Except My Love

The Tourist (12)

johnhodgert@shaw.ca — 2010-07-19T18:12:34-05:00

NEWS:

1) I’M FINISHED THE 1ST DRAFT!

2) PAT BROKE HER LEG BADLY, SO

3) FILL YOU IN ON 1) LATER (SOON)

FOR NOW, A REPEAT ITEM:

JAM AND SING-ALONG

Calling all Bohemians, Beatniks, Mods, Rockers, and Mockers! The Launch Pad Coffee House is going into it’s cool summer phase. For the July 21 and August 18 coffee house nights, there will not be a sound system, or a canteen, or a formal stage. Instead, musicians and other artists are encouraged to bring their guitars, banjos, ukuleles, trumpets, or whatevers down to the lounge of Churchill Park United Church at 525 Beresford Avenue. The musicians will rearrange some chairs and take turns playing original or cover songs. The others can play or sing along as the spirit moves them. No one is required to lead a song or to participate in any song. Old pros and new beginners are welcome. It’s no pressure – pure music and good times! Of course, anyone who wants to just listen is also very welcome. Doors open at 7:30PM, with music happening real soon thereafter. Bring your own soft drinks.

Canada Day

johnhodgert@shaw.ca — 2010-07-01T16:09:40-05:00

I sit at the A&W (where else?) taking a break from staying at home on this gorgeous day to look after my wife - who suffered a serious broken leg nearly two weeks ago. The time consumed by the injury, and the work that went into the last of the full scale Launch Pad Coffee Houses has slowed down work on my second novel, The Tourist. Briefly, I am at chapter 90 in my latest edit of the 102 chapters (so far) of the complete manuscript. When I am done this review, I will print the whole draft, and do a paper review and working out of the complex structure I’m aiming for. (see The Tourist (1) to (11) herein for an explanation)

Then I face the dread prospect of writing any missing parts; 1) to complete the plot, 2) to complete the development of the ideas, and 3) to perfect the structure. With luck, this will all be done before our cruise in late September (Will Pat’s leg be ‘done’ also?) Or perhaps some time next year.

Till then:

JAM AND SING-ALONG

Chapter Two

johnhodgert@shaw.ca — 2010-06-07T15:16:19-05:00

The newspaper covered the lower portion of Bill’s face, below the eyes, producing an annoying peek-a-boo effect, as Robin, Mrs. Constant as was, noted. “Billy, please put down the paper.” Done.

“What?”

“Bill, don’t say ‘what’. “

“Okay, pardon me dear?” Robin silently reminded herself to work on laying off the etiquette lessons. Perhaps when she and Bill had been married another fifteen years, she or he would come around, around to something. In the meantime, Robin went on to pose the material question,

“Well?” (smile)

“Well what, my dear?”

“What did the publisher think about your idea?”

“Which idea?”

“About financing your Paris trip instead of giving you the advance?”

“Oh, yeah, I forgot about that. Uh, I think it should work.”

“Do you think it’ll work, or do they?”

“They haven’t said, but I meant logically. If they’d give me a five grand advance, why wouldn’t they pay for me writing in Paris, to a max of five thousand?”

“As we discussed (suppressing condescending smile), because they’d say ‘Why not just take the money and pay for the trip yourself?’”

“Yes, but, as we discussed, there’s also the issue of timing. Usually, an advance is paid on delivery of a manuscript, not before it’s written (pause) except for established big sellers.”

“Didn’t ‘Blackbird’ sell pretty good?”

“One ‘Blackbird’ selling five thousand units (“… and counting”, Robin tossed in), and counting does not an make an established author.”

Bill looked at his plate while he sorted out the right balance of pride, humility, and practicality. Robin, a poor conversational starter, but a good finisher, found the balance point for her partner.

“We’ll have to top up the trip anyway, right?”

“Yeah?”

“You’re gonna give up your job anyway, right?”

“Yeah?”

“So, in for a franc, in for a euro.” (tolerably smug smile)

“What? I mean pardon me?”

Robin leaned forward slightly. “Tell the publisher that you’ll take the money, but as a real advance, meaning you’ll pay back the $5,000 or however much if you don’t deliver a manuscript that’s up to their standards.”

Bill leaned back slightly in his white painted wooden kitchen chair, smiled, and replied. “Why not, Gee, are you that confident that I can deliver? You’re willing to take the risk, not just the five grand risk, I mean the whole risk of me giving up my job, which is probably my career at this stage?

“Don’t be silly, you’re only 39?”

“Pharma moves like lightning. (Bill was a senior sales associate for a drug multi-national.) In a year I’ll be completely out of touch.”

“Baloney! Anyhow, who cares? I’m still working, and you can do anything. Hell, you sold five thousand copies of your first novel.” Robin gave a pantomime negative shake of her head and a wag of her finger – in self-satire “You just sit up young man, and finish your supper. And put down that paper, there’s no reading at the table!”

Bill straightened up as ordered, then leaned forward, flagrantly put his elbows on the country style kitchen table, rested his chin and cheek in his right hand, and let out a heavy sigh His left arm joined the right in cradling his head. He wiped his dry face by bringing both hands forward until they clasped together in unconscious prayer fashion, with his thumbs pressed to his lips and his cheeks puffed. After a five second interval, Bill moved the clasped hands to support his chin, and then spoke, in a serious, soft, and seeking voice. “Robin, can’t you and Bonnie come with me?”

Robin Constant imitated his thoughtful posture and tone of voice, and spoke from atop her folded hands. “No dear. I have to keep my job, for security. Bonnie can’t be uprooted for six months. It makes no sense. Besides, you’re the writer.”

Bill changed his posture, sitting up straight, with hands clasped in front of himself, on the table – the ‘good morning teacher’ mode. “I am, aren’t I! Oh jeez, where will it all lead?”
Without a pause, without hesitation, and without in even the smallest measure revealing her fears, Robin carefully and emphatically pronounced “Paris”.

The road to Paris began in Toronto, in a new condo that the newlyweds of three years vintage had purchased in the old neighborhood of Church and Wellesley, a few blocks south of Bloor, and a few blocks west of Yonge, not far from Robin and Bill’s alma mater, the University of Toronto. Maybe more properly it started in Robin’s childhood home in Mississauga, or in Bill’s birthplace of St. Boniface, the French(ish) suburb of Winnipeg. Or more properly it began in the Psych class at U. of T. where they met. Or in the little chapel in the corner where they wed one sneaky cold early spring Toronto day, or the Convocation Hall where they were handed their diplomas (She - BA, He – MA) that very same day in 1989. A girl child appeared just as the scene was shifting from temporary quarters in a Mississauga basement suite, to the two- bedroom condo referenced above. The purchase of the apartment had been facilitated by the generosity of parents and the empowerment of the attainment of permanent employment (She – HR administrator, He – Pharma sales rep).

The young couples inability to conceive during the first two years of marriage, despite enthusiastic, conscientious attention to the project, had led Bill to research medical matters, first reproductive and then general, as the interest bug bit. Modern medicine is one part surgery and six parts drug therapy. A reasonably intelligent person, even one without a maths and science background can, with some effort, come to sufficiently understand the biology and the chemistry behind therapeutic drugs. About seven years and one marriage later, Bill Constant came to realize that he had an interest in, no, a passion for drugs – healing drugs. So what was a History and Politics major to do about that? Swallow his pride, give up the search for a job in his field, and take what was possible in the field he now cared about. And what was available was sales. Sales is always available to anyone with the heart, the determination, and the sincerity to try.

Bill and Robin took stock together. They were without child, without separate address, and without immediate prospects for better. Robin was temping. Bill was tramping the streets, vamping at Home Depot, not one tack closer to the far shores of success. What better time to come about, and to run with the prevailing winds. Big Pharma was expanding on the strength of newly discovered blockbuster drugs, and would pay an unseemly amount to successful sales agents in newly established territories in the Golden Horseshoe around Metropolitan Toronto. By God, or whatever young semi-seculars swear by, he’d do it. He did it. They struggled for the first year as Mr. Constant got his sea-legs. There’s a certain way for one to think, to speak, even to feel, in order to succeed in sales. Some sales guys are born, many are made, all are self made. By the time of bonnie Bonnie’s birth he had made himself - upright, self-sufficient, content, and respected, at least by the small circle that surrounds almost all of us, inside the immense universe of those who know nothing about us and care less.

The Tourist (11)

johnhodgert@shaw.ca — 2010-06-03T10:44:45-05:00

I am sitting in bed in my pyjamas (ya gotta love retirement!), having just finished ‘repainting’ the last of the chapters of my new novel, The Tourist. There are now 102 chapters. The ‘last’ chapter is written, but the novel is not finished. I still need to bring the stories of all the characters to a conclusion, somehow or other. The story ends with the main character (the tourist) returning home from his travels, geographical and psychological. Besides plot and other normal features (character, moral, grammar, style, etc.) that need to be brought to a finished state, I need to complete the work of polishing the structure of the book on quasi-poetic terms. See The Tourist (1) to The Tourist (10) for what this means.

The next step in that process will be printing the manuscript. The paper draft will be reviewed in the normal way, to eliminate bad or unnecessary passages, to fix the rest, and to add what’s missing. As well, the paper chapters will be compared to one another, where earlier chapters have been ‘repainted’ for use as later chapters. The chapter lengths and particular types will also be reviewed in light of the graphs I created to review these features. Again, see earlier blogs for an explanation.

How much work is left? Something between a few months and a year or more. Hmm? Maybe I’ll just put the covers over my head!

The Tourist (10)

johnhodgert@shaw.ca — 2010-05-21T15:14:33-05:00

I have been quite busy for the last week with preparing for and appearing at the Launch Pad Coffee House (next one is 8:00PM on June 16 at Churchill Park United Church, 525 Beresford), and have therefore not done any work on my new novel, The Tourist, except for graphing chapter lengths and types (see blogs). But I thought it would be fun to throw some of the work out there and see what gets thrown back. I hope you all enjoyed (or at least were intrigued by) Chapter One . Check our The Tourist (1) to (9) for the story of how I got here.

Here? Here is nearly finished the last chapters of the book, some written in the familiar way, and some by a process I call ‘repainting’. By one means or another, draft chapters 1 to 91 inclusive, and 95, 96, 98, 103, and 104 are done. Chapters 92, 94, 97, 99, 100, 101, and 102 are still to be repainted. Over and above these, I estimate that about another 6 to 10 chapters are still required - mostly written the old-fasioned way. I tried in earlier blogs to explain what this all means, so I won’t repeat. But, to give an idea what a repainted chapter looks like, I’ll show Chapter 27, which is a repaint of Chapter One shown in my blog of May 18.

Chapter Twenty-Seven
The sun sulked from the bondage of wiping the Winnipeg late afternoon with a coat of comfort, and of darkening the afternoon lonely shadows one more time before nightfall with a shellacking coat of deep, semi-transcendent shimmer. The blank faces of the All-too-common predatory panhandlers moved in and out of these shadows as they grudgingly retreated from teasing the pensioners. The pensioners were immune, having already armored themselves to face the indignity of registering for social assistance at the chilly Department of Social Services building at the corner of Give-Up and Break-Your-heart Streets. The pensioners, along with the interns for this career of counting on/expecting/getting nothing in this/from this/out of this life, schlepped their witches brew of real or imagined or faked hard luck stories, in tin cups, up to the building and into the bureaucratic slow motion maelstrom. They then stepped back to grab onto the hanging straps of their N’er Do Well transit limos, and putt-putted on down the road to ruin, completing their part in every morning’s intense sweep and scrub of society, ridding it of Christ’s second commandment.

The agent sat in the window corner of Pockets, and frowned at the pat perfectness of his predicament here; here in Winnipeg, here on McDermot Avenue, here in the bistro renovated at great expense to the proprietor in days gone by, by the by to the hero of the here and now. He had just then laid his hat on top of the fax that lay on the small circular table that took up the two feet that separated him from the window glass that shrugged off the late afternoon street scene – of the Exchange District as seen through the mobile ghastliness of the not-so-few late afternoon too-late-forever for spring transients. The hat provided the remedial few minutes needed to absorb the letter beneath the hat’s final fatality, so much as it could be obtained short of the purgatory of confirmation by others.

A frown, a bigger frown, and then an uncontrollable head wide scowl signposted a screw-up so, so sour. Ronald Byfield sought the support of rigid self-control as he turned both mentally and metaphorically away from the emotions he was compelled to process. Come confused confrontation or unilateral retreat, the bell of the first round had been sounded. He had not received a draft of the novel, the second, hear that word suspiciously, the second novel. Not the first, completely uneconomic effort, which a mere flunky with a half-assed effort and half-hearted spending could bring to half-assed more than half public subsidized publication. No, the second novel, the one that would command commercial success, commercial in that it is propelled to profit, sucked out of the matrix of serious interrelationships; between, amongst, around, about, because of, as a result – reading publics, publishers, agents, friends, family, fiends, phantasms. In a few words, a second novel had been inevitably required by the bank. He, the absent author was choking on coughing up a second novel – unreal!

He hadn’t. Come again? The next thing to do? In micro, maybe pay the tab. “Waiter, the cheque?” In macro? Fly over to London, PDQ, the PDQ he had always reserved for the coupe de gras? The stop time he noted with satisfaction. Ron had anticipated some hand-holding sooner rather than later, as he had the prior series of pep talks for momentum, and the heart-to-hearts for confidence, as he had the prior pick-me-ups for solidarity, the prior major re-calibrations for purpose, as he had the original tabla-rosa efforts for inspiration, and as he had the initial investment, such as it is for first time fiction writers That all being true, the newly deflated agent ruminated on options - stay on in Winnipeg for a few more, disciplined days, because its always calming to take a time-out in Winnipeg. Or check out of his tempest in a teapot stewpot at the Lombard and push on to check out the triangular love-fest festering in London, because it’s always correct to punch out somebody in London.

Mister Ron Byfield’s client’s publisher’s European reps enriched the micro-biology that sinned against the symbiosis of London. Another frown indicated the agent’s dyspepsia, ulcerated as he was with figures at that time, at the notion of these expense account sucking, eminence grease-ball Brits of his acquaintance enriching - anyone, anytime, by any measure, save perhaps if calorie stuffed luncheons qualified as enriching.

Winnipeg is quiet, Winnipeg is sweet, Winnipeg is duty, and Winnipeg is wheat. But London is gun-em-down town, so London-ward he was bound. The check came and went back again with the agency company credit card. Ron crumpled the misguided missive in his hand in the manner of magistrates in the times before mercy for those without connections, swept his eyes slowly over the corny-for-casual-custom-but-cute- anyway pool-hall/pick-up joint interior, and thumped through the get-away-from-here door – conscious of and grinding in the not playacting ornery-ness of his bearing.

Subject: Re: Version Control
Bill,
I will be in London as soon as possible. Maybe tomorrow. Don’t form any firm plans with the London reps, and Bill, for God’s sake have a hard look at them and yourself. Not with your author’s eyes, but your reality eyes for once – if you have any!
Ron

Subject: Re: Version Control
I don’t like your tone.

Subject: Re: Version Control
Once again - that’s not the f-ing point! Okay, sorry for the tone, but please take this seriously.

Subject: Re: Versio Control
I’ll try. We’re all tense. I have a hangover.

Cool or just weird?

Chapter One

johnhodgert@shaw.ca — 2010-05-18T18:59:01-05:00

The sun luxuriated in the privilege of wrapping the Paris late morning in a cloak of warmth, and of brushing the morning-only puddles once over lightly with a primer coat of smooth, semi-gloss shine. The black faces of the Moroccan street sweepers gratefully relaxed the tension that had armored them against the indignity of the chilly Isle de France break of day. They slung their witches brooms of bundled sticks back into the caddy, stepped back onto the running boards of their Ville de Paris min-vans, and putt-putted on down the road to complete their part of every morning’s intense sweep and scrub of the dear heart of Paris.

The author sat in the window corner of L’Autre, and smiled at the pat perfect ness of his situation here - here in Paris, here on the Rue des Ecoles, here in the bistro dedicated casually to great authors of days gone by, here in the here and now. He had just then laid his plume on the small circular table that took up the two feet that separated him from the window glass that shrugged off the late morning street scene – of the Latin Quarter as seen through the mobile grime of the few early morning late spring tourists. The pen had made the remarkably few marks needed to bring the manuscript beside the pen to pat perfect-ness, so close as it could be approached prior to the purgatory of edits by others.

A smile, a bigger smile, and then an uncontrollable head wide grin signposted a satisfaction so, so sweet. Bill Constant sought the support of the frail cane chair’s back as he leaned both literally and metaphorically away from the emotions he was compelled to process. Come comprehensive success or universal scorn, the main mast of the ship was raised. He had a draft of the novel, the second, hear that word closely, the second novel. Not the first, maybe fluky effort, which any flunky with half a life behind him might bring to half-life. No, the second novel, the professional effort, professional in that it is propelled to being, slung out of the matrix of serious interrelationships; between, amongst, around, about, because of, as a result of – reading publics, publishers, agents, friends, family, fiends, and phantasms. In a few words, a second novel had been inevitably required. He needed to cough up a second novel - to be for real.

He had, come hell or hysterics. The next thing to do? In micro, maybe pay the tab. ‘Serveur, l’additone?’ In macro? Play out the rest of the week, the last of the time he had reserved for the final edit? The surplus time he noted with satisfaction. Bill had completed the nit-picking sooner than expected, as he had the prior series of edits for style, and the prior edits for coherence, as he had the prior re-drafts for sense, and the prior major re-writes for purpose, as he had the original blank paper efforts of imagination, and as he had the initial research, such as it is for fiction. That all being true, the newly professional author luxuriated in options - stay on in Paris for a few more carefree days, because its always correct to stay on in Paris. Or check out of his ten foot by twelve foot flop at Le Moderne St. Germaine and push on to check into an eight foot by ten foot demi-flop in London, because its always correct to push on to London.

Monsieur Constant’s publisher’s European reps worked out of a micro office in London. Another smile indicated the author’s pleasure, besotted as he was with words at that time, at the notion of these chain-smoking, grey skinned Brits of his acquaintance ‘working out.’ - anywhere, anytime, for any reason, save perhaps if casual sex qualified as working out.

Paris is great, Paris is fine, Paris is beauty, and Paris is wine. But London is fun town, so London-ward he was bound. The check came and went back again with the publishing company credit card. Bill cradled his marked manuscript in his arms in the manner of schoolgirls in the times before backpacks and without boyfriends, swept his eyes slowly over the cookie-cutter-for-American-custom-but-cute-anyway interior of the bistro, and swooshed through the always open door – conscious of and reveling in the playacting artsy-ness of his bearing.

