Ninja Master Prep, Bountiful Baskets, and Feeling Good

Kung Fu Your Food

It sounds like something off of a bad infomercial—black-clad ninjas, blenders, and, if you order now, a zirconium ruby that can withstand the pressure of a full elephant’s weight! But we didn’t get the Ninja Master Prep Professional—a six-cup pitcher and three two-cup prep bowls–from an infomercial. Santa’s up to his old tricks again. The dirty dog one-upped me and gave it to my wife for Christmas.

Most blenders and food-processors use a single blade at the bottom of the container. When you make thicker smoothies, this means you have to stir and poke the chunks to the bottom. When you chop vegetables, it means that sometimes the stuff on the bottom turns to soup while larger chunks whirl around on top. And when it’s time to serve or remove the contents, you have to deal with the blades.

But the Ninja Master Prep turns all that on its head. It uses multiple blades–one each at the bottom, middle, and top. You hold the motor in your hand. This configuration processes the food quickly and evenly. For example, we had 48 ounces of thick, perfectly-blended smoothies made from frozen strawberries in thirty seconds. And serving was a breeze because we simply set the motor aside, pulled the blade column out, and were left with a normal pitcher.   

If you’re looking for a new blender or food processor, give the Ninja Master Prep Professional a try. You can find it at Sam’s Club, Target, Kohl’s, and many places online, including Amazon.com.

Now, Grasshopper. You must learn respect–Hee-yah!

Easy Eating

One of the best changes we can make in our diets is to include more fruits and vegetables. I’ve found one of the easiest ways to do this is to order a weekly boxful from Bountiful Baskets (BountifulBaskets.org), a co-op which has hundreds of pickup locations in ten western states.

The produce is cheap. And because you don’t choose what you’re going to get, you’re introduced to vegetables and fruits you might not otherwise try. Some might think that leads to eating less produce, but we’ve found it’s actually the reverse.

One of the biggest headaches of cooking is planning the meals. In fact, I think having a menu is most of the battle. Bountiful Baskets eliminates a good portion of that planning and required shopping. Instead of trying to figure out what to cook, we know what we have to cook. It’s right there in the basket. All we need to do is build a number of the week’s meals around the produce. A few clicks on allrecipes.com and we’re ready to go.

If you want to eat a more healthy and delicious diet, give Bountiful Baskets a go.  

Be Happy

It’s the holiday season and a joyous time for many people. But it’s also the worst time of year for others. We recently had another suicide in our little county. Some people might prefer we sweep such things under the rug. But it breaks my heart. Especially since such tragedy is avoidable. And I’m not talking about removing the problem with medication, although sometimes people do need to treat chemical imbalances. For many, much, if not all, of their depression is fueled by specific types of thoughts.

These thoughts are not wacky, crazy things. In fact, they may seem innocuous or normal to some. But they are deadly all the same. Identifying and shining the truth on these thoughts takes some work, but the liberation is worth every ounce of effort.

It’s unrealistic to expect to be full of joy every minute of our lives. But it’s also not necessary, nor is it normal, to live a life dominated by feelings of worthlessness, hopelessness, pain, and self-loathing. If you or someone you know seems to feel these things on a regular basis, please, get a copy of Feeling Good by David Burns. Just read the first hundred pages and perform the techniques found there. And if you need some help being consistent, find a counselor to help you.

Along with the jolts and pains, life provides an abundance of joys. Don’t let yourself, or those close to you, miss them.

Share

Similar Posts

  • Interview with Author Bradley Beaulieu

    Bradley P. Beaulieu just had his first novel released on April 1st. It’s called The Winds of Khalakovo and is the first of three planned books in The Lays of Anuskaya series publishehd by Night Shade Books. In addition to being an L. Ron Hubbard Writers of the Future Award winner, Brad’s stories have appeared in various other publications, including Realms of Fantasy Magazine, Orson Scott Card’s Intergalactic Medicine Show, Writers of the Future 20, and several anthologies from DAW Books. His story, “In the Eyes of the Empress’s Cat,” was voted a Notable Story of 2006 in the Million Writers Award. His agent is Russell Galen.

    Brad is a software engineer by day, wrangling code into something resembling usefulness. He is also an amateur cook. He loves to cook spicy dishes, particularly Mexican and southwestern. He lives in Racine, Wisconsin with his wife and two children. As time goes on, however, Brad finds that his hobbies are slowly being whittled down to these two things: family and writing. In that order . . .

    I recently had the opportunity to interview Bradley. Among other things, we talked about how he broke in and how he comes up with his ideas. He also convinced me to use his picture method, which I’m finding very handy on my current thriller project.

    ***

    JOHN: In your novel an elemental spirit attacks an incoming windship, murdering the heir to a kingdom. The person believed to be behind this is a child, an autistic savant. This sounds like Orson Card tale (grin). Did you come up with this character first, the magic, or something else. Tell us the genesis of the tale and this character in particular.

    BRADLEY: The genesis of the book is actually from a series of postcards of fine art that I picked up in Edinburgh, Scotland. (I posted about it on my website if you’re curious to learn more.) I used that artwork to first generate and then crystallize my thoughts about the book. Initially, I tried not to let any one thing rule the brainstorming I would do from time to time. I didn’t even know who the main characters were at first. I was quite taken by the picture of the three sisters, though, and I knew right away, the moment I laid eyes on the original in the National Gallery, that they would play a major part in the novel.

