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. It does not affect your fair use rights or my moral rights. You can view the full license (the legalese) here; you can view a human-readable summary of it here. To learn more about Creative Commons, read this article. License based on a work at www.douglaslucas.com. Seeking permissions beyond the scope of this license? Email me: dal@riseup.net.

Patriot and Mailman at The Chat Room, 9 March 2013

Two awesome local bands played here in Fort Worth last Saturday at The Chat Room (Twitter).

“Shake Me” by Patriot

Get the Flash Player to see this video.



View/download as 1920×1080 .mp4

When I first met Jake Paleschic, the leader, singer, and songwriter of Patriot, he was reading Flannery O’Connor, ’50s and ’60s author of tough, serious short stories and two intense novels. Patriot is just as real as her work. Gritty, not unlike James McMurtry, Jake’s music makes you care — he and his band play, everyone stops to listen. The rest of the band is up to the task of accompanying him. Austin’s experience on classical guitar has trained his right hand to give every single note on bass its own sound, rather than the stream of identical notes you normally hear. Tyler’s fills on lead guitar are as thoughtful as he is, adding to the music like a voice. And Peter’s drumming feels personal, a genuine feel, where so many drummers just bang away mindlessly. I always want to listen to these guys.

Patriot (Bandcamp; Facebook):

  • Jake Paleschic — guitar, harmonica, vocals
  • Tyler Brown — lead guitar
  • Austin Kroll — bass
  • Peter Wiernga — drums

Jake Paleschic

Tyler Brown

Austin Kroll

Peter Wiernga

Set list:

  • Bullet
  • Ballad of Joey Gorman
  • Speak Momma
  • Shake Me
  • Long May I Sleep
  • Day Moon
  • Slow Love
  • Brimstone Blues

“Seth Met a Girl” by Mailman

Get the Flash Player to see this video.



View/download as 1920×1080 .mp4

Mailman is really fun. Austin has free range for his talent, and Jon sings from his heart. I’m eager to hear “Suburban Angst” recorded, perhaps their catchiest song. Read more about Mailman on the excellent site FortLive.

Mailman (Facebook):

  • Jon Phillips — guitar, vocals
  • Austin Kroll — guitar, vocals
  • Reece Presson — bass
  • Robby Rux — drums

Mailman

Set list:

  • Nevermind (It’s Not So Bad)
  • Working
  • Suburban Angst
  • Seth Met a Girl
  • Slug
  • Black Dress
  • Terrible People
  • Hard Way

Ralph White also played solo that night, as did someone else — if you know this other person’s name, leave it in the comments. And if you know the name of the original artist for the song “Hard Way,” leave that in the comments.

(Thanks to Fernando Ochoa for help with some of the photos.)

Creative Commons License

Patriot and Mailman at The Chat Room, 9 March 2013 by Douglas Lucas is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. It does not affect your fair use rights or my moral rights. You can view the full license (the legalese) here; you can view a human-readable summary of it here. To learn more about Creative Commons, read this article. License based on a work at www.douglaslucas.com. Seeking permissions beyond the scope of this license? Email me: dal@riseup.net.

Clarion West 2008 – Part 8 of 10

This post is the eighth in a series of ten about my experiences at Clarion West Writers Workshop (Wikipedia; Twitter) as a member of the 2008 class. I’ll talk about the final week of the workshop, Week 6, when Chuck Palahniuk (Wikipedia; Twitter) instructed. (It’s pronounced PAUL-uh-nick.) Here are Parts 1, 2, 3, 4, 5, 6, and 7 of the series. In Part 7 I talked about Sheree R. Thomas‘s week and the beach reunion my class held in October 2011 in San Diego. We’re tentatively discussing another reunion now — maybe Las Vegas or Portland.

I should note that on August 31 2009, my Clarion West comrade Pamela Rentz said as a comment to Part 3:

Cool! At this rate you’ll have the workshop covered by 2012.

It is now February 2013. Part 7 was published on January 3, 2012 — more than a year ago. At this rate I hope to have the workshop covered by the time I’m dead.

Of course, Week 6 was the last week, so this should be it, right? Except for the remaining Parts 9 and 10. I think Part 9 will be my last remarks on the ’08 workshop plus a report from our forthcoming reunion. I should also write about the surprise guests we had at the workshop who gave talks or taught for just a few hours. Part 10 will just remain open; you never know what might happen.