The waiter (Rafel by name) smiled a private smile generated by what he took for insider information about the artist’s truths and the artists’ affectations. The smile gradually faded as the softly sad facts, the facts of his own state and state of mind returned, more as a fog than a cold shower, but still unmistakable – his was outsider information. From all that his life had so far shown, he was not destined to come inside and warm by the muse’s fire. So what! He was French, and that was certainly something. The waiter cleared up the meager mess - a plate, a smaller plate, a knife, a fork, a spoon, a tasse, and a glass. That’s how he recited to himself as he cleaned up. He knew he was a versifier and not a poet. But he was French, and that was certainly something. The waiter spotted a small stack of loose papers on the companion chair to the one Bill had sat in. picked them up, rolled them up and tucked them under his arm, before semi-swooshing through the swinging doors to the kitchen. He good-naturedly popped a favourite English expression back over his shoulder, “Fu-kin-gh tourist!

Subject: Version Control
Bill,
Don’t send me any e-files of the manuscript until you are at the stage to submit to publisher. You don’t need agent’s help working out kinks, plus security is an issue over internet. Hope Paris has been more than a place to work.
Ron

Subject: Re: Version Control
Okay, you the boss. Paris just (terrific) atmosphere so far, but soon will do the town!

The Tourist (9)

johnhodgert@shaw.ca — 2010-05-13T16:51:32-05:00

It is Thursday after my ‘work hours’, that is after I have repainted the days quota (1) of chapters from my new novel, The Tourist. My week’s quota of work (see Tourist (8) hereof) was to get to chapter 94, the last of the dummy chapters to be rewritten before the book reached chapter 95, the last chapter pro-tem of the book (actually a repaint of chapter type 1). As predicted however, the logic of the story and the accuracy of the structure necessitated adding more ‘new’ dummy chapters using earlier chapter types. There are now 104 putative chapters, with chapters 89, 92, 94, 96, 97, 99, 100, 101, and 102 yet to be repainted. Call that 10 days work, or 2 work weeks. But... there may be more chapter additions and (my hunch) elimination of two or chapters. What does this mean? I refer you to The Tourist (1) to The Tourist (8) hereof for the (almost incredible) explanation. For what it’s worth, the word count as of May 13, 2010 is 99,857!

Six more sleeps until The Launch Pad Coffee Shop on May 19 at Churchill Park United Church, 525 Beresford. Doors open at 7:30PM. Open mike for all sorts of talents starts at 8:00PM.

The Tourist (8)

johnhodgert@shaw.ca — 2010-05-08T15:20:54-05:00

The process of finishing a first draft of my second novel The Tourist continues. I expect next week to repaint, as I call it, chapters 90 to 94 (See The Tourist (1) to The Tourist (7) of this blog for an explanation of my scheme.)

On Friday I rode and walked along the six block section of Main Street running north from Logan Avenue, to fill in the blanks of my knowledge of the buildings and the streets, as I had imagined them, circa the year 2006. The main character of the book, Bill Constant, ends up hiding out at the Bell Hotel after a series of large shocks to his peace of mind. In the recent past he had explored famous sections of Paris and London. In his later ‘knocked down’ condition, he is doing the same on Skid Row in Winnipeg, trying to figure something or other out.

When I started writing the book, I had personal experience of, and access to photos of the European places to be referred to in the new novel. It has only been in the last few weeks of writing that it has become apparent that Bill needs to spend some time among the ‘down and out’ to put his woes in perspective. My own photos of the old countries were good enough to guide my composition. However, I am happy to state that I have small personal knowledge (touch wood) of Skid Row, and no souvenir snaps! Hence my reconnaisance.

I toyed with the idea of asking my pal Darren Fast (www.solaltaphoto.com) o take some new shots on North Main. He had done a great job taking, assembling, and projecting the slides for our gang’s (Darren, Tony Buchner, and me) multi-media performance of my poem and song Soldier’s Cemetery at the last The Launch Pad Coffee House*. That went so well that it occurred to me that someone like Darren might be interested in putting together a portfolio of pictures to accompany the entire book! But I desisted, in light of; 1) Darren’s already full business and artistic calender, 2) the already stupid level of complexity of this project, and 3) the heart attack my publisher would suffer, My advisors, who are much saner than me, had already (I think) talked me out of trying to put a soundtrack to The Tourist, like I had done for my first effort, Except My Love For You.

Speaking of complexity, today being Saturday, I did not write. Instead, I started work on a bar graph of the book’s chapters, comparing chapter lengths by number of words, and ultimately color-coding the relationship between the recurring chapter structures (described in (1) to (7) hereof) and other characteristics. The initial visual impression was quite suggestive. I ultimately hope to co-ordinate the lengths, the structures, and the nature of all the chapters. Theoretically, on completion the book would combine the power of both poetry and prose.

Of the first 30 chapters so far analyzed, out of 23 ‘types’ used, 7 have already recurred at least once. If you think this is the mother of all delusional ‘biting off more than you can chew’ exercises - you are probably right. My agent is already in therapy.

* The 3rd Wednesday of each month, the next being May 19. Doors open 7:30PM, open mike (all talents) starts at 8:00PM, at Churchill Park United Church, 525 Beresford,

The Tourist (7)

johnhodgert@shaw.ca — 2010-05-05T12:50:07-05:00

I have now completed five ‘new’ chapters of my new novel The Tourist, which I had resolved to finish after leaving it aside for about a year for various reasons. (See The Tourist (1) to The Tourist (6) in this blog.) The full chapter count is now 95, with chapters 1 to 88, and chapter 95 now written. This leaves six chapters to ‘re-paint’ to complete the plot. As explained in the earlier blogs, there are a number of chapters that have similar, recurring structures. Chapters 89 to 94 are at present just copies of earlier chapters. They will be, as I call it, repainted with the new information needed to finish the story. But they will keep the same form. However, I expect to eventually need more chapters to tell the story. These will likely be repeats as to form. The right match with earlier chapters has yet o be determined. My guess is that the book will ultimately have about 100 to 110 chapters, or be about 100,000 to 110,000 words in length. The work is fussy, but quite stimulating. I do not know of another instance of my technique being used, but would be happy to hear if anyone knows of another instance of such folly! I continue to peck away.

Don’t forget The Launch Pad Coffee House, with open mike for talent of all kinds. May 19 at Churchill Park United Church, 525 Beresford. Doors open at 7:30PM. Coffee and treats on sale for cheap.

The Tourist (6)

johnhodgert@shaw.ca — 2010-04-30T13:07:52-05:00

I just finished writing the last chapter of The Tourist. Don’t get excited (as if), I haven’t written the ten or so chapters between where I left off the other day, and the end of the book. But I did write what I now see as the last chapter. It came to me this morning that the way to go was to lean on the formal structure of the book, as originally conceived by me.

As discussed in previous blogs, I had, since high school, wanted to create a work of (presumably) fiction that combined the best features of both poetry and prose. Prose would hopefully contribute narrative power, dialogue, and clarity. Poetry would contribute rhythm, rhyme, and recurring structure. For instance, a pre-modern poem likely was written with a rhythm scheme, the most well know being Iambic Pentameter - meaning that there are five ‘feet’ per line, and that each foot has two beats, e.g. ‘My dear/how will/ I know/you love/just me?’ In this type of poem these is also a rhyme scheme. For instance, a poem can have the scheme; AABCA, meaning that the last word of the first two lines and the last word of the last line rhyme. For instance:

I wish I knew.
Just what to do.
My heart’s aflame
My soul’s afraid
Can it be true?

If the poem was entirely regular, each stanza would have two feet per line and two beats per foot, and use the AABCA rhyme scheme

Clearly, that much regularity would soon get old, in a modern poem, never mind in a novel. But certain aspects of regularity can be used. For instance, in Except My Love For You, the structure of certain chapters was duplicated, in some cases several times - in particular when the actions of the characters tended to be repeated - as they so often are in life. Also, life throws casual examples of deja vu at us all the time. EMLFY just makes the repetition more obvious, hopefully in an illuminating manner.

Rhyme and rhythm were used more casually in EMLFY, to move the prose along, to emphasize important points - and just for the pure pleasure of verse. The recurrence of certain themes and images is of course old hat in novel writing. However, I tried to take the devises to a new level. As well, embedding the verse elements right in the main body of the text, as opposed to putting them at the beginning or the end of chapters, is not usual. An example of my type of use of verse, in other published novels, does not come to mind. If any reader knows one, I’d be very interested to hear about it.

Naturally, the use of any preconceived techniques must be subordinate to the actual effect in the work. In EMLFY, there is plenty of straight-forward expository and descriptive prose, unassociated with any recurrent structure. After all, the book has to work for the reader, not just the author! On the other hand, owing to my incapacities or inexperience, in the event, to an (large? small?) extent, I simply didn’t reach the level of integration of prose and poetry that I originally envisioned. So, as you already know, any imperfections of any kind in EMLFY are down to me, and not to the requirements of public taste or the received canons of taste.

As previously blogged, when I began writing The Tourist, I was in the full flush of surprise publishing success. So I went ahead with writing a second novel without the opportunity for reflecting upon the constructive criticism I received for EMLFY. I intended to, and did begin to write the new novel to be as much in full compliance with my poetry/prose marriage theories as possible. The writing went well for a time, then bogged down in the attempt to ‘keep the faith’ while making the plot and the characterizations work, to the sense of an intelligent readership. I chewed the cud of good comment and advise, then began again. I re-wrote for clarity (as I see it in my funny way!) and to better align the story with a new insight on what the book is about, and therefore how it should end. I moved the plot forward to a climax point, and hiccuped again. But my medicine is my original idea.

This morning, I wrote the last chapter in the form of the first chapter. Although the parallel is not exact, if The Tourist had a ‘rhyme’ scheme for it’s estimated one hundred chapters, it would be:

A (chap 1) ..................... A (chap 100)

Since, I have used the A type chapter twice already, the evolving scheme is:

A ...................A ........................ A ........................A

In fact, I have used the forms of the first, say, three chapters repeatedly already, suggesting this form, so far:

A B C.............ABC....................ABC.....................A

Without saying too much about the plot, so far in the book the protagonist already takes two walks. It occurred to me that his last walk can be a mental or conceptual one,wherein he finally notices things of real importance to his life. Being previously merely a tourist, he failed to notice these things on his real walks in Paris and London, and on his figurative walk through life. For plot reasons that I cannot reveal at present, it makes most sense for his last walk to end with a chapter in form A. Therefore, his walk will be figuratively ‘backwards’ from his previous rambles. The structure, then, begins to look like this:

A B C..............A B C...................ABC....................BCA

Whether or not the reader is overtly aware of what’s going on, the repetition is supposed to give a feeling of familiarity, even inevitability to the development of the plot and the journeys of the characters. If it works.

On the practical level, I have found that re-writing a familiar form more easily generates the ideas necessary to ‘finish’ the story, in all senses.When the raw chapters are done, the juggling (and the junking and the re-drafting) begins. Since there are more like six to eight ‘forms’, and widely different chapter lengths, the juggling will be very detailed - factoring in (besides the overall structure as described) plot sense, recurrence of form, balance of chapter lengths, comic relief, internal and external consistency, plausibility of the actions and the destinies of all of characters, etc. I have 100 index cards in hand, on each of which I intend to record the form number of each chapter, a brief summary of what happens in the chapter, and a word count for each. I’ll lay the cards out on a big table, and shuffle them until they do the job! On second thought, I give up!

Don’t forget The Launch Pad Coffee Shop, May 19 at Churchill Park United Church, 525 Beresford. Doors open at 7:30PM. Open mike starts at 8:00PM.

The Tourist (5)

johnhodgert@shaw.ca — 2010-04-26T12:36:14-05:00

After a few days off from writing, to ramp up for the Launch Pad Coffee House, I got back to re-writing the first partial draft of The Tourist. And... I’m finished the re-write! In fact, I wrote the first wholly new chapter this morning. I was tempted to go back to the beginning again, to study where the book had gotten to - but I resisted. From now on, I’ll try to use my original method of composition, being to schedule a minimum number of words to write per day, based upon an estimate of the size of the final book and the target date of completion. It’s absurd, but it works fro me by imposing artificial discipline.

For instance, The Tourist now has about 83,000 words, and feels to be about 2/3 done. So, the total at completion would be about 125,000 words. At 1,000 words a day, I would need 125 days to complete the draft manuscript. As it happens, counting only work days (i. e. weekends, holidays and vacations off), there are 127 writing days between tomorrow, April 27, and November 30. So (drum roll please) if I write 1,000 words a working day, on average, I should have a completed draft by the end of November. And maybe a second draft (crudely edited) by year end 2010?

I hope to blog every three or so days to report on progress. Hopefully, the blogs will be less about about process (like this one) and more about ideas. Today I have no ideas, so I came up with this dodge!

Next Launch Pad Coffee House is May 19. Be there, all ye artistes and aficionados.

The Tourist (4)

johnhodgert@shaw.ca — 2010-04-18T10:42:40-05:00

I’m now at chapter 73, and the worry rises. To quote Alfred E. Neuman, “What, me worry?”. Worry about what? Well, about how to finish my second novel, The Tourist. Talks with my informal advisors produce useful ideas about how to make the existing manuscript more accessible, clearer, and maybe better. But they don’t answer the central questions (see Tourist (3)) that need convincing answers. If I can’t come up with answers, there was no real point in starting the new book, and there is no point in finishing it. I can’t yet answer the questions. I hope I can at least start to as I write the last chapters of the first draft.

But for now I can at least talk about other questions, ones that don’t really matter. Questions abut the author (for example “Does he have another book in him, or just the one that was based on a life-time of stored up impressions?”) are of some interest to me, but are fundamentally trivial. Putting it another way, in contemporary culture (Do I mean all or culture, or just pop culture?) the concept of Self-Expression as the sovereign force behind creativity has saturated understanding. The idea that a creative work can have any inspiration, or motivation, or justification that is independent of some internal process or need or compulsion of the author (or, from another angle, some need or compulsion of society or of the particular little determinative slice of it from whence the author sprung) is almost completely out of favour.

Judging by my own observations, this is true to such an extant that the very notion that any other factor could influence the decisions or the actions of anyone who would sing, or dance, or write, or paint, or anything, is absurd, if not incomprehensible. Why would John, a retired businessman, write a book? Why, to express himself of course! Or because he had to, to carry out the manifest destiny to do so, implanted by his difficult youth, or inevitably engendered by his later life in the bowels of commerce, or some such whatever. And of course the book can be reverse-emgineered to reveal itself as nothing more or less then the conclusion inevitably resulting from (in fact already present in) the premises of his life - his life in the giant syllogism that is existence, at least as post-moderns deconstruct it. I’m sure even I, no trained creative vivisectionist, could come up with a few hundred pages on what Except My Love For You doesn’t mean.

Except that I wrote it because everything about doing it felt right. And, yes, I had to do it, not because of some existential angst that it might put a poltice on, but because there were some things I felt needed to be said. I am perfectly comfortable in saying that I felt visited by a Muse, one who said “Get off your ass and write this”. Whether or not I succeeded in getting across the ideas, or whether the ideas were worth the effort, are judgements for others to make - and are beside the point for the purposes of this blog. Of course I wanted to prove to myself that I could do it. And of course my life history, my previous experiences with composition, and everything that has ever been connected with me are all determinants of why, and how I tried to write my first novel. But they say nothing about the purpose for which I wrote it, or what use it is, if any, to the people who read it.

It is fun ( for me anyway) to talk about how the book relates to me and my personal story, but it is not important. It is the book that is or is not important. I hope it is worth reading, and I am absolutely certain that I know why and for what purpose I wrote it.

Which brings me back to the beginning of this blog. When I began writing The Tourist I was motivated by several things, some higher and some lower. Among the lower but still respectable motives was finding out whether I could do it again. As well, it had been innocent fun to write, and conceited fun to be treated like an author, especially after the first effort had been accepted for publication. Among the higher motives was to determine whether I had the discipline to work like a professional author rather than a tourist in the trade. But the only important reason to make the attempt was that I thought I still had many things to say, things that needed a new plot and character context to put across.

In the event the writing of a second draft manuscript (as explained in Tourist (1), (2), and (3)) went swimmingly, for awhile. But I had to stop, for many reasons already explained, but also because of fundamental questions not then immediately answerable, questions about where the book was heading, and about the purposes for which it was being written. Now, at long last, I have returned to the point where all the questions posed in this and earlier blogs must be dealt with. Or the Muse will refuse to choose.

Don’t forget THE LAUNCH PAD COFFEE HOUSE, this Wednesday, APRIL 21 at Churchill Park United Church, 525 Beresford Avenue. Open Mike all night. Doors open at 7:30PM.

The Tourist (3)

johnhodgert@shaw.ca — 2010-04-13T12:27:03-05:00

I have now reached chapter 70 of my re-write of the first partial draft of my new novel, The Tourist. The process of tweaking (or wrenching!) the prose to fit my revised overall theme (as suggested by the new working title) is going well enough, and I am having fun inserting e-mails, voice mails and diary entries at the end of most chapters (see The Tourist (2) ). But I will soon reach the end of the first draft, at chapter 80, and so must soon face the dread question - How do I end it? In the narrow sense, the plot has reached a point where one infuriated character has threatened violence against another, ostensibly because of very bad actions by the threatened character, against the interests (to put it mildly) of the threatener. The PO’d character is mistaken in his accusation, but still has strong other motives for carrying out his threat. So what to do? Have him do the violence and let the author pick up the pieces of the story - in a real downer situation? Or have the angry guy learn the truth just in time to prevent his attack - with the author left with a climax where nothing happened?

More broadly though, the issue is how to resolve (or leave hanging?) all the interpersonal conflict in a believable way, while still saying something worth hearing about the point of the book. Someone is The Tourist. Why? What flowed from that fact? What did any of the characters learn or become because of the things that happened in the story? What conclusions did the author reach? The readers?

Anybody got any ideas? Any co-authors out there?

P.S. On April 21, don’t forget to bring your talent (or just your appreciation) down to The Launch Pad at Churchill Park United Church, 525 Beresford. Doors open at 7:30PM. The show starts at 8:00PM, and it’s all open mike!

