"The universe is made of stories, not of atoms."
—Muriel Rukeyser
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Check Out this Q & A with Ken Atchity on CMash Reads

 


WELCOME KENNETH JOHN ATCHITY


KENNETH JOHN ATCHITY
The author of The Messiah Matrix, Kenneth John Atchity, at the age of ten began instructions in the Latin language from a multi-lingual Jesuit mentor and went on to continue his study of Latin, and to begin Homeric Greek, and French at the Jesuit high school, Rockhurst, in Kansas City, Missouri. He won an Ignatian Scholarship to Georgetown University in Washington, D.C., where he graduated as an English/Classics major and won the University Honor Program’s prestigious Virgilian Academy Silver Medal for his nationally-tested knowledge of Virgil’s Aeneid.

At Georgetown, he added to his four years of high school Homeric Greek with studies of Attic and Koinaic Greek as well as further studies in Homer and four more years of Latin. He spent his junior year summer at King’s College, Cambridge.

Atchity received his Ph.D. from Yale in Comparative Literature, after adding Italian to his seven languages, focused on the study of Dante under Harvard’s Dante della Terza and Yale’s Thomas Bergin. His dissertation, Homer’s Iliad: The Shield of Memory, was awarded the Porter Prize, Yale Graduate School’s highest academic honor. His mentors at Yale included Thomas Bergin, Thomas Greene, A. Bartlett Giamatti, Richard Ellinger, Eric Segal, and Lowry Nelson, Jr.

He was professor of literature and classics at Occidental College in Los Angeles, 1970-87, served as chairman of the comparative literature department, and as Fulbright Professor to the University of Bologna. His academic career included books on Homer and Italian literature, and dozens of academic articles and reviews. During his years at Occidental, Atchity was a frequent columnist for The Los Angeles Times Book Review, where he reviewed the novels of Umberto Eco, Doris Lessing, Gabriel Garcia-Marquez, Carlos Fuentes, and many others.

In a second career Atchity represented writers of both fiction and nonfiction, accounting for numerous bestsellers and movies for both television and big screen. In the tradition of Dominick Dunne, Sidney Sheldon, and Steven Cannell he has drawn on his professional experience with storytelling to write The Messiah Matrix.

Connect with Ken at these sites:
WEBSITE        TWITTER   
Q&A with Ken Atchity
Do you draw from personal experiences and/or current events?
As all novelists do, I draw from both. Oddly enough my novel unwittingly predicted the pope’s resignation and the election of an Argentine Jesuit. But it also reflects my adolescent experiences growing up Catholic and wondering if God would really send someone to hell for eating meat on Friday or stealing $5.00 worth of peas instead of $4.99 worth.

Do you start with the conclusion and plot in reverse or start from the beginning and see where the story line brings you?
I do both. I start wherever the sharpest image begins and work backwards or forwards accordingly. That’s the beauty of this computer age—you can go either way. Write the scene you feel like writing today, and put it wherever it’s supposed to go later.

Your routine when writing? Any idiosyncrasies?
Although I’m a morning person, I write any time of day I can steal an hour or two from my editing, managing, coaching and producing. On an ideal day, I write from five to seven a.m. Over the years I’ve taught myself to write anywhere, and particularly love writing on the plane. I use a stopwatch to make sure I get my two hours in every day.

Is writing your full time job? If not, may I ask what you do by day?
I’ve never written full time. I write when I have something to say or have a story to tell, which has, I admit, gotten to be more and more often. My day job is coaching other storytellers on how to get their stories to their maximum audiences in today’s challenging and changing world—and editing, managing, representing, and producing stories.

Who are some of your favorite authors?
Aside from my own clients, my favorite authors go back to Homer, Virgil, Dante, Shakespeare, Cervantes, Sterne, Wallace Stevens, Thomas Hardy, Melville, Garcia-Marquez, and Carlos Ruiz Zafón.
What are you reading now?
Preparatory to writing The Hong Kong Reversion, I’m rereading Ian Fleming’s wonderful James Bond books as well as James Patterson, and Viktor Frankl’s Man’s Search for Meaning.  I read all day, for joy, for research, and because my dayjob is helping storytellers find their audiences.

Are you working on your next novel? Can you tell us a little about it?
I’m currently working on AFI, Inc., the first in a series of memoirs, prior to completing The Hong Kong Reversion, a thriller set in Hong Kong.

Your novel will be a movie. Who would you cast?
I’d die to have Claire Danes as Emily Scelba.

