Ashley Dippel at the Sundance Film Festival 2024 (a guest post)

Attending the Sundance Film Festival 2024 was my friend’s idea. He said he had always wanted to attend and that this was the year. As a sucker for road trips, good movies and time with friends, I made it my mission as well. We recruited two others, booked a budget Airbnb and made the twelve-hour drive in a 2009 Honda CR-V. 

We spent the first two days in Park City, Utah to catch the Sundance Lights at their brightest. The snowy nightlife was alive in a way I’d never seen. We kicked off the weekend at the Alpine Distillery Social Aid & Pleasure Club, a swanky underground bar with communal seating and fruity cocktails. The following days of the festival, I spent my time writing poetry, exploring Salt Lake City, and watching film makers share their masterpieces with the public for the first time.

The films moved me, the camaraderie of my friends brought me to tears, and the fresh breath of Utah’s crisp air gave my body the reset it needed to start the year off right. The weekend’s keylight shines directly on the creative and connecting atmosphere that the Sundance Film Festival and its attendees created. While it’s not about the destination, Salt Lake City was a beautiful backdrop for the journey Sundance brought me. It is a journey that will live in my heart until my dying day.

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What I’m Reading

How to Talk Language Science with Everybody by Laura Wagner and Cecile McKee.

This book should be required reader for every PhD and master’s student in linguists. Wagner and McKee explain how to build the necessary skills to communicate language science (really any science or technical field) to general public. Those of us who have fumbled when trying to explain linguistics to family members, friends, reports, and colleagues and administrators will appreciate the well organized and systematic presentation. In twenty bite-sized chapters – with plenty of examples – the authors explain how and why the of generating interest, building credibility and scaffolding knowing about linguistics to a variety of audiences. Wish I had had this when I first started teaching, back in the last century.

The Gentle Art of Verbal Self-Defense (1980) , Success with the Gentle Art of Verbal Self-Defense, (1989) The Last Word on the Gentle Art of Self-Defense, by Suzette Haden Elgin (1987)

A few years ago I picked up these three books in a thrift shop. I had known about Elgin’s work and occasionally taught her linguistic science fiction and Laadan, so I thought someday I’d read through my investment. The three books are a sort of applied linguistics—or applied semantics more exactly—focusing on way to recognize conversational presuppositions in interactions. More importantly, the books suggest how to challenge presuppositions to redirect (or derail) conversations that are unproduction. Elgin sets things up by taking about various modes of interaction: the placate, the blamer, the computer, the distracter, and the leveler (based on Virgina Satir’s psychotherapeutic model) and shows how different modes respond to verbal aggression.

As you can infer from the titles, the books are written in the self-help style, with sample conversations, journaling exercises, and so on. Some of the scenarios seem clunky, but overall ones get a nice set of examples of thinks like “I you really wanted me to get an A in math, you’d buy me a calculator” or “Even a nurse ought to be able to tell I’m really in a lot of pain.” Elgin touches on power networks and charisma and has special chapters “For men” For women” and “For College students” in the 1980s).

Success … is a bit more interesting linguistically, with discussion of factives, metaphor, time adverbs, and more., with a long section on language and public relations. The Last Word … adds in the idea of sensory modes from the Neurolinguistic Programming Work of Grinder and Bandler and introduces something called Syntonics which involves matching the sensory mode of others. Throughout the three books Elgin blends in linguistic ideas, with advice on

The most fun idea was what she called “the twirk” referring to language that calls attention to itself as a means of creating a distraction. I had thought I would skim the books and discard them, but I think I’ll hold onto them, just in case….

Spassky’s Best Games: A Chess Biography by Alexey Bezgodov and Dmitry Aleynikov

Boris Spassky is one of my chess heroes—I was rooting for him to beat Fischer (both times). Bezgodov and Aleynikov’s biography (pp 15-148) answers paints a comprehensive profile of Spassky’s life and career, and it answers some of the questions I’ve always had. We see Spassky’s intellectual and rebellious side, questioning communist orthodoxy, his need for father figures like Zak and Bondarevsky, his periodic laziness in preparation but also his deep understanding of the finding the critical moment in a game, his overload and burnout as world champion. We also see his sportsmanship and too acquiescent respect for Fischer as well as Spassky’s relationships with players like Tal, Korchnoi, and Karpov. And we see Spassky’s post championship life and career as a not quite expatriate Russian and chess ambassador. Spassky has written little of his own biography—and at this stage probably won’t—so this volume is likely to remain the definitive work for a time. The 61 “best games” portion of the book (pp 155-274) includes both familiar and less games of Spassky’s including the famous game with Bronstein that appeared in the was used in From Russia with Love.