The Tourist (2)

johnhodgert@shaw.ca — 2010-04-09T12:49:42-05:00

Today I reached Chapter 63 in my re-write of the partial draft of my new novel, The Tourist. Among the criticisms of the first draft was that it was taking too long to engage the reader in the plot, because a lot of time was being used to describe the opening scene - a restaurant in the Latin Quarter of Paris.Why Paris?, some asked. My answer was that the characteristics of Paris/French society would have a bearing on the conduct of some of the characters, and that French society/characters were going to be contrasted with their counterparts in London, Toronto, and maybe Winnipeg. As well, the plot of the novel being written by the then main protagonist, Bill, was to involve elements of the “Two Solitudes” of which Canada is famously composed.

Well, I was told, that’s all great so long as the reader maintains interest long enough to get to the payoff. I momentarily considered beefing about the short attention span of modern readers, and the patience readers of the classics display, but a) this is the modern world, and b) I can’t assume that I do or will ever write classics! So, what to do? I took a cue from another comment I had received. The comment was that the first book had a very strong ‘hook’ that grabbed some readers right away - being the Minimum List. I didn’t want to use a gimmick to snare readers, but rather something that was integral to the plot or the characters, or the point of the book, like the Minimal List was central to the reason for writing Except My Love For You.

Another clue for me was a criticism I received for introducing an e-mail exchange very late in the plot, as it then stood.The e-mails were crucial to establishing a communication between two of the characters, and were the cause of a misunderstanding. The error was based upon a misinterpretation of the e-mails by a third character. It occurred to me that a thread of e-mails, voice-mails, texts, etc., starting at the beginning and running through the book, could serve several functions. Despite several re-writes to simplify descriptions and narration, the book starts out (and continues off and on) with a fairly dense and challenging style of writing. As explained in my last blog, I want to strike a balance, between serving a modern market, and keeping my ‘voice”. Otherwise what is my contribution, regardless of popularity or otherwise? So the style remains challenging. However, punctuating the thick prose with the breezy common language of e-mails, etc. could serve as a pallet-cleanser, if you will. If it is well conceived it can, if not get the fish to bite, at least set the hook like a sharp tug on a fishing rod!

As well, if carefully crafted (a big challenge) the end-of-chapter chatter can act like a Greek Chorus, making the idea points more directly than the main text, or adding to the readers’ knowledge of the character’s personalities - though hopefully not so overtly or pompously as the real Greek Choruses. Don’t get me wrong I love the Classics, but that was then and this is now.

With these intentions in mind, I went back to the beginning, re-wrote yet again for simplicity, and added ‘off-stage’ back-and-forths between the characters. The process is going famously so far. Whether it’s working or not, time will tell. And if not time, my guinea pigs, Kate Hodgert, Darren Fast, and Eric Wawaruk will.

More soon.

The Tourist

johnhodgert@shaw.ca — 2010-04-07T11:44:58-05:00

This day (April 7, 2010) I have reached Chapter Sixty in my re-write of the first eighty chapters of my second novel, The Tourist. I began writing the book back in 2007, just after I had finished Except My Love For You, but before it had been accepted for publication, or extensively edited - in the first flush of the success of having a first draft of my first novel. Because the few people who had read EMLFY had liked it, I had dived right into doing another book. My operating principal was “Let’s give them more of the same, only more so!” Which is to say, I blew off whatever (slight) restraint I had exercised to control my... how shall we say?... idiosyncratic writing style - loaded with plays on words, over-loaded with references to the pop and the serious worlds of art and life. And an, at times, almost rococco approach to description and sentence structure. As well, I had attempted to accomplish a life-long artistic goal - to give a work of prose the formal style of a classic poem: irregular rhyme, repetitive structure (i.e different chapters with very similar structures, like stanzas in a poem), lyricism, evocative ambiguity, and (please the Muse) concentrated, precise, and beautiful language

During the editing of EMLFY preparatory to publication, my editors, Wayne Tefs and Alan McKenzie, told me that some of my style worked and some didn’t. Fortunately for me, I listened to them, and made many adjustments. I didn’t always take their suggestion because, as they said and I agreed - there always needs to be a balance between cleaving to what is conventionally considered good form, and sticking to your guns to the degree necessary to keep your ‘voice’, to use the cliche accurate word. Wayne said there would be criticism by some, and there was. But altogether I was happy with the result, as I hope and assume were most of the hundreds (so far) of people who bought the book.

Anyway, the insights described in the paragraph above became clear to me only after I had written nearly 100, 000 words of the new work. The structure of the new book, then having the working title of Turtle Dove, was on a whole new level of complexity vs. EMLFY, as was the prospective plot, the number and diversity of the characters, the locales (Paris, London, Toronto, Winnipeg), and, most importantly, the ideas behind the book, or the moral, or the point of it all - whatever you want to call it. In short, it was an extremely ambitious project.

The new book had been bravely started, but, as the EMLFY work and insight progressed, and the non-writing work on publication continued (marketing, recording, performing, documenting, etc.), work on the Turtle Dove came to a halt. I was tired, and confused as to where to go beyond a certain climax in the plot that the drafting had reached. Their were many balls in the air. How to catch them all? Besides, there was plenty to do on other composing fronts (music, poetry, blogging, etc.) so I put the work aside for what I though would be a short while. Skip ahead two and a half years.

I dusted off the manuscript in late 2009, poked away at it a bit, and asked my publisher Ray Blumenfeld and his editor Alan McKenzie to look at the unfinished draft. They had impressions, good and bad, and suggestions. Ultimatley, I got back to work, with the help of them, and a few other friends. But I’m out of time. More about their comments, and my new ideas and revived process next time. Oh, and the new novel is now called The Tourist.

Don’t forget The Launch Pad Coffee House at 525 Beresford on April 21. Doors open at 7:30PM. I’ll be performing with my main men, Tony Buchner and Darren Fast.

Soldiering On

johnhodgert@shaw.ca — 2010-04-03T17:47:26-05:00

I am finishing an order of fries at Junior’s Restaurant, kitty corner from my alma mater Glenlawn Collegiate (class of 1968, or thereabouts). After a recent flurry of activity in aid of the Launch Pad Coffee House, I’ve been drifting, as regards writing, music, and blogging. However, I’m determined to buckle down.

On the music front, Tony Buchner and I are rehearsing a set for the April 21 coffee house. As well as the regular three song group for the open mike part of the proceedings, we’re working out a feature piece at te beginning, based on my song Soldiers’ Cemetery. The song was originally a poem written about eight years ago. Becuse it was in a very regular form, with a fixed number of ‘feet’ in each corresponding line in every stanza, and employed a consistent pattern of rhymes, it easily suggested itself as song lyrics. To make it work as a song, I had to lose the endings of several stanzas, and add a bridge of new material. Tony and I have been working on recording the song, off and on over the last few years.

It was decided to go without an opening act at the next Launch Pad on April 21. To fill the gap, I thought of using Soldiers’ Cemetery to open the show - but expanded to include other elements. It is a work in progress, but the idea at this point is to open the show with me reciting the original poem, with the ‘missing’ lyrics. That would satisfy my poet ego! While I spoke, photographs relating to the theme of the poem would be projected onto a screen beside the stage. The photos would be taken, edited, assembled, and projected by Darren Fast, my pal and former co-worker.

At some point in the reading of the poem I would be joined on-stage by Tony ,and perhaps other musicians, who would begin to play the chords and beat of the song. When I finished reading the poem, I would join the other musicians while they continued to play. When we were all on stage we would segue into singing the complete song - while photos continued to appear on the screen. There’s lots to work out, and the details will no doubt change. But I hope we can give it a shot.

For now, here is the original poem, with the bridge from the song added, in italics:

THE SOLDIERS’ CEMETERY
I walked the soldiers’ cemetery,
Where my father is not buried
Rode the bus never taken by us,
I prayed to Christ Unrisen
What is your decision?
Will you bury me?

You said your love was temporary,
Lent to me as necessary.
Paid the debt, never had a regret.
I lived in debtors’ prison.
What is my position?
Will you unchain me?

I know I was your sweet Mad Hatter,
When my wishes did not matter.
Took the prize and a ton of your lies
I pardoned your affliction,
What is your prediction?
Will you wish for me?

I walked the martyr’s crematory
Where I’ll never burn in glory.
Ground our lust till it crumbled in dust.
I prayed to God Unsightly.
Does it even slightly?
Does it matter at all?

There’s a moment on the other side of now,
When all our worries whistle past their grave,
When emptiness is filled,
Fears are blown away,
And young men never die to prove they’re brave.

I walked the martyr’s crematory
Where I’ll never burn in glory.
Ground our lust till it crumbled in dust.
I prayed to God Unsightly.
Does it even slightly?
Does it matter at all?

TOMORROW - I BLOG ABOUT THE PROCESS OF WRITING THE NEW NOVEL, THE TOURIST

Houston, We Have No Problem!

johnhodgert@shaw.ca — 2010-03-27T11:16:41-05:00

The Launch Pad was successfully launched (so to speak) on March 24. About forty people attended, twice our prior estimate and more than enough to fill the lounge to capacity. Richard Baschak MC’d.

Doug Glenn was the feature act, and got us going strongly - aided by projections of photos of Doug’s paintings - photos taken and projected by Richard. The open mike followed. As memory serves (and apologies for errors and omissions), the acts were:

Tom Donanhue - singer songwriter who played guitar and sang his composition Born on the Banks of the Red River (I think that’s the title?) solo. Next, I joined him on guitar and harmony vocals for his song See No Change. Then we did the Kinks’ Set Me Free, with me on lead vocals and guitar. The crowd dug Tom, especially Pat Hodgert and Sherilyn McDonough!

John Oldham then recited a poem he wrote that was inspired by the classical guitar piece written, and performed by Ashli

Tony Buchner and i were next. We did Johnny River’s Summer Rain, followed by my Except My Love For You, and ending with my Hopelessly Lost in Love. We got to the end without fatalities.

Tim Fennel then sang Simon and Garfunkel’s Kathy’s Song, accompanied by me on guitar. The crowd lover Tim!

Brian Hughes recited two poems and a short story in his trade-mark dead-pan style. He was a big crowd favorite!

Paul Hodgert then sang and played (guitar) the Weakerthan’s Left and Leaving, followed by his own composition This Rock Rocks, and ending with the Mountain Goats’ This Year.

Tall Order Improv gave us ten minutes of a far-fetched scenario, put together based on character types supplied by the audience.

Scott McPherson finished the night with three of his own compositions, whose names elude me as I type at the Dubs.

The crowd seemed to enjoy the acts, the coffee, the treats, and the vibe. Doug Glenn took home a nice bit of cash for his efforts, the proceeds of voluntary collections. The LP itself netted a few bucks for the kitty, the haul from refreshment sales. What else could you ask for! The next coffee house night will be April 21. The shows will follow on the third Wednesday of every month. Thanks everybody. We had too much fun for a legal event!

LP, BS, Battle of Queenston Heights, Tourist Touch

johnhodgert@shaw.ca — 2010-03-18T14:46:39-05:00

The Launch Pad starts Wednesday March 24 at 8:00PM in the lounge of Churchill Park United Church, located at 525 Beresford Avenue (Beresford & Nassau) in Fort Rouge. The Featured Act is Doug Glenn at 8:00PM, followed by open mike acts. If you have a talent for music, spoken word, improv, comedy, juggling........whatever, come on down and sign up. Acts so far confirmed include; Tom Donahue, Tall Order Improv, the Meadowlark Orchestra (John Hodgert and Tony Buchner), Paul Hodgert (and guests?), stars of Gordie’s Coffee House, and surprise guests. Doors open at approx. 7:30PM. Come early and sign up, and/or just groove. Be there or beware! Coffee and tea are available at nominal charge, with proceeds to the expenses of the LP. Voluntary donations will go to the Featured Act and to the LP. Peace. Hang Loose. Flower to the People!

At long last, the final mixing and mastering of the Boat Song has been accomplished. When I get a minute I’ll post it here. Thanks to; Paul Hodgert (producer, rhythm guitar, organ, piano, bass, lead vocal on bridge, back-up vocals, co-arranger, boy wonder), Tony Buchner (lead guitar, 2nd lead guitar, hombre), Luke Bergen (drums, vocals on bridge, rock star), and me (executive producer, lead vocals, back-up vocals, co-arranger, ham). The whole story of the writing of the book, and the writing and recording of the songs is contained in the blogs herein, beginning with the ‘Apr 2009’ entries.

I’ll be doing a gig of readings and songs from ‘Except My Love For You’ on March 23, for a River Heights book club - at a private home in the area. I love these outings, especially when (as in this one), they’ve read the book. If your book club (or any other existing or gathered group) might want a presentation, go to the Home Page for contact info for the publishers, Bendecido Books, or contact me via this website

I am re-editing the first 80,000 words of my new novel (working title ‘The Tourist’), and sending batches of the results to my friends Darren Fast and Eric Warwaruk for comments. Kind of an experiment in modern serialization. Anybody out there that wants to join the experiment, please use the ‘Comment’ feature below.

Tonight - Gordie’s Coffe House, 8:00PM at Gordon King United Church.

After all these years, a new LP!

johnhodgert@shaw.ca — 2010-03-13T10:55:35-06:00

It’s official! The Launch Pad, being the coffee house at Churchill Park United Church, will have its own launch on Wednesday March 24. The LP will operate out of the main floor lounge of the Church. The Church is located at 525 Beresford, (Beresford & Nassau) west off Osborne, just north of the St. Vital Bridge. The LP’s MC is Richard Bashchak, and he will be greeting folks and keeping the good times going. The details are as follows:

Start: 8:00PM
End: Approx. 11:00PM, depending on the number of acts
Admission: Free, voluntary donations, with proceeds to any Featured Act, and to cover LP expenses.
Refreshments: Coffee, tea, and treats for sale at nominal charges, with proceeds to cover LP expenses.
Frequency: Monthly for now.
Format: Featured Act (approx. 15 - 45 minutes) followed by open mike
Open Mike Acts: music (original and/or cover), spoken word (poetry, drama, prose, story-telling, etc.), improv, visual art (paintings, drawings, photos, videos, etc.), comedy ... anything that fits.
Ambience: Friendly, welcoming, supportive, inclusive, open-minded
Demographic: Anybody and everybody
What’s In: Anything that creative imagination can come up with that fits the LP format.
What’s Out: Vulgarity, grossness, negativity .. bad vibes

March 24 at Launch Pad
Featured Act: Doug Glenn
Open Mike Acts (so far): Tom Donahue, John Hodgert, the Meadowlark Orchestra, Tall Order Improv Group, Paul Hodgert, Tim Fennel, surprise Guests from Gordie’s Coffee House, and a cast of ten’s!

Now..............all we need is the audience. Tell yourself, tell your friends to be there.

The Pooh on Winnie's

johnhodgert@shaw.ca — 2010-02-16T23:03:54-06:00

This e-mail was sent by me to Richard Baschak of Churchill Park United Church after a strategy session:

Richard,
Thanks for taking the time to chat about the project. These are my notes of our preliminary thoughts. How the coffee house turns out in details will of course be up to you and the rest of the good folks at the Church.

Churchill Park United Church Coffee House (Winnies?)

1. Opening Night: March 24, 2009 (theme?)

2. Recurrence:
Monthly at first

3. Promotion:
Announcements at Sunday services (beginning February 21?)
Winnipeg Presbytry website
John Hodgert’s website (ask others in church with websites to do same?)

4. Venue:
Fix couches
Configured as groups but oriented to stage
Stage in corner near piano
Test equipment and configuration after JH return March 1

5. Hospitality:
Hosts (2 or 3) , hopefully 1 or 2 musicians
One of Host MC, controlling mike (John at first, then Richard)
Coffee, tea, and treats makers/servers (2 or 3)
Roadies to set-up PA and move furniture (2)
Contributed treats (sweet and crunchy)
Contributed coffee, repaid from proceeds

6. Program:
Greetings, intros, ground rules (approx. 5 mins.)
Opening Feature: individuals or groups doing “something different” or “crossing boundaries” e.g mixed media, experimental, etc. (words/music/visuals/etc.) (approx. 30 min. at first, later to one hour?) *
Break to set up (approx. 15 min.)
Open mike:
Per sign-up sheet - first come, first served , except as adjusted by hosts for variety or continuity
Max. 3 songs/bits/etc. or 15 mins.
Jam, if time allows?

* March 24 Opening Feature by the Winnie’s, as a hello from Churchill Park United Church, and to set the right tone of welcome to all. On an on-going basis, the Opening Feature can be established acts like Doug Glen and his group – and maybe will be lengthened to one hour. Doug and his musicians are welcome at the March 24 and subsequent shows, perhaps with the group (and/or others) eventually forming the Winnie’s Band to accompany artists who so desire

So far, the March 24 show includes Richard’s improv group, and John Hodgert (with one or two others?). John and Richard will be approaching others with a view to having an Opening Feature, plus at least 6? open mike acts. That would amount to a total evening of 2 hours and 20 minutes. With clean-up that would take the night to about 11:00PM – about right.

We should target to attract an audience of from 15 to 30 people.

Principles/Rules of The Road
The mission is to provide the venue and the support to allow artistic expression to flourish in our community
All styles and types or artistic expression are welcome (music, poetry, prose readings, stories, improv or stand-up comedy, drama, photos, videos, whatever)
Admission is free
Voluntary contributions are welcome, with proceeds to Winnie’s and to eventually to the featured artists
Coffee costs $1:00 , treats costs $2, with proceeds first to cover costs, then to Winnie’s
The show starts at 8:00PM start, with a loose end time of 11:00PM
Opening Features will be arranged by the Hosts
Open mike performers will appear as shown on the sign-up sheet (first come first served, subject to Hosts discretion)
Each open mike performer/presenter may perform up to 3 songs/pieces, to a maximum of 15 minutes.
Volume and content of any presentation should be compatible with the venue and the audience
The intent is to be inclusive, non-judgmental, non-competitive, celebratory, and inspirational

Richard – the above contains some details not discussed but that occured to me later. Feel free to use or disregard any of it. Good luck. See you March 1
John

My Funny Valentine

johnhodgert@shaw.ca — 2010-02-14T15:52:42-06:00

Happy Valentines Day!

I am at the Fyxx St. Vital on Sunday afternoon, taking advantage of their free wireless internet. Here’s the latest mes amis:

1) My son Paul Hodgert, my record producer, will be spending much of his spring break time finishing the recording project that goes along with my novel ‘Except My Love For You’. (click ‘Buy the Book’ on this site of you wanna, ya know, buy the book) At the time of the novel’s launch in May 2009, we did a show at the Park Theatre instead of the normal type of cocktail party kind of launch. I had assembled a band composed of me on vocals and rhythm guitar, Paul (the Public) on bass, Tony Buchner on lead, Luke Bergen (Boats) on drums, Vanessa Kuzina (Oh My Darling) on back-up vocals, Ashli Hodgert on trombone, and Jane Helbrecht and the band on chorus. Paul had produced the recording of three songs from the ‘soundtrack’ to the novel and three associated readings from the text - using the named musicians plus Nick Mullin on piano. Lori Reimer played piano for the show. The Launch show was the same as the CD, which we gave out as complimentary souvenirs to anyone who attended the Launch or follow-on events, or who subsequently bought the book on-line. Copies of the CD are still available. Just use the ‘comment’ button to get a hold of me and ask for a CD (and/or comment or course!) The three songs on the CD are Except My Love For You, Angel of Truth, and Across the Norwood Bridge.

