A Modest Proposal – Play to Win

December marks an end to the American soccer season – Major League Soccer wraps up with the MLS Cup Final and college soccer does the same with the College Cup. It wasn’t all that pretty this year, as Mike Woitalla notes:

What a weekend for American soccer! The Seattle Sounders won MLS Cup without a shot on goal. Stanford prevailed in the college final four without scoring a goal.

If you watched both MLS Cup on Saturday and the NCAA College Cup on Sunday, you sat through nearly four hours of scoreless soccer. (Before defeating Wake Forest with a penalty-kick tiebreaker, Stanford beat North Carolina on Friday in the same manner after 110 minutes of scoreless play.)

As Woitalla points out, this is not just a case of American exceptionalism. Last summer’s Copa America Centenario final didn’t produce a goal in 120 minutes and the 2016 European Championship final produced just one in the same amount of time. Low scoring in finals is, sadly, a fairly common occurrence.* The question is why?

For Woitalla the culprit is poor officiating. Specifically, the referee is so scared of being blamed for deciding the game because of a big call that he refrains from making lots of calls that should actually be made. As a result, defenders are free to foul attacking players with impunity, effectively strangling goal scoring chances in their crib.

Woitalla isn’t alone in his assessment and he’s not wrong. I’ve never understood the objection to a ref making a big call and “deciding” the game. After all, failing to make the call in the name of “letting the players play” helps decide the game, too. More consistent officiating would certainly be a good thing.

But I think the problem goes deeper than that, to something that is unique to soccer. It is alone among stick-and-ball sports in not forcing its championship contestants to fight until somebody actually wins. Baseball has extra innings; football, basketball, and hockey all have overtime periods of various kinds; even golf goes to extra holes (sometimes even an entire extra round!) to resolve ties. Why should soccer, alone, thrown up its hands after 120 minutes and say, “well, that was pointless, let’s try PKs!”

I can already hear an objection – that soccer is different because of its limited substitution rules and the fact that players cover an massive amount of ground in 90 minutes, much less 120. Going on and on with tired players just makes things worse. As evidence, the objector might point to the extra time of just about any game that gets that far.

True as that is, I think it puts the cart before the horse. There comes a point in these finals where one team, if not both, simply decide the best strategy is to take no chances, avoid the risk of losing, and play for penalties. There is, after all, a light at the end of the 120-minute tunnel. But what if there wasn’t? What if players and coaches knew from the get go that they’d play until somebody actually won the game. Might they not actually try harder to do that? That’s my theory, anyway – take away the certainty of a tie breaking and games would open up as both teams would need to try and actually win the damned thing!

Ties are an inherent part of the game of soccer. There’s nothing wrong with that. Goals being a precious commodity makes the scoring (and preventing) of them all the more special. It’s fine, during a long league season, to walk away after 90 minutes and split the points. And there are such things as exciting 0-0 draws, where both teams really go for it. But too many teams, when it comes to a final, play not to lose, to preserve their chance of prevailing in a shootout. Take that chance away and goals will have to come, regardless of how long it takes.

This isn’t a viable solution for prior tournament games that require a winner. It would destroy a team’s fitness for the next match. But for a final, where there is no next match, what have we got to lose? Only the pain of suffering through another two hours of scoreless soccer and a champion decided in the crapshoot of penalty kicks. It’s time to try something – anything – different.

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* Props where it’s due – the exception to this pattern was the final of the Women’s College Cup, in which my WVU Mountaineers fell to USC 3-1. At least it was a fair beating.

Weekly Read: Angel Catbird (Volume 1)

Not long ago, when reviewing Margaret Atwood’s The Heart Goes Last, I wrote:

all that makes The Heart Goes Last frustrating and I certainly wouldn’t suggest it as a starting point for someone who’s never read Atwood before. But she’s too talented a writer to not score some points along the way, so I’d definitely say it’s worth it (it’s pretty brief, all things considered). Nobody succeeds every time, but few of us are lucky enough to stumble as interestingly as Atwood.

I’ve now been proven wrong. Angel Catbird, Atwood’s attempt at a graphic novel/comic book, isn’t an interesting stumble. It’s an ill-conceived mess.

In a lengthy introduction, Atwood addresses the question that must have come to most minds when this project was announced – why was a serious novelist (or a “nice literary old lady who should be resting on her laurels in her rocking chair, being dignified and iconic,” as she slyly describes herself) writing a comic book? There’s a pretty good reason, as it turns out. Atwood grew up reading comics and loved them. She even wrote a few in college. If becoming one of the most celebrated writers in the world doesn’t give you the freedom to indulge in a project just because, then what’s the point?