Famous person at bottom left

Chuck Palahniuk — or “Chuckles,” as we began calling him before he arrived, perhaps in an effort to defuse his celebrity power — was the most wildly creative of our instructors. Leading the workshop, he took the day’s stories and came out with several ideas for each, some off the top of his head, ways to make them more powerful: this scene could mirror that scene if you change this about the setting, or this object one character carries around could also be used in another instance ironically, or other more powerful uses for motifs and structure. His mind was so flexible; he could invent possibilities for the formal properties of a story so felicitously. If you’ve read Orson Scott Card’s How to Write Science Fiction & Fantasy, you probably remember Card’s “Thousand Ideas in an Hour”; Palahniuk has the same fecundity.

Here’s an example. His week I turned in a short story about a mentally ill son and his mom. The mom wrote poetry with a favorite fountain pen, and during an author reading at a bookstore the son took the pen from her and crazily insisted on writing with it while talking aloud, becoming a social nuisance. Palahniuk pointed out that the pen could explode and cover the son’s arm with Rorschach-like inkblots. The pen is a tool for creativity; the pen, like his mind, breaks; control of the pen is contested, just as control of the son’s life is contested. This was just one of the twenty-something ways he came up with for amping up what was already in my story. Hearing him do this, you couldn’t help but learn some of the ability yourself. Afterward you read real-life stories better too, interacting with people and catching on to their recurring motifs or themes.

I notice the manipulation of formal story properties (character, setting, etc.) a lot while watching TV shows. Lost or The Twilight Zone come to mind. But writing is not contained by formalist wizardy. Sometimes writers just create mood (think of JD Salinger) or just wonder (think of Haruki Murakami) or tell you what’s what (think of Philip K Dick talking about God). And that’s all great, despite the business-like emphasis of some writing instructors on “Make everything in the story perform multiple functions, OMG, we gotta be economical here to turn a profit.” It got on my nerves the way Chuckles constrained everything as if there’s one true way to write. Art and sex are some of the only areas in life where you get to escape rules; people, especially those giving advice, just want to bring rules in because it reduces uncertainty — at the cost of quality and freedom. (Gay Saul Morson’s Narrative and Freedom: the Shadows of Time is a great critical theory book about how traditionally structured narrative clamps down on possibilities and the sense of freedom in fiction.)

He had plenty of rules for sentences, many of which are often totally helpful. Here’s a list of some. (Pam Rentz noted some others.)

  • Don’t use “specific” figures like “100 degrees” or “55 mph.” That’s missing an opportunity to characterize. What do those figures mean to the character? Is 100 degrees hot for him or not bad?
  • Use lyrical prose as a contrast. Don’t use it often; it gets tiring over time. Use it for effect. [Oh, poo.]
  • No abstract verbs: no remembering, considering, etc. [Oh poo again. What if the narrator is an abstract thinker or you are emphasizing uncertainty?]
  • No filtering. “I smelled the sour stink of sweat coming off him” should just be “The sour stink of sweat came off him.”[Same poo as above.]
  • “Going on with the body”: Go visceral, flesh-and-blood. Describe palms, feet, smells, flavors. Don’t be cliché, but if you don’t do it at all, your narrator will seem disembodied.
  • Never/seldom use forms of “to be” or “to have”; use more descriptive action verbs.
  • Make your settings (and physical descriptions of people) move. You want a movie, not a framed picture, unless for effect. [E.g., instead of “He wore a black button-down” write “His black button-down came loose from his slacks” or whatever.]
  • Don’t shortcut by saying “ugly dress.” Describe the dress and why the POV character thinks it’s ugly.
  • Attributive tags for dialogue are good. Not only do they keep the reader clear on who’s talking, they serve as the natural pause in conversation.
  • “Submerging the ‘I'”: Circle the pronoun “I” in your manuscript and figure out ways to reduce the use of it. Ideally, use it no more than once per page (!). It reminds the reader the story is not happening to them. Me/my/mine/we/ours do not seem to do this. You can use the word “I” a lot intentionally to create distance.
  • Use a lot of dentals: d’s, t’s, p’s, k’s. They sound good.
  • Be specific. Is it a maraschino cherry or a Queen Anne cherry or a … A gun is never just a gun.

Here is some other advice he gave to the workshop or to me in the one-on-one conference. Same caveat (from me) as above about “rules.”

