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2 Oct, 2012

The Power Of The Machine - Various - Good Fellas (Second Chapter) (File, MP3)

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I wrote the first chapter again as a standalone story from the mother's point of view and then I wrote the second chapter not as chapter two but just as another short story, and I happened to be telling it from the point of view of the girl on the train as they are being taken away to the camp.

And it was when I finished writing that second story that I realized that those two chapters put together might add up to the beginnings of a novel. I think if I had sat down at my desk one day just to write a book about the internment camps I probably would have chosen to tell it all from the point of view of the mother.

The structure again it kind of evolved accidentally. Once I realized I had these two pieces pulled from two different characters' points of view, it made sense to write a third piece, or now a third chapter, from a different character's point of view and it also—I think for me as a writer it just kept the material fresher; it was more interesting; I really—I liked going into different characters' heads.

It just kind of gave me a new burst of energy each time I began a new chapter from a different character's point of view.

Reed: Well, it's also interesting because each character is telling us a different segment of the story so we have the mother who has read the order and is readying the family.

And then tell us what the daughter does, etc. Otsuka: Well, and the daughter she is right on the cusp of adolescence and I think she's in a semi-rebellious phase and yet she is determined to live out her rebellious youth even if she happens to be in an internment camp; she's a very kind of feisty girl. And the boy is a little younger, he's seven when the novel starts, and he's a little bit too young to understand what's going on.

He's a very dreamy child and very much a magical thinker and he thinks in the way that children often do that everything is his fault, that everyone is being sent away because he's done something wrong, and I think he's the character that I felt closest to also emotionally just as a person and I feel like it was also a good point of view to describe the experience of being in camp I thought from the point of view of a child.

And even if he's in a camp in the middle of the desert for three and a half years I feel like children have this sense of wonder and connection to nature so he's still very compelled by the natural world around him, by the scorpions, by lizards, by snakes, by turtles just in the way that children are. And so it's not an utterly bleak and devastating experience although in many ways it is, but I feel like there are these kind of moment spots of color and he's very, very innocent and he kind of makes up stories about why he is where he is.

And then the point of view of the father is kind of held back throughout the entire novel; he's just this missing presence who we see glimpses of through the other characters, their memories of the father, their dreams of the father. And when we finally see him at the end of the novel when he's reunited with the family he's not the man that the—that his wife and children remember.

He's a very bitter, angry man and clearly something has happened to him while he's been away and detained but we don't know exactly what it is that happened to him, so there's this outburst of anger at the very end of the novel which again came to me as a surprise, I didn't think I would end on that note, but then looking back I feel like the novel's just a very slow, simmering buildup of nerves; there's all this tension that's built up.

And throughout I feel like the mother especially is very—her emotions are very, very deeply buried. I think on the surface she tries to remain very calm for the sake of the children but I think there has to be a release to that tension somewhere and I feel like there is at the end of the novel with the father's angry rant.

Reed: Yes, and the daughter, her section of the book she narrates the train trip going from the racetrack where they had been kept to Utah where the camps have been built, and as we said the son narrates the camp but then when they come home after they're released from the camp that section is narrated with a collective. Somehow that voice I feel like opened things up for me as a writer. And it gave me kind of a burst of energy and there's almost a joyousness that I felt for the children, they're back, they're kind of elated to be back in the world or they think they're back but I think in many ways they'll never be completely back.

Initially they're so happy to be home and yet some things have changed and some things have not changed. I mean I think it's a very difficult experience to reenter the world. So it's a very—I think an—it's an odd and very confusing experience to come back.

So again it just felt right to use the girl and the boy together to tell that chapter of the story because I think in many ways they're the ones that are the most changed by that whole experience. Reed: The mother who opens the book was, for me, a fascinating character.

The executive order had come down for the evacuation and there's a whole list of instructions which I actually then went and downloaded to read the whole thing Reed: Yeah, I'm looking at it now and it's so extraordinary that this happened in not my lifetime but in the lifetime of people you and I both know.

Reed: It isn't that long ago, and as she's getting ready she also has some really heartbreaking decisions to make clearly about things that she can bring and things that she chooses to dispose of that are too Japanese and therefore can bring a certain amount of suspicion to the family but they were not allowed to bring any pets, which you really tackle very straight on and it was heartbreaking. Otsuka: Oh, the scene with the dog.