    But in the end it was the picture of the boy with the flaming brand that kept leaping out at me, calling for attention. The artist is Godfried Schalcken, and the piece is called A Boy Blowing on a Firebrand to Light a Candle. This character eventually became Nasim, the autistic savant. As I was studying the characters, I began to realize that this boy was not going to be a point-of-view character, but he was going to be a prime mover. In the end, he embodies much of what Winds is about. The story truly does revolve around him and his unique powers.

    The brand that he holds in the painting also came into play. I didn’t know what the magic was going to be about. I hardly had a single preconception about the book going in. I just wanted the artwork to speak to me, to advise me as to what the story was going to be–from the characters to the world to the magic. The boy blowing on the brand got me to thinking about elemental magic, and I realized that Nasim was one who could do this without even thinking. It came as naturally to him as did breathing. That’s a difficult place to put a character, however. As a writer, you have to be careful of all-powerful things, and so I needed something to balance Nasim’s abilities. And this, of course, is where his disconnection from the world came from. Nasim, as written in the book, is often lost. He has difficulty relating to others in even the smallest of ways. This both limited his power and made him in some ways more dangerous and more scary than a calculating villain, simply because of the unpredictability.

    I’d be remiss if I didn’t also mention Rehada, who started out as a somewhat minor character but grew into the most complex and perhaps the most compelling of my three main characters. Rehada came from Andrew Geddes’ Hagar. It’s another beautiful painting, filled with emotion. I was drawn to the fact that she was crying. I wondered why. I spent a lot of time answering that one question. After knowing that her people were essentially pacifists, I realized that Rehada was not. She felt she had betrayed her people and their ways because she had taken to the path of violence. It was from this, from that one single tear, that the entirety of the Maharraht–the fanatical splinter group that came to embrace violence as a means to an end–was born.

    By this point, I understood that I wanted there to be an aristocracy of some kind, and I fairly quickly landed on a culture that was modeled loosely after Muscovite Russia. I don’t remember why, exactly. It might have been that the other artwork reminded me of Russian Czars a bit, but I think the biggest driver here was that I definitely didn’t want something that was centered around western Europe, because frankly that’s been done to death. I wanted something more unique, and I’d always sort of like the mystique and darkness that seemed to hover around that time period in Russia. They’ve always seemed like a hard people, a people that would do whatever it took to survive, but in the same light, they took time to live life fully when they could.

    Given that I had the loose guidelines of the aristocracy, the peace-loving, indigenous Aramahn, and finally the will of the Maharraht to do whatever it took to regain the islands as their own, it created a crucible from which the story flowed fairly easily. I spend a lot of time building my worlds so that the conflicts within them come naturally, and that was definitely the case here.

    JOHN: The description of the world and your process for getting into the story is fascinating. From the article on your site it sounds like using images was a new technique for you. Is that correct? And if it is, was your process previously to have some other physical object of which you’d ask questions?

    BRADLEY: Yes, using artwork as a starting point was a new technique for me. I had no idea if it was going to work or not. An interesting thing came up when I was doing it, though. One of the things I learned at a few of the workshops I’ve been to (Writers of the Future and Orson Scott Card’s Literary Bootcamp) was to create stories in very little time using a few unrelated things as starting points. One unanticipated result of having restrictions in some areas (such as the elements involved in the story) is that it opens your mind in other areas. You’re forced to become more creative in some ways because certain avenues have been closed to you. I think it was the same with the portraits I used to represent the characters.

    Before that, in the previous three novels I’d written, I didn’t really have any specific brainstorming techniques. I would start with a premise and perhaps a loose idea of the characters and a mood, and I would go from there, trying to stay true to those things as the story evolved and grew. Although part of the problem with those early stories was that I was young in my craft, I also think my brainstorming wasn’t very efficient. I think, as I alluded to above, that there were too many possibilities. I had trouble narrowing the story down, and it led to stories that were ok, but nothing great. Too often they became a bit generic. Nothing really stood out.

    So while the artwork I used is one of a great many possible brainstorming techniques, I like the idea of challenging yourself with restrictions in order to force the story to stretch and bend in unpredictable ways.

    JOHN: Wow. That’s a striking insight. I think I’ve found the same thing occurs when I run workshops or do my own brainstorming, but I don’t know that I’ve ever crystallized it the way you have. (See folks, this is why I love these interviews.) So I see _The Winds of Khalakovo_ will be published by Night Shade books. You’ve had quite a few short stories published, but this is your first novel. How did you make the sale? Did you have an agent? Was the editor someone you knew? Gives us a bit of the story behind this.

    BRADLEY: As you said, I’d been making steady progress throughout the years in short story sales. I had attended a number of workshops, and I think my name had at least some recognition by editors, either from short stories I’d published or personal connections I’d made at conventions. As an aside, some people will say that you shouldn’t go and sell yourself at conventions. If an opportunity comes up, they say, and an editor or agent asks you what you’re working on, go ahead and take advantage of it. I don’t doubt that that’s good advice for some. Just not for me. I believe that editors and agents are at cons not just to meet with their authors and speak with agents, but to see who’s coming up in the field. They’ll get to know a certain percentage of the newcomers from their short sales, or even novel sales, but they can’t read everything. They can’t even read a small percentage of the fiction that comes out each year. So, frankly, it’s up to me to make them aware of who I am.