  • Set specific, measurable, actionable, realistic, timed goals. Big ones. Tell them aloud to each other and everyone else constantly. Hang them on your walls, etc. etc. [I don’t go for this Tony Robbins self-improvement stuff, but here I’m noting what Chuckles said. I believe a person should set goals, but not forced ones. Something like, “I’ll write fiction for two hours every morning.” That’s a lot more human than the bodybuilder obsessive stuff which, I think, ultimately backfires psychologically.]
  • Externalize humanity via symbols. We’ll like a horrible character if they have a pet.
  • Goal of a first novel: not so much quality as it is to write something people can’t forget. [I believe for art you should not care what other people think while you are creating. But it’s hard to ignore the context you are in.]
  • Sell chapters as standalones. Doing so impresses potential publishers.
  • Show the reader your (and/or the character’s) authority. Establish credibility via facts, factoids, research, etc., particularly those about the subject of the story.
  • You can characterize by making a character habitually notice one thing: e.g., someone’s clothes or money status or whatever.
  • Never (!) forward plot through dialogue. Action is always stronger.
  • Don’t start a story with thesis/topic sentences that give everything away. One workshop story opened by telling us the character scratched through to his brain. Just show the scratching and make the reader wonder if the character’s going to get to the brain or not.
  • A good book: Another Day in the Cerebral Cortex.
  • If you bring an object in (a “prop”), use it over and over as many ways as possible. Make story elements do multiple jobs! [Poo. Fiction is not a factory.]
  • Setting can’t (!) be stationary and it should influence the character. A fan blows smoke on the character’s face, peanut shells on the bar floor add height to the character…etc.
  • Scenes shouldn’t all be the same length. That’s poor pacing.
  • Physical action = the strongest way to characterize.
  • Putting a lie or an unfulfilled social obligation early in the plot can be useful.
  • Check out Victor Turner on limnoid experiences. These are experiences where you go to be a different person, e.g., a cruise ship, a rock concert, Burning Man, etc., where you experience a lot of affection for others, there are social rules in place, etc. People like reading about limnoid experiences, especially invented ones.
  • As to research, ask interview subjects to tell you stories. Share your stories so a touchy-feely atmosphere is established. Tape record. Show you’re listening by saying stuff such as: “You’re kidding, they really said _____?” Kind of manipulative but it works.
  • It’s okay to write a thousand books and stories with dead fathers in them. [This was in response to a question of mine in the one-on-one conference.]
  • Low subject matter in high diction can be comical.
  • Check out Cold Comfort Farm and A Confederacy of Dunces.

The class gave the instructors gifts, and for Chuck Palahniuk we created something — I can’t quite remember what — that he had to dissect, a fit for his shock jock style. See picture below; here is the complete set.

Dissection

For some reason during Week 6 it was important to me to question Chuckles about his insistence on rules. Not sure why I cared about doing that so much. He did tell me at one point that writers tend to come from one of two backgrounds: journalism or academia. The former are more amenable to rules, he suggested (the miniaturist, Amy Hempel style he prefers). This makes a bit more sense to me now since I’ve sold some journalism pieces and other freelance material; editors want stuff that’s easy-to-read and efficient. But the business mindset shouldn’t overtake art.

Shane Hoversten wrote an amazing story for this final week. It was a farewell story for our class. He included each of us as characters. He imagined me getting drunk at the workshop (I rarely drink), saying stuff about lyrical prose and olfactory sensory details, and passing out. :)

Since the workshop some people have asked me what Chuckles was like as a person. He was reserved compared to our other instructors, who mingled with us more. Probably that was partly because it was his first time to teach at a Clarion; he’s taught at Clarions more since 2008, so I wonder if he socializes more now. He really cared about helping us, and enjoyed teaching. I learned a lot from him.

I’ll write up concluding thoughts about the workshop in Part 9, if I ever get around to it!

Creative Commons License

Clarion West 2008 – Part 8 of 10 by Douglas Lucas is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Based on a work at www.douglaslucas.com. Seeking permissions beyond the scope of this license? Email me: dal@riseup.net.

How To Reduce the Need for Affection

What do you want?

Googling “how to reduce the need for affection” doesn’t turn up all that much, and if you ask your friends, they’re just gonna laugh at you. Until weeks later, after they’ve been ditched by whomever it was for them that month, and they come to you, tail between legs, asking “Hey…did you ever find out how to reduce the need for affection?” This has happened to me multiple times!

In researching reducing the need for affection, I’ve come across plenty of articles that try to dodge the issue by avoiding the word “affection.” They claim people are seeking “attention” or “prestige” or “approval” or some other medical-sounding reward. But I think the situation is a lot hotter than that, and by hot I mean a warm fuzzy HUG — get your mind out of the gutter.

A lot of the search results you DO get (YGMV*) are content-farm articles on how to spay or neuter your pet (…so that’s what they’re calling it now?) or y so srs/pitiful pieces in the Huffington Post about how to make your man show you more affection (…she really hasn’t figured that out yet?). I lost the very few useful links I came across. But here’s what I’ve discovered:

  • Get busy working on an idealistic project(s).
  • Get a pet (this is more of a hack: route around humans).
  • Get lost. Aloneness becomes a more comfortable habit given time.

