I was mildly amused to read this story, of how Melissa Gilbert, once the kid TV star of Little House on the Prairie has retreated with her current husband to an old hunting cabin in the Catskills, to live, as they say, the simple life. It certainly looks simple enough – a modest small house in the country, which she described as dilapidated and run down until she and the husband began renovating. While interesting that she pleads the joys of the simple life, away from Hollywood and still has been featured in several stories in the Daily Mail over the last few days, I do have to admit that pictures of the place and the interior do make a strong case for her current simple and modest lifestyle. The interiors look cozy, cluttered with vintage-looking and modest knickknacks which must mean something sentimental to Ms. Gilbert and husband. The furniture looks like the random odd bits that one can pick up at a country auction, inherit from family and friends, find on the curb, or buy at a good thrift store. It’s not to my taste, which is a little more spare, and oriented towards Craftsman/Shaker/country cottage – but it’s as far from the expensively designed House Beautiful/Architectural Digest kind of interior as can be imagined; the enormous spaces, sparely staged with furniture that looks to have never been used, bookshelves with few or no books on them, sterile spaces of walls hung with expensive statement pieces selected by a set designer – as impersonal as a five-star luxury hotel suite. Ms. Gilbert’s new digs actually look like a real home, where real people live – not a movie set, or a empty home made up to look good for quick sale in a booming real estate market.
A writer friend put a promo link to one of my books on one of the major news aggregator sites last week, with the refreshing result that sales of the book skyrocketed – this was my first historical, To Truckee’s Trail, and the one which was almost the most fun and the fastest to write. I was a bit downcast when I finished it, because it meant that I was done with the story and had to say goodbye to all the characters, especially the one or two which had been created for the story out of whole cloth. Truckee must have been such a fast write for me because the whole plot was already there: the first wagon train party to make it over the mountains into California with their wagons, and not having lost a single person to the emergency of being stuck in the deep winter snow with slowly diminishing food supplies. The participants in that great adventure were all real, historic people, with the exception of the little boy Eddie Patterson, and the noble mastiff Dog; it was more a matter of teasing out what little could be deduced about what they had been like, and then and fleshing them out to become real, breathing, sympathetic characters. There had only been one diarist among that party, and that diary was later lost, and only one member of the party left a memoir later on … so I had a little bit to work with and was sorry when it was all done. I couldn’t write a sequel – the story was whole and perfect the way it was, and in any case two of the central characters, John and Liz only lived for a few years after – I still think that is why the story of the Stephens-Townsend-Greenwood-Murphy wagon train party was so little known, otherwise. John Townsend would have been an important and influential person in California, historically, and how he helped lead the party to safety from the jaws of icy death in the mountains would have been part of it.
There were three interesting connections between the Stephens-Townsend Party, and the tragic Donner-Reed Party, aside from the circumstance of both being trapped in nearly the same place in the pass over the Sierra Nevada. The first was that elements of the Donner-Reed survivors took shelter in the same little cabin by Truckee Lake which Moses Schallenberger, Allen Montgomery and Joseph Foster had built to winter over, hoping to guard the wagons which their party had to leave behind for lack of oxen to pull them. The second was that Martin Murphy’s youngest son, John, later courted and married Virginia Reed, who is usually cast as one of the heroines of the tragedy. And finally, the old mountain man and trail-guide, Caleb Greenwood, was a volunteer – in spite of his great age – in one of the organized relief efforts to rescue the survivors of the party. I did consider, when I came around to writing the Gold Rush adventure of Fredi Steinmetz in California a decade later, of having him meet briefly with Moses Schallenberger, and John and Liz’s little son, or maybe even some of the Murphy family just to complete the circle – but the plot just didn’t allow for that.