    Now, that doesn’t mean you should be pushy. You should be friendly and businesslike. Keep things short and sweet and as casual as you possibly can. And that’s exactly what I tried to do. I approached Jeremy at World Fantasy in San Jose (2009) and told him I had an epic fantasy that he might like. I pitched it as “The Song of Ice and Fire meets Earthsea.” He asked me if I had an agent. I said no. Night Shade doesn’t normally take unagented mss (and I should probably ask Jeremy some day if he gets annoyed that I tell this story), but he said he liked the cool pitch and said to send it his way. Roughly five months later, I got an email from Jeremy, offering to publish the book. 

    At that point, I moved quickly to find an agent, and believe me, agents will move quickly as well if you tell them you have an offer on the table. That doesn’t mean they’ll be clamoring to sign you up. It just means you have their attention. I was lucky enough to be picked up by Russell Galen of the Scovil Galen Ghosh Literary Agency. Russ and I are simpatico on a number of levels, and to be frank, as an agent he kicks serious ass, so I feel honored and blessed to be under his wing.

    JOHN: What a great breaking in story. And you’re right, Galen is tops. So to give my readers perspective, did you approach a lot of editors this way? Or was Jeremy at Night Shade one of a select few? And did you encounter any annoyance? I know my editor, David Hartwell at Tor, doesn’t much like to be approached at cons. But obviously, that’s not the case with all editors.

    BRADLEY: Well, I had not approached anyone else for Winds. However, I had previous novels, and I’d approached a variety of agents and editors over the years. Not scads of them, mind you, but a number of them, and there were more agents I spoke to than editors because the general rule of thumb is that you can approach and/or query multiple agents at the same time, whereas editors you typically ask for exclusives, even at the partial stage. I was also careful about who I approached, and when. I went to the Pikes Peak Writers Conference for several years. They had pitch sessions there, where you can sit down with an acquiring agent or editor and talk to them about your novel. I certainly took advantage of this, but I also wasn’t afraid to approach them outside of those sessions. At conferences in particular, I think the invited guests are open to being approached at the bar, at the dinners, and at the parties. Again, though, I tried to keep things as casual as I could, and I kept the pitch short and sweet so that they could determine quickly whether it was a project that interested them. Most often I got a “Sure, send me 50 pages” type of answer, but I got a few requests for fulls by doing this as well.

    Conventions are another beast. It’s a looser environment than a conference, so I was much more choosy about when I approached agents and editors. I’ve never encountered annoyance, but I’ve certainly felt stiffness from those who perhaps would rather not be approached. I learned from this early on and adjusted my approach. I would try to meet them first and strike up a conversation and see where it went. Often, if you can just be humans with one another, the subject of what you write and what projects you might have ready will come up. Try to take that approach, because there’s nothing to put off an editor that already keeps unknown writers at arm’s length than the smell of desperation. In the words of Monica Geller, keep it breezy.

    JOHN: Well, I’m excited for you. Night Shade is a great publisher. So I have one more question: what’s next?

    BRADLEY: I’m contracted for two more books, so that’ll occupying my time for a little while yet. But I’ve started brainstorming the next project. (I like to let things germinate for quite a while, so it’s important for me to get my hindbrain working on these as early as possible.) I have two possibilities that I’m mulling over. The first is a science-fantasy called The Days of Dust and Ash. Think Nausicaä of the Valley of the Wind meets The Coldfire Trilogy. I’m excited about this story, because it’s a departure from what I’ve written in the past, though it will still be fantastic and wide in scope. The story focuses on a young girl who is summoned from the dust, a global consciousness that was created as the last great age of technology fell under a nanite plague.

    The other is called From the Spices of Sanandira. I sold a novella with the same title to Beneath Ceaseless Skies last year, and it will be appearing sometime this spring. It’s a story that springs from Sanandira, a large desert oasis known for its caravan trade and spice bazaars. It’s got a strong Thousand and One Nights feel to it. The novel is not so much an expansion of the novella as it is a re-imagining of it. It will probably focus on a pair of twins: one boy, one girl. The sister is sold to one of Sanandira’s famed assassin rings at a young age. The boy (the protagonist) finds his sister by happenstance years later, and because of this chance meeting is drawn into the world of intrigue his sister walks every day.

    ***

     JOHN SEZ: I just love hearing how other authors work. As I said before, after this interview I decided to use the image technique myself on my current thriller project. Images of people and places and thing. I’m finding it helpful to help the story come to life. I also think Bradley’s breaking in story illustrates one key thing: work. And that’s exactly what I need to do right now 🙂

    Share
  • Two Jillian Workouts & Gottman’s Seven Marriage Principles

    Jillian Michaels is, in the words of my brother-in-law, “the woman who chases the fat people around.” And indeed, as one of the main trainers on the TV series Biggest Loser, she gets those folks moving. But I didn’t know anything about her or the show earlier this year when a friend recommended her 30-Day Shred DVD workout (thank you, Mr. Dayton).

    I’m a cave dweller. I sit in my little basement office and do my thing. And I have to make sure I get some type of exercise lest I turn into a great jelly. So I’m always on the lookout for a good workout. But it’s got to meet certain standards. I don’t want anything that’s Mickey Mouse. And I don’t want any froo-froo.

    So I asked this friend if these workouts featured a bunch of women dancing around in fruity outfits, because I can tell you right now, as open to new experiences as I am, I wasn’t going to buy a leotard and tip toe through the tulips with them. My friend assured me it was froo-froo free. And boy was he right.