Unfortunately, that introduction (which also includes how Atwood found her collaborators and how they worked on the project) is by far the most interesting part of the book.

The story is pure comic book pulp, but done without any verve or irony. It tells how Strig Feleedus becomes, via a freak scientific accident that doesn’t make any sense (par for the course for superheroes, I guess), the titular hero, a man capable of transforming into a half cat half bird being. He learns the world is actually full of “half-animals,” men and women who can shift into cats, rats, or any number of other critters. There’s a straight from central casting villain, a love interest, and an internal conflict for our hero (his cat part wants to eat birds, his bird part doesn’t).

The attempts to mine this for humor only work a couple of times and the whole thing is too damned silly to take seriously. The pacing is so rushed (the actual comic only takes up not much more than half of this volume) that everything is just surface, with no hint of anything interesting lurking under the surface. Compounding the simplicity are the infographics that pop up on the bottom of every few pages providing interesting facts about feline well being. Working them into the story itself would have been fine (some are kind of relevant), but as is they stick out like a sore, lecturing thumb. On top of all that, the artwork, while fine, doesn’t do anything to distinguish itself. Saga this ain’t.

In the end, the reason for Angel Catbird’s failure is right there in that introduction. Comics and graphic novels have come a long way since Atwood’s youth, but Angel Catbird seems like a throwback to simpler times and simpler stories. It just can’t live up to the modern genre it wants to be a part of.

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Music – Even Bad Music – Isn’t A Crime

People can get passionate about music. I understand – I certainly fall into that bunch. When emotions flare people might even talk about music being so bad it’s criminal. But it’s good to know that such thoughts are limited to the realm of friendly hyperbole, at least in the First Circuit.

Musical taste should have been the least of Neftali Alvarez-Nunez’s problems. Alvarez-Nunez was a habitual user of marijuana and addicted to Percocet, which meant it was illegal to possess a firearm. But the firearm he possessed was actually an unregistered machine gun, so he got charged with two federal firearm offenses. He pleaded guilty and faced a maximum recommended sentence of 30 months, according to the United States Sentencing Guidelines.

However, in the report that included those calculations, the probation officer also included “a surfeit of information about the defendant’s musical pursuits.” These included being a member of Pacho y Cirilio, a somewhat popular group in Alvarez-Nunez’s housing project in Puerto Rico. The groups songs tended to (in the probation officer’s words): “promote violence, drugs and the use of weapons and violence.” That was particularly important because the housing project was “known to be associated with murders, drug sales and smuggling and weapons trafficking” (the First Circuit later would refer to it as a “no-man’s land”).

The probation officer, and later the Government at sentencing, suggested that this was a basis for imposing a sentence above that 30-month threshold. The Government introduced one of the group’s videos which, the court concluded, “included rifles and grenade launchers, along with children.” After rejecting Alvarez-Nunez’s argument that considering his music violated the First Amendment, the court imposed a sentence of 96 months – more than three times what the Guidelines recommended.

Thankfully, the First Circuit vacated that sentence (it called the sentencing court’s rational “implausible”), although the line between acceptable use of a defendant’s artistic expression and First Amendment infringement is a little finer than it perhaps should be. The court notes that there is no per se rule against considering “one’s beliefs and associations at sentencing simply because those beliefs and associations are protected by the First Amendment.” A defendant’s writings or recordings could be relevant to the stated purposes of sentencing, but there wasn’t any showing of such relevance in this case. The fact that some of Pacho y Cirilio’s songs involve unsavory or illegal conduct isn’t enough.

In reaching that conclusion, the court noted an obvious, but apparently overlooked, truth:

Implicit in this rationale is the assumption that the lyrics and music videos accurately reflect the defendant’s motive, state of mind, personal characteristics, and the like. But this assumption ignores the fact that much artistic expression, by its very nature, has an ambiguous relationship to the performer’s personal views.

In other words, Johnny Cash did not really shoot a man in Reno just to watch him die, Steve Hogarth was not an abused girl found catatonic on the Severn Bridge, and Roger Waters did not really construct an emotional wall around himself to cut himself off from the pain of real world. All right, so that last one actually happened, but you get my point. Need I say that I did not bash in the skull of my mentor and lead a rebellion? I’m not even blue, to tell the truth.

There are lots of things that are relevant to figuring out the right sentence for any particular person. The music they make, or listen to, really shouldn’t be one of them.

