Some Christian publishers are taking the expensive step of using plagiarism software during their editing process to guard against intentional and unintentional plagiarism, according to World Magazine. Emily Belz writes:
Most publishers think authorial self-preservation, strict contracts prohibiting plagiarism, and a good team of editors will result in a plagiarism-free book. But when plagiarism is unintentional—a missed citation or a miscopied note from a research assistant or just sloppiness—those checks can be insufficient.
I saw this kind of unintentional plagiarism or sloppiness while editing a set a workbooks a few years ago. Usually I was verifying a quotation to see if the attribution was correct, and some of them had incorrect or odd punctuation, so I tried to find an adequately sourced quotation in order to correct what my manuscript. A couple times I found the quotation and surrounded text were all quoted from another work and improperly attributed.
Professor Collin Garbarino gives World this explanation for this persistent problem. “We’ve got some pastors writing books on topics that they only superficially understand. If you haven’t mastered the subject matter, you’re going to have to rely on someone else for your ideas. If you’re under a deadline, you might cut corners.”
Pete Peterson shares some thoughts he learned from Norman Wirzba on a theology of eating. A gardener with many animals, Peterson asks, “If we are the Body of Christ, are we not also called to be gardeners and caretakers of the New Creation?”
He writes:
Each morning when I wake, I am the celebrant in a liturgy that leads me through the sacrament of Creation. I process through garden aisles. I pastor the beans, and the grape vines, and the apple trees, and, yes, even the chickens and ducks. They sing praises in crows and quacks. They make offerings of eggs, or fruit, or even simple beauty. They come forward to partake of the food I offer, and I leave them with a blessing.
Well, I actually finished this book, which is more than I can say for a lot of Viking novels I’ve started reading. And there was evidence of some research in it – it’s certainly way more historically accurate than the History Channel series, which we hates, we does.
The date is given as 852 AD. Our hero is a Norwegian named Thorgrim Night Wolf. Thorolf is reputed to be a shape-shifter, a werewolf, but the descriptions make it difficult to figure out exactly what happens when he goes out on his nocturnal excursions. Sometimes he only dreams of roaming as a wolf, but he still comes back with useful real-world information. Thorolf is the son-in-law of Jarl Ornolf the Restless, and the father of a son named Harald. They sail to Ireland for booty, and then happen onto a treasure, the Crown of the Three Kingdoms, which was being sent to one of the Irish kings. The crown is to give him symbolic dominion over the other Irish petty kings, so that they can fight the Danes, who have recently driven the Norwegians out of the Viking town of Dubh-lin.
Thereafter the characters and the plot wander about the Irish countryside, getting captured and escaping, losing the crown and a couple hostages to one another like basketball players bobbling a ball. There are some clever moments, especially in the use of ships (author Nelson is an experienced sailor on square sailed vessels), but I personally found it all a little contrived.
As I said, there’s some evidence of historical research here, but the errors are many. Two of the characters are named Snorri and Magnus, names not invented until the 10th and 11th Centuries. The author thinks Viking houses had windows (windows were extremely rare). He thinks Viking ships kept the warriors’ shields up on the rails while at sea (they didn’t). He thinks Norwegians knew nothing of burning peat (they did). In one regard author Nelson praises the Irish Christians for virtues even I, an openly sectarian author, wouldn’t claim – he thinks they weren’t superstitious. The subsequent history of Ireland makes it very clear that whatever good Christianity did for that country, it didn’t eradicate superstition.
I suppose it’s unreasonable to expect an author who hasn’t spent a lifetime in obsessive study of the Vikings, as I have, to know all these things. I expect, after all, that there are even greater compulsives out there who find as many errors in my own novels.
Nelson does do a good job in dramatizing the great irony of Viking Age Ireland – that the Irish hated each other just as much as the Scandinavians, and were as brutal – or more brutal – with each other than the Vikings were with them.
So my final judgment is fairly neutral. The writing is OK (though the author needs to learn where to use “like” and “as”). There are a couple mildly explicit sex scenes, and of course there’s lots of fighting and blood and guts. You could do worse for a Viking novel, but you could also do better. I’m not personally impressed enough to buy the second book in the series.
“I think the people who have influenced me most as a pastor,” Eugene Peterson said, “haven’t been the theologians – they’ve been the artists.” Jeffrey Overstreet interviewed Peterson for Seattle Pacific University back in 2011.