Razorblade Tears by S. A. Cosby

Continuing my way through S. A. Cosby’s books with Razorblade Tears. It’s a fast-paced story of two ex-cons, one black and one white, whose gays sons are killed in an apparent hate crime. Ike and Buddy Lee do what has to be done and uncover secrets within secrets. It’s noir at its best.

Winter Counts by David Heska Wanbli Weiden

Set on and around the Rosebud Sioux Reservation, Winter Counts follows Virgil Wounded Horse, who provides street justice for wrongs the legal system won’t address. He a Lakota of mixed ancestry, dealing with the prejudices of white people and full blooded Lakotas. His latest client is close to home—his own nephew – and Virgil and his girlfriend Marie get involved tracking down drug gangs and other unsavory characters to keep Nathan safe. Good action, a twisty plots, nice sense of place, and subtle commentary on Native life. Weiden has promised another novel and I’ll be watching for it.

Red Queen by Bourne Morris

A quick-moving and engaging murder mystery set in a journalism school. Plenty of academic rivalries to drive the story – and for a change the killer isn’t the provost. Wherever you are you’ll recognize a colleague or two.

Who Killed Truth? by Jill Lepore

You can’t go wrong with Jill Lepore. In this podcast/audiobook Who Killed Truth? she tackles epistemology through a wide-ranging series of explorations of lesser known events in the history of evidence—from the use of lie detectors in court, a history of meteorology, to the use of vaccines for combat polio and the 1976 swine flu, to climate science, women’s right and the Scopes trial, and World War II propaganda. No philosophers were harmed in this podcast.

 

 

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An Interview with David G. Lewis, author of Tribal Histories of the Willamette Valley

David G. Lewis is a specialist in the history of Kalapuyans and other Western Oregon tribes which he has been studying for more than two decades. A member of the Confederated Tribes of Grand Ronde, a descendant of the Santiam, Takelma and Chinook peoples, he has an extensive record of publications and collaborative projects with regional scholars, tribes, local governments, and communities. Lewis has a PhD in anthropology from the University of Oregon and is an Assistant Professor of anthropology and Indigenous studies at Oregon State University. He is a former Cultural Department Manager of the Grande Ronde Tribe.

He currently resides in Chemeketa, now Salem, Oregon, with his wife, Donna, and two sons, Saghaley and Inatye.

Ed Battistella: Congratulations on your book Tribal Histories of the Willamette Valley, which was really eye-opening for me. You documented a lot of history that we often don’t hear about, like the slave trade in Oregon, the passbook system in the late 1800s and the path to US citizenship. What was the research process like—and what was most surprising to you?

David G. Lewis: This took some time. I was initially only studying Grand Ronde tribal histories then some 12 years ago branched out to all western Oregon and so much opened up for me. The histories of all the tribes and reservations are linked in many ways. I found that I could not study only one tribe, because then the history did not include the interrelationships we all have in treaties, US Indian policies, and events of the time.

EB: You describe what you call “an alternative history of Native peoples in the Willamette Valley,” what do you mean by that?

DGL: Well, I think we all are aware that most histories have been and are written without Native people involved in them, few native people are consulted and in early histories our people are completely discounted. So, this represents the other “alternative perspective” those of Native people not seen in most histories. I hope this becomes mainstream as people realize how little of US history has been told. I tried to get to Native perspectives as much as possible as they lost land, people, rights, and struggled through generations of mistreatment. This all stands counter to “normal” US histories that have aggrandized the actions and intents of the settlers.

EB: How have attempts to engage with and present Native history evolved?

DGL: I think changes come when I make new discoveries or gain a new perspective. Two years ago I found a bunch of census counts most scholars had never used or perhaps seen before. These became available when UO and OHS Library put the Palmer papers online. This find opened up the events of 1855 and 1856 and showed me the exact daily movement of the tribes from living in their traditional lands to the reservations at Grand Ronde. From this my ideas changed, and this has begun to change the written history of the tribes. Then about 3 years ago I found 2 new pages belonging to the Willamette Valley Treaty- never mentioned before in scholarship. This brought 5 tribes to the treaty in microfilm records, and this opened the history of treaty-making a lot. Some 15 years ago I found the Grand Ronde Passbook in the Siletz collection at OHS library, and it seems that now whenever I delve into an archive, I find something new that can answer key questions in Tribal history. Just recently the National Archives made their maps and treaty files available for digital download online, I have not fully investigated this, but the maps are in color now, in high definition, and new placenames and details are emerging that can address Native history. As new resources are available, made available through technology and innovation this opens up the possibilities of research quite a bit, makes it easier with less barriers to finding the actual history. I, no longer must travel to archives to find documents, there is now a good record online, and this is dramatically altering the ways history can be researched.