What I’ve Been Up To

Hey folks. It’s been quiet ‘round these parts the past few weeks, but I assure you I am being a productive creative person! Guess it’s time for an update on what I’ve been up to:

  • As I said a couple of weeks back, editing continues on The Bay of Sins, though at a slower pace than I had initially hoped. No worries – release in early 2017 is for certain and that will bring The Water Road trilogy to a close.
  • Apex Magazine has resuscitated their flash fiction competition. It’s tied to a particular holiday, this one being Valentine’s Day and all that entails. Since people were allowed to submit up to three (250-word) stories, I came up with a kind of matched set of fantasy stories that hit the beginning, middle, and end of relationships. If none of them wind up appearing in Apex, I’ll post them here on Valentine’s Day for your reading pleasure. Apex, by the way, is a really cool magazine and could use your readership and support. Go check them out.
  • Earlier this month I had a chance to sit down with author Eliot Parker on his local TV show Chapters to talk about writing and such. Look for it now on Armstrong Cable if you’re in the Huntington area. I’ll pass along a YouTube link when it shows up there.
  • Next Saturday (December 10), I’ll be at Empire Books & News in Huntington for their big Holiday Open House and Author Showcase. It runs from 1-4, so stop by and get some great books by great local authors – including yours truly!

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  • I have a short story about halfway finished, called “To the Sound of Birds.” It’s a good example of the answer to the “where do your ideas come from” question, as it sprang from noise I heard between runs at an autocross. Everything else is pure fiction (of course). Hope to have it done by the end of the year.
  • Beyond all that, with the end of the The Water Road on the horizon, I’ve started to turn my attention to figuring out what my next big project is going to be. Honestly – I haven’t a clue. I’ve got several ideas floating around, some for standalone books and others for potential series, but nothing’s reached out and commanded me to write it yet. Hopefully by the new year something wriggles to the top of the pile.

See? I’m keeping myself busy!

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Weekly Read: The Name of the Wind

Every book has highs and lows, pros and cons that lodge in your brain as you try and come to terms with it. Rarely do the two things break down as starkly for me as they did when I finished up Patrick Rothfuss’s The Name of the Wind.

First of the Kingkiller Chronicle, it’s the first day (of three – it’s a trilogy, you see) of Kvothe telling his life story. Including, presumably, how he turns into a killer of kings. Thus, the book isn’t just a story in itself, it’s a story of a story being told, which opens up a lot of interesting avenues for writing. There are also odd things happening in the “present” as the story is told (how’s about spider demons the size of wagon wheels!). In spite of all that, my thoughts are kind of black and white as to its flaws and strengths.

On the one hand, it’s really well written. I mean in the actually putting words on the page in a right order kind of way. Rothfuss’s prose is breezy and quick, but he slips in a lot of clever bits for the reader to catch (my favorite is the comparison of who lives in the high-dollar and low-dollar sections of the city of Tarbean). In other words, it makes for entertaining reading. In addition, Rothfuss takes an interesting approach to world building, avoiding large dumps of background info that the characters already know just to inform the reader about things. While this leaves some gaps in our understanding (These folks know about germ theory? How?), it allows Rothfuss to casually slip in details that don’t seem important to things but that show their relevance later on. See, for example, the whole issue of “dragons” and their dangerousness.

On the other hand, for a book that’s several hundred pages long (and more than a full day in Audible time) precious little of substance actually happens. In fact, main character and narrator Kvothe admits near the end that all that came before was “foundation” for the interesting stuff to come later (did I mention that the trilogy is, as yet, unfinished?). Naturally, that means there’s nothing like a self-contained narrative arc for this book, which is frustrating. In addition, along the way we’re treated to tale after tale of the hyper-competent Kvothe, the teenager (he’s only 16 when this book ends) who knows every useful skill under the sun and is never bested in any kind of competitive environment. To be fair, he suffers negative consequences as a result of all his success, but, still, a main character who always wins a series of largely meaningless things isn’t all that compelling.

What’s amazing is that, for those pretty substantial cons, The Name of the Wind was still an engaging read. I really enjoyed it. I didn’t mind that things had moved along so little by the end, although I was frustrated by the “and here’s the end” resolution (a final scene between Kvothe’s student and the person recording the tale helps a lot). It makes me hesitant to press on with the series (particularly given this review of book two), but only because I’m not certain Rothfuss can sustain the trick. Eventually all the spinning plates have to come down, either in a crashing cacophony or a controlled descent – whether that happens with Kvothe and his tale, we’ll have to wait and see. At the very least, I’ll wait until the third book comes out (I know – glass houses and all that).