    Jillian shows up with two other gals, gives you a two-minute warm up, and then proceeds to bust your hiney with three circuits of strength, aerobic calisthenics, and ab exercises. The strength exercises include things like push-ups and squats with dumbbell military presses or curls. The aerobic segments have you doing jumping jacks and jump rope. The ab portions run you through all manner of crunches and lower ab exercises. The three circuits take twenty minutes to complete. And there are three different levels of workouts on the DVD.

    I walk or hike three miles a day four days a week, and so I thought I was in reasonably okay condition. Jillian disabused me of that silly notion. I couldn’t keep up. Heck, the first dozen times through the workout I think I spent half the time either catching my breath or trying not to faint.

    But I kept with it and got stronger. And then I found Jillian’s No More Trouble Zones. This is a forty-minute workout. And I defy any of you he-men out there to try it and tell me you can keep up with this broad in this DVD. I still pant like a dog and have to take breaks when I do the workout. My only consolation is that Jillian and her two smiling evil pals work out with three-pound dumbbells while I work out with seven, fifteen, and twenty-five pounders.

    Like the shred workout, this forty-minute workout is comprised of circuits. But in the trouble zones workout there is no jumping about. It all double-whammy exercises that have you working both your upper and lower body at the same time or doing some killer ab maneuver. You’ll do pushups, squats, curls, a vicious plank circuit, and a dozen other exercises. You’ll work your triceps, biceps, shoulders, back, abs, and legs multiple times. This workout is no joke. 

    If you’re looking for an intense workout that doesn’t waste your time, I think you’ll enjoy either of these Jillian DVDs. All you need are a few dumbbells, a mat if you’re working on a hard surface, and prayer beads for those moments when you suspect you’re about to give up the ghost in a muscle-burning cardiac arrest.

    *

    Back in April of this year, Dr. Liz Hale, a licensed clinical psychologist, started her remarks to a local audience of more than 100 mental health professionals by saying, “Dear fellow colleagues, you are in danger of having an affair.”

    Her point was that every marriage, even those of the marriage gurus, is vulnerable to infidelity–be it sexual or emotional. Individuals have to actively curb all the subtle and often innocent beginnings that lead to unfaithfulness.

    “We make the mistake of thinking (marital) vows will keep us safe; and they don’t,” she said. She went on to say that couples cannot depend on love or similarities to keep their marriage intact. It’s not enough.

    Emotional or sexual infidelity isn’t as rare as we might think. But even if we don’t stray into some type of unfaithfulness, that doesn’t mean a marriage will stay together. Like anything worth having, a good relationship takes work.

    But what kind of work? What are the key principles for making a marriage last?

    For many years the prescriptions of marriage gurus were based on anecdotal evidence and rules of thumb—on opinion. Because the opinions weren’t tested, they led to all sorts of errors. For example, many yet believe that the road to marital bliss is through communication, specifically through successful conflict resolution. According to this idea, happy couples are those that have learned to resolve all their conflicts in a nice manner. The problem is that when conflict resolution was put to the test, the studies showed it didn’t work. Marriage therapies based on conflict resolution share a very low success rate—over the long haul they only work about 20% of the time.

    So what does work?

    John Gottman is a marriage counselor who took a different approach and started to collect rigorous scientific evidence on over 650 couples, tracking the fate of their marriages for up to fourteen years. The results of his work are startling.

    He uncovered a number of relationship myths, including the one about communication. He found that happy marriages were never perfect unions. These satisfied couples often had differences in temperament, interests, and family values. They argued over money, kids, and housekeeping, just like unhappy couples did. They had problems and faced issues. However, all these satisfied couples also practiced seven principles, even if they didn’t know it, which helped them navigate their way through all the difficulties and keep their marriages happy and stable.

    And it’s not just opinion. The success rate for the type of marital therapy based on his research is 80%. He knows what makes marriages work and has written it up in a fabulous book called The Seven Principles For Making A Marriage Work.

    Every marriage is vulnerable to failure. It takes work to enjoy a satisfying relationship with a spouse. But it’s so much easier to improve and maintain a relationship when you’re working on the things that actually make a difference. If you want to improve your marriage, give Gottman’s book a read.

    Share
  • Murder, Courts, and Bart D. Ehrman

    I’m going to talk a bit about some murderers in Detroit, Jesus, and a couple of books I recently read that I think are just awesome.

    MURDER

    Highers BrothersSo, the murderers.

    Let me start by asking this question: can you establish the truth in a court of law?

    Is that what the judge and jury are deciding? The Truth, with a capital T?

    Think about Tommy and Ray Highers, brothers from Detroit. They were convicted of murder. Open and shut case. No parole. They were two nasty buggers who shot a man down over some dope.

    But then twenty-five years later (last year, in fact) they were back in court because new evidence had come to light that undermined the original conviction. For the curious, this fascinating Dateline episode reveals the amazing way the evidence came to light and what happened because of it: http://www.nbcnews.com/dateline/full-episode-graduation-night-n72666. Watch it. You’ll be happy you did.

    So the Truth. Capital T. Can you establish that in a court of law?

    No.

    What the justice system does is try to determine which story about the evidence available is the most convincing.

    It’s about telling and judging stories.

    There are many types of evidence folks use when telling their stories. Some of it is very strong. Some is so unreliable, like hunches and hearsay, that the court won’t even allow it to be presented.

    Whatever the evidence, the fundamental nature of this is that you can often tell a number of different stories using the same set of data, the same evidence. Sometimes the stories are variations with minor differences. Sometimes the stories are radically different.