Over the following months Paul supervised the same musicians in recording the other three songs mentioned and quoted in the novel. These were posted on this site when completed. So far, Hopelessly Lost in Love, and Mercy Mild Have been posted. To hear any of the five songs, just click ‘Hear the Songs’. The last song, ‘The Boat Song’ has been tracked (after overcoming many challenges), but is not yet fully mixed and mastered. Paul will finish the job over spring break. He may work with someone else on the mastering, (to take it a yet higher level) but that’s another story. (see 2) below) For those new to this website, the background stories behind the writing, editing, and publishing of Except My Love For You, and behind the composition of the songs, their selection for the novel, and their recording and performance, are contained in the blogs herein - beginning in April 2009 and continuing till now. I’m told it’s fun to start at the beginning and read them in chrono order. I recommend this, because its fun, and because my goofy titles do not always suggest the content of the blog!

Anyway, Paul will also be re-mastering the entire six songs and three readings group - so we can put together another CD! This is for use regarding point 2) below.

2) As advised earlier, Except My Love For You has reached break-even sales, for which my publisher Bendecido Books is most grateful, I can assure you! Not content with that, or with continuing to market the book to stores, book clubs, and others (have guitar and big mouth, will travel), Bendecido’s owner and my literary agent, Ray Blumenfeld, has succeeded in having the book reviewed by a major international publisher. So far they like it. I’m busting to say who and how far its gone, but mum’s the word yet. Regardless, a next step in the process may be personal delivery of a new six song, three readings CD to the major. That’s why Paul will be re-mastering the whole bunch in the next few weeks. Pat and I will be away for a few weeks, so we’ll be out of his hair. I need the break because...

3) I have been working diligently for the last many months on the draft of my second novel (working title ‘The Tourist). Having a follow-up in the works is important to secure the deal mentioned in 2). I have been turning over in my mind whether there should be soundtrack songs in The Tourist, and if so which? Existing or new ones? What styles, etc? To help me work this out, I have been trying various things out at open mikes around town. The best one for my purposes has been Gordie’s, where I have been performing for the last six weeks. Gordie’s is a sixties style coffee house that happens every Thursday night at 8:00PM out of Gordon King United Church on Cobourg Street in Elmwood. It is well worth visiting. Lots of different styles, ages, and skill levels are featured, in a relaxed atmosphere. It has been great, but it’s a drive for me and my south-side music buddies. As well, I only get to do two or three songs a week, so....

4) I have been talking to the good people at Churchill Park United Church on Beresford Avenue, just off south Osborne Street in Fort Rouge. Their Leadership Committee met last week and approved a coffee house experiment. The details are still to be fully worked out, but will probably be something like:

1) Once a week on a weekday night. Wednesday?
2) Hosted by me, with use of my PA equipment
3) All open mike to start, featured acts in due course?
4) All styles and types welcome (music, poetry, prose readings, stories, comedy, whatever)
5) 8:00PM start?
6) Sign-up sheet, first come first served.
7) Max 3 pieces, with 10 minute maximum per performer
8) Free admission
9) Coffee $1?, treats $2?, proceeds to run the coffee house
10) Voluntary collection for the house, later for featured performers?
11) Volume and content suitable for the venue and for all ages in attendance (common sense please)
12) Inclusive, supportive, celebratory, and non-competitive

I’ll post the final details asap.

Please give me any feedback about anything. It really helps.

Hope you all enjoy the rest of Valentines’ Day

Love (for the day and in every way)

John

Notes to You

johnhodgert@shaw.ca — 2010-02-01T09:06:56-06:00

On Sunday, I spoke again to a few folks at Churchill Park United Church. There is real interest. The concept will be discussed at their Leadership Committee on February 12. If they agree, the idea is to have a launch some time in March, perhaps associated with a theme, like the Ides of March, or St. Patrick’s Day. I told them I am available any time to test out the equipment and the layout of the room. At this point it seems likely that something will happen (touch wood)! As a nice side-bar, I gave Except My Love For You and the associated CD to the music director - and she likes it so far. Maybe do a gig for the church’s book club? But, first things first. Let’s get a coffee house. If anyone is interested in being involved, as a performer, or as a volunteer, or just in attending, please let me know by using the ‘Comment’ button below.

The Boat Song is finished tracking. I did the lead vocals last Tuesday. Paul did the harmony vocals. He and Luke sang the bridge, and Paul put a new piano track over the bridge and the last verse of the song. All that’s left is some very finicky mixing and mastering. It’s worth noting that this is the first of my recordings where I played no instruments, but merely wrote the song, and sang lead vocal. Now if we can just get a new vocalist, we’d be somewhere!

The writing and editing of the new novel proceeds methodically. At this point, it looks like working with a collaborator will be a slow process. So it’s just me for now.

Keep On Keepin' On

johnhodgert@shaw.ca — 2010-01-27T13:00:50-06:00

I re-started worked on the new novel yesterday. Wish me luck.

I just finished re-recording the lead vocals for the verses of The Boat Song, and bass vocal part for the bridge. Paul had tracked the rhythm guitar last night. He will put the harmony vocals on the verses, and the treble vocal part on the bridge, in about a half hour from now, when he returns from picking up Luke Bergen. Luke might be persuaded to put on a ‘sub’ bass vocal on the bridge, if he can reach the notes. After that Paul will noodle with the bridge, adding; Hammond Organ bass pedals? more vocals? choir? - whatever is necessary to get the gospel/blues/country feel we want. Then mixing, mastering, and posting on this site.

Tonight I’ll be back at Gordies open mike. I’ll give them Dead End Street (Kinks), and Give Up (me). Anyone curious should get there early to get a seat. The real show starts at 8:00PM, with open mike to follow at about 9:15PM ish. The coffee house I hope to get going at Churchill Park United Church should, with luck, be like Gordie’s. So if you’re curious, check out Gordie’s at Gordon King Unted Church, on Coburg Street, left off Henderson Highway, just north of Johnson.

Fast Update

johnhodgert@shaw.ca — 2010-01-19T11:17:11-06:00

HI all,

Sorry to be so, so, so not around.

Quick notes;

1) The Boat Song now has both lead guitar parts ‘re-attached’ to the new bass and drums. New lead vocals will be added soon, above the existing harmony parts. All that will then remain is a re-work of the bridge. Ah the bridge!

2) I have heard all comments I asked for on the new novel manuscript, and I will be finishing it some time - hopefully not to far in the future, since Pat and I will be traveling quite a bit this year. Maybe the draft second novel will be done before our Med Cruise in September

3) I’m talking to a possible collaborator about a Fringe play version of Except My Love For You. He might also help me to finish the second novel. He’s also a musician, so who knows what else........?

4) Paul is selling recording equipment as described below. If you have an interest, contact me via this site or directly at: johnhodgert@shaw.ca

For sale is a complete Pro Tools Rig, made up of a Mac G4 MHz Digital
Audio Desktop Computer and a Digidesign Digi 001 interface. The
computer is optimized for use with Digidesign Pro Tools 6.4 and is
loaded with tons of useful software and plug-ins. Here's a rundown of
the system:

Computer

* Mac G4 Digital Audio
* Single 733 MHz Processor
* 1GB of SD RAM
* 111 GB internal hard drive
* CD-ROM Drive
* Mac OS 10.3.9 Panther
* Loaded with Pro Tools LE 6.4
* DIGIDESIGN PCI Card Installed
* Comes with Keyboard and Mouse

Interface

* Digidesign Digi 001
* 18 simultaneous, discrete inputs and outputs
* 8 channels of analog I/O, 8 channels of ADAT optical I/O, and 2
S/PDIF I/O channels, all at 24-bit resolution
* Integrated 1-In 1-Out MIDI interface
* Stereo monitoring with dedicated volume control
* Headphone output with separate volume control
* 1/4" footswitch port for QuickPunch recording control
* RealAudio G2 Export and optional MP3 Export functionality

The system is all pre-loaded and ready to plug and play. In addition
to the system, for th first two months or so I'll be vailable for any
troubleshooting assistance while you are learning the system. This
includes help with tracking and mixing the first project and one free
mastering session (on my own rig) should one be required during that
time frame.

A Godfather Moment II

johnhodgert@shaw.ca — 2009-12-15T10:10:29-06:00

At long last Paul Hodgert’s schedule allowed him to go back to fixing the recording of The Boat Song. Yesterday, he and Luke Bergen re-recorded the drum track to the song. As I mentioned in an earlier blog, the click track behind the tracks we laid down last summer had vanished. This would not have mattered except that there were some flaws in timing of the performances, and these could not be fixed without reference to the click track, which can be divided into up to ten- thousands of a beat - allowing accurate tweaking of the wave forms of the voice and instruments. We asked out favourite drummer, Luke Bergen (drummer for Boats, and for his solo project Beautiful Pipes) to do the drums again. He said he was ready any time Paul was.

Paul and Luke started yesterday morning to jam the song, trying out different drum and bass combinations. The ‘old’ rhythm section parts were very good, but, being perfectionists, they thought they could do better. When they had something they thought worked, Paul put done scratch rhythm guitar and vocal tracks over the click - matched as closely as possible to the beat of the old tracks (about 150 bpm). More interestingly, Paul also had to fake one of Tony Buchner’s electric guitar tracks - on an acoustic! This was necessary because the guitar part is effectively the ‘vocal’ for parts of the song. Anyway, Paul had fun using slurs instead of bends (not possible on acoustic), and trying to figure out the solo a few bars ahead of what he was playing. Since all that was required was for the timing to fit, this worked out fine.

The tracking of the drums took about 15 takes, with the best take chosen for each of the individual piece - snare, kick, side tom, floor tom, and high-hat, crash and ride cymbals. Each drum was separately miked, and an overhead mike caught the cymbals and the blended effect. I reviewed the result and said i was very pleased. The new drums have a slightly different beat from the original, but I am not qualified to explain the difference. I like it better the new way!

Paul will next track the new bass part. Using the new rhythm section parts and the click track, he will next attempt to fit the existing electric guitar parts to the new bed tracks. Then he’ll try to fit the old vocals to the verses and the choruses. Paul and I will probably re-record the vocals for the bridge, because we were not completely satisfied with the old bridge tracks. Finally, we will review the length of the bridge, and the arrangement. When we have something cool, we’ll put in down. Paul will then mix, review with me, and master. Then, after many months delay, I’ll post the finished track on this site.

As we wrapped up yesterday evening, I told Luke I owed him, to quote what I had earlier said to Darren Fast, “... a Godfather type favour. Like the undertaker in Godfather I, I said he could call me at any time if he needed anything - no questions asked.” He smiled and put it in his pocket.

Accept My Holiday Love For You

johnhodgert@shaw.ca — 2009-12-11T12:00:20-06:00

Back at the Dubs, but so, so late (12 noon). I’m waiting for my wash to dry at the laundromat. Off to nephew Tony at Bains tomorrow for a new dryer. But now, maintenant, rightsheer, I’ll report on my purrrformance at Gordie’s Coffee House last night. When I arrived there were three names already on the sign-up sheet. I talked to the three performers, who I had come to know from attending the shows for the last few months. I pleaded first time stage fright, and asked them if I could take the first slot - the one squeezed into the intermission for the main act. They agreed, and we sat to watch the featured act. But first we had a discussion about the excuses amateurs often give to hedge their bets; “I stubbed my thumb.” “I just wrote this song.” “I have a hangover.” “I have no talent.”, etc.

The headliners, Beck and Kels, were very good. They had beautiful soprano voices, and had worked out great arrangements of Christmas and regular songs. Check them out if you can. They don’t play much, but are worth looking for. One thing to note. They sang with dynamic range, both between songs (some soft, some loud) and within songs (crescendos, decrescendos). Also, they put some emotion into the performance. Dare I say it - with soul, and sometimes with a light groove. I mention this because there is a contemporary school of composition, performance, and recording wherein the artist deliberately plays a song (or all his/her songs) using a limited range of volume, usually very quiet, and with little or no variation in the tempo or even the melody! It’s cool, it’s understated, it’s self-referential, it’s ironic - and it’s shit. If you think I exaggerate, try Downtown Coffee Ground, Monday nights at the Red Road Lodge on Main Street. If you do, try to keep a straight face. It’s comic for about three acts, then its time to go. Okay, rant over. Back to show.

The intermission spot turned out to be the best, because the full crowd stayed - they were enjoying the show so much. My three generous friends/performers played to two-thirds, then one-half, then one-quarter of the original house. For the full house, I played the medley Doug Anderson and I had worked out; Set Me Free (Kinks), Summer Rain (Johnny Rivers), and And Forsaking All Others (me). Turned out to be a good idea to start with something familiar. Of course, they couldn’t know how good it would have been with Doug’s inspired lead guitar, but they seemed to like it just fine anyway. Next I did Except My Love For You, first plugging the novel. That got a good response too. Last, I played a new song, All I Have to Say. The song is arranged with a crescendo towards the end, and a full, hard stop on the last note. That can either be cheesy or dramatic. Based on the applause, I’ll tell myself it’s dramatic!

The ladies did an even better second set, then my pals and some others did turns of varying quality. We applauded them all heartily. As a last minute treat, my son Paul (who had dropped me off earlier) came back ahead of schedule. He felt frisky, so he signed up for the last slot. He gave a near empty house a rousing version of two Mountain Goats songs. Paul’s a terrific performer (says his Dad!), and the Mountain Goats are really worth checking out.

There will be an all open mike night at Gordie’s on January 14. Gordie’s is located in Gordon King United Church, on Cobourg Street, west of Henderson Highway, just over the Disreali Freeway. Avoid Elmwood on that date. We might be back!

The new novel? Don’t know yet, but I’ll be writing something large early next year, no matter what. You have been warned.

Merry Christmas/Eid/Chanukah/Kwanza/Festivus, and a Happy New Year.

SOLDIERS' CEMETERY

johnhodgert@shaw.ca — 2009-11-24T13:18:47-06:00

I’m enjoying a lunch at the Ellice Cafe (turkey BLT warp, only $6.00) while I wait to drive Paul home from his college class. I had a chat with Alan Mckenzie (editor, Bendecido Books) about the draft, unfinished manuscript for Turtle Dove. He had some good insights. I’m waiting for the same review with my wife Pat Hodgert, and with my publisher, Ray Blumenfeld. After those talks I’ll decide whether to continue to work on the draft, and, if I do continue, what I’ll do and how I’ll go about it.

In the meantime, work on the music goes on. For fun and feedback, here’s the lyrics from one of the songs from the putative soundtrack:

THE SOLDIERS’ CEMETERY

I walked the soldiers’ cemetery,
Where my father is not buried.
Rode the bus never taken by us.
I prayed to Christ Unrisen.

You said your love was temporary,
Lent to me as necessary.
Paid the debt, never had a regret.
I lived in debtors’ prison.
What is my position?
Will you unchain me?

I know I was your sweet Mad Hatter,
When my wishes did not matter.
Took the prize and a ton of your lies.
I pardoned your affliction.

I walked the martyr’s crematory,
Where I’ll never burn in glory.
Ground our lust till it crumbled in dust.
I prayed to God Unsightly.
Does it even slightly,
Does it matter at all?

There’s a moment on the other side of now,
When all our worries whistle past their grave,
When emptiness is filled,
When fears are blow away,
And young men never die to prove they’re brave.

I walked the martyr’s crematory,
Where I’ll never burn in glory.
Ground our lust till it crumbled in dust.
I prayed to God Unsightly.
Does it even slightly,
Does it matter at all?
Does it even slightly,
Does it matter at all?
Does it matter,
At all,
At all?

Quid Pro Quo Vadis

johnhodgert@shaw.ca — 2009-11-18T10:43:19-06:00

Hi folks. Sorry I haven’t blogged for a while, but I’ve been busy on some interesting stuff. I’ll give a brief review here, then follow up with more detail on each item in future blogs.

First, on the book, the publishers and I are happy with the progress to date. Assuming receipt of a couple of orders that are expected shortly (touch wood), we are; 1) past break-even and into profit! (N.B. This was all down without ‘soft’ money of any kind - government, charitable, friends and family, etc. - i.e. all hard, for profit dollars), and 2) heading for 60%+ sell-out of the first printing.

On the critical front, we were disappointed with the reaction of one of the local papers, but thrilled with the reception by independent observers and book club websites. Finally, we (me and my musician friends Paul Hodgert, Tony Buchner, and Doug Anderson) were gratified by the excellent response to the live music.

The publisher, Ray Blumenfeld, and his associates at Bendecido Books; Alan McKenizie, Carol Lee, and Krista Kline did and are doing a great job on the editing, design, and marketing of the novel. I can never thank them enough. The latest thing they worked on was a package for presentation to a select few international publisher, to explore the feasibility of a joint venture for a more developed national and international distribution of Except My Love For You. The package is as snazzy as all their work! It has been sent. Whether or not something is worked out, we will all continue to get the book out there, by all means, including this blog.

“Great, but what kept you busy?” The answer is writing a second novel and the songs for potential inclusion therein. I started a second book some time back (working title ‘Turtle Dove’) but put it aside at about the 75,000 first draft stage - because it was getting emotionally tiring, and because there was lots to do to polish the music for EMLFY, and to sell, sell, sell. Recently, I went back to the manuscript and subjected it to a ‘machete’ edit in light of what I had learned on the freshman effort, working with Ray, Alan, and Wayne Tefs. Turtle Dove has more characters and a more complicated plot than EMLFY. Too many? Too complicated? Where to go from here? How to finish? Whether to finish or to start over? I felt bogged down by these issues, so I took a side step to work on some new and old songs that might or might not go into the next novel. Or is it a novel? Maybe a play, or a stage-play, or a screen-play?

I had a coffee with Wayne to talk this over. He was very helpful, and is standing by if I want to engage him to review the manuscript from a quo vadis (wither goest thou?) point of view. I told him I would, like the first time, start with my homies. So Pat Hodgert, Ray, and Alan are now reading the draft, partial manuscript. They will shortly let me know whether I should goest fly a kite, or carry-on - in one form or another.