Other “after words” to my books – it was suggested that following Willi Richter’s life and adventures with the Comanche in the late 1860s, and his return to his birth family ten years later would make a ripping good yarn. But that would make necessary a really deep dive into Comanche history, life and culture, and I just didn’t feel it. Another reader suggested maybe exploring the anti-German lurch on the part of the general public around the time of World War 1, but I just didn’t feel that, either. So much came crashing down in that war and immediately afterwards – empires, optimism about the future and society generally – I just couldn’t feel that, either. Although I did reference in passing in My Dear Cousin, that Steinmetz’s family legally changed their name, because of the anti-German animus of the time; which is why Fredi and Sophia’s granddaughter went by the surname of Stoneman.
I wonder if I should have added a bit more to that book, mapping out how the post-war world treated the two cousins and their husbands. The couple that I based part of Peg and Tommy’s lives in Malaya on, eventually had to leave their rubber plantation for their own safety because of the Communist insurgency. They had children by that time, and the constant threat against all of their lives – threats carried out to the point where they had to fortify their main residence – forced them to leave. I rather think that Peg and Tommy, with the children that they had after Tom and Olivia (and they would have had more children) would have eventually relocated to Australia and rebuilt a secure life there.
For Vennie and Burt, I have a feeling that they would have had a rockier road. I couldn’t see Vennie settling down to be the perfect wife of an up and coming academic at a moderately snooty west coast private college. I think that they would have separated – but not divorced — after a couple of years. I could picture Vennie going back into nursing, serving as a military nurse in Korea. She had a rather overdeveloped sense of duty. And eventually, Burt would have taken up another position, somewhere in the intermountain West, and he and Vennie would reconcile, perhaps adopt a couple of war orphaned Korean children, before having a couple of their own. So that’s how that ‘after word’ might have gone – but I don’t believe I’ll be writing it out – the story was complete as it was.
Now, to finish the Civil War novel, which is half-done, and leaving Miss Minnie Vining as an established lecturer on feminist and abolitionist causes … a writer’s work is never done.
The sins of Microsoft are many – but since their Office suite is practically universal, one almost has to use it, especially if one is not technically adept in matters of a programming nature. I do understand that there are means of working around, involving Linux and some open-source word processing packages, but frankly, it’s all too much for a practicing writer and small publisher to process and still get useful work done, for myself and for clients.
I am, as a matter of fact, completely happy with and sufficiently skilled with Word, with Excel and Publisher themselves, although I wish that they hadn’t gone with the new hotness and ongoing income stream of the subscription model – that is, pay yearly or monthly for the privilege of using the programs. (Yeah, when I started with all this, you bought the package straight up, on a DVD/CD which you installed and used – forever, or as long as the computer lived, or until they came up with a physical upgrade.). I’ve been working with the various versions and so-called upgrades for at least three decades, with Photoshop for at least that long, and Adobe Acrobat Pro for half that long. Not a genius with either of the last two packages, but well enough to get by. What has lately frosted my cookies is the utter dogs’ breakfast of Microsoft’s consumer account system, and their customer service when things to do with the subscription go sideways.
To be brutally frank, it sucks sweaty pustulent donkey balls. It’s calculated, apparently, to avoid having to deal with a customer’s problem or complaint, much less actually do anything to fix the problem.
To recapitulate – early last month, I had to switch to a new computer, since the one I was currently using was beginning to glitch and had not enough memory to run several essential programs in the manner to which I would have liked them to run. Switching over all the saved documents which were on a detachable hard drive – no problem. Porting over all the bookmarks and settings – piece of cake. Going to my subscription accounts for Adobe Acrobat, and Photoshop, and re-installing those services on the new computer, no problem at all. But signing into my Microsoft account and trying to get the Office suite installed … headache on top of headache. I absolutely had to have those tools on my computer, being halfway through two different projects. My first intimation that Microsoft’s customer services sucks donkey balls – I went around and around on my account, but always came back to – having to pay for the subscription service again. (WHY? Adobe.com was perfectly transparent, and the services that I had already paid for were readily installed.) Bit the bullet and paid for the subscription anew.