From artists I learned never to look at just the surface of a person, but to look for the interior life, to consider what I know of their past. An exterior is never just an exterior. In our culture, we’re trained to focus on the exterior, for instance, through advertising and publicity. Being present to a person long enough to start sensing that they’re never just themselves, they’re their parents, their grandparents, their kids, their neighbors – all of that becomes part of their story. Artists help me do that, because they are attuned to the interior life.
I think it’s interesting that Karl Barth, the theologian who has influenced me most, was mostly influenced by Mozart. Mozart was a theme in his life. I think he learned a lot about writing theology by listening to Mozart.
Icelandic horses at the beginning of summer. Photo credit: Guillame Calas. Creative Commons license.
Fair warning: There won’t be a post on Friday. I have faith in you; somehow you’ll endure.
I’ll be playing Viking at an odd venue on Friday and through the weekend, the Minnesota Horse Expo at the state fairgrounds in St. Paul. The Viking Age Club & Society has been asked to provide context for the Icelandic horse exhibit this year. There will even be fight shows in the arena, though sadly the fighters will be old guys (not me; I’m still not up to that), as our young Vikings aren’t available. In real life, the Vikings would have probably had the stallions themselves fight, using goads on them. It was the Vikings’ favorite sport.
Things I’ve learned about Icelandic horses, mostly through internet research:
• It’s illegal to import any horse into Iceland, even an Icelandic horse. Once an Icelandic horse leaves the island, it must stay away forever. They’re afraid of bringing in exotic diseases or parasites.
• Icelandic horses have two extra gaits, which other horses can’t do (and only some Icelandics can do). One is called the tölt, a “four-beat lateral ambling gait” said to be “comfortable and ground-covering.” The other is the skeið, the “flying pace,” “fast and smooth” according to Wikipedia, a “two-beat lateral gait.” (Skeið was also the name of a kind of Viking ship; Erling Skjalgsson owned one of those.)
• Breeders of Icelandic horses consider them the purest of the northern breeds.
Author and artist William Morris (1834-1896) made a tour of Iceland with friends in 1871, producing a journal which I consulted (through a kind loan by Dale Nelson) in my research for West Oversea. He grew very fond of the horse he rode on that tour, and planned to bring it home with him. However it went lame before embarkation, so he took another horse instead. It lived to a good old age and grew very fat on his estate in England.
I shall tell you more about Icelandic horses next week.
A ‘ground-breaking’ study was released this month stating that personality, more than any other factor, influenced the way people reacted to typos and grammar errors.
“In other words,” Russell Working writes, “if you are annoyed by grocers offering a discount on banana’s, you probably trample the neighbor’s flowerbeds for fun and kick your pet skunk when you have a bad day at work.”
Close your mouth; it isn’t that shocking.
More book adaptions are coming to screens near you. After stating he would not, Neil Gaiman has announced that he will be adapting Good Omens, the novel he co-authored with the late Terry Pratchett, for television. Gaiman had been respecting his friend’s wishes, saying they had agreed to only work on Good Omens material together, but Sian Cain explains, Pratchett left a posthumous letter, asking Gaiman to “write an adaptation by himself, with his blessing. ‘At that point, I think I said, “You bastard, yes,”‘ Gaiman recalled, to cheers.”
Cain continues:
Multiple attempts to adapt Good Omens have fizzled out in the past: in 2002, the director Terry Gilliam was lined up to helm an adaptation starring Johnny Depp and Robin Williams in the two lead roles. In an interview with Empire in 2013, Gaiman revealed this adaptation had fallen through because Gilliam’s pitch to Hollywood for financing came just months after the 9/11 terrorist attacks. “[Terry] said, ‘Hilarious movie about the Antichrist and the end of the world,’ and they said, ‘Please go away, you’re scaring us.’”
Also, screenwriter Terry Rossio is working on adapting Pratchett’s Mort, and daughter Rhianna Pratchett is working a script of Wee Free Men, both for the big screen.
At the New York Times, David Brooks writes a thoughtful article on artistic inspiration, especially for writers:
Well, moments of inspiration don’t quite make sense by normal logic. They feel transcendent, uncontrollable and irresistible. When one is inspired, time disappears or alters its pace. The senses are amplified. There may be goose bumps or shivers down the spine, or a sense of being overawed by some beauty.
Inspiration is always more active than mere appreciation. There’s a thrilling feeling of elevation, a burst of energy, an awareness of enlarged possibilities. The person in the grip of inspiration has received, as if by magic, some new perception, some holistic understanding, along with the feeling that she is capable of more than she thought.