EB: Who is your ideal reader? It seems to me that Tribal Histories of the Willamette Valley would be a great text for courses in Native history and in Oregon history.

DGL: Yes, exactly. I initially wanted this to be a text for high school students, but the book can easily be for college. I also wanted to not have too much academic jargon, a more narrative style with some personal perspectives in it. It is a more accessible text for a wider audience. I have heard from readers that this is appreciated.

EB: I had not heard of the Grande Ronde Guard. What was that?

DGL: Another discovery. For about a month and a half, Joel Palmer hired about 60 men to guard the reservation from white settlers. There were lots of rumors of people in the Willamette Valley who were going to attempt genocide on the tribes, in retribution for the “Indian Wars.” Governor Curry was not a friend to the Tribes and his militias were committing genocides in Southern Oregon and Washington Territory. They were also upset Palmer had placed the tribes near the valley and I think a few settlers feared the tribes would band together and attack the valley, something which never happened. Palmer put good plans in place to hire these guards, build a fence, and protect the Natives. They were disbanded on May after it was clear the threat was not going to manifest. But Palmer did the right thing to protect the people and for this he should be honored.

EB: You document some instances in which there are parallel histories of events, different accounts from different tribes or different groups of settlers. What can we learn from those parallel histories?

DGL: There has been a lot of rewriting and reconfiguring of history by historians, sometimes to fulfill their vision of an “American National History.” This has altered many histories of Native peoples significantly. Sometimes histories have been written with contemporary politics in mind. Because of these different agendas we end up with a lot of parallel histories, which do not match up. I really try to keep politics out of my history, I was not funded by any entity to write this history, this is purely my creation based on what I have found in records. No support for this came from Grand Ronde, the tribe I am enrolled in.

EB: What other scholarly projects are you working on?

DGL: For some years now, I have been working on an edited volume Kalapuyans of Western Oregon with fellow editors Tom Connelly and Henry Zenk. This volume will have essays from a number of scholars, archaeologists, linguists, historians, both tribal and non-tribal. I want to submit the manuscript to OSU press next summer. I have additional histories of the Kalapuyans in this volume which is a bit more academically focused. I also have plans for a reworking of my dissertation to tell the history of termination from the tribal perspective. I have had a hard time finding many of those perspectives but I know where many oral accounts are now.

EB: What was the process of working with Ooligan Press like? They’ve produced a very handsome book.

DGL: It was interesting, every term there were new students to work with, over the course of two years they did an excellent job at all aspects of the manuscript. It works for a non-academic text, if it were more academic, I think a more intense editorial process would be better. But the suggestions they made to have personal experiential essays, to create the cover out of Greg Robinson’s art, and to help recreate maps were all very helpful. Their timeline was helpful too, to keep me on track to complete the book.

EB: Thanks for talking with us.

DGL: Thank you for reaching out, I think this book will make waves in Tribal history and I know the histories of the tribes here will never be the same. I feel in many ways like I am giving back to the community for the tribe supporting my education, and to other tribes who worked with me on projects throughout the years. As a Native person I feel a strong responsibility to work on behalf of the Native community. And I think this book does that.

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An Interview with Tim Maleeny, author of Hanging the Devil

Tim Maleeny is author of the award-winning Cape Weathers series of mysteries (Greasing the Piñata, Beating the Babushka, Stealing the Dragon, Boxing the Octopus and now Hanging the Devil) and the standalone thriller Jump.

A New Jersey native, he grew up in a house filled with classic pulp mysteries and began writing crime fiction when he moved to San Francisco, where his proximity to Chinatown inspired many of his early stories. Tim Maleeny’s short fiction appears in several major anthologies and has won the prestigious Macavity Award for best story of the year.

These days he lives in New York, where he writes novels and also works for a global marketing and communication firm.

Ed Battistella: Congratulations on Hanging the Devil. Cape Weathers is one of my favorite characters. How do you come up with such great dialogue?