When I began writing that first chapter again as a story I just—I knew that there was a sign—there was a woman that read the sign and I knew that she had this very old dog and she would have to decide what to do about that dog. It's right off the coast of—. Otsuka: Oh, you have. Oh, it's beautiful. And I remember also my grandmother actually describing just getting rid of the chickens that she had in the yard for a long time and she just—because she had to slaughter them all the day before they left and my mother described very vividly.

Reed: As somebody who adores animals, that's what you do; you give them a good meal and she gave the macaw a treat, she cooked the dog a great meal, and it's what you do. I find that so telling how pets are taken away from people who are being dehumanized and if you read accounts of the Trail of Tears, that forced march the Cherokees were forced to make in the early s, I think, they were not allowed to take any dogs.

And in Nazi Germany one of the first laws to come down against the Jews was the Jews were not allowed to have any pets whatsoever. It's something that oppressors know to do. Reed: Right, exactly, because if the parents can't protect the animals how are they going to protect the children?

Otsuka: Yes, and it points to something much darker and larger and to something in the future. Reed: I was so deeply moved by that chapter and that woman and the way she simply went about doing what she needed to do and even though she couldn't have felt matter of fact about it the matter of fact-ness in which she went about it was heartbreaking.

Otsuka: I feel like she's the character who's the most distant from myself so I had to imagine myself as just being this very traditional, in many ways, Japanese woman who was just going to keep it together for the sake of those children, and also Japanese as a culture are very, very law abiding and so they do follow the rules and so when the government is telling you to do this, this, this and this you do it but I think you just kind of focus on the day to day.

What do I have to do to get through this day? What do I have to tell the children? The Deus Ex Machina The Matrix , contrary to its name, is not an actual divine entity, but rather is the central machine consciousness that has control over all of the Machine forces, as well as a very powerful agent able to completely rewrite the Matrix. After taking over major functions of Cardinal, Quinella Sword Art Online became the most powerful artificial intelligence in Underworld.

Based in part on the experiences of Julie's own family, the novel tells the story of a Japanese-American family forced to leave San Francisco after the start of World War Two.

They are released after two years and allowed to return to San Francisco, but their homecoming is fraught with hardship and anxiety about their place in America. When the Emperor Was Divine is a slender book--five short chapters--that tells a powerful story about a personal and historical tragedy.

When i spoke with Julie, i asked her why she chose this topic for her first novel. I feel like the topic chose me. I feel like the book snuck up on me. I actually began the novel as a short story. I wrote the first chapter of the book when I was a student at Columbia in workshop and up until then I had written only comedy and this was the first piece of serious fiction that I'd ever written and it seemed to come from nowhere, and so I wrote it just to get it out of my system and then I thought I would return to my real work, which was the writing of comedy.

So I didn't know it was the first chapter of something that would grow to be much larger, but then I was just very compelled by this family, by their situation, by the emotions that I felt while writing about this topic.

I think it was something that my own family at least was very suppressed and not really talked about, which I think is typical of many Japanese American families who went through that-- through the war just to remain silent about their experience. So I think it was something that I needed to explore for myself in order to understand my mother better and why she was the way she was.

Why did you make that choice? I was really interested in the psychology of the situation. I mean I happened to be writing about Japanese Americans but I think I-- I could have been writing about any ethnic group at any point in history. I feel like there has always been an other group that's been expelled and sent away and I also thought that my characters were people from whom everything had been taken, their liberty, their belongings, their sense of self.

And I think that the one thing that you can't take away from someone is their name so I wanted to leave them just some tiny shred of self so only they and they alone know who they are. The idea of that kind of universal the woman, the daughter, the son married to the extraordinary detail of their everyday lives really provides this great insight I think.

I mean I don't want it to be particularly clear to the reader in the beginning that they're reading about a Japanese American woman but it's too bad that just right away-- I mean some people don't notice until further on in the book that the characters don't have any names. I mean I didn't want it seem like a too obvious device that I was using to make these characters universal, but I felt like I knew who they were, they knew who they were, and I feel like the details of their lives made them what they were.

And I work very intuitively so I think a lot of my choices are just-- I just kind of-- they feel right so it just-- it felt right not to name them. The novel shifts; each character's point of view really tells the story of one section. And we should say the book has five chapters; it's a small book. Did you start writing the book with this structure in mind or did it evolve as the book evolved?