    It’s like having only some of the pieces of a 100 piece puzzle. You look at the four, twenty, or thirty pieces you have and imagine what the rest of the puzzle looks like. And then you invent something that seems reasonable.

    You invent it.

    And if that story meets certain standards of proof, then our system allows the authorities to take certain actions. If the standard of a “reasonable suspicion” is met, it allows a police officer to stop someone. If the standard of “probable cause” is met, a higher standard than reasonable suspicion, an officer can arrest you. If a jury in a criminal case decides the defendant is guilty “beyond a reasonable doubt,” an even higher standard of proof, then the justice system authorizes the authorities to sentence the defendant.

    But at no time does the system seek to establish the absolute truth, the truth with a capital T. It only seeks to establish some level of probability that the story being told about the evidence is true.

    All of this is made more complex because what’s “reasonable” is based on other people’s opinion. We have guidelines and rules to help folks be “reasonable.” But reasonableness is still affected by culture, background, history, etc.

    It’s still opinion.

    OTHER PUZZLES

    What other realm of knowledge works like the justice system and consists of inventing stories about missing parts of the puzzle?

    Well, history does.

    In fact, if you think about it, history is what courts do. The processes and principles of our justice system guide everyone involved in how they go about telling the stories that make up that specific type of history.

    And all historians (lawyers, judges, and juries included) have no means of establishing the absolute truth.

    They can’t use science. Science requires you conduct experiments and reproduce results. But how is a historian going to reproduce the same events? What, they’re going to get Lincoln shot all over again and let the rest of us watch it? Dang, John Wilkes Booth did shoot the man. We all saw it happen down in the lab.

    Sure, they can use science to date a manuscript, or determine what something is made of, or establish some other fact. But all science is doing is providing facts about the pieces of the puzzle you have. About the claims the evidence makes.

    But science can’t fill in the missing pieces of the puzzle. It can’t tell the story. The historian has to invent the story that makes the pieces all make sense.

    And then the rest of us determine if that story, that sketch of the full puzzle, is reasonable.

    But that isn’t all there is to it.

    STANDARDS OF PROOF

    Think about conspiracy theories like the ones that claim that the US government perpetrated the 9/11 bombings. Conspiracy theorists are practicing history. They are inventing a story that seems to fit the evidence available to them.

    But what happens when you have only five or ten pieces of a 1,000 piece puzzle? What happens when you don’t thoroughly vet the evidence? What happens when someone screws around with the evidence? And I’m not just talking about tampering or invalidating it by thoughtless handling (contaminating DNA, for example). Folks with the best intentions have biases. In fact, we all have biases that lead us to include and exclude various pieces of evidence based on whether they support or oppose the ideas we want to believe.

    Jonathan Haidt explains these biases in his excellent book The Righteous Mind. He explains that with things we want to believe, we often use the standard of “Can I Believe It”?  We look for anything at all that would allow us to believe our position. If we find it, even if it’s flimsy, we discount all the other evidence that may point another way and conclude we have met the burden of proof for our view.

    For things that we don’t want to believe, we often use the standard of “Must I Believe It”? When falling prey to this bias, we look for anything at all that would undermine the thing we don’t want to believe, even if that evidence is flimsy. If we find it, we ignore all the other evidence, even if there’s a mountain of it pointing another way, and claim we have met the necessary burden of proof.

    In court there are all sorts of procedures and standards that need to be followed to help us avoid invalidating evidence or falling prey to our biases. Those procedures and standards don’t remove all risk. But they do remove a lot.

    Which court system would you want to be processed through? The current American justice system or the medieval witch trials?

    Oh, for sure I’d want to be someone accused of witchcraft back when a claim of “I saw her as a witch in my dream” was admissible, as was the test of poking a mole on the accused’s body with a needle to see if said witch flinched enough. I’d be so happy to go back to the days when a confession obtained by torture was incontrovertible evidence.

    So when practicing history, it’s important to have some guidelines, some rules to establish which bits of evidence are more likely (not guaranteed, but more likely) to be reliable. And it’s important that when folks tell their story, they not only share the evidence, but also all the assumptions they’re making.

    JESUS

    Where does Jesus of Nazareth come into all of this?

    Misquoting Jesus by Bart D Ehrman

    Well, Jesus has affected the world more than any other person who has lived on it. The stories we tell about him (the history we have practiced about him for the last 2,000+ years) have changed the world. And those stories will continue to affect us, especially folks in Western cultures, on everything from foreign policy to which clothes think are fit to be worn in public.

    Who was Jesus? Did he really exist? Was he a god? What did he really teach? Have his teachings been changed?

    These are all fundamental questions. And for the last two-hundred years historians have been re-examining the pieces of the puzzle, finding new pieces, and telling new stories to explain it all.

    Some of these historians believe in Jesus as a god. Some don’t. Either way, the conversation is fascinating.

    Jesus Interrupted  Bart D Ehrman

    I just read three historical books about Jesus that were awesome. AWESOME. Not because I agreed with all of the author’s conclusions, i.e. his stories. I don’t. But because of the way he practiced his history. The way he told his stories. And because what he shared gave me new insights to my stories about Jesus.

    The three books, all by Bart D. Ehrman, a professor of religious studies at the University of North Carolina, Chapel Hill, are:

    1. Misquoting Jesus: The Story Behind Who Changed the Bible and Why
    2. Jesus Interrupted: Revealing the Hidden Contradictions in the Bible (And Why We Don’t Know About Them)
    3. Did Jesus Exist? The Historical Argument for Jesus of Nazareth

    I’ve read the Bible many times, and I’m a believer. Of course, the question is a believer in which story?