Straight, so far? On Friday, Microsoft charged me for the yearly subscription, even though I had just two weeks previously – paid for a new subscription, because I couldn’t install the previously existing subscription package on the new computer. I signed into my account and tried to file a complaint, and request for a refund … and this time I went around and around for more than an hour. They are insidious in their customer service, you see. I twice tried calling the help telephone numbers I eventually found … and got a recorded message which sent me a link which referred me to another Microsoft website page … which circled back to where I had been before. I couldn’t cancel the transaction, couldn’t even change it to a monthly billing, they didn’t even recognize or accept my phone number (what? Although they could send an automated text message to that number.) Eventually, I found a page where I could file my complaint and describe my problem in a hundred characters or less. How very generous of them. No other option for filing a complaint or notifying them of a problem, which seems pretty measly, considering how large a company it is, and presumably stuffed full of technologically knowledgeable employees.
I did get an automated email answer – but one which asked that I type my reply above a line above … which couldn’t be done. Yes, Microsoft customer service sucks donkey balls. Even Amazon has better customer service; yes, they do low-key the contact email and number to call, but with a little persistence, you can eventually speak to a real human being. AT&T, my own bank, our local utility company – all do a much better job. Frankly, I’m convinced that Microsoft doesn’t really want customer interaction of any kind. They just want your money; customer satisfaction isn’t anywhere in the same room, or the building. Monopolies can operate like that, for a while, anyway.
Me, I hope for a refund, eventually, or just for communication with a human being in customer service – or for the SMOD to land on Redmond, Washington State. At this point, I figure the odds are equally split.
I am tempted to start watching the series 1883 – and likely will, as soon as it appears in one of our regular streaming services, but I am wondering, just reading about it – how far into the episodes I can get before walking away.
I mean, we barely lasted one episode into Texas Rising; a hideous and heartbreaking waste of time and video, being shot mostly in the wild mountains of Durango, Mexico, which bore no resemblance at all to the topography of Texas.* And no, the chapel of the Alamo does not have a crypt. They did get two things right, although the rest of the series was a cringe-fest, according to viewers who had stomachs stronger than mine. Texas did fight a war for independence from the Centralist dictatorship of General Antonio Lopez de Santa Anna, and there was a battle at the Alamo in San Antonio, and another at San Jacinto, barely six months later. Otherwise, Texas Rising was heartbreaking for Texas history fans, because it could have been a totally enthralling account of the war for independence and the fight for independent statehood – elements and incidents which were so dramatic and improbable that hardly anything needed to be made up out of whole cloth.
That series and countless others fell into a common fault of movies and television series when ‘doing’ a Western – that is, a story set on the American frontier in the 19th century – wherever that frontier happened to be in any given decade from the 1820s on to the end of that century. The common failing is to run it all together in one murky blur, as if technologies large and small remained constant, as did fashions, the political and geographical landscape, relations with various Indian tribes. As I wrote in this essay, several years ago, “there were very specific and distinct places, as different as they could be and still be on the same continent. 1880’s Tombstone is as different from Gold Rush-era Sacramento, which is different again from Abilene in the cattle-boom years, nothing like Salt Lake City when the Mormons first settled there – and which is different again from Laura Ingalls Wilder’s small-town De Smet in the Dakota Territory – or any other place that I could name, between the Pacific Ocean and the Mississippi-Missouri.”
Setting the series to start in 1883 is curious enough – it’s just rather late in the history of the frontier to generate a long-trail wagon-train journey, and from Texas to Montana, too. The western market in beef cattle was about to go bust by the middle of that decade, and the northern ranges ravaged by two especially harsh winters in a row. The various Indian wars along the frontier were done and dusted, all but the last uprising of the Lakota Sioux, inspired by the Ghost Dance movement. The transcontinental railroad had been completed long since. By the mid-1880s just about every major city in the United States and Canada was connected by a network of shining steel rails, obliviating the necessity of a long and dangerous journey by wagon-train across all-but-empty lands in most of the trans-Mississippi west. A cast interview that I did read mentioned that the producers and directors were going all out for authenticity. Well, we’ll see, eventually. I recollect reading an article in Smithsonian, of all places – which lauded all the ways in which the producers of The Patriot were going all out in historical fidelity, but once I watched that movie, I realized that the authenticity was all in small details, such as props, costumes and weaponry … just not the whopping big plot elements, personalities and key incidents. I’m afraid that I will find the series 1888 to be another helping of the same old stuff.