For the last couple of weeks I have been, as stated, working on some songs, not only for possible use in a second work, but also in their own right as songs/recordings. I’m also rehearsing performing the songs, to be ready to record and to use them in marketing, as I did for EMLF. However, I am also interested in live performance in general, again in its own right, and as an aid to something else. Accordingly, I’m trying to nail down an ‘act’. This would take the form of two or three songs for an open mike, then six or seven songs for a coffee house type set, then whatever. For example, I’m working on a set including the songs Except My Love For You, Give Up (new, and one of the Turtle Dove candidates), and All I Have to Say (ditto). If I felt like a cover was required, I’d use a Beatle song or something as familiar. Because Tony’s in Mexico, Paul is doing exams, and Doug is into his own recording project - I am practicing the set as a solo act. If, as, and when I get up the courage, I would likely inflict myself on the open mike that is part of the regular 8:00PM Thursday night shows at Gordie’s Coffee House in the Gordon King Memorial United church at 127 Cobourg Street, west off Henderson Highway. www.myspace.com/gordiescoffeehouse
Final Note: The Boat Song will be posted by year-end. I promise!
Too much information?
Okay,
Au revoir

A Love Song That Lingers

johnhodgert@shaw.ca — 2009-10-29T18:40:30-05:00

A Love Song That Lingers…
October 28, 2009 by cgevans
A review of “Except My Love For You,” a novel by John Hodgert
“Except My Love For You” by John Hodgert tells the story of a 45 year-old man named Gordon from Winnipeg, Manitoba. The novel begins with Gordon’s dramatic decision at the peak of his career to set aside his business and his marriage to explore the simplest way a man of his age can live ‘comfortably’ in the city. Guided by an underlying poetic structure and full of flashbacks and unexpected twists and turns, Gordon’s journey through this changing time in his life with nothing but a few possessions and a handful of friends to call his own is a difficult yet beautiful one.
While the appeal of “Except My Love For You” for the baby-boomer generation is clear, what is surprising is the way in which all readers are moved to journey alongside Hodgert’s protagonist and easily swept up in the questions his life poses of ours. Questions like: what do we idealize in life and should we idealize these things? What would it feel like to simplify our day-to-day and what would be the consequences of this change? Where will our choices lead down the road? How are our parents dealing with their life choices, how are they processing things in this phase of their lives? The way these questions linger in our minds and in our hearts well after we’ve finished reading the book is Hodgert’s greatest accomplishment and fine praise for his debut novel.
Hodgert’s narrative style is dense, however, and at times can seem impenetrable, especially on first reading. The many private jokes, alliteration and witticisms can sometimes leave the reader focused on the wording rather than the story. Although such wordplay in a short poem or scattered throughout a novel can be insightful, the high compression language in “Except My Love For You” can leave the reader grappling to really understand the characters. But, if one perseveres through the adjectives, one is rewarded as these characters are full, varied and outright charming. Indeed, Hodgert’s cleverness is spirited and holds promise for future writing.
The novel is enhanced with an accompanying CD of the author reading extracts of the book as well as performing songs composed for the novel. It is a delight to listen to as the world of the novel jumps off the page, and Hodgert’s love of the way words mix and mingle together shines through. It is our opinion that the novel, with it’s cinematic unfolding of story and character, would work well as a film
“Except My Love For You” is a love song to a specific generation that evokes timeless questions for all readers.
‘The Cool Club’ book club in Toronto, Ontario

Neither sleet not snow ....

johnhodgert@shaw.ca — 2009-10-15T11:20:11-05:00

I had a bit of bad luck and a bit of good luck for my readings and songs at the Jake Epp library in Steinbach last evening. The bad luck was the weather, basically sleet and a cool wind. So I much appreciated the determination of the small crowd that did show up. The good luck was being able to add Paul to the show at the last minute. He found out late Monday that he had to do some banking in Steinbach, and volunteered to stay in town and join the show. I was relieved and thankful. I had changed the readings for Steinbach by deleting the Grad 1968 bit as not relevant to the crowd. I had substituted a reading from the funeral scene late in the book. I had to re-write it a bit so as not to spoil the ending for those who had not read the book. Neither of the ’third’ songs we had been doing, Across the Norwood Bridge or Hopelessly Lost in Love, worked with the new reading. So, I had decided to use Mercy Mild, being the song that the character Jack sings at the funeral. This was logical but scary. I or we had never before performed Mercy Mild live. I was therefore nervous about how it would go over, especially solo. The song has few lyrics and a simple structure, and is accordingly recorded with two guitar solos (by the absent Senor Tony Buchner). Just about the only person who could step in without notice was Paul Hodgert. Paul had produced all the recordings, including of Mercy Mild. So, on the night before the show, we popped down to the rehearsal studio to see if we could fake it. We could. Paul knew my second guitar part on Except My Love For You, and Tony’s parts from Mercy Mild. For Angel of Truth, Paul cooked up a new lead part, inspired in part by the version that Doug Anderson had written for the Millenium Library show.

Anyway, in the event it worked. We brought my Garnet amp with its old school reverb and tremolo that had been used for the recording of Except My Love For You. Paul ran a clean Garnet signal through his Blues Driver pedal for Angel of Truth, and did something else I can’t remember for Mercy MIld. The room was small, enclosed, and with a vault ceiling - so the sound was gorgeous! I sang and played my Takemine acoustic, both un-amplified. Paul used his arch-top, F hole, semi-acoustic Samax - which adds a killer rockabilly vibe to everything!

The people seemed to enjoy the words and music, and stayed quite a while to ask questions about the book and the music, and, most interestingly, about the inter-relationship of the two. Thanks to the library staff, especially Melissa Froese, and to Alan and Carol at Bendecido for setting things up. Melissa is contacting area book clubs to set up some gigs for me in SE Manitoba. I’d love to come back. And, of course, thanks again and forever to Paul.

The Leaky Boat Song

johnhodgert@shaw.ca — 2009-10-06T09:28:56-05:00

Paul and I have found some technical problems associated with the audio files for the recording of The Boat Song. They may be able to be corrected with a lot of Pro-Tools magic, but the easiest answer would be to ask Tony Buchner and Luke Bergen to come back into Paul’s One Friday studios and re-do their respective tracks - with our apologies and thanks. However, Tony is teaching in Puerto Vallerta, and Luke is on tour with Boats, so that’s not so easy. So, while we scratch our heads (bald me, literally!) we apologize for the delay, and suggest that you groove on the lyrics (such as they are) for a while.

In the meantime, I’ll be doing a promo on the radio from AM 950/1250 at 8:00 AM on Thursday October 8. The promo is for a show at Jake Epp Library at 7:30PM on October 14.

Booked in the West End

johnhodgert@shaw.ca — 2009-10-01T09:16:10-05:00

I did my first performance for a book club last night. It was for a new, still small group that meets at Valour Road Community Centre in the West End. My host was Katherine Wiese, and she and her colleagues couldn’t have been nicer. I did the usual three readings and songs, but, for the first time - by myself. It’s funny how you can be nervous and make small mistakes playing and singing songs you’ve done a thousand times. And for an extra treat my guitar fell out of its stand during the second reading. I caught it in time, so there was no damage. It even stayed in tune! Bless you Takemine Guitar. There were smiles and applause afterwards, and some good questions about the writing process and about the characters motivations. The more intimate setting allowed for a more ‘literary’ chat, which was cool for a change. Tea was served (still some debate on the Earl Grey versus Orange Pekoe issue) with fruit loaf slices. I mention these facts because I have not had breakfast this mornig, but have still to develop a menu plan. Avoid retirement - the stress is crushing! Thanks to Carol Lee at Bendecido Books for setting this up.

Next up is radio interviews at 8:00AM next Thursday October 8 on AM 950 and 1250, out of Steinbach. Maybe FM96.3? The promo is in aid of a show at the Jake Epp Library in Steinbach at 7:30PM on Wednesday October 14. I hope Takemine doesn’t ask for a raise.

P.S. Just posted the lyrics to ‘The Boat Song’. Hope to post the song soon.

Debut Novel “clever, quirky and sharply written”

johnhodgert@shaw.ca — 2009-09-21T16:43:22-05:00

Except My Love For You
By: John Hodgert

Reviewed by Sharon Chisvin

Winnipegger John Hodgert is a retired financier, aging rocker and
life-long poet. He also is a very fine writer of fiction.

Hodgert’s debut novel, Except My Love For You, is a tender, captivating and thought-provoking coming of middle age story that astutely explores the bounds of love, friendship and success. Clever, quirky and sharply written, it abounds with wry observations, witty turns of phrases, sharp dialogue and multi-dimensional characters that appear both familiar and genuine. The central character in the novel is Gord Strachan, a highly successful 45-year-old Winnipeg financier who has given up everything he has in order to live a simpler and more meaningful life.

With this goal in mind, he has traded his seat of power in boardrooms across the country for a minimum wage job in a furniture factory, and the comforts of his suburban mansion for a small apartment in a working class area of town. He also has transferred all of his considerable wealth over to his ex-wife Liz.

While he tries to adjust to his new way of life, without a cell phone, tailor-made clothing, a car or an expense account, Gord alternately reflects on the carefree days of his youth and more recent interactions with business associates and friends.

His attempts to distance himself from the excesses and successes of his life, however, are continually tested by his ongoing entanglements with Liz and their mutual group of friends, most of whom they have known since high school.

One of these friends is Muriel who, to Gord’s great admiration, had years before deliberately chosen to live an unconventional, non-materialistic, back to basics rural life. ironically, it is because of Muriel that Gord ultimately reexamines his recent choices and rethinks his decision to give everything up. Money, he comes to appreciate, can be used for purposes other than making more of it.

Gord’s connection to Muriel, like his connection to most of the other characters in the novel, is deeply rooted in their shared history. This shared history, nurtured by community club concerts, river walks and school dances, is the glue that binds this aging group of friends together.

Although Gord and his friends, as imagined by John Hodgert, live and work in Winnipeg, they could be any group of lifelong friends in any urban centre.

This is the beauty of this novel. While very specifically set in contemporary Canada, it remains a universal story – a story about not taking anything for granted, especially success, wealth, health, love and friendship.

Sharon Chisvin’s work has been published in numerous magazines, newspapers and anthologies across North America. She is the author of three non-fiction books and has worked as a magazine editor, communications officer, and currently is a regular contributor to the faith and book review sections of the Winnipeg Free Press.

cited in bannatynebanter.wordpress.com

Summer Reign

johnhodgert@shaw.ca — 2009-09-17T15:02:09-05:00

I just got back from the gig at the Millenium Library. It went well. Fifteen minutes before the scheduled start, I shamelessly dragged Doug Anderson out into the hallway, where we jammed - ostensibly to draw a crowd, but really to warm-up - and show off! We did the numbers that Doug had been expecting, being Your Eyes and Where Did My Baby Go? (originals) and our ‘money’ medley of Set Me Free, Summer Rain, and Forsaking All Others (an original). But I also threw Mercy Mild and Maggie Mae at him. He handled it well. We stopped before we burned up all our mojo.

Inside, the host, Kathy Grover of the Library, gave us a nice introduction. We did the standard set of Readings/Songs. The whole thing was un-amplified, but the volume was fine. Doug did a great job - to nice applause. Afterwards, I answered a couple of questions, then mingled with the people as they left. Kathy tells me that the turnout was good, especially for the first show of the year, and fighting a great weather day. My thanks yet again to Ray, Carol, Alan, and Krista for being there, as ever. Also thanks to the ‘old reliables’; Pat, Sherilyn, Dianne, and Ross. And to ‘new reliable’; Carol Anderson...........and Alison Caldwell!

Big final thanks to Doug Anderson who stepped in on short notice to take the accompanist reigns. He put his own special spin on the songs, while remaining faithful to the original intent. “A punch on the chest was ample praise.”

On to a new challenge, the book club solo appearances. Wish me luck.

One More To Go

johnhodgert@shaw.ca — 2009-09-13T13:24:54-05:00

I just posted the mp3 file for Mercy Mild. You can hear it by clicking the song title on the ‘Hear the Songs’ page of this website. In the near future I will install Flash Player controls, so that you can hear it, and Hopelessly Lost in Love directly from the lyrics pages - like you can now for the other songs. The last song in this series, The Boat Song, will be mixed and mastered in a few weeks. I hope you enjoy all the songs.

On the performance front, Doug Anderson and I have two more practices to go - before we are unleashed on an unsuspecting world! See you at 12:10PM in the Carol Shields Auditorium on the second floor (off the skywalk) of the Millenium Library, at the corner of Graham and Donald. Doontoon, as my grandfather would say.

Mercy Me!

johnhodgert@shaw.ca — 2009-09-08T09:34:31-05:00

Yesterday, we tracked the vocals for Mercy MIld, and for the last song in this series, The Boat Song. We did the latter first, and it was a a bit of a struggle for me to do the lead vocal. Not a recording horror story, but maybe a dozen or so takes and a number of ‘punches’ (spot edits) on the best tracks, of certain sections where I was having particular difficulty. Paul added the few harmony bits at the end of the session. I’ll talk about The Boat Song in a near future blog.

Anyway, after a lunch break we set up to do the lead vocal for Mercy Mild. Paul set up three tracks for the vocals, as a start. I told him that I would sing the first take laid back, and the next more energized. We’d talk before the third take, and see what next. Paul called me out of the singing room to listen to the first track. The review revealed very minor warbles and micro timing issues, but no wrong notes or obviously screwed up intervals. And we really liked the feel. Paul adjusted the levels here and there, and fiddled with some normal added effects (reverb mostly) - then we declared it ‘the’ track. We did no more takes. If this sounds like bragging, that’s because it is! My advice for amateurs like me is - just relax and sing the song the way you feel it. It helps if you wrote the song, if it’s an easy sing, and if you’ve already sung it a thousand times - but why quibble! So, if you note how thin my voice is, or how less than absolutely perfect the execution is, don’t blame Paul. It’s a straight up performance by me, for good or ill.

Feeling quite positive, I asked Paul if we could re-record the Intro. Having a non-repeated Intro that is quite different from the rest of the song is old-fashiond and long out of favour (see Mercy Mild - 3, 03/09/09). For that reason, I wanted to re-do it in a more stylized way, and make it obvious to the listener that it is ‘different’. Paul set up to record the vocal and single guitar simultaneously, as a ‘live’ take so to speak. We banged that off, and sat down to listen. It worked, especially after Paul made it sound like I was doing it over the telephone. He also created a small gap between the Intro and the song proper, at the end of which his voice counts in the song proper. Alright, it’s a gimmick. But it’s fun.
Altogether, It was a big music day. That evening Doug Anderson and I rehearsed for the 12:10PM Millenium Library show on September 17. Doug nailed the feel of Except My Love For You and Hopelessly Lost in Love. We hope to nail Angel of Truth on Wednesday. Doug’s a home handyman, amongst many other things, so lets consider that the planning phase of the rehearsals. The next nine days will see us filing, sanding, and finishing the songs. Doug, paint or stain? : > )

Mercy Mild - 3

johnhodgert@shaw.ca — 2009-09-03T11:05:05-05:00

I’m back at the world headquarters of the Meadowlark Artistic Collective, the St. Vital A & W. To finish up on Mercy Mild - it was composed by me some time in the early 2000’s, making it easily the newest song featured in the novel. It originally was played slower than the recent recorded version, more as a slow country blues or even a gospel number. I left plenty of room for solos, at the time mostly by Paul, featuring slide guitar sometimes, or deep overdrive electric guitar. Because it was more an excuse for riffing than a proper song, the lyrics never got beyond one verse and one chorus. The changes were deliberately and militantly cliche: G Bm C D for the verse, and C G C D for the chorus. The influences are almost comically diverse, ranging from the Rolling Stones (See ‘Shine a Light’ from Exile on Main Street) for changes and feel, to Smokey Robinson (see ‘Baby Baby’) for vocal high notes and Bing Crosby (see, well, anything) for crooned deep vocal notes.

At the time I was considering songs for the novel, I tried to write more words. But everything seemed to subtract from, not add to the song. Paul and Tony were convinced that the words already written said everything the song wanted to say. So we left it as is lyrically, and used two guitar solos to make it run longer. There was lots of debate about the tempo. I was reluctant to leave the slow tempo feel behind, but, in the event, we moved it to a more normal 120-ish bpm speed. The alternatives were a three minute, boring, slow version, or a much longer, solo filled version - one which ran a different risk of boring the listener. Most of the tracking is done. All that’s left is tracking the vocals and mixing and mastering. I say ‘all’ casually, because I don’t have to do that tough slog - Paul does!

Oh, I forgot to mention, the song has one feature that distinguishes it from a typical modern pop song. It has an ‘Intro’. That is, there is a preliminary section, with words and music that is markedly different form the main song in tempo and structure. My inspiration for this was very old pop hits from the 20’s, 30’s and 40’s. These songs often had what they called the ‘Verse’ at the beginning. The Verse was only done once, with the ‘Chorus’ (i. e. what you and I would call the actual song) following. Very often these verses have been lost to time - never preformed, or very infrequently. Sometimes they lasted. The classic example is Stardust, with its verse of, “And now the purple dust of twilight time...”, followed by its famous verse melody behind, “Sometimes I wonder why I spend....” This practice had fallen so far out of favour that I thought it would be a kick to use it on one of my songs. So, a few years after I had written the main part of Mercy MIld, I came up with a separate verse (or ‘Intro’, as I style it). Using an Intro allowed me to set up the song, both melodically and in terms of the ‘story’ of the song. You can be the judge of whether it works when we post the song on this site - on September 11 or thereabouts.

On the performance side, I’m working with Doug Anderson on the set for the September 17 readings/songs gig at the Millenium Library. I hope Doug knows what he’s getting into! I’m just happy he agreed when I asked him to take over for the departed Tony Buchner. Even If you’ve already seen any of the shows, it will be worthwhile to come out and see what spin Doug puts on things. He’s a much different player than Tony, and very talented.

Au revoir for now, mes enfants.

P.S. Check out the blogs for April, May, June, July, and August for the histories of the novel and the songs.