    Did Jesus Exist Bart D Ehrman

    What Ehrman so engagingly makes clear is that there have indeed been many stories about Jesus. In fact, the gospels (Matthew, Mark, Luke, and John) and the writings of Paul (most of the rest of the New Testament) seem to all portray a different man and message. Not only do they say things that flat out contradict each other on some details, but if you look at each book separately, each author seems to have a slightly different take on Jesus.

    Furthermore, it appears that what we now have has changed over time. For example, it seems the last twelve verses of Mark were not in the oldest manuscripts. There have been other changes. One of the more notable ones occurs in John 5:7-8.

    Our earliest texts say:

    “For there are three that bear record, the spirit, and the water, and the blood: and these three agree in one.”

    But later texts say:

    “For there are three that bear record in heaven, the Father, the Word, and the Holy Ghost: and these three are one. And there are three that bear witness in earth, the spirit, and the water, and the blood: and these three agree in one.”

    Nowhere else in the New Testament do we have anything that states that creedal doctrine so explicitly. Did John write that? Or was the extra material added to make the idea of the trinity scriptural?

    And what do we make of the fact that we have no manuscript that dates to anywhere close to when Jesus lived? We have some small fragments of manuscripts with a few verses of John, Revelation, and Matthew dated around 150 AD. But the oldest manuscripts we have that contain the majority of any of the gospels are for the gospels of Luke and John, and these are dated around 200 AD. The oldest manuscripts with the full New Testament are dated around 350 AD.

    That’s more than 300 years after Jesus died!

    Have you played the game of telephone? Are we sure that the oral traditions that were written down weren’t changed? What happened to the books mentioned in the Bible that we don’t have now? For example, Jude mentions a prophecy of Enoch that we don’t have in our current Bible. Are we sure that the copyists didn’t add to the text like it seems some did to John?

    And what about the term “Christ”? It’s actually the Greek word for “messiah” which just means one anointed with oil to perform a special service for god. Christ wasn’t Jesus’s last name. It was a title: Jesus the anointed one.

    The anointed ones in those days were kings and prophets and priests. It appears most of the historical sources suggest that a “messiah” to the Jews of that time was someone who would throw off foreign rule and establish the kingdom of Israel as David had. In fact, there were a whole bunch of people who claimed to be messiahs. Here’s a nice list: http://en.wikipedia.org/wiki/Jewish_Messiah_claimants.

    Judas Maccabeus was considered a messiah because he threw off Greek rule in 164 BC. But then around 63 BC Israel was taken over by Rome. And Rome wasn’t too keen on revolts, so around 4 BC they crucified Judas the Galilean for claiming to be the messiah, the king of the Jews. Crucifixion, it seems, was the punishment reserved for seditionists. They crucified Jesus and a whole bunch of other guys claiming to be the king of the Jews. And their crimes were written on a board above them, which is why they hung the words “King of the Jews” over Jesus’s head on the cross. Here’s the criminal, and here’s his crime. These other messiahs were not claiming to be a god that came to earth to atone for sins, but anointed by God to throw off foreign rule and establish his earthly kingdom again.

    Jesus talks a lot about the kingdom of God. Was Jesus just another one of the seditionists?

    Ehrman examines these and many other questions as a historian, providing all sorts of insights.

    But the fabulous thing is that he doesn’t just tell his story. He gives his evidence. Exposes his assumptions. And in all three books he explains the guidelines or “rules” historians use to when trying to determine which stories are more likely and which evidence is more reliable.

    I was enlightened, challenged, and delighted. I learned things about Jesus’s life and times that have helped me understand what I read in the Bible better.

    LIMITS

    Of course, the historical method has its limits.

    Historians, because they are looking for explanations (stories) that are more probable, automatically select against things that are improbable. They exclude miracles. They exclude any story that says Christ was actually resurrected.  They may establish that a lot of folks thought he was resurrected, but they don’t have any methods to establish something like a resurrection actually occurred. And so they ignore it. Historians exclude modern revelation. If someone today were to have a visitation from Jesus as Paul did, the historians would exclude that.

    But we all know that truth is sometimes stranger than fiction. We all know that sometimes the less likely thing is exactly what occurred.

    Historians are looking for what is most probable. Not what actually happened. Because they can’t go back and time and verify their story.

    Excluding “improbable” things changes the types of stories the pieces of the puzzle support. For many of us, me included, we do accept evidences many historians don’t as pieces of the puzzle. And because we have these pieces, we’re able to tell different types of stories.

    The cool thing about Ehrman is that he explains this. He’s not trying to hide anything. Instead, he’s explaining how to approach the Bible from a historical point of view, and where the principles of the historical method lead him.

    And I have found that those methods in his hands have a lot to offer.

    If you’re someone who is interested in religion–as a believer, agonistic, or atheist–you will love these books. Ehrman himself was once an ardent believer, but is now agnostic. However, his respect for believers, including other scholars in his field who believe in the divine Jesus, comes through loud and clear. Ehrman has no axe to grind. He is simply sharing the stories of Jesus that make sense to him and many other historians. And he does it in a very interesting and easy-to-read style.