And keep in mind this Theodore Sturgeon quote from his novel Godbody, which the character Britt Svenglund ascribes to the character Dan Currier: “any person who cannot be by himself, it’s because when he is by himself he thinks he is not in good company.”

In the last year, I’ve been in a totally unprecedented situation: I’ve had lots of friends! And I’ve conducted a lot of socializing. (Mostly at this excellent coffeehouse & computer repair shop in Fort Worth.) The whole experience startled me. “Wow, so this is what all the people I hated in high school were doing!” It gets so thoroughly, disgustingly addictive. You wake up one day, and your emotions are beseeching the universe to deliver you affection from others. Your long-lasting contributions to humanity? Yeah, screw those. WAIT NO!

You have to consciously pull yourself away if you get addicted. (Twitter, I’m looking at you.)

Now, you might not want to become a recluse. Currently you gotta interact with people to get where you want to go in life, and it turns out social skills are useful for that. Plus, a good social space generates good random. You encounter people who give you knowledge and paying gigs and culture. This happens in cyberspace, too, but it happens differently in meatspace; I’m not sure how to describe the difference, or why both are valuable.

Brain in a Vat Doesn’t Need Your Meatspace (Pic stolen from here).

A pickup artist is going to look at people with alleged affection-deficits and offer to teach them how to acquire more affection. Which, when you think about it, is not unlike a nicer (or at least nicer-sounding) Thrasymachus, who (according to Plato) taught that justice is nothing but “the advantage of the stronger.” (In the fifth century BCE, in ancient Greece, you could buy teachings from sophists such as Thrasymachus. Early-day Tony Robbins.) Pickup artists have a term: One-itis. Urban Dictionary as usual has the best definition:

Often confused with love, this is the feeling that a particular woman is actually special. This is just an illusion; she is the same as the other three or so billion. “Go fuck ten other women” is the most commonly prescribed treatment for this “disease” (hence the “itis”), as it tends to show quite quickly how very alike people are.

But everyone is a special snowflake, dammit (srsly, you are. And aren’t at the same time, too. Paradox WOAH!). Anyway, it is just remarkable, the difference in perspective, when faced with the question: “What do I do about my affection-deficit?” 1) Become more skilled at manipulating people into giving you affection; or 2) Reduce the need for affection. I’ll take option 2.

Not so fast, the psychiatrists are here. They describe “the self-effacing solution” of wanting too much affection, and the resignation solution of (among others) schizotypals wherein you want too little. Oh, good, the psychiatrists left. Continuing on.

Once I was chatting online with someone, importuning the person for attention affection, and found myself rebuffed; instantly my mind generated epic narratives about how they were full of shit and one day, despite my anger and bitterness, I would triumph before all! AT THE EXACT SAME TIME in another chat window someone was importuning me for attention affection, all plaintive, and I was like, geez, this person’s annoying, won’t they go away, like srsly. Humans are up to here in this affection-acquiring attention-economy business. It’s the pits.

So you want the golden mean of affection and social interaction that suits your purposes and not the purposes your addictions or inexperience define for you. (A golden mean is not necessarily in the middle of the continuum, and not necessarily any sort of average.) On the other hand, maybe you’re such an awesome mystic that you flat-out don’t need to interact with others at all. In which case … can we meet?

INTERLUDE. Let’s take a break for a second.

* YGMV: Your Google May Vary, depending of factors such as your IP address. Which is one reason why proxy networks such as Tor are fun: “Today I’m gonna Google from the point of view of someone in the Czech Republic. Podívejte!

Writing this I found out there’s a now-defunct Swedish goth metal band called Beseech.

They appear not to want my affection…but is it a reverse psychology trick?

Beseech covered ABBA’s “Gimme! Gimme! Gimme! (A Man After Midnight)” which is both awesome and horrible, and most fitting for this post.

Half past twelve / And I’m watching the late show in my flat all alone / How I hate to spend the evening on my own! … [Yeah I can’t take any more of this either.]

END INTERLUDE. Back to srs bizns.

I should point out that killing a social addiction is most conducive to creative thought. Which is much more useful to the world and (less important) much more happiness-producing than nightlife. What other people think really gets into you and mucks with your invention wellspring. Of course, not so good to invent something without people in it, so at least say hi to somebody today, okay? Or maybe just this week. (Even if just online ;-)

Creative Commons License

How to Reduce the Need for Affection by Douglas Lucas is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Based on a work at www.douglaslucas.com. Seeking permissions beyond the scope of this license? Email me: dal@riseup.net.