The Name of the Wind seems to be a book that most people either love or hate, given the vacillating 5 and 1-star ratings at Goodreads. I can understand that. A lot of what the 1-star folks complain about I agree with, I just don’t think it overrides the good stuff. Highly recommended from me, even if with a bit of an asterisk.

POSTSCRIPT: Over dinner I came up with a good comparison for how I think of The Name of the Wind – like it was a concept album (Kvothe is a musician – he’d dig it). Something where the story doesn’t really hold together but the music’s so good you don’t care. So, maybe it’s like The Lamb? Or Subterranea? Either way, not bad company.

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Water Road Wednesday: A Confession

Dear readers, it’s come time for me to make a confession – The Bay of Sins, the final volume of The Water Road trilogy will not be coming out this year.

I’ve said from the beginning that I planned to release the entire trilogy in 2016 – it’s the year of The Water Road, after all. That being said, you know what a much more famous Burns once wrote about the best laid plans.

Fact is, the editing process is taking a little longer with this one than anticipated. Given that we’re getting into the holidays and people have lots of other demands on their times, I don’t think it’s fair to my beta readers or editor to try and ram things through just to have a finished product by December 31. Better that all involved have the time to do the same excellent jobs they’ve done on The Water Road and The Endless Hills.

With that, I’m going to draw Water Road Wednesday to a close for this year. I’ll ramp it back up in 2017 when we’re closer to the final product seeing the light of day.

Until then, get caught up with the trilogy by picking up The Water Road and The Endless Hills now.

Water Road Wednesday: Cover Reveal – The Bay of Sins

As we roll on towards the holidays, how about an early present? Or a slightly delayed treat, I suppose – it’s the cover for the third part of The Water Road trilogy, The Bay of Sins:

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As with the first two volumes, The Water Road and The Endless Hills, this is another fabulous design from the folks at Deranged Doctor Designs.

Get caught up with the trilogy by picking up The Water Road and The Endless Hills now.

“All the Wishes” – Another Very Short Story

As he did last year, author Eric Douglas issued a challenge to write a 100-word story for Halloween. Not less than 100 words, not about 100 words – 100 words exactly. It’s much harder than you’d think, but I like what I came up with for this try.

Here it is – “All the Wishes”

There was a flash, like a Polaroid photograph had been taken just near Frankie’s face. When his sight returned, the sky was a solid, pale green, just as Frankie wished.

Floating above the battered brass lamp in the passenger’s seat was a misty apparition with vaguely Persian features. “You see?”

“All the wishes?” Frankie asked, grinning.

“Yes.”

“Anything I want?”

“Anything.” The apparition nodded what you might call its head. “I may someday ask a favor.”

Frankie put the car in drive and pulled away from the curb, potential wishes swimming through their mind.

What could go wrong?, Frankie thought.

Be sure and check out Eric’s website for links to all the other 100-word stories he got!

Happy Halloween!

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Weekly Read: Imbeciles: The Supreme Court, American Eugenics, and the Sterilization of Carrie Buck

It is better for all the world, if instead of waiting to execute degenerate offspring for crime, or to let them starve for their imbecility, society can prevent those who are manifestly unfit from continuing their kind. The principle that sustains compulsory vaccination is broad enough Three generations of imbeciles are enough.

– Buck v. Bell, 274 U.S. 200, 207 (1927)

In the rogues gallery of bad Supreme Court decisions – things like Dred Scott, Plessy, and Korematsu  – few had summed their own awfulness up so succinctly as Buck v. Bell, in which the Supreme Court upheld the constitutionality of Virginia’s law allowing the forced sterilization of the “feeble minded.” The decision was nearly unanimous (the lone dissenter didn’t write an opinion explaining his vote) and, horrifically, it is still “good law” in the 21st Century (a claim is shares with Korematsu).

Imbeciles, by lawyer turned journalist Adam Cohen, isn’t a deep legal analysis of Buck itself. Instead, it tells the story of the case by focusing on four people involved in it. First (and last) is Carrie Buck, the Virginia woman eventually sterilized for being “feeble minded.” Second is Albert Priddy, who ran the Virginia institution where Buck was committed prior to her sterilization (he dropped out before the case hit the Court, being replaced by Bell). Third is Aubrey Strode, the Virginia legislator and lawyer who helped pass the law and then defend it in court. Finally, there’s Olive Wendell Holmes, the Supreme Court Justice who authored the opinion. The result is an interesting, depressing, and angering story that provides a lot of needed background to the Court’s brief (5 paragraphs) opinion.