    If these books sound like something you want to try, I’d start with Misquoting Jesus, move to Jesus Interrupted, and then finish with Did Jesus Exist? And if you enjoy those, let me recommend two more of Ehrman’s books. The first is The Lost Gospel of Judas Iscariot: A New Look at Betrayer and Betrayed, which looks at the discovery and content of a very ancient manuscript that calls itself The Gospel of Judas. The second is Lost Christianities: The Battles for Scripture and the Faiths We Never Knew, which explores the variety of Christian faiths that existed in the few hundred years after Jesus’s death.

    Happy reading!

    Share
  • |

    American Idol Story Elements

    I don’t have time to watch, but I found myself getting sucked in this week. And here’s something I realized as I watched Simon, Paula, Randy, Ryan, & the contenstants–the show is using story principles.

    Idol

    Duh, I know: of course, it is. But it does it so well. It reminds me of a research article I read about sportscasters and audience enjoyment of sports competitions. They found that if they could inject story elements–suspense, rivalry, etc.–people enjoyed the games more. Next time you watch a college football game, notice what the color commentators say to make it a contest. It’s not just about reporting what #45 did out in the flat.

    Anyway, back to Idol. Look at these elements.

    What draws us to characters?

    Beauty, threats, quirkiness, larger-than-life situation or skills, source of viewer wish-fulfillment.

    Humm, let’s look at the cast of performers. Don’t we see all of that? How many of us wouldn’t love to be able to sing like they do? Have a shot at becoming a recording artist? Or just goggle at someone getting this chance?

    What factors generate suspense?

    Threats to characters we like or marvelous opportunities for them, turns in the situation, a prolonged resolution.

    Humm. Our sympathy is engaged because these folks are normal folks, many of them underdogs. Many viewers identify strongly with one or two because of the contestant’s various social groups and because, heck, the auditions are for people like you and me. It could be us up there in front of the world! You’ve got the threat of peformance fright, but also the overriding opportunity to make a dream real. You’ve got a wonderful career, if not millions of dollars, on the line. You’ve got Simon who is honest, but also plays his part. Isn’t that the moment of most suspense with each performance? You’ve even got a little subplot going on between Simon and Seacrest. There’s no villain here. But there are plenty of obstacles. Weekly threats.

    What does Idol give us that Survivor never could?

    It’s all REAL, even if the producers let their selection of performers be influenced by things other than vocal talent. And because it’s real, we believe it. Which means we can more easily feel sympathy and root for the various performers.

    It’s a simple but brilliant concept. And I just wasted 4 hours watching it. And I’m likely to do it again.

    Zing, Baby. Zing!

    Share
  • Toy Story 3, How to Train Your Dragon, Rumbi Island Grill

    Toy Story 3

    It’s interesting that two of the most enjoyable films this year are both animated. The first is Toy Story 3. We all know how awful sequels can be, and, in fact, I didn’t like Toy Story 2 all that much. But Pixar defied the sequel slump with this one.

    Andy has grown up and is going to college. From a toy’s point of view, that’s tantamount to death because Andy has to clean out his room, and what is he going to do with all that junk anyway? The last few remaining toys barely miss the garbage truck and get sent, by accident, to the local day care instead. Sounds great for a toy, right? They’ll get played with every day forever. But things are not as they seem at the day care, and our crew of toys is put on the fast track to an early death. Will they be able to escape when the other toys there are ruled mob-style by a big pink teddy bear that smells of strawberries?

    I laughed and cried and cheered in this movie. There are hilarious scenes featuring Barbie and a Ken who’s gone over to the dark side. More gut busters with Buzz Lightyear when he’s put into Spanish mode and Mr. Potato Head who has powers we never would have suspected.

    But the movie goes beyond toys and action. It’s not just a cartoon. It’s about loyalty and friendship and heroics and love and family. Because my oldest will be leaving the nest next year, the final scenes carried extra power for me. But I think they will be effective for almost anyone because Pixar does in this movie what all great art does—it reaches into themes we all share. And in that moment, we identify so strongly with the characters that their situation becomes our own.

    How to Train Your Dragon

    Dreamworks’ How to Train Your Dragon, based on the novel by Cressida Cowell, is the movie I should have seen for my birthday. Instead, we went to the mind-numbing Clash of Titans. I still cringe at some of the massive plot holes in that one, even though Medusa rocked. Which only proves, once again, that cool effects can’t save a bad story. How to Train Your Dragon, on the other hand, delivers cool monsters, but never once did the writers make the mistake of thinking that cool monsters is what the story was about.

    The movie is about a young Viking named Hiccup who wants to be accepted, wants to become one of the burly defenders of his city, like his dad, Stoik the Vast. But Hiccup isn’t brawny. However, he is resourceful. And during a dragon attack, he brings down a mysterious Night Fury dragon with his invention. However, when he finds the dragon, he can’t bring himself to kill it. Instead, Hiccup and the dragon begin a friendship. But will Hiccup be able to save the dragon that everyone wants to kill? Will the Vikings be able to see the truth about the dragons before they’re destroyed? Most importantly, will Stoik be able to accept his son?

    I enjoyed the superb animation in this story as well as the dragons. But it was the characters and humor that made this movie so good. There’s Stoik who just can’t relate to his son, but tries to bond with a very interesting use of his dead wife’s brassier, Hiccup, the son, with his dry wit, and Gobber, a peg-leg family friend who has some of the best lines in the movie.

    Go see this show. You’ll laugh, and then you’ll wish you had a dragon of your own.