I Hate Game Theory

I have yet to read this book

A lot of people I’ve recently met center their lives around winning games, with scoring casual sex encounters as one of the main ones. In this Interview with Pickup Artist Chaser Clarisse Thorn, the interviewer, whom the answer-ready Clarisse just barrels over, splashing her slang about One-itis and strategic ambiguity and outcome independence, asks: “Must everything be framed in terms of a game? What if […] You want to opt-out of that worldview?”

Clarisse answers by saying everyone’s playing games regardless of whatever nobility they affect.

Protester nobly not playing a game; opting-out or super-rational opting in?

One guy I know who regards himself as a skilled pick-up artist (or, as their lingo has it, a PUA) denigrated a certain other person who likes to read books in public by saying the person reads books in public for the sake of appearing broody to women. Maybe the reader just likes to read books. Anyway, the guy writes off men who do not optimize for the degree of social success he regards as advisable by saying these broody idealists have lost so many social games that now they’re just bitter. (As if bitterness alone is damning.) That’s often partly true, I believe, but by not thinking further he’s foreclosing himself from understanding a dimension of human experience that for him just isn’t salient.

I think practicing idealists — let’s say good artists and whistleblowers for specificity — share something: they intentionally lose games in order to create new realities. Think about whistleblower and soldier Joe Darby who exposed the abuses at Abu Ghraib — which included the gruesome CIA-assisted murder of “ghost prisoner” Manadel al-Jamdi. As recounted in Phil Zimbardo’s excellent book The Lucifer Effect (p.476-77), Darby said the abuse he witnessed

“just didn’t sit right with me. I couldn’t stop thinking about it. After about three days, I made a decision to turn the pictures in. You have to understand: I’m not the kind of guy to rat somebody out….But this crossed the line to me. I had the choice between what I knew was morally right and my loyalty to other soldiers. I couldn’t have it both ways.”

After retaliation by Secretary of Defense Donald Rumsfeld, Darby “was whisked away, and eventually concealed in military protective custody for the next several years.”

“But I don’t regret any of it,” Darby said recently. “I made my peace with the decision before I turned the pictures in. I knew that if people found out that it was me, I wouldn’t be liked.”

“For many,” Zimbardo writes, “Darby’s calling attention to the abuses was unpatriotic, un-American, and even faintly treasonous. ‘Hero a Two-Timing Rat,’ ran a headline in the New York Post. [… Darby] was unable to accept [a Presidential Citation honor from the American Psychological Association] because he, his wife, and his mother had to remain in military protective custody for several years in the wake of the many retaliation threats they received.”

The game, the incentives lined up for Darby did not offer him victory for whistleblowing. He decided it was more important to create a new reality wherein injustice at Abu Ghraib had a better chance of being righted. These are the kind of people, I think, that pickup artists write off as merely being bitter. (Note the mainstream media’s dogged efforts to reduce idealist Bradley Manning’s motives to social frustration.)

Another guy I know defended Joe Paterno for not doing enough about the Penn State child sex abuse scandal. This guy said Paterno was being paid well, and when you are being paid well, you can’t be expected to risk things; he also said it with a wink wink, nudge nudge attitude that conveyed “Mature people in the know agree with me.” He is a popular, cheerful young man who is solidly liberal, solidly Democrat. His attitude that maturity consists in surrendering ideals belongs to the feel-good pickup artistry of political and social marketing: Romney’s RNC speech, Obama’s speeches, The Daily Show, TED Talks. The content is irrelevant here; the truth or falsehood or the value of a particular Daily Show joke or Romney claim is irrelevant here. What I am saying is that the way marketers prioritize making the audience feel good higher than the content is most dangerous. We have a world where marketing and appearance trump reality and truth-telling to such an extent that anyone who prefers the latter over the former is cast off as immature and bitter before they are even listened to. But how are you supposed to report CIA torture? With a laughtrack?

Good artists work the same way, though not in the conscious decision-making manner of whistleblowers. By a sort of instinct, good artists wind up rejecting the incentives the main of the art market offers them and create not ossified things but new and therefore real things. New realities. Creative writing is good to the extent that writers allow themselves to live fully while writing; that reality pays off in the voice or tone of the piece, which reminds readers not to trust in appearance but rather in reality. Somebody might be reading a book in public to remind himself of that.

Read this book

You could ask, though — what is the difference between perception-management (a negative term for a component of marketing: managing consumer or voter perceptions) and putting your best foot forward? After all, many of the techniques pickup artists teach are useful social skills to learn, just amped up and repurposed for sexual conquest. And though the horizon for contributing to humanity anonymously (see these to learn more) is improving, people pretty much still need to interact with others to get where they want to go.