My own experience? True inspiration is a rare but heady experience. Just as a fisherman is willing to wait long, boring hours before his catch strikes at the bait, the writers churns out reams of verbiage on pure discipline, but that occasional moment of bliss when Inspiration hits releases emotional adrenalin that sends you back to work with fresh motivation.
I am, alas, rapidly losing my enthusiasm for E. R. Punshon’s Bobby Owen series of detective stories. I was delighted with the first entry in this classic 1930s English series, featuring young policeman Bobby Owen who, under the wry mentorship of his superior, Superintendent Mitchell, finds within himself the makings of a good crime solver.
What I liked about the first book, Information Received, was the emphasis on the characters of Bobby and Supt. Mitchell, an interesting and amusing interplay of minds. Sadly, the second book, which I reviewed further down the page here, had less of that. And this one, Crossword Mystery, though better in that regard, is still less a character story than a puzzle story. And the motivations and behavior of the criminals, as in previous books, are more like melodrama than a modern mystery story.
In this story, Bobby is sent to the majestic seaside home of Mr. George Winterton, an economic eccentric who’s writing a book on the Gold Standard. His brother, who lived across the bay from him, drowned recently under suspicious circumstances, and Mr. Winterton fears that it was murder, and that he himself is next. In between writing sessions, he’s working on a crossword puzzle about which he’s very secretive, and which proves to be the key to the mystery in the end.
The book’s all right. Well enough written, and nothing objectionable. But the story dragged for me, and the climactic scene was not very credible in a realistic story. I’m not sure I’ll continue following Bobby Owen’s career.
I watched the 2004 movie Primerwith barely any knowledge of it, which may be the best way to watch it. Shane Carruth wrote, directed, and stared in this detailed sci-fi story about four entrepreneurs who hope to make some kind of breakthrough on one of their garage-lab projects. When Abe discovers that a box they made does something unexpected, he tells Aaron and the two decide to pursue it. The scene below gives you a taste of the movie’s style while showing Abe and Aaron conducting their first experiment.
That’s the pace of the first quarter–realistic talk from scientific engineers who aren’t spelling anything out for the viewers at home. In this scene, I’m not sure Abe knows what’s going on yet, but he works it out and then tells Aaron everything. They’ve invented a time machine.
Since Abe draws this conclusion first, he experiments with the necessary components to make the box work, to make the box larger, and to survive within it–all before introducing it to Aaron.
That’s when the story goes from a bit tedious to mind-bending. Carruth hasn’t given us a simple lark about time-traveling engineers trying to better their lives or two ordinary guys trying to change the course of history. He’s written a story that pushes into the paradoxes bound to occur when someone breaks time’s linear progression.
For example, if someone could go back in time a day or a week in order to prevent a major crime or gain a windfall in the lottery or stock market, once he goes back to do this he removes his motive for going back. If on Saturday he decides to return to Monday in order to stop a crime and he succeeds, what happens when he returns to Saturday again? Having stopped the crime, he doesn’t have any reason to go back to Monday. So what happens? Are the first days overwritten by the second? What if he had discovered time travel during that week; would revisiting the week delay or prevent the discovery that enabled him to go back in the first place?
What if you began to see it the opposite way, as a way to avoid consequences? What if you could go back in time, punch a jerk who deserves it, and return to the same morning as if (no, because) none of it ever happened? What if you could press a reset button to undo everything you’ve done over the last several days?
Primer is a story about all of that, and while it’s easy to understand the danger presented at the movie’s conclusion, it’s difficult to follow everything occurring up to that point. What happens at the birthday party? Who is the guy following them? Where does the man who looks severely beaten come in? The story pushes into these paradoxes without full explanation, giving rise to explanatory videos like this one as well as webpages dedicated to spelling it all out.
Abe: “I’m not into the whole ‘destiny, there’s-only-one-right-way’ thing.”
Aaron: “Abe, I’m not either, but what’s worse? You know, thinking you’re being paranoid or knowing you should be?”
I enjoyed it overall, but it is dense. One reviewer said that though it’s a short movie, it feels longer due to the many details packed into every minute.
We have received your application for a Spontaneity Grant. Please fill out the enclosed forms in triplicate, and return them to us complete before the specified date. In addition, you are required to provide a detailed timeline of your plans for spontaneous acts, along with an estimated budget and certified copies of applicable local permits.
Thank you for your support for the Spontaneity Initiative.
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