Tim Maleeny: Thanks, Ed, this has been an incredibly fun series to write, so I’m always thrilled when readers connect with the characters. I think of dialogue as action, no different than a car chase or a gunfight, with each character using their voice to gain an advantage, divert suspicion or bring the temperature down in an overheated situation. I also read constantly and watch several movies a week, often rewatching favorite films to listen for syntax and rhythms of speech, because hearing distinct voices can sharpen your own writing when you want unique characters who don’t sound like anyone else. Once I’ve drawn the characters clearly and know their backstory it’s hard to get their voices out of my head, so the dialogue comes naturally as your characters start to collide.

EB: Some things in this book had me going “Wow, could that be real?” Genetically engineered macaques? State-sponsored art theft? Ninjas with cloaking devices? There are all made up. Or are they?

TM: Believe it or not, all the crimes are based on actual events, with the exception of the helicopter heist at the opening of the book, which is plausible but something I made up. A number of the museum break-ins referenced in the rest of the novel did occur, and some experts in the art community suggested a state-sponsored connection at the time that was never proven or pursued, for obvious political reasons. As for gadgets and tech twists, such as genetically engineered monkeys, a quick online search shows similar experiments were conducted a few years ago, along with some unsanctioned tests involving gene splicing of human DNA, which is both disconcerting and bizarre, so I decided to bring a bit of Mary Shelley to the mystery world, with a touch of Orwell added for good measure.

EB: Your books are very character-driven, and you seem to be able get in the heads of everyone from Russian gangsters or the orphaned Chinese girl, Grace? How do you get in character’s heads?

They say reading fiction increases empathy, so think of writing as an exercise in building empathy one character at a time. If you can’t personally relate to—or channel—your characters, then you need to do more homework until they appear fully three-dimensional on the page.

I spend a lot of time building a backstory for each character, then live with them for a while before I start writing. Characters’ actions are an extension of their personalities, so I usually know how they’ll react to any situation, but if one of them says or does something that feels inauthentic, I catch it during the edit of the first draft. I know I’ve gotten it right when I feel the emotional highs and lows my characters are going through—then I figure I must be inside their heads because they’re tugging at my heart.

EB: Are Russian gangsters hooked on America’s Got Talent?

TM: I am not at liberty to discuss the fandoms of Russian gangsters, but why wouldn’t they be into AGT? It was either that or The Voice, and I figured professional criminals would want more drama in their television shows.

EB: I always enjoy the signature jump cuts you use between chapters. Do you ever get stuck on a jump?

TM: I heard a great piece of advice when I first started writing novels, which was to begin the next chapter as soon as you finish the one you’re working on—do not close the laptop or take a break. In other words, when a chapter is finished, force yourself to write the opening line of the next chapter, so the next day you’re not staring at a blank page. As a result, the jump cuts are a natural way of writing for me, to keep the pages turning, as opposed to a technique added after the fact to link the story together.

The only challenging part of this comes when—during the editing process—I decide to change the order of events and move chapters around. Then I have to take a step back and rework how each scene flows seamlessly into the next, but what mystery writer doesn’t love a good jigsaw puzzle?

EB: Will we be seeing more of ex-Interpol agent Maria Diaz and young Grace in future books?

TM: My three non-committal answers are: I hope so; probably; almost definitely.

Grace is clearly an important character, not only in her own right but also in the context of Sally’s story arc, as Sally tries to protect Grace from the childhood trauma she experienced at the hand of the Triads.

Maria is an intriguing character, whose role expanded as the story developed. Her relationship with Cape walks the line between collaboration and flirtation, and as a fan of The Thin Man and The Thomas Crown Affair, it will be fun to see if they maintain a healthy balance between two very strong personalities. I wouldn’t mind seeing her again, and neither would Cape.

EB: What’s next for Cape and Sally Mei?

TM: The black market for stolen art was an area I hadn’t explored before, and my research for Hanging the Devil uncovered all sorts of connections to other global syndicates involved in criminal mischief. I find the best way to cast a light into dark corners is to make the stories as fast and fun as possible, so readers enjoy the ride but bring something back that will stay with them, maybe even give them a fresh perspective on what’s happening behind the façade of our daily lives. That’s why all the Cape and Sally adventures begin as local crimes but quickly expand to the scope of a global thriller. If you pull on a loose thread hard enough, as they always do, eventually you’ll untangle the rest of the mystery.

EB: Thanks for talking with us. I’m going back to reread Stealing the Dragon.

TM: Thanks, Ed, always great to catch up. Enjoy the underground tour of Chinatown in Stealing the Dragon; glad Cape and Sally have kept you coming back for more!

 

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