When you put your best foot forward, you are primarily allowing people to perceive you of their own accord, rather than emphasizing your manipulation of consumer and voter perceptions. I say emphasize because of course people are always managing perceptions by picking out what outfit they want to look good in today, etc. But it is when appearance overtakes reality that you have a problem. Especially if you can no longer tell the difference between the two. The phenomenological difference between them in first-person experience is real, I think. I’m not entirely sure. More than one slightly ashamed person in a private moment has asked me how they can make themselves more authentic. Maybe I am bitter, but I never know how to answer that question, because it is a problem I’ve never really had.

Creative Commons License

I Hate Game Theory by Douglas Lucas is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Based on a work at www.douglaslucas.com. Seeking permissions beyond the scope of this license? Email me: dal@riseup.net.

James McMurtry in Denton, Texas, June 2012

Opening song: “Bayou Tortous”

James McMurtry (Website, Twitter, Facebook) played at Dan’s Silverleaf in Denton, Texas, last Friday, June 29. I’d been looking forward to hearing him play long enough that when news of his show came across my screen I bought a ticket straightaway. His music sounds like hard work feels. Nostalgic realism, sometimes touched by a dreaminess you’re surprised to hear out of this rough-looking guy. From “Levelland“:

Mama used to roll her hair
Back before the central air
We’d sit outside and watch the stars at night
She’d tell me to make a wish
I’d wish we both could fly

James McMurtry

I found out about McMurtry by reading about his father, writer Larry McMurtry of Lonesome Dove and Brokeback Mountain fame (I’m fond of the his novel All My Friends Are Going to Be Strangers). That led to me finding one of his son’s best-known songs, the protest piece “We Can’t Make It Here”:

At the Denton show, his bassist Cornbread played with a classic Ampeg tone, a good heartbeat beneath McMurtry’s razor-sharp chords. Drummer Daren Hess kept the framework strong throughout. If my memory’s correct, guitarist Tim Holt joined the stage for the ninth song, “We Can’t Make it Here.” He stayed on for the remainder of the show (except when McMurtry played a solo song or two). Holt had a guitar teacher’s facility for putting the right licks in at the right times to top things off. The band grew louder as the night went on, the two guitars howling like a hard rock band’s, and they closed by jamming out at such volume (for a small venue) that the speakers’ lack of distortion surprised me; the mix of the instruments and the gear’s performance was perfect — a sound a band gets once their success allows for good equipment and their years of effort are consistently paying off.

Cornbread

Daren Hess

Tim Holt

McMurtry has a great blog where he’s expressed his support for Occupy Wall Street:

With regard to Occupy and Law enforcement, mayors and college presidents seemed to be charged with giving the orders, at least officially, and they are subsequently charged with taking the heat when the execution of any of their orders goes terribly wrong and produces violence, physical injury, and embarrassing Utube. Politicians and Administrators don’t generally like controversy, it’s bad for careers. I don’t think such people would give orders that would likely result in some really messy controversy, unless enough pressure were brought to bear on them that they would fear for their careers anyway. I think there are bigger forces at work here. […]

I hear complaints that the protest is unfocused, that the protesters rejection of traditional hierarchy renders the movement ineffective as a political force, that it has no clear message. But I don’t see a problem yet. Occupy has been effective simply by coming into existence. No one organized Occupy ahead of time. A call went out and people showed up. They’re still showing up and their numbers and tenacity do have an effect. They get noticed. As for the message, one can google Keith Olbermann and hear the message, well written by Occupy and well read by Olbermann. Basically, occupiers want to take their country back from the banks and lobbyists. Their demands aren’t that different from those of the Tea Party. The two groups should join forces. They’re mad about the same conditions, though they disagree on where to put the blame.

The Tea party blames the government, Occupy blames the corporations that now own the government. Is there that much difference? Ultimately, we will all have to join forces if we are to call ourselves a nation. Right now, we are too polarized to be effective. We no longer recognize each other as Americans. The mayors and college presidents who call out the riot squads apparently don’t know that those are their fellow Americans getting beaten and pepper sprayed. Those are American sons and daughters. Those are American students, American librarians, American grandmothers, and American veterans, and when they get hurt, we all get hurt. The stick swinging has to stop. It serves no useful human purpose.