    Rumbi Island Grill

    The Rumbi Island Grill is a restaurant chain that started in Salt Lake City in 2000. They serve fast, casual tropical food at incredibly good prices. My favorite is their rice bowl. It comes with your choice of sauce, rice, and meat with sautéed vegetables. In the Netherlands I learned to love Indonesian food and the spicy-sweet peanut sauce that often accompanied it, which is why I can’t get enough of the Bali Island bowl with brown rice and shrimp. You might find you love the sauce so much you ask for two servings to pour over your bowl (oh, and add a dash of the hot sauce). The food’s great, but they’ve paid attention to the Hawaiian atmosphere as well. So even though it’s fast food (you order and they bring it out to you), you feel like you’re sitting in a casual dining restaurant.

    I always look for a Rumbi when I travel down to Salt Lake City or Provo. Now I don’t have to go so far–a restaurant has opened up in Logan right across from the Wal-Mart on the south end of town! I took Nellie there recently. The staff was friendly and the food was delicious–just what I’d come to expect.

    Now all we need is a Cheesecake Factory!

    Share
  • The Sing-Off, Sam’s Salmon, The Englishman Who Went Up A Hill

    One of the best TV programs this fall

    American Idol was good until the judges became irrelevant and annoying. Or maybe I was just tired of the format. I didn’t think I’d watch another singing show. But I tuned into the opener for The Sing-Off on NBC last week, and holy harmonies, Batman–it was wonderful.

    Ten of the best a’capella groups in the country compete for a $100,000 prize and a recording contract with Sony Music. Unlike American Idol, the groups represent a wide range of ages—from kids in high school to older adults—and backgrounds. They don’t use any instruments, just their voices, to sing incredible arrangements of modern songs with percussion, bass, and lovely vocals. This ain’t no choir music. And unlike American Idol, the judges actually have interesting and useful things to say. Also unlike American Idol, the judges eliminate the groups until three are left. Only then do the rest of get to call in and vote.

    We were glued to the TV watching each episode. The programs are all two hours long, but move like lightening. Our favorite groups at this point are Committed and The Backbeats.

    This whole show runs a total of three weeks, one episode each on Monday and Wednesday. It started last week, continues this, and finishes next week. Some of you might be depressed, feeling you’ve already missed it.

    Not so! You can watch all of the full episodes online at www.nbc.com/sing-off/ (with fewer commercials). Then tune in for the grand finale. I can’t wait. 

    Are you kidding? From a can?

    Canned tuna fish is one of those un-meats. It doesn’t taste like fish. It doesn’t taste like chicken. I guess the all-white albacore is okay. But tuna’s not one of those spectacular foods I crave.

    So you’d think, as I strolled the isles of Sam’s Club, that I would have passed up the canned Member’s Mark Atlantic Salmon. But one of my wild culinary urges, the ones that rarely pan out, overtook me.

    I purchased a pack of five, seven-ounce cans for $11.88. I brought the pack home put it on the shelf and didn’t dare open it. What was I thinking?

    Canned salmon? Canned meat?! When was the last time you had a steak out of a can?

    It couldn’t be good.

    Of course, my sensible hesitations only last so long. I broke down one afternoon when the cupboards were bare. I saw the salmon and thought that it might go well with a salad and baked potato.

    I opened the can. It was pink, like the trout I used to catch and immediately fry when I went camping as a boy. I tasted it. And it tasted like .  .  . fish. Real fish. The light delicious taste of those trout I caught so many years ago.

    I enjoyed a wonderful meal that day and have had several repeats since. Boneless, skinless filets in water, packed with omega-3 fats, all grown on fish farms in Chile. 

    Great movie set in Wales

    I enjoy Hugh Grant as an actor. I loved him in Sense & Sensibility with Emma Thompson, one of my most favorite movies ever. And so I was curious about another movie with Grant that received two thumbs up from Siskel and Ebert. It’s called The Englishman Who Went Up A Hill And Came Down A Mountain.

    The setup is unusual. In 1917, with the war still raging in Europe, two English cartographers visit the small South Wales village to measure what is claimed to be the “first mountain inside of Wales.” The villagers are proud of their “mountain,” but become alarmed when the Englishmen measure it and find it’s not a mountain but a hill. The villagers are determined not to lose their status. Especially not to two Englishmen. What follows is good humor, drama, and a bit of romantic comedy. I think you’ll fall in love with the characters. It’s a wonderful tale. And it’s on DVD.

    As a little bonus, here are the opening lines, given to us by two narrators.

    “Narrator: For some odd reason, lost in the mists of time, there’s an extraordinary shortage of last names in Wales. Almost everyone seems to be a Williams, a Jones, or an Evans. To avoid widespread confusion, Welsh people often add an occupation to a name. For example, there was Williams the Petroleum, and Williams the Death. There was Jones the Bottle, and Jones the Prize Cabbage… which described his hobby and his personality. Evans the Bacon, and Evans the End of the World. But one man’s name was a puzzle, and it wasn’t until I was 10 years old that I asked my grandfather about the man with the longest and most enigmatic name of all.

    “Grandfather: The Englishman Who Went Up a Hill but Came Down a Mountain? Now there’s a long name for you. And a long story. You are not going to fidget, are you? For this is a story… an epic story. Yes, epic.”

    Share

2 Comments

  1. We love Bountiful Baskets. They are fairly new to our area (Boise) but are growing fast. Some areas sell out in less than 30 min.

    I have enjoyed your posts for a while, and subscribe to this blog via google reader, but did not want to register in order to comment. You win.

Comments are closed.