Cohen structures the book so that we begin with Buck’s life up to the case began and end with her life after her sterilization. In between, we get a chapter each on the background of the other guys and then a chapter covering their intersection with the case. It’s a fairly effective way to structure things, although not carried off very creatively (each chapter title is just someone’s name, like a George R.R. Martin tome). It also leads to some redundancy, particularly as Cohen uses Priddy’s and Strode’s background chapters as means to sketch out the broader picture of the eugenics movement.

That movement, though eventually discredited and forgotten (the Nazis being enthusiastic adopters of eugenics helped it slip down the memory hole), echoes in the 21st Century political diatribes about immigration and wall building. Indeed, the sterilization arguments were basically the same as the arguments for restricting the immigration of “undesirables,” with the added twist of them already being in the United States. Beyond that, sterilization was largely a way for society to deal with a perceived problem on the cheap – it was too expensive to warehouse the “feeble minded” in a more beneficent way. Sterilization followed by release into society was cheap, easy, and, thanks to the Supreme Court, perfectly legal.

I’ve read some complaints from readers that Cohen spends too much time diving into the biographies of his subjects, to the detriment of a broader understanding of the eugenics movement. I think that misses the point, somewhat. Cohen presents a good argument that Buck v. Bell was as much the result of those biographies as it was legal theory or factual findings. It’s not a complete success (Holmes may have been predisposed to support eugenics, but this wasn’t a close case), but I find it fairly persuasive. For example, see here for a law review article putting Holmes’s vote down his experiences during the Civil War (something Cohen touches on).

The personal relationships explain how the law’s most dubious component came into being. Strode drafted the law, perhaps in a way that meant to slow down its implementation. For example, he refused calls to have the sterilization scheme applied to all Virginians, rather than only those in state custody. Similar provisions in other states had been struck down on equal protection grounds. Cohen argues that while Strode was a skilled lawyer and advocate, he wasn’t the eugenic evangelist that Priddy and others were.

One of those provisions of the law was a requirement that it not go into effect until the Supreme Court approved it. On the face of it, this seems like a good thing – why not wait for the high court to weigh in? But that’s not the way the American legal system is designed to function. Courts (up to and including the Supreme Court) only adjudicate live “cases and controversies” – meaning actual disputes that require a resolution. That’s why issues of standing are so important, as there can be no actual dispute if someone doesn’t have the ability to seek redress against the other party. Our system is designed to allow two interested parties to argue against each other, present evidence to support their claims, and ultimately allow a neutral third party to pick a winner. It’s trial by combat, only less bloody and more mentally taxing.

By requiring the Virginia law to be blessed by the Supreme Court before it went into effect, Strode effectively set the stage for the farce that was Buck v. Bell. Cohen lays out how Priddy, Strode and others essentially conspired to produce a “test case” for the Court. Now, test cases and strategic litigation on social issues isn’t a bad thing – the one that always stands out to me is how the plaintiff in Brown v. Board of Education was chosen partly because the black school she attended was actually better than the closer white school she would have otherwise attended (that took the idea that it was separate, but not equal, off the table and forced the discrimination issue to the fore). But that’s different than a setup. Buck v. Bell was a setup.

That was largely true for two reasons. First, Buck herself was largely kept in the dark about the whole thing, both the operation to sterilize her and the litigation about it. It’s hard to have a real case or controversy if the plaintiff isn’t really driving the bus. Second, and more importantly, Buck’s lawyer, Whitehead, was in on it from the get go. He was friends with Strode and Priddy and did nothing that a competent lawyer would think of as competent. With only token resistance, Strode rolled through the courts and up to the Supreme Court, getting the ruling everybody wanted (and needed). This is, perhaps, the biggest flaw in Cohen’s argument that Strode wasn’t quite as on board with eugenic sterilization as the rest of those involved – he knew how the system was supposed to work and proceeded with the farce, anyway.

Ultimately, the focus is on Carrie Buck, who opens and closes the book. It’s a natural through line for the story of her particular case (obviously), but a little bit dangerous as a thread holding together a book about eugenics as a broader movement. That’s because, as Cohen makes clear again and again, there simply wasn’t evidence to support the conclusion that Buck was “feeble minded.” In fact, she appears to have been a perfectly normal person of average intelligence. As a result, the book comes dangerously close to suggesting that the real injustice is that Buck wasn’t actually a moron, rather than the state mandated sterilization of anybody. It’s a bit like telling the story of prison overcrowding through the eyes of someone who was wrongfully convicted. It’s powerful, but perhaps not for the right reason.

Imbeciles is a compelling story of a Supreme Court case, the people who guided it, and the woman who got caught up in its wake. Highly recommended.

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