He also blogs about his observations during his travels. The little observations and the powerful sense of place that show up in his father’s novels appear in his songs, too; many of them are narratives of ordinary lives and the travails people experience. From “Out Here in the Middle“:

They broke into your car last night,
took the stereo
Now you say you don’t know why
you even live there anymore
The garage man didn’t see a thing,
so you guess it was an inside job
You made a reservation, a table for three
They said you’d have to wait,
somebody must have bribed the maitre’d
Boss got mad and he blamed it all on you
Food was bad and the deal fell through

(Chorus)
Well out here in the middle
you can park it on the street
Step up to the counter;
you nearly always get a seat
Nobody steals. Nobody cheats
Wish you were here my love
Wish you here my love

Reminds me of the town Missoula in Montana…

Full Band

The show had a sad point for me in that McMurtry’s music was one of the things my ex-wife and I shared. (My divorce concluded last month.) You have something with someone such as a marriage or a business or a band, and then the structure isn’t there anymore; you remember good things and bad things, and it’ll always be that way, but you come across things that remind you of what used to be. And there’s nothing you can do about it. It’s hard to take.

Some more about McMurtry: NPR, a Rumpus interview, and this short clip from CNN:

Here’s the set list from the show (links go to official lyrics). I couldn’t figure out all the song titles from my notes, so you’ll have to pardon me for the blanks. If you know, leave a note in the comments.

Creative Commons License

James McMurtry in Denton, Texas, June 2012 by Douglas Lucas is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Based on a work at www.douglaslucas.com. Seeking permissions beyond the scope of this license? Email me: dal@douglaslucas.com.

English Translation of labSurlab Press Release for Julian Assange Ecuador Asylum Request

[UPDATE: Something or other about the #AsiloAssangeEC petition.]

[UPDATE: French translation of labSurlab #AsiloAssangeEC press release in comments.]

[UPDATE: German translation of labSurlab #AsiloAssangeEC press release in comments.]

labSurlab (Twitter, Website), a network of independent initiatives including hackerspaces, published along with others a press release (PDF in Spanish) supporting Julian Assange’s request for political asylum in Ecuador. (Get up to speed: WikiLeaks Central live-blog tracking the asylum request; Glenn Greenwald article in Salon; Philip Dorling article in the Sydney Morning Herald; justice4assange.com; @wikileaks.)

The press release is dated 19 June 2012 from Quito, the capital of Ecuador, and they’re using this hashtag — #AsiloAssangeEC — for their efforts. Since no translation seems readily available, a native Spanish speaker, Fernando (Website, Twitter), put together this translation with me (as a Texan I know a bit of Spanglish). (Jumping off from ours, alxgucci put together another English translation.) Nothing below in brackets is in the original Spanish, but rather has been added by me.

Corrections and help are welcome — comment on this blog post. The press release asks for signatures to their petition. For people who don’t know Spanish: the big box at the top right asks for your first and last names (“Nombre y apellidos”) and then for your email address (“Tu correo electrónico”). After clicking the blue Unirme button, you’ll receive a confirmation email. Click “Sigue este enlace” in the confirmation email for your signature to count.

English Translation:

We support asylum for Assange in Ecuador.

We want to make known our support for the petition made by Assange to Ecuador’s government.

Ecuador as a country recognizes in its constitution the right to communication and defends the freedom of speech; it can’t evade its solidarity with someone who is suffering the consequences of having exercised the right to freedom of speech and who defends the right of all citizens to access to information.

We think that granting political asylum follows from the respect of norms and principles of the international rights available. We want Ecuador to make the right decision in relation to the request of asylum and we support this decision in advance.

SIGNATURES [Some might be wrong. Most explanations are based on the signers’ self-descriptions.]:

  • LabSurLab Quito 2012. [Twitter, Website. A network of independent initiatives including hackerspaces.]

  • Differential Quito [Twitter, Website. Connection space aiming to promote projects and activities that stimulate the development of digital culture.]

  • Aller [Possibly Aler with one ‘L’; possibly this group: Twitter, Website. Latin American Information Radio Education.]

  • Isaac Hacksimov [Twitter.]

  • Mujeres en Red (Spain) / Women in Network [Website. Feminist site.]

  • Baoba Voador (Brazil) [Maybe this website?]

  • Asociación de Cabildos Suroccidente Colombiano / Southwestern Colombian Association of Councils [Translation uncertain. Can’t find anything online.]

  • Fedaeps [Twitter, Website, Facebook. Foundation for research, action, and social participation.]

  • Centro Experimental Oído Salvaje [Something like “Wild Ear Experimental Center.” Vimeo, MySpace. Radio and sound art collective.]

  • Lado B-En tiempo real / Side B – In Real Time [Maybe this music group: Website (click “lado b” section), SoundCloud, Vimeo, YouTube, Facebook.]

  • Juuntos.org [Twitter, Website. Latin American Web community.]

  • Red Anillo Sur / South Ring Network [Likely this group: Website, Media Website. Distributed Federation of Free Lorea Social Networks.]

  • Chimbalab (Chile) [Twitter, Website. Art laboratory focused on research and production of DIY and open hardware.]