Again it was accidental. I wrote the first chapter again as a standalone story from the mother's point of view and then I wrote the second chapter not as chapter two but just as another short story, and so I happened to be telling it from the point of view of the girl on the train as they are being taken away to the camp. And it was when I finished writing that second story that I realized that those two chapters put together might add up to the beginnings of a novel.

I think if I had sat down at my desk one day just to write a book about the internment camps I probably would have chosen to tell it all from the point of view of the mother. The structure again it kind of evolved accidentally. Once I realized I had these two pieces pulled from two different characters' points of view, it made sense to write a third piece or now a third chapter from a different character's point of view and it also-- I think for me as a writer it just kept the material fresher; it was more interesting; I really-- I liked going into different characters' heads.

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The Amazons From Space. President kbps. Batman: The Christmas Carol Caper kbps. The Toymaker. The Kris Kringle Caper. The Elves Revolt. Christmas Lights. Passage To Maouv kbps. In Vino Veritas kbps. The Crier In Emptiness kbps. The Time Stealer kbps. To Starve A Fleaver kbps. Logistics Of Stampede kbps. A Mirror For Futility kbps. The Man Who Trained Meteors. The Robot Masters. Dinosaur Planet. It lists 8 combinations of graha and atigraha: breath and smell, speech and name ideas , tongue and taste, eye and form, ear and sound, skin and touch, mind and desire, arms and work respectively.

They rule out six, then assert that one's ideas name and one's actions and work karma continues to affect the universe. The fourth brahmana of the third chapter asserts, "it is your soul which is inside all", all souls are one, immanent and transcendent. The fifth brahmana states that profound knowledge requires that one give up showing off one's erudition, then adopt childlike curiosity and simplicity, followed by becoming silent, meditating and observant muni , thus beginning the journey towards profound knowledge, understanding the soul of things where there is freedom from frustration and sorrow.

The seventh brahmana discusses how and why the soul interconnects and has the oneness through all organic beings, all inorganic nature, all of universe. It asserts that the soul is the inner controller of beings, conflated with the interaction of nature, psyche and senses, often without the knowledge of beings.

It is the soul, nevertheless, that is the true and essence, states the Upanishad. When one tears out the tree from its roots, the tree can grow no more, out of which root [34] the man grows forth, when he is struck down by death? He, who is born, is not born, Who is supposed to beget him anew? Brahman [35] is bliss, Brahman is knowledge, It is the highest good of one who gives charity , and also of one who stands away renounces and knows it. The fourth chapter of Brihadaranyaka Upanishad starts as a dialogue between King Janaka and Yajnavalka.

It explores various aspects of the "Soul exists" theory, its phenomenal manifestations, and its philosophical implications on soteriology. The Upanishad, in the first brahmanam of fourth chapter, states that the soul manifests in human life in six forms: Prajna consciousness , Priyam love and the will to live , Satyam reverence for truth, reality , Ananta endlessness, curiosity for the eternal , Ananda bliss, contentness , and Sthiti the state of enduring steadfastness, calm perseverance.

In the second brahmanam, the Upanishad explores the question, "what happens to soul after one dies? The second brahmanam concludes that soul exists is self-evident, soul is blissfully free, soul is eternally invulnerable, and soul is indescribable knowledge. The hymn 4. The third brahmanam of the fourth chapter discusses the premises of moksha liberation, freedom, emancipation, self-realization , and provides some of the most studied hymns of Brihadaranyaka.

Paul Deussen calls it, "unique in its richness and warmth of presentation", with profoundness that retains its full worth in modern times. But when he [Self] fancies that he is, as it were, a god, or that he is, as it were, a king, or "I am this altogether," that is his highest world, This indeed is his true form, free from desires, free from evil, free from fear. Now as a man, when embraced by a beloved wife, knows nothing that is without, nothing that is within, thus this person, when embraced by the Prajna conscious, aware Self, knows nothing that is without, nothing that is within.

This indeed is his true form, in which his wishes are fulfilled, in which the Self only is his wish, in which no other wish is left, he is free from any sorrow. Then a father is not a father, a mother not a mother, the worlds not worlds, the gods not gods, the Vedas not Vedas. He is not affected by good, not affected by evil, for he has then overcome all sorrows, all sufferings. This is his highest Goal, this is his highest Success, this is his highest World, this is his highest Bliss.

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