Would you rather read or watch TV/movie?
Yes.

Favorite food?
My grandmother’s Syrian beans.

Favorite beverage?
Vodka martini.


ABOUT THE BOOK
The Messiah Matrix by Kenneth John Atchity is a fast-paced contemporary thriller in which a young Jesuit priest becomes romantically entwined with a vivacious archaeologist as they pursue the hidden history that links Jesus Christ with Augustus Caesar. A year before it occurred, the novel predicted the resignation of the pope and the election of an Argentine Jesuit to succeed him. In a story that will leave readers breathless and hungry for more, Atchity weaves a compelling tale about the foundations of today’s Roman Catholic Church lying deep in the religious rituals of the ancient Roman Empire.
From the first page to the last The Messiah Matrix takes the reader on a riveting adventure from the ancient city of Caesarea in Israel to Rome’s labyrinthine catacombs and beyond, and provides gripping evidence for all those who have ever wondered about the historical existence of the Christian Savior. The Messiah Matrix is a tour de force of modern drama and intrigue, classical scholarship, and early church history that will change the way you understand the birth of Christianity.

The Messiah Matrix may prove to be one of the most controversial novels ever written. Graeco-Roman scholar, professor, and producer Dr. Atchity is perhaps the only author alive today capable of creating this ground-breaking work.

Dr. Fuddle and the Gold Baton - Five Day Giveaway Until October 3 - 7


Dr. Fuddle And The Gold Baton
by Warren L. Woodruff
When the dark musician Jedermann and his fierce Seirens of Dis gain control of the legendary Gold Baton, Tyler, his sister Christina, and their friends are drawn into a perilous adventure foretold by an ancient prophecy.

Guided by the mythical Dr. Fuddle, the explorers must leave earth and journey to Orphea. Will the Messengers of Music be able to save the world of the immortal composers from chaos and destruction? For them to have even a chance at victory, they must master the most difficult instruments of all—themselves.

The Pensive Chronicler Reviews Nicolas Bazan's The Dark Madonna

The Dark Madonna


Review: When I received a copy of this book from the author Nicolas Bazan, M.D., I made an assumption that it was not going to be an interesting novel due to the fact that it was only 104 pages long. However, nothing could have prepared me for the impact that this fable had on me. It was an amazing read.

What I found incredibly wonderful about this book was how well educated Bazan really is. It was very intelligently written with a vast vocabulary. The story flowed effortlessly from page to page and I was never once lost or had to backtrack to see something that I might have missed that would help me better understand what was going on further along in the story. The author was able to combine fact and fiction in such a way that it read almost like a real account of faith than just a made up account of events.

Bazan also was able to create characters that pulled on your heart and made you want to heal their wounded souls. Dr. Cruz is searching for answers to neurological puzzles when he finds himself once again questioning his faith. Standing in the gas chambers of Auschwitz, his past escape from Argentina consuming him from a dream earlier, you can feel his heart breaking. His wife is confused and you can see her frustration with her husband's compulsions of answering life's questions. Then there is Stephen, a young Pennsylvanian artist turned monk, that places a religious pilgrimage upon Dr. Cruz. This young man's passion and undying faith is so well put upon the page that it rejuvenated my own wavering faith.

Overall, I thought it was brilliant, passionate, and extremely well written. If you enjoy fables with heavy spiritual/religious meanings then this book is for you. If you prefer fables that are a little lighter in content or do not like fables, then this book is not for you.

I will leave you with one last thought that was a reoccurring theme throughout this fable:

"First we start by doing what is necessary, then we do what is possible, and then pretty soon we are doing the impossible." St. Francis quote from several pages in Nicolas Bazan's novel.

Rating: 4 stars out of 5

Oscar Castro-Neves dies at 73; bossa nova guitarist and orchestrator

Famous from age 16, Oscar Castro-Neves toured with Dizzy Gillespie and Stan Getz and orchestrated music for films and TV.

By Steve Chawkins


Guitarist Oscar Castro-Neves performed in a landmark bossa nova concert at Carnegie Hall at age 22. In 1966, he moved permanently to the U.S., where his quick, gentle guitar style and murmuring vocals started receiving rave reviews.


Oscar Castro-Neves, a Brazil-born guitarist who helped to create the cool, sensuous rhythms of bossa nova and orchestrated music for movies including "L.A. Story" and "Dirty Rotten Scoundrels," has died. He was 73.