  • Minipimer (Chile) [Twitter, Website. Experimental lab for real-time Internet video. But maybe they’re based in Barcelona.]

  • Translab (Chile) [Likely this group: Twitter, Website. Platform for practice and research on contemporary art, technology, cyberculture, transmedia labs and processes.]

  • Artek (Chile) [Likely this group: Website. The Cultural Arts and Technology Corporation (Artek), created to promote the development of cultural and creative projects which link art, science, and technology.]

  • Cultura Senda (Venezuela-Argentina) [Something like “Culture Trail”? Likely this group: Twitter, Website. Organization specializing in research, development, and training in network technologies to facilitate the work of groups, networks and institutions.]

  • Hipermédula (Argentina) [Twitter, Website. Platform for Latin American art and contemporary culture. Thought, discussion, information.]

  • FM La Tribu (Argentina) [Twitter, Website. Free internet radio FM 88.7.]

  • Centro de Comunicación Mapuche KONA / the Center for Mapuche Kona Communication Productions [An indigenous advocacy group? Can’t find anything for it proper.]

  • Sat (Canadá) [Apparently this group: Twitter, Website, Facebook. Society for Arts and Technology in Montreal.]

  • Sayad (Mexico) [Can’t find anything.]

We have launched this campaign on oiga.me in support, sign this petition:

http://oiga.me/campaigns/pide-al-gobierno-de-ecuador-que-acepte-el-asilo-de-julian-assange

Again: sign the petition.

Original Spanish:

RESPALDAMOS EL ASILO PARA ASSANGE EN ECUADOR

Queremos manifestar nuestro apoyo a la petición de asilo realizada por Julian Assange al Gobierno de Ecuador.

Ecuador como país que reconoce en su constitución el derecho a la comunicación y que defiende la libertad de expresión, no puede eludir su solidaridad con alguien que está sufriendo las consecuencias de su compromiso con el ejercicio de esta libertad de expresión, y que defiende el derecho de la ciudadanía al acceso a información verdadera.

Consideramos que otorgar el asilo político está en consecuencia con el respeto a las normas y principios del derecho internacional vigentes.

Animamos al gobierno del Ecuador a tomar una decisión positiva en relación a la solicitud de asilo y respaldamos de antemano esta decisión.

FIRMAS:

LabSurLab Quito 2012. Diferencial Quito, Aller, Isaac Hacksimov, Mujeres en Red (España), Baoba Voador (Brasil), Asociación de Cabildos Suroccidente Colombiano, Fedaeps, Centro Experimental Oído Salvaje, Lado B-En tiempo real, Juuntos.org, Red Anillo Sur, Chimbalab (Chile), Minipimer (Chile), Translab (Chile), Artek (Chile), Cultura Senda (Venezuela-Argentina), Hipermédula (Argentina) FM La tribu (Argentina) Centro de Comunicación Mapuche KONA, Sat (Canadá), Sayad (Mexico),

Hemos lanzado esta campaña en oiga.me apóyanos y fima esta petición.

http://oiga.me/campaigns/pide-al-gobierno-de-ecuador-que-acepte-el-asilo-de-julian-assange

Sign the petition. The Spanish PDF seems to have originated from here, by the way.

Creative Commons License

Rough English Translation of labSurlab Press Release for Julian Assange Ecuador Asylum Request by Douglas Lucas is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Based on a work at www.douglaslucas.com. Seeking permissions beyond the scope of this license? Email me: dal@douglaslucas.com.

Startup Seeks Mercenary Character Assassin

Guru.com is a website that serves as a middleman for freelancers and people wanting to hire them. About a month ago I noticed this ad:

Title: Political Rant I

Project ID: 820169

Budget: Not Sure/Confidential

Category: Writing, Editing & Translation

Description: Looking for freelance writers to produce humorous/sarcastic in nature rants (mostly political in nature) at the demand of the client. Clients will provide the subject material or target of the rant. What we would like to see is an ability to use the facts to make your point in a humorous/sarcastic fashion within a quarter page our less (not interested in character assassination). We are a start-up web base business offering a unique form of stress relief to the politically frustrated. We would eventually like to have three (3) writers work represented on our site for clients to choose from. All interested individuals should provide a location where your work maybe viewed, injection of humor is a must and please include pricing. This is a start up and we do not have an open date but are aggressively working to establish one.

Ad was placed by some outfit (not sure who) apparently based in Cedar Park, Texas. It received 26 proposals from freelancers.

Creative Commons License

Startup Seeks Mercenary Character Assassin by Douglas Lucas is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Based on a work at www.douglaslucas.com. Seeking permissions beyond the scope of this license? Email me: dal@douglaslucas.com.