Mercy Mild - 2

johnhodgert@shaw.ca — 2009-08-31T11:12:35-05:00

I’m back at the Ellice Cafe, eh! On this last real (and real hot, I’m hopin’) week of summer, I’d like to go back to two earlier summers:

First, the summer of 1978 in the imaginary (to us) world of Jack Lovell, the character from my novel ‘Except My Love For You’. Jack graduated from Glenlawn Collegiate in 1968, as we all gathered when we read the book’s chapter ‘Crossroads’. That chapter concerned the characters’ Graduation Dance. Jack and the other characters’ childhood is the topic of Jack’s song ‘Across the Norwood Bridge’. After high school, Jack drifted to a BA (History) from the University of Winnipeg. Both of his best buddies, Gordon and Jerry, took Commerce at the University of Manitoba. Although the boys spent a lot of their free time together, Jack’s days at the downtown campus were lonely times for him. He never really clicked with any college clique - didn’t want to and didn’t try. On top of that, Jack’s romantic life during these (and later) times was topsy/turvy, and start/stop. As a teenager and young adult, his heart had followed confused signals. He pursued the girl he thought he loved - to no avail. The girl he really loved? Well, that’s in the book.

Anyway, after college Jack eventually fell into an entry level job at the Winnipeg offices of a multi-national agri-business. For no particular reason, he found himself with a career in Human Resources. Jack found this fact, like so many others in his life, to be ironic. Behind the charming smile on his softly handsome face, rested a secretly reserved personality - one that tended to introspection when healthy, but one that drifted, too often for anyone’s good, into near morbid self-absorption. Not positive self-absorption, like rock stars and other narcissists, but dark, self-deprecatory brooding. Oh, and drinking. Bit by bit and year by year, booze became the driver of Jack’s taxi. He met and married Lenore during a bout of absent-mindedness. In due course, they produced children - two boys that even Jack could see, appreciate, and cherish. But in the way of this unkind world, that did not free Jack from his shackles.

So, one summer’s evening in 1985, Jack was killing time by strumming his guitar and mumbling words that came from somewhere unknown inside, and which both comforted and scared Jack. Comforted, because the truth, however dark, always is more bearable when faced, and not hidden from. And scared because the words were not about a difficult past, or a hard present, but about an imagined future. Jack imagined himself carrying on his present life, as is, from now until the end. Dwelling on the future is not good. But that’s what he found himself doing, singing words that came from the mouth of an old man who was at the end of his rope, out of resources to even carry on, never mind get better. And the old man was pleading to someone, anyone, for mercy.

But time runs out here at the Ellice Caff, so I’ll sign off now, but leave you with the words that Jack eventually wrote down:

MERCY MILD
Intro:
In so many ways
I’ve wasted my days.
You could say I deserve what I get.
Still, I’m faced with past dealings,
With terrible feelings:
Of guilt,
And of loss,
And regret.

I’ve managed to burn through
The saints, and the saviours I knew.
So, Father Time, Mother Love,
I turn, once more, humbly,

To you.

Verse:
Mercy Mild
Why don’t you come to me?
Tap on my shoulder?
Mercy Mild
I am an old man.
Make me a child.

Chorus:
I’ve been living in the shadows.
I wanna stand in the light.
I’ve been wandering in the wilderness.
I wanna come inside

Eternally

johnhodgert@shaw.ca — 2009-08-28T09:54:59-05:00

Some friends who attended my daughter Kate’s wedding in July told me they had misplaced the program for a Wedding to Remember. I referred them to Kate for a replacement program to keep as a souvenir. They also told me they thought that it would be worthwhile for non-attenders to see the poem included in the program. Kate had asked me to write something for some friends of hers to recite at the church ceremony in lieu of the second reading. Three of these friends had, a few years back, written and performed a theatre piece based upon a poem trilogy I had written some time earlier - under Kate’s direction. They liked what I had come up with, and went on to perform it gracefully and movingly at the ceremony. Consistent with the rest of my ‘for fun’ collaborations, the readers have been dubbed the Meadowlark Ensemble. They are; Amber Mills, Jennifer McNaughton, Jessica Liadsky, and Courtney Evans. Love ya’ girls! I’ll get back to the songs and the book soon, but in the meantime, by request (but consistent with my vanity!) I present the following:

ETERNALLY

We will be walking forever
So we cannot tire
From the few short steps
Of the miracle mile
That led to now
From the moment that we met.

I can’t remember
The years yet to come
Until I sit by the bank
Of the river of dreams,
The Jordan between
The worn-down embrace
Of a family’s blessing,
And the Promised Land
Of nothing more nor less
Than long-looking back
On the golden dream years
Of me and you,
As might be,
We will be.
Won’t we?

We will be walking together
Whichever whatever
From the door of the church
Of the secret heart
That fed until now
On the notion of no regret.

I can’t forget
The work yet to do
Before we lie on the bed
Of the rest in our lives,
The journey across
The wind-up clock
Of a feast and a famine,
And the cherished chime
Of the sweet carillon,
Time’s dusty toxin
Still slow-time talking
Of you and me,
As must be,
As will be,
Eternally.

The Songs - Mercy Mild

johnhodgert@shaw.ca — 2009-08-25T10:32:24-05:00

My friend and collaborator, Tony Buchner, leaves on Saturday for an extended stay (at least until next February?) in Puerto Vallerta Mexico, where he will be teaching English to local children. In a last minute rush to perfect his contributions to the recording project, he was over last night. Paul played us his rough mix of the bed tracks (i.e. without vocals) for the last two novel related songs, Mercy Mild and The Boat Song. One of the specific issues reviewed was Paul’s unorthodox idea of adding wah-wah effects to one of Tony’s lead guitar tracks.

For those interested, the arrangement, before the idea, was: 1) lead vocal by me, 2) back-up vocals by Paul, 2) acoustic rhythm guitar by me, 3) arpeggio-ish electric guitar track by Tony, 4) single note-ish lead electric guitar track by Tony, 5) bass by Paul, and 6) drums by Luke Bergen. At that point, Paul had used about 12+ tracks - not much in this day and age. The song has a very simple structure (G, Bm, C, D verse, C, G, C, D chorus), and very simple words. We felt that we had used enough different instruments. When we tried more instrumental ‘voices’, it seemed to clutter the recording. But something ‘fatter’ still seemed to be required. Tony’s single note lead guitar part is very important in this recording, and Paul had captured (and buffed up here and there) a solid performance by Tony. The solo had been played on Tony’s Stratocaster, through his Vox amplifier. The result was ‘right’, but not enough.

Paul tried routing the track through his (Paul’s) Mesa Boogie amplifier, with the controls/effects set in a bunch of different combinations. He also tried a routing through my Garnet amplifier (with and without its on-board reverb and tremolo) plus Paul’s multiple effects box - but that didn’t give enough boost to the original signal do the job. Eventually, Paul found a Mesa/effects box setting that worked best. However, when added to the other tracks and roughly edited, the result was pleasant, and appropriate for the song, but only ‘good enough’ - which isn’t good enough for Paul. So he ran the new Mesa boosted track through the Mesa again, at the same settings, and manually added wah-wah effects using my Cry Baby pedal. As a starting point he wah-wahed Tony’s part through the whole song.

On paper, the result should have been awful; cheesy and corny at best, and a God-awful mess at worst. It wasn’t. Paul played it for me, and I liked it. With a certain amount of trepidation, we played it for Tony, embedded in a rough mix of the bed tracks (including both the wah-wahed, and the un-wahed versions of the new Mesa lead guitar track) - while I sang the lead vocal live in the studio. With some hesitation, Tony said he thought it might work. All three of us agreed that Paul should try various arrangements, including leaving the wah track out of the mix until the first solo, then putting it in for the solo, and leaving it in thereafter. Paul was to try whatever other combinations occurred to him. Paul and I were to make a final decision after we recorded the vocal tracks, with Tony’s remote input if possible.

That’s all for now. Tomorrow or soon thereafter, I’ll post the lyrics and talk about the background of the song, in my real life, and in the context of the novel. As you will remember, in the novel, Mercy Mild and all the other songs are written by the character - Jack. I’ll ask Jack for the back story on Mercy Mild, and let you know. Au revoir.

Rhyme for No Reason

johnhodgert@shaw.ca — 2009-08-18T10:52:33-05:00

The Nygard show has come and gone and it is time for thank you’s; to Ray for backing this ‘play for pay’, to Carol Lee for thinking of me, to Tony Buchner for melodic structure, to Barb Reitman for treatin’ ‘em fine, to Krista Kline for wicked design, and to Paul for sound sublime. Again, amen!

Pat was there (for better or verse), and good friends Dianne, Glen, and Kathy (again). The rain kept the crowd to a dribble, but I won’t quibble. I didn’t read much, we just played and sang and nibbled the snacks. These were our sonic attacks:

Summer Rain
And I Love Her
Crazy Love
Except My Love For You
Set me Free
Angel of Truth
And I Love Her
Hopelessly Lost in Love
Runaway
Don’t Let me Be Misunderstood
Across the Universe
Across the Norwood Bridge

That’s right, we did the whole original list, and then some! Thanks once more to everybody (in sober prose). That’s how it goes. A la prochain.

Soon Come

johnhodgert@shaw.ca — 2009-08-16T10:20:48-05:00

Only one day to go until the Nygard show on Monday August 17. Only one (or two?) practices left with Tony. After ‘field-testing’ the songs from the tentative song list, we’ve trimmed down to just Summer Rain, And I Love Her, Set me Free, and It’s Only Love. If things go well and there’s time and interest, we’ve got Crazy Love, Across the Universe, and Runaway rehearsed to performance level (we hope!) and available. To our relief, Paul has agreed to set up the sound. if it doesn’t go well, we have no excuses. But we can rely on a friendly, not too critical audience, at least for the music. The words will have to stand on their own - especially if we hope to sell any books. So come out, check out the clothing for sale, check out the words and music, and stay to ask questions or to buy some fashion or a copy of the book, signed on the spot by special arrangement with me!

I’m happy to report that I’ve gotten some very encouraging (and helpful) feedback on the book from some knowledgeable people, for which I am most grateful. I’m such a music junky that I tend to forget that this site is first and foremost about a novel. So please comment about the book, the music, or anything else.

But back to my obsession - I received a lovely e-mail via this site, from a stranger who was quite taken with Hopelessly Lost in Love. She had some questions about the lyrics, which I was happy to answer, and she asked if it was alright to have some friends perform the song as a surprise for a friend of hers. At the risk of sounding overeager, I can reply to her and to everyone - please, please feel free to use any of the songs, or the lyrics, or quotes from the book, or quotes from the blog, for any purpose whatsoever (this side of the law and decency :>) ). Hell, tell me where your friend is and I’ll bring a band down and play the song myself! My new e-mail friend says she’ll maybe be at the Nygard show. I hope so. I’ve got plenty of time to talk to her or anyone who is kind enough to take an interest. See you soon.

So, Anyway

johnhodgert@shaw.ca — 2009-08-10T15:58:49-05:00

So anyway, we are substituting It’s Only Love for Runaway. The thought is that the latter is just a bit older than the other songs, and maybe a bit too ‘electric’ to do on amplified acoustics. Regardless, we can still do it as an encore. (See definition of ‘Delusions of Grandeur’). That’s all. I’ll keep you updated. Off to Doug A.’s Wednesday night for an old fashioned jam session with Dan the Bass Man.

Finally

johnhodgert@shaw.ca — 2009-08-07T10:29:46-05:00

Hopelessly Lost in Love is now posted. Go to Hear the Songs to give it a listen!

Hopefully Last in Limbo

johnhodgert@shaw.ca — 2009-08-05T10:25:36-05:00

Back at the Ellice Cafe, home of the $2.75 (all in) toast and coffee, and the free wireless internet. I hereby proclaim it the Annex to the Scottish Pavilion of Folklorama. The visit by Doug and Carol Anderson last week was a success, so we hope to be recording together - maybe in the fall. If he can fit it in, Doug will be helping me do the September 17 gig at the Millenium Library. Tony Buchner will be doing his last show with me (for the time being I hope) on August 17 at 6:30PM at Nygard Fashion Park, 1626 Kenaston Boulevard. So, Tone Bear fans, take note. The Nygard gig will be a little different - and a bit of an experiment for me, the publisher, and Nygard. Because of the setting in a retail store, with clothes buyers who may or may not have any knowledge or interest in readings and songs by an unknown author, we’re going to try playing a few cover songs. This will hopefully entertain somewhat (we’ll see!) and draw a crowd to the spot where we’ll be set up. It can’t hurt (or not much anyway) for anyone who is there specifically to hear about the novel.

Pending how rehearsals go, the first cut at a program is as follows:

1. Summer Rain (Johnny Rivers)
2. Crazy Love (Van Morrison)
3. And I Love Her (Beatles)
4. Introduction by Barb of Nygard
5. Set-up by me
6. First Reading - I’m Losing Everything (chapter one of book)
7. Except My Love For You

15? minute break

8. Set Me Free (KInks)
9. Across the Universe (Beatles)
10. Second Reading - No Thanks (after dinner in Gimli)
11. Angel of Truth

15? minute break

12. Runaway (Del Shannon)
13. Third Reading - Grad 1968 (Guess Who play Glenlawn Collegiate)
14. Hopelessly Lost on Love
15. Questions
16. Chat and book signings

The songs were chosen for familiarity, appropriateness, and my ability to sing them! On the last point, thanks to Doug for the many reps he and I spent on most of the songs. If circumstances allow, he and I could do this set without too much strain. And probably will if Bendecido sets up more retail or whatever gigs.

Finally, Hopelessly Lost in Love is tracked and mixed, but not mastered for sad reasons beyond Paul’s control. But it will be soon.

Ciao, you beautiful stranger!

Hopelessly Lost in Translation

johnhodgert@shaw.ca — 2009-07-29T15:07:32-05:00

When Paul and I had finished the lead vocal tracking for Hopelessly Lost in Love, I commented that things had gone very smoothly, with a minimum of takes. I thought perhaps I was becoming a more accomplished recording artist, until Paul reminded me that I had been singing the song and he hearing it, “... for as long as I (Paul) can remember.” That is literally the truth. Paul was born in July of 1984. In April of 1985 I was working on an early version of the song in the music room of our first family home. Paul was tearing around the room on his walker (since out-lawed as dangerous, but that’s another topic). In the space of half an hour I had a rough draft of a song. I noticed that I had left the tape recorder on. I first stopped it, then turned it on again to archive a copy of the song. On playback, I discovered that earlier on the tape I had captured a better take of the song than the archive version - so I kept it. But what was even better, the singing and playing was punctuated by shouts from baby Paul, mostly gibberish, but with several clear “da, da’s” - amongst the first he ever said, I think. Right away I knew I had something special, so I took particular care to wrap up the cassette and put it out of harm’s way. I have an mp3 version of the song/baby talk. Should I post it? Let me know.

Over the intervening years I played the song often, and used it in shows done for fun, and in song collections, including in the poetry opera Forever and Now. It is a very upbeat song, and therefore a good climax piece to signal that all is well in the imaginary world - at least until the shit happens (to coin an inelegant phrase). The song has been done in a bunch of different ways; reggae (well, reggae-ish), rock shuffle (with Tony Buchner), hard rock (with Doug Anderson), and even punk! On my 50th birthday, Paul’s band of the time, the Public, surprised me by playing it at one of their concerts. That was way cool!

When the idea came up of replacing poems with songs in the novel, the song was a natural to put in the story at a point where all seemed fine (or fine-ish anyway). The back story is that the book’s musician, Jack, wrote the song in honour; of Jerry’s true blue romance with Heather (straightforwardly), of Gord’s love affair with Elizabeth (warily), and of Jack’s then seemingly pointless pursuit of dream girls (ironically). No re-wording of the lyrics was thought necessary, although the song references the births of a Jane and a Paul - even though having children or not is both an acute and a chronic point in the lives of the characters.

So, what’s the song really about? During my years in the musical wilderness, so to speak, I often set myself challenges about aspects of music that interested me. One early obvious challenge was to write a Three Chord song. Musicians will know what I mean. So I played; A, D, E in a La Bamba-like pattern, only more slowly and without Mexican bounce. Then I sang the first words that came to me. Feeling pretty snug (not to say smug) in my little house with my terrific wife, my two kids, and my beautiful Norman guitar, I imagined the continuance of these good times throughout life - anchored by constancy. A bit of a stretch for somebody then married all of seven years! But it’s not biography, it’s art (or pop music anyway). “Old has-been romance, keeps a rolling on. Baby keeps it easy.” The verse melody then led me to a straightforward set of the chords that are a natural consequence of the first three; F#m, E, D, A “ I keep it strong.” I don’t know how the chorus happened, but the chords are pretty simple too, and easily support the melody; Bm, F#m, G, A. “Time and circumstances change but love remans our one desire. It’s a secret in our hearts. I couldn’t start to tell you why” Then back to the descending set: F#m, E, D, A. “We’re hopelessly lost in love.” Nothing fancy, just sincere. And nearly thirty years later, the condition predicted is still true.

For the novel version, we changed key to G, to facilitate a more countrified or folky or whatever feel. But still in the neighbourhood of soft blues, if you get my drift. We’ll play the song at the Nygard gig on August 17. Come and hear if you’re curious. We hope to post the track on this site real soon.

Too Sexy For A Fashion Show

johnhodgert@shaw.ca — 2009-07-28T10:07:02-05:00

We (Ray Blumenfeld, Carol Lee, the new marketing person at Bendecido Books, and I) met with Barb of Nygard yesterday regarding a show on August 17. They have a large, fancy facility at Kenaston Common. We picked a spot and went over the mechanics. For this gig we are going to split the show up; some intro songs (including covers) to attract a crowd, then a reading and a song, then a break to chat/sell books/sell clothes, then another readings and song, then another break, then the last reading and song. Spread out like that it will run from 6:30PM to 8:30PM. Despite what I said before, there will not be a fashion show. Pity. Nygard will e-mail blast to its customer data base and we will annoy our prospects one more time. For those interested, we will be bringing our own PA, so we can be all amplified this time. Tentatively, we expect to do the original three readings, with the ‘new’ three songs - being Except My Love For You, Angel of Truth, and Hopelessly Lost in Love.

Paul and I tracked the lead vocals for Hopelessly on the weekend. He will track the harmony vocals this week, as well as any touch ups to the instruments. Mixing and mastering will follow, with a target of posting a finished track on this site before the end of the month.

I just reviewed earlier posts and I notice that I haven’t given the history of Hopelessly Lost in Love. Tomorrow. This afternoon I meet with Doug Anderson to review whether he has the time and inclination to become involved in recording projects that Paul Hodgert is producing for me at his One Friday Music studios - along with me and the rest of the amorphous Meadowlark Orchestra. Here’s hoping.