*Wierdly enough – the movie The Highwaymen got the topography exactly right. Yes – the wide lonely vistas, the two-lane paved roads with the line of spindly power poles along-side and the bare fields of new corn or cotton, or whatever spreading out on either side, the tiny roadside gas stations … were exactly right. The small towns, and transient camps, the little tourist cabin enclaves … also exactly right, as to time and place. I have pictures of my own, taken on various road trips which can affirm this. I don’t know how much that the production company for The Highwaymen spent to do location shooting – can’t have been more than Texas Rising – but one big production got it right, and the other fell spectacularly flat when it came to the ‘look’ of places.
Well, upon looking at last year’s roundup of goals reached, and goals to reach – I haven’t done too shabbily at all. Of course no big-name producer for streaming entertainment has made a serious (or even an unserious bid) to make the Adelsverein sequence, or the Luna City series into a mini-series – but hey, I live in hope. What’s a dream for, anyway?
Anyway; the windows, sliding door between the dining room and the Sumptuous Catio and French door for the front bedroom were all done and dusted early in the year, just before the great Texas Snowmagedden of 2021 descended upon us, and just in the nick of time, too. The Daughter Unit and I weathered through, just fine, since it never got cold enough in the newly-re-sided and insulated house to freeze anything of note.
The Chicken Abode was also done, and stocked with four laying hens, and it all worked very nicely, right up until the tragic day when something vicious got into the back yard and slaughtered two hens outright and mauled a third so severely that she died two days later. The fourth hen died around midsummer, cause unknown, and Larry Bird the rooster also, but from old age. I don’t want to restock the coop until spring, when Wee Jamie the miracle grandson, is a little bit older, and I have the time to spare from tending to him, while my daughter begins on making her fortune as a licensed real estate agent.
Basically, all the previously established goals for maintenance of the house itself have been achieved. Now the only remaining project is to finish paying for said projects: the windows, the siding and paint, and for an emergency fix to the HVAC system incurred the week that Wee Jamie was born. Fortunately, I have a couple of clients for publishing assistance, which will, with luck, help with that. The only remaining project that I have in relation to that is to get the den floor done in the same high-end vinyl flooring which has gone into one room and the hallway so far, and pay Roman the Neighborhood Handy Guy to do the work. I also want to be able to afford a nice pneumatic nail gun, so I can do certain carpentry stuff myself and not have to keep borrowing Roman TNHG’s compressor and nail gun.
New projects for this year:
1 – run a short length of tall fence with a gate in it from the side of the garage to the brick-faced pillar which encloses my next-door neighbor’s yard, to make a small private patio, which opens through the new French door from the front bedroom. I plan to paint the whole fence and gate white, to match the trim on the house. Eventually, when my daughter has had a good few years in real estate and moved out to her own establishment, this room will become my office and library.
2 – renew the fence and gate on the opposite side, and paint it white to match – basically, a straight façade of fence, garage door, fence across the front of the house, keeping all but two small areas on either side of the driveway private and secure. Maybe install electric porch lights on both sides.
3 – if sufficient addition income from royalties and the Teeny Publishing Bidness permits, see to redoing the back fence, which is in truly parlous condition. No, I don’t think I can reuse the original fence palings, one more time, although at the rate that costs for them are going up, I might have a good try at it. Wood is wood, and I kind of like the weathered look.
Alas – all this work for the Teeny Publishing Bidness means that writing Luna City 11 is put off until mid-spring, and the Civil War novel, That Fateful Lightning (which is half-done at the moment) is also put off until I can submerge myself in Civil War campaign and medical trivia and write the second half; full of drama, battles, blasted hopes, showers of half-inch sized lead ammunition, and hope for a better world when the war is won. Hopes that are seasoned with despair and tragedy, for wasn’t it always thus?
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