Dis and Data

johnhodgert@shaw.ca — 2009-07-19T10:38:48-05:00

I went back to the Dubs to reboot my attention to the book and the blog. It’s a sunny Sunday morning and the A. & W. is empty, except for the Muzak - which is C&W not Oldies for some reason. I like Country, but it doesn’t seem a propos here. Well, plus ca change, plus I don’t like it. :>)

Anyway ... the publisher is happy that sales of the novel have reached half of break-even, with the main fall marketing cycle yet to come. McNally Robinson and Chapters are pleasantly surprised with their in-store sales. So, commercially, all is well. Critically, we have good feedback from individual readers, and not so much from at least one public voice. Regardless, we (the publisher, me, the editors) are happy with how things sit, and are excited about carrying out the rest of of the marketing plan. This is easy for me: I get to talk and sing. The people at Bendecido Books (www.bendecidobooks.ca) get to do the work, and deal with my whining! I’ll list the places and dates as we get nearer to the time, but I know for sure that one of the gigs will be a fashion show - with readings and songs. How cool is that! I mean, isn’t it every author’s dream to be on the catwalk? Or near anyway.

Regarding the music, I have a firm commitment from the Producer that we will complete and post ‘Hopelessly Lost in Love’ by the end of July. I look forward to hearing how it is received as a track. We’ve done it twice live and it went down well. However, (I don’t mind saying) the Producer and the Meadowlark Orchestra set the bar pretty high on the first three tracks, or so I gather form the unanimous praise we’ve received. (Life is full of surprises for this late-blooming amateur!) So the recorded version will have to be much more than passable. The last two songs are estimated to be done by, say. mid-September - in time for the fall sales campaign.

For details on how ‘Hopelessly’ was composed, and how and why it and the other songs became incorporated in the novel, see the blog postings for April, 2009. Just click the ‘Apr 2009’ icon to the right of this text.

Bye for now. See you soon, unless you see me first.

Regards,
The luckiest Old Fart west of the Payless.

Taranna

johnhodgert@shaw.ca — 2009-07-15T09:08:01-05:00

We’re back from Kate’s wedding - tired, but happy. New blogs soon. Consider that a threat!

BE SURE TO CHECK BLOGS FROM APRIL, MAY AND JUNE FOR THE HISTORY OF THE BOOK AND THE SONGS.

S'One Song For Now

johnhodgert@shaw.ca — 2009-06-30T11:55:19-05:00

Hello again friends. So we recovered from the Gimli shows on the Friday, came home, and started to prep for the Wednesday show at McNally Robinson Grant Park. Came the night, Tony Buchner had worked out acoustic arrangements for the songs. The readings and songs we used were the original group from the Park show, but with ‘Hopelessly Lost in Love’ substituting for ‘Across the Norwood Bridge’, again because of the difficulty of doing justice to the latter with only one voice and two guitars. We had a version of ‘Across’ ready in case an encore was called for. Dream on boys indeed!

McNally staff had set up about forty chairs in the Travel Alcove, facing two microphones. After a sound check, we decided to go with amplified voice for both the readings and the songs, but un-amplified acoustic guitars. I was extremely pleased and relieved to see that all but few of the chairs were filled. And it was a special treat to see two ladies I had worked with twenty-five years ago. They had seen my picture in the paper. Thanks McNally for the advertising and for the otherwise exceptional work-up and treatment of Tony and me. ‘First class’ doesn’t begin to do justice to their support of this author and of the publisher. Speaking of which, more and more thanks to Ray and Carol who showed up cheerfully to see the show for the third time! Thanks Alan McKenzie for being there and not square. Also a shout-out to Cam Patterson. I’ll be there for you when the time comes.

The crowd were generous with their applause, and afterward were generous with their dough! So, mercy buckets. Drinks afterward, naturallement. No shows now until after my daughter’s wedding and a flop at the beach. I’ll blog if I get a few minutes and have anything to say. Anyway, see you in September.

Aspired of Waiting

johnhodgert@shaw.ca — 2009-06-29T18:30:29-05:00

I hope I haven’t left this too long after the events - but anyway here goes. The Gimli show took place at the Aspire Theatre, which is a historic, originally Lutheran Church. The space was intimate. There were about thirty chairs set up where the pews had been, facing a curtained stage. For my readings I sat on the edge of the stage in front of the closed curtain. For the songs, I jumped down and joined Paul on the floor in front of the stage. Both the readings and the songs were un-amplified. The small crowd seemed to like it, including a couple who had been at the Park. As I mentioned in an earlier blog, we used a Gimli Beach scene and Hopelessly Lost in Love, instead of Grad 1968 and Across the Norwood Bridge. I’ve got to thank Paul, yet again, for playing lead on the songs. At the drop of a hat, he cooked up acoustic guitar arrangements. They drew compliments from the crowd - and certainly from me. The Tergesen ladies, Lorna and Tristan, were very professional in their set-up and their intros. Thanks from a learner. Afterwards, we had a good chat with them and the folks who attended, and sold a few books. Thanks to Ray and Carol for driving up, and once again supporting the team. I was interviewed by Roger Newman of the Interlake Spectator for an article that appeared in last Friday’s (June 26) edition - with a snappy group photo!

Later that evening, an open mike started at Seagulls Lounge at the Lakeview Resort. Paul gave them a spirited set of songs, including two by the Mountain Goats. Look them up; they’re great. Ben Figler and Dylon Petrowski did a few cool numbers, and then Paul and I, with the assistance of Brian Gluck on drums, let them have Except My Love For You, Angel of Truth, and Across the Norwood Bridge. Thanks a lot Brian. Ben, Dylon, and Brian, along with Nathan Noordman and Willie Jakobson make up a band called “In Motion”. Look out, they’re comimg! Paul then had to scoot to Winnipeg. With the real musician gone, I had the nerve to sing a few covers, including Set Me Free, and Tired of Waiting. I missed my buddy Doug Anderson on lead, but I think I got away with it. Thanks, again yet again, to Frank Figler and the staff of Seagulls for putting it together (and for the drink I didn’t pay for - mibad!)

Pat and I stayed over, soaked a bit of sun, and went home tired but happy. I was going to blog about the McNally show too, but I have to go and help get the stuff together for our trip to Toronto for Kate’s wedding. In light of the wedding, please buy the book, I need the money! Just joking Kate. Check tomorrow for my blog on the McNally show (and maybe Tony’s last appearance, boo-hoo)

Teaser Two

johnhodgert@shaw.ca — 2009-06-24T09:11:18-05:00

I’m looking forward to tonight at McNally Grant Park at 7:30PM. I’ll report on the McNally gig (and belatedly on Gimli) tomorrow or Friday. A crowd is needed, so report to your area wardens for assignments. :>)

Beach Baby Beach

johnhodgert@shaw.ca — 2009-06-18T10:15:11-05:00

After much (well, a bit of) deliberation, the Meadowlark Orchestra brain trust has determined that the Gimli show (7:00 PM June 20, Aspire Theatre, Gimli) will be as follows:

First reading: I’m Losing Everything (Gord in his new digs), same as at the Park Launch
First song: Except My Love For You, same
Second reading: No Thanks (after dinner in Gimli), same
Second song: Angel of Truth, same
Third reading: Blackbirds (Jack and sons at Gimli Beach), new
Third song: Hopelessly Lost in Love, new

For anyone interested, the Aspire presentation will not be amplified. The Aspire is intimate and well set up for readings. The songs will be done with two acoustic guitars, being me and my son Paul (unless something comes up). Aside from playing the songs more softly, in the absence of the full band (and especially the lead guitar, Tony Buchner) we will experiment with simpler arrangements. A lot simpler if it’s only me! We dropped Across the Norwood Bridge for this occasion, because it did not fit the new reading as well, and because we didn’t think we could do justice to it - in light of it’s recording and original live performance by an eight piece band. Anyone who has heard the CD or was at the Park Launch would find the low key two man arrangement a serious anti-climax. However, we will be distributing the CD to everyone who is at the Aspire show, so they get to hear the full blown version anyway. Also, in the unlikely event of an encore, we’ll drag it out. Also, also, we will play it at the Seagulls after-show.

After the Aspire readings and songs, and the signing (we hope) and chat the Meadowlark Orchestra (all one or two or us) will move over to Seagulls Lounge in the Lakeview Hospitality Inn, where an open mike night will be in progress. We (the Larks) will perform the same three songs, plus Across the Norwood Bridge, plus surprises. The house drummer and perhaps others may sit in. Besides us, several local acts will perform, including Ben Figler. A Saturday open mike is a bit of an experiment for Seagulls, so, if you’re there - make noise!

As things stand, we tentatively intend to use Hopelessly Lost in Love as the third song at the McNally gig (7:30 PM June 24, Grant Park), but keeping the original third reading, Grad 1968. Tony will play at that one. Hope to see you at either show or at our Millenium Library gig on September 17.

Gimli Some Lovin'

johnhodgert@shaw.ca — 2009-06-11T10:01:38-05:00

Back at the Dubs, and thinking over how the readings and songs show needs to be adjusted for the June 20 gig in Gimli. It’s clear that the readings could include one or more or the many scenes in the book that take place in Gimli. But which? Some of the stronger (at least to me), more descriptive passages are in the last half of the book. To use any of them, however, would be to reveal plot points that should come as a surprise to the reader.

Also, if I change the readings, do I need to change the songs? This is tricky, since the Park Launch readings and songs are already recorded and pressed on the launch CD. The recordings of the other three songs from the book are in various stages of completion. And none of the new three exactly co-ordinate with Gimli scenes in the book. Of course, only two out of three of the original group are quoted (sung) in context. Across the Norwood Bridge doesn’t line up with the Grad 1968 scene in the book. So I linked it by describing it as ‘a song Jack’s band used to play’, and made it fit with the nostalgic element of the book and the reading.

At this stage of my thinking, it looks like I will pull the Grad 1968 reading and Across the Norwood Bridge song out of the Gimli show, and substitute a descritive passge from the first half of the book. Maybe Jack and his boys at the beach? In that case I might re-order the show so that the first reading, the Minimum List, stays first, followed by the song Except My Love For You, followed by the Blackbirds reading (Jack and sons at the beach), followed by ???, followed by the No Thanks reading (goodbyes after dinner in Gimli), and ending with the song Angel of Truth.

It’s not settled who, besides me, will be playing at the Aspire Theatre. Probably just me, for logistic reasons. I will have to rehearse a solo versions of the two carry over songs. This will be easy for Except My Love For You. I did that at the Park. But Angel of Truth will be tricky, given the recordings prominently featured lead guitar playing. The third song? I’ll figure out something.

As of this writing we are working out the details of an after-show at the Seagulls Lounge in the Lakeview Country Hospitality Inn. This show will probably revert to the original three readings and songs. It might be me solo, or me plus whoever of the Meadowlarks Orchestra is available, or me plus the house band at the Seagull, or all of the above. You have been warned!

The first show will be at 7:00PM at the Aspire Theatre in Gimli, and the after-show at approximately 9:30PM at the Segulls Lounge in the Country Hospitality Inn - depending on who wants to talk to me after the Aspire gig.

Across The Disreali Freeway

johnhodgert@shaw.ca — 2009-06-04T12:23:18-05:00

I am posting from a secret location (Fyxx St. Vital) so as not to reveal where you can get free WIFI and thus crowd the joint! Anyway, let me tell you about the gig at Sam’s Place (159 Henderson Highway) last Tuesday evening. Sam’s is a bookstore and cafe run by a small staff and volunteers, and sponsored by Mennonite Central Committee. The ambience is friendly, and the food is real good, so I’m told. Sam’s is very small, narrow, and has a stage in the middle. The Meadowlark Orchestra (me and whomever I can corral) was to be second (and last) on the bill. The opening act was Dave. Dave is a retired gentlemen who helps Sam’s on this and that. I had been called by Sara of Sam’s a few days before. She told me, “Dave has a story to tell. Can he go on first? It will take about 15 minutes.” “Mais oui” I replied.

When we arrived a half hour before the scheduled 7:00PM start, we noted the props on the stage:

A 20 horse Evenrude outboard motor
A gas can
A toolbox
A life jacket
An easel

After a friendly reminder the show began promptly at 7:17PM. Dave entertained us with detailed account of his boating accident of thirty years ago, complete with demonstrations of the too sharp turning capabilities of the outboard (the cause of the spill), and with diagrams (sketched live for us) of his post-dumping-from-the-boat position in the lake, and the circles (of ever increasing diameter) that the Dave-less boat notionally inscribed on the lake. Ever wider circles, the last of which saw the boat inevitably strike the shore - you can’t fool geometry! We in the audience expressed our relief that there were no injuries, save for Dave’s pride. But he (and we) can laugh at it now.

We pitched in to help Dave clear the stage, did a perfunctory sound check, then gave the crowd our little 3 readings/3 songs piece, the Meadowark Orchestra being reduced on this occasion to a singer, an acoustic guitar, and a scaled back electric guitar. It worked, or at least the audience (being my EK/Elmwood peeps plus Dave’s homies!) seemed to like it.

After the readings/songs I stayed to chat with a few interested souls. Sam’s Place took a few books to sell, so you Hendersonians can get one at Sam’s - open from 10:00AM to 10:00PM except for Sunday. We came. We saw. We survivied.

Park it Right Here!

johnhodgert@shaw.ca — 2009-06-01T10:00:09-05:00

I’m back at the Dubs on a normal Monday morning, after a highly abnormal (at least for me) weekend and prior week. Last Tuesday was the final practice for the Meadowlark Orchestra. The timing and energy were good. All that remained to wonder about was whether we would live through all the logistics - the sound system, moving around on stage for the readings, and all the fussy details of selling and signing the books. Wednesday dawned gorgeous, which was a blessing for the roadies (me, Tony Buchner, Luke Bergen, and my family) and for hopes of a good crowd. Originally we were to set up and sound check at 5:00PM. We were sure that wasn’t enough time, so we asked the Park for an earlier time. They were good enough to say 3:00PM. Being who we are, we got there at 2:30! Thank goodness. It turned out that the lights had been reset from what we saw at our last visit. Alan McKenzie of Bendecido Books had set up lighting instructions for himself, and they were now not applicable. Fortunately, my daughter Kate and her fiancee Tim Fennel are both stage people. They took matters in hand. Tim was up the ladder refocusing spots, and Kate was ordering everybody around in the great Hodgert tradition. I joke. The Bendecido people and I were very relieved that the set-up was in knowing hands. My son Paul, a trained sound engineer and experienced concert performer, supervised the band set-up, with help from Tony and Luke. By the time the Park Theatre sound man, Elliot Filbert, arrived - we were in shape. He was a real professional and had us plugged and balanced in no time. A big thanks to him and all the great folks at the Park!

So, after a hurried dinner we were back at the Park, waiting for a crowd (or at least a small group). Then the people started arriving, and arriving, and arriving..... By the time the show started it was Standing Room Only. BIg heartfelt thanks go out to Rhiannon Maskie Connally, marketing specialist at Bendecido, to Ray Blumenfeld the publisher, and to everyone at Bendecido who worked so hard and so successfully to draw a crowd. And the first of many deep, deep thanks to the friends, family, neighbours, and curious strangers who took the trouble to attend.

Against expectations people started buying the books as they came in, and (bless their hearts) asking me to sign their copies. I did as many as I could before the show, and got the rest afterwards. Thanks to everyone who bought the book. Whatever your motive, friendship or love of reading, I hope you enjoy the novel. Whether you do or not, please let me know, by any means, including comments on the blog or e-mails. See ‘Contact John’ herein.

The show began on time. Ray did a brief introduction. I did the first reading wearing a Maple Leafs cap, and received polite applause. I walked in the dark across the stage and sang the title song, Except My Love For You. The applause after was generous. I did the second reading wearing a summer straw hat, and was rewarded with warm applause. I then walked to mid-stage and began the song Angel of Truth - with just my guitar as accompaniment. When the band kicked in at the end of the first verse, I could hear the audience draw in its breath - under the assault of the mighty, mighty rhythm section. Thanks again and forever to Paul, Tony, and Luke. We got some real heart-warming applause after that surprise! I walked back and did a somewhat out of breath third reading, without hat this time, but decked out in suit jacket. NIce applause followed. I went back to the band and started the song Across the Norwood Bridge. The band was augmented this time by Lori Reimer on piano and Ashli Hodgert on trombone. After the first two verses, we were joined onstage by Jane Helbrecht as a chorus singer, and Vanessa Kuzina singing harmony. Thanks too much to say to these three fine ladies! At the end of this only half-serious number we were rewarded with nice applause. I gave my thanks to the band, and then to everyone connected with the concert and the publication of the book. I here second my thanks. But I forgot to thank Andrew W. Nolan for his terrific book cover photo. So - thanks Andrew for your bright, strong, bang-on shot. I want also to add a thanks to my neighbour and friend, the great painter Tom Lovatt - thanks for a life-time of inspiration. And just one more to my friend and inspiration Brian Hughes, polymath and pal.

More signing at the Park, then over to Lux-a-Lune, chatting with friends, drinks, and some other stuff I don’t quite remember but I’m sure was fun! But I run on. Let me end with a thanks from the bottom of my heart to everyone who helped get the book made, made the launch work, was kind enough to attend, to buy the book, or to just wish me well. And everyone who reads Except My Love For You. I hope you conclude that it was all worthwhile.

CHECK OTHER BLOGS FOR APR AND MAY TO READ HOW THE BOOK, THE SONGS AND THE PUBLISHING COMPANY CAME TO BE!

Eve of Construction

johnhodgert@shaw.ca — 2009-05-26T11:14:18-05:00

Tonight is the second and only full rehearsal for the full band behind ‘Across the Norwood Bridge’. The prospect of Wednesday’s launch at the Park finds me calm about the readings and nervous about the songs. Too tense to type, too ready to gripe. Let’s end this tripe. I’ll see you all at the launch and at the subsequent events now listed under “News”.

Shaw; Sang and Then Some.

johnhodgert@shaw.ca — 2009-05-19T13:36:20-05:00

I just got back from the Park Theatre, where I was interviewed by Joanne Kelly of Shaw TV. She asked intelligent questions. I answered them in my way. I also played Except My Love For You and Angel of Truth. ‘Except’ went reasonably well - no more than a muff or two. During ‘Angel’, however, I dropped my pick, played several wrong chords, and made a face. They liked it. They can edit around that, can’t they? Make it charming? Gruesome? It’s all good fun. The interview/musical execution will air periodically tomorrow, and again on May 26, the day before the Launch at the Park.

P.S. I promise to do better with the full band of real musicians. Anyway, they’ll do better.

I AIN"T SAID I

johnhodgert@shaw.ca — 2009-05-12T10:45:18-05:00

With apologies to Neil Diamond, I can sing “I ain’t I said, to no one there.” The first thing I can say about the question, “Is the book an autobiography?” is - on the surface, “kind of”. But, although the lead character, Gordon Strachan, shares certain biographical facts with me, he ain’t me. Gordon’s youth is set in St. Vital and his life takes him to places with which I am familiar. But then, what I am to write about, a boy growing up in Moscow? He grew up in St. Vital, while I moved there when I was thirteen. He married his childhood sweetheart, while I married (thirty years ago yesterday) the wonderful Norwood girl, Pat Newman who I had met at work, in my late twenties. And we have never (thank God) separated or divorced. Similarly, both Gord and I were in the finance business. He was worth $40M when he broke up with his wife. Me? Not even close!

Like all authors, absent extensive research, I have only my own life’s experiences to draw on. And like any work of imagination, the book uses bits from here and there, jumbles them up, and reassigns them amongst characters and settings. For instance, I wrote the songs used in the book. However, Jack, not Gordon is credited with the composition - because it is more ‘true’ in the imaginary world of Except My Love For You. It’s more like Jack to have been and still be a musician. Perhaps if Gord could or would have written songs (or poems as he belatedly attempts), he might not have been so screwed up. But it was necessary and therefore true that he didn’t, and that he did screw up. And spread it around!

But that suggests the more subtle question. “Life details aside, are the issues with which Gordon grapples modeled on issues from the author’s life?” This time the answer is “not much”. Gord’s inappropriate behaviour in mid-life stems from the return of his unorthodox way of thinking, which stems from his upbringing, presumably from his genetics, and from... the authors’ imagination.

The author has, from time to time in his life, behaved in ways he ought not. And for the usual human reasons; laziness, stubbornness, ignorance, and who knows what. But no more than normal, and not in ways grand enough to support a novel. But the author has, as author’s ought, imagined an exaggerated version of these and other human failings, and wondered what would happen if they carried on uncorrected, or at least unmitigated. It follows that such strong, persistent miscues would be caused by strong, persistent causes. What might they be? What might happen if the screw ups went beyond a certain point? Well - people would get fed up. What would they do? They would break with the offender. Then what would he do? Hey, how about he follows through on some goofy ideas he has, associated with his weird way of thinking? Hence the Minimum List. Hence the story. The rest is detail that flows from the central struggle.

In the final analysis, Gordon Strachan ended up as a more powerful, more disciplined, more successful, and more doomed man than John Hodgert ever was or could be.

Teaser

johnhodgert@shaw.ca — 2009-05-11T10:34:34-05:00

The files for the readings and songs have gone to the CD manufacturer. In the grand tradition of recording they were delivered late, with just enough time available to have the finished product back a day or two before the launch at the Park on the 27th of May! We intend to give them away as souvenirs to everybody attending the Launch. Until all 500 are gone, I’ll be handing them out at readings and Meadowlark Orchestra shows. Now all that needs to be worried about is not falling on our faces as we perform the material. Reading doesn’t scare me, but playing/singing does. There is too much to do today (30th anniversary, wife back from visit to daughter/bride-to-be in Toronto) to start ‘the rest of the story’. But, soon, I will begin to talk about the question I get all the time, “How much of the book is autobiographical?”

Cleanse Our Pallets!

johnhodgert@shaw.ca — 2009-05-05T16:42:17-05:00

The publisher says the books have arrived from the printer, and they’re clogging up the warehouse. Please help us out. Cleanse our pallets of these novels. They can be acquired at the low introductory price of the full retail asking price! (www.bendedecidobooks.ca)

All kidding aside, we’re very excited. After a couple of years of effort, we’re there - at the staring line. I’m looking forward to the launch in Winnipeg, then to the one (hopefully) in Gimli, and then to any readings or shows in the months ahead. I look forward to meeting the hordes (There will be hordes won’t there?), or anyway the few folks who will be in attendance. I hope to get a chance to speak to everyone, but if not, I can always be reached via this website (or directly at johnhodgert@shaw.ca). We’re stuck now.

Hope to see you soon,
John

The Songs - Across the Norwood Bridge

johnhodgert@shaw.ca — 2009-05-01T11:12:09-05:00

Across the Norwood Bridge (ATNB) is another song from the early to mid nineteen-eighties. With two young children around, I was spending lots of time at home - when I wasn’t working all hours. The song is a ‘story’ song to the extent that it harkens back to my real adolescence. My friend Ross McKellar, my brother Frank, sometimes some other friends and I would, as the song says, walk from our home neighbourhood in north St. Vital, across the Norwood Bridge, and into downtown. Once there we would spray ourselves with men’s cologne at Eaton’s (first Old Spice, then Jade East and then? Frank, what was the brand? Brut!), check out the record department there, move down Portage Avenue to Kresge’s or the Met (maybe stop for a Coke fellas?), continue to the Bay record department (I won’t say what we did there!), and finally end up at the Paddlwheel. Full of chips and gravy and impressions, we’d head home - back the way we came.

The song as I first played it was more about lyrics than melody. In fact, I have three or four more verses not used on the record. (N.B. The “Gord’ referred to in the first verse of the recorded version was originally ‘Ross’.) Anyway, I just bashed away on my acoustic, using a few simple chords and obvious changes. I originally had no particular style in mind, but the story-like lyrics and the straight-ahead music suggested Country. And there it sat for many years.

Fast forward to a few years ago, and I was showing a few original songs to a new friend of ours, Vanessa Kuzina (superb solo singer/song-writer and part of Oh My Darling - the best roots/everything band anywhere! www.myspace.com/ohmydarlingmusic). ATNB was her favourite, which surprised me because I had never taken it very seriously. However, that was the point. Properly done, it’s not serious - it’s lighthearted, simple, and sincere.

As part of the CD project with my son Paul, we were trying to figure out how to arrange it. Tony Buchner and I had tried it as rock-n-roll, in a higher key. I had tried it with Doug Anderson as country blues, but nothing quite fit what I could hear in my head. For years I had wondered what it would sound like with honky-tonk or barrel-house piano. When the CD project folded into the novel project, ATNB was almost a perfect fit. It had the right setting, the right time-frame, the right characters (just change one name), and the right attitude. Somebody/everybody came up with the idea of a ‘back-story’ for the song that would fold into right into he novel - and determine the arrangement/production. One of the characters in Except My Love for You is Jack Lovell, real good childhood friend of the protagonist, Gordon Strachan. In the book, Jack played guitar and wrote songs - the songs we’re talking about here. So....if Jack had had a garage band back in the day (late 60’s), that garage band might have played the song a certain way - loose, lighthearted, and loud.

Paul came up with a piano player, Nick Mullin. After a few takes, Nick came up with exactly the rollicking piano rolls and riffs we needed. Paul’s wife, Ashli Hodgert was drafted to add a goofy but good trombone counter-melody. Vanessa the K. graciously agreed to put some sweet but soulful harmonies behind my thin lead vocal. Paul played drums for the track, to get the ‘learner’ feel we wanted. Paul also did the boom-diddy-boom bass and the straight-up slide guitar. I was on ‘When do I start?’ rhythmn guitar, as usual. Paul, John, Luke Bergen, Jane Helbrecht, and Ashli put on the ‘just in control’ vocal chorus.

The resulting thirty odd tracks were a magnificent mess, which Paul wove into what I think is a very entertaining simulation of how Jack’s not quite fully rehearsed band would have performed the song - some time long ago in the friendly imagination.

P. S. The rest of the back-story:
1. See, Jack met this cute girl at band camp who played trombone. He told the boys he wanted her in the band. “There are no trombones in rock bands!” was there reply.’She’s really cute and it’s my band.’ was the answer.
2. If you’ve read the book, imagine Vanessa as Muriel the mystery girl. Is she in the band or not?

***Click ‘Apr 2009’ on the right hand margin - for more blogs on the songs and the story.

The Songs - Angel of Truth

johnhodgert@shaw.ca — 2009-04-28T13:33:41-05:00

Angel of Truth began a long time ago (mid-1970’s?) as a chord riff on my old acoustic. For you musicians, It was 1/4 back and forth in E, then 5/1, with muting and slides up the neck between riffs. At that time I wanted to write a Ledbelly type acoustic blues, but (as usual) it went where it wanted to. For years I had jut the verse chords and melody. In the 1980’s some time or other I put a chorus/bridge to it. It wasn’t very good, but the words to the chorus/bridge helped flesh out the theme. As some of my older friends might remember, they were:

Spell binder, moonshiner
Give it up now
Give it up now

The chords were still major, and still a spin on 1/4/5

The theme was basically - You lie, you die.

I put the song aside (wherever that is!) except to play it once in awhile to practice a certain kind of strumming pattern. My friend Brian Hughes used to like it, and he’s a roots blues fan, so I kept it on the back-burner. Fast forward to late 2007 and I started jamming with some old high school buddies. Doug Anderson and I were working up some of our originals. (Aside to Doug: We have got to get in the studio!) We didn’t use Angel, but it was one of the ones that went over good with him and our sometime bass player, Dave Milne. In another setting I was jamming with another friend, Tony Buchner. Out of all the originals I showed him, he liked Angel the most.

Soon thereafter, I negotiated an arrangement with my son Paul for him to produce a CD of my originals. We chose six, not originally including Angel of Truth. Soon, as I wrote earlier, the novel became intertwined with the songs. We re-thought the CD selections. Amazingly, five of them fit like a glove, but one was way out. What to do? Immediately it came to us that Angel of Truth would fit in very well with certain aspects of the book’s plot and theme - so close it seemed to have been tailor made for the job. But nobody was satisfied with the bridge. I read and listened until it came to me that we had to go minor/major in the bridge. I brought back a melody over F#minor, C#minor, G#major, C#major. As musicians will note, that C#major shouldn’t work. Except that it does when it leads to A7, G#7, C#major. Try it, you’ll like it!

Anyway, Paul’s brilliant production leadership took the joint band arrangement (John Hodgert; vocal and rhythm guitar; Paul Hodgert: bass and ‘angel’ choir; Luke Bergen, drums and ‘devil’ choir; Tony Buchner; ‘Can I be the devil?’ lead guitar, and ‘devil’ chorus) to a HNL (hole nutha lebel) The song had gone where it wanted, into hard rock but still dragging its roots with it. Oh great! Now we’re supposed to do all the songs real good! We’ll try.

The Songs - Except My Love For You

johnhodgert@shaw.ca — 2009-04-25T09:01:37-05:00

This of course is the title song, so to speak, for the novel. When exactly it was written is a bit of a mystery. Very unusually for me, I can’t find a record of its date of original composition. The copy I have is dated August, 2001. At that time the song was titled ‘I’m Losing Everything’ (ILE). It formed part of what I called ‘a poetry musical’. The poetry musical consisted of six poems and six songs. Although each song or poem was supposed to stand on its own, together they were to tell a story. The musical was called ‘Forever and Now’ (FAN). All the poems were ‘purpose written’ for the musical, and all but two of the songs. One of the pre-existing songs was ‘Hopelessly Lost on Love’ (HLIL), which also features in the novel. It was written a long time ago in unusual circumstances. But I’ll talk about that in a later entry. Anyway, HLIL is a straightforward song about undying love, so it fit perfectly into the middle of the FAN story-line. In FAN the hero guy meets a girl, falls for her, marries her and wallows in joy, but then screws up and loses his lover/wife. When he realizes where he’s at, he understands and sings the other pre-existing song, ILE, because that he is in fact Losing Everything.

The first draft of my first novel was called ‘Meadowlark’, for reasons that will be clear to those that read the novel. The draft also contained poems placed at the end of certain chapters. Again, these poems were to stand on their own, but were also to advance understanding of the book. Also, here and there in the text, reference was made to old popular songs rolling around in the heads of the characters. Several people, including my wife Pat, pointed out a few things:

1. Be the verse good or bad, novel reader soften just skim over occasional poems, or skip them entirely. Besides, poetry is a different read than prose, so unless the poems are (prosaically) overly straightforward, they are counter-productive in the modern world, and
2. You need to get permission to mention or quote from published song lyrics. This is a lot of bother and costs money, and
3. ‘Meadowlark’ is a lame title.

So, as part of the high level aesthetic editing process overseen by author Wayne Tefs, I decided to re-tool by replacing the poems with the lyrics of songs written by one of the character, Jack Lovell, who was already drawn as a musician. Song lyrics are, rightfully, usually simpler than serious poetry - so more inclined to be read and absorbed. This change led to re-writing the book so that the characters remember words and music written by Jack and performed, back in the day, by his garage band. That construction worked way better! By co-incidence only explainable by sublime intervention, I was at that very time in the midst of an originally unrelated project to record a CD of six or seven songs, with the arranging and performance assistance of the CD’s producer, my son Paul Hodgert, and a few of his and my friends. I consulted all the editors and the publisher with the idea of adapting the CD project so that we would record the songs referred to in the book - and in some way relate the book and the music to one another. They displayed the imagination and flexibility (a big part of why I signed with Bendecido) to see that this was not only a neat new artistic idea, but could really power the marketing (oh, oh, business!).

Last and most, what new title now worked for the novel? The song ‘I’m Losing Everything’ was renamed ‘Except My Love For You’ to more perfectly reflect the theme of the book. This became the title of the novel. It’s unusual, but we think in a neat Hodgert/Bendecido way. I hope you agree and that you enjoy the book and the music. Ciao for now.

So Let it Be Written, So Let it Be Recorded

johnhodgert@shaw.ca — 2009-04-23T15:15:58-05:00

My record producer, Paul Hodgert, has set me free for the day - after tracking the three readings that will be performed live at the May 27 show at the Park Theatre (http:www.parktheatervideo.com). We will put the readings together with the three songs already recorded (and posted on this site) The three songs will also be performed live at the Park. After Paul’s mixing and mastering, we will have a souvenir CD of the Park “Show” manufactured. These CD’s will be given out as souvenirs to everyone attending the May 27 gig. Some time soon we will also post the Show on this and on the book publisher’s website (http://www.bendecidobooks.ca). If you can’t be at the Park event (or at any of the events to follow where the CD will also be distributed) contact me and I’ll see if I can get one out to you.

Anyway, back to the story: Ray was a partner in a Winnipeg and Toronto based company that did graphics work for selected clients, and published a number of very successful specialty magazines. Ray also was a literary agent for a few people. Ray’s new idea was to expand his publishing interests to include books. If he did that, the effort that Ray was accustomed to putting into marketing on behalf on clients of his literary agency (like Sabrina Bernardo) could be expended fully on behalf of himself (i. e. his book publishing company) and his clients (i.e. me and some other folk) I thought it was a great idea, and spit in my hand, shook hands with Ray and said I’d be honoured to be the first adult fiction author for the new concern - and I promised that I would work full out to help support the launch in every way.

Long story short (too late?), Ray put his money where his mouth was and took over majority ownership and complete control of a new company, We Communication West Inc. Bendecido Books Inc. is the book publishing arm of the new group. Ray’s old partners are happy to still be involved, as are some new investors. That’s more than a lot of you want to know about business, so I promise to post about the book from now on! Or anything else that takes my fancy, or you want to hear about. Let me know.

A Godfather Moment

johnhodgert@shaw.ca — 2009-04-22T13:25:30-05:00

I just finished lunch with my friend Darren Fast, where for the price of a lunch I got about $5K worth of advise on how to have the songs on my website play properly. He has been so helpful all along that I now owe him (by my estimate, not his - he’s generous) a Godfather type favour. Like the undertaker in Godfather I, I said he could call me at any time if he needed anything - no questions asked. Time will tell what it will be! Darren is really Dr. Fast, scientist and businessman, but you can relate to him in his artistic guise as a photographer by visiting: http://solaltaphoto.com. You’ll enjoy it.

A. & W.

johnhodgert@shaw.ca — 2009-04-19T13:15:43-05:00

It’s late Sunday morning, and I’ve just finished what I expect will be the last session at A & W, at least for this novel. Starting in late 2006 and ending in May of 2007, I composed the first draft of the manuscript (then called Meadowork) by typing for a few hours every weekday morning at the Dubs. The coffee and toast were good and cheap and the background music was oldies. It all fit the project - work at it like job, with daily targets (500 upped to 1,000 words a day) and with weekends and holidays off. People laughed (who can blame them) but it worked. When my excel spreadsheet showed 100,000 words, I was done. Originally that was to be that, just another item ticked off from my retirement To Do list. But after a few rounds of editing, I gave the draft to a friend of mine, Liz Barron, to review for accuracy and sensitivity concerning one of the characters. And...she liked i! And...she gave it to her friend, Ray Blumenfeld. And...he liked it! But the rest is a story for another day. Now, I will be leaving the Dubs and going home to finish reviewing the last hundred pages of the galleys we just got back from the printer. As Ray e-mailed me yesterday - “OMG its really happening!”

Tax Timeout

johnhodgert@shaw.ca — 2009-04-20T13:14:50-05:00

I’m taking the morning off to do income tax, except to tweak the colours of the website to match the book cover. I hope to be able shortly to put the music links on the lyrics pages, so you can look at them while the songs play. Also, I hope to have the title song, Except My Love For You play each time someone goes to the Home page. In the next little while I’ll relate how Ray Blumenfeld http://bendecidobooks.ca became my literary agent and his adventures with international publishers.

Galleys to the Printer!

johnhodgert@shaw.ca — 2009-04-22T13:13:28-05:00

This AM I’m remote from the Ellice Theatre and Cafe, home of the cheap and good breakfast - and living memorial to the late great Harry Lehotsky. Free plug; http://www.ellicetheatre.com. The mail list for invitations to the May 27 launch is almost done. Today, I understand, the galleys go back to the printers. That’s it, now we’re stuck! To pick up the back story. Ray B. agreed to act as my literary agent in 2007. He approached Harper Collins, who Ray had recently prevailed upon to publish Sabrina Bernardo’s ‘Inner City Girl Like Me’. Again to my shock, the first editor liked it enough to push it along the chain. Over the course of the next year (yes, year) it moved along, finding favour at each step. At what I am told is the last stage, the commercial decision stage, it was determined that it was not needed for the fall(?) program, but how about we pick it up again in the spring (2008)? In the meantime, Ray tried Simon & Schuster, but they were lukewarm to any unpublished author. Remember mes amis, I had done nothing yet to get the book publlshed - besides show it to a few friends, one of whom luckily showed to Ray! Anyway, Ray asked me if I wanted to expand the search. After the initial excitement of Harper’s interest, I had become disenchanted with the process. It seemed like brokerage - smilin’ an dailin’ - and that’s what I had retired from. Ray felt the same, but he had another idea. Later.