Castro-Neves had cancer and died Friday in Los Angeles, his wife, Lorraine Castro-Neves, said.

Castro-Neves, who was noted for both his virtuosity and his impish sense of humor, toured with jazz greats Dizzy Gillespie and Stan Getz. For 10 years, he was guitarist, musical director and vocal coach for Sergio Mendes' Brasil '66 and went on to produce albums by luminaries as varied as cellist Yo-Yo Ma and jazz harmonica player Toots Thielemans.

"Oscar was the greatest fountain of music I've ever known," saxophone player Paul Winter told The Times on Sunday. "And he was perpetually funny."

Born May 15, 1940, in Rio de Janeiro, he was one of eight children in a musical family. With his mother playing guitar and an uncle playing cello, young Oscar took up the cavaquinho, a small, traditional Brazilian guitar, and piano.

"My uncle taught me the hip chords, and I was hooked," he told jazz pianist Ramsey Lewis in a 2005 PBS interview.

At 16, he was a huge success. After a recording artist heard Castro-Neves play at a party, his composition "Chora Tua Tristeza" (Cry Your Sadness) rocketed to the top of the charts and was widely recorded by others.

"It became the kind of song played at people's weddings," his wife said Sunday.

Shortly after the sudden fame, Castro-Neves heard the milkman singing one morning and ran outside in his pajamas.

"Hey, that's my song!'' he cried. "You're singing my song!"

"Yeah," said the milkman, curdlingly skeptical.

One in a set of triplets, Castro-Neves and three of his brothers formed a quartet that would play in the neighborhood and practice in a garage. He asked musician Antonio Carlos Jobim over for a beer, and they soon were part of the emerging bossa nova, a sexy "new beat" that reflected the optimism, albeit passing, of a new Brazil.

"Bossa nova is naive, a little boat, the sun, the sea, the illusions," he said in an interview years later. "'I lost my girlfriend but I will get her back tomorrow....'"

At 22, Castro-Neves performed in a landmark bossa nova concert at Carnegie Hall. In 1966, he moved permanently to the U.S., where his quick, gentle guitar style and murmuring vocals started receiving rave reviews as he toured with Getz, Frank Sinatra, Lalo Schifrin and others.

"Castro-Neves is incapable of creating a dull moment, but that is an understatement," wrote critic Leonard Feather. "He is only capable of generating rhythmic, harmonic, and melodic joy."

With homes in both San Diego and Los Angeles, Castro-Neves wrote the scores for a number of films, including "Blame It on Rio," a 1984 romantic comedy; and his arranging and orchestrating credits include "Sister Act II" and "He Said, She Said." He also wrote the music for Julia Louis-Dreyfus' TV series "Watching Ellie."

"He was so tuned in to films," his wife said. "When he was a child, his father used to rent 16-millimeter reels and invite everyone in the neighborhood to come over and watch movies."

The romance of the movies never left him.

For 15 years, he sent his wife three love notes a month, sometimes commemorating occasions such as their first kiss.

He spoke a number of languages and knew just enough in others to put native speakers at ease. Critically ill in the hospital, he chatted with a doctor in Korean.

In addition to his wife, Castro-Neves is survived by daughters Felicia and Bianca and four grandchildren.




Reposted From LA Times                                             steve.chawkins@latimes.com

Our Dear Friend, Oscar Castro Neves, Has Died, One of the Precursors of the Bossa Nova


Arranger, composer and guitarist accompanied Tom Jobim in legendary presentation at Carneggie Hall, in 1962

Artist is considered one of the musicians responsible for international success of the Bossa Nova

O músico Oscar Castro Neves Leonardo Aversa / Agência O Globo

The composer, arranger and guitarist Oscar Castro Neves died on Friday at the age of 73 after months of cancer treatment, he passed the final stage of the disease at his home in Los Angeles, according to his younger brother, Peter Paul. With the other three brothers, Iko, Leo and Mario, he formed the group Brothers Castro Neves, one of the forerunners in the Bossa Nova in the 1950s.

I met the Oscar when he was 16 years old. At that age, he already played very well.  He was always a great musician, he made a successful career in the United States and Japan. His  role in the dissemination of the bossa nova out there was fundamental says Roberto Menescal. But the whole world knows his talent. I think  its important to say that he was the most affectionate guy I ever met in life.

Was another balance, not the sea urchin and neither the boat  which led Oscar Castro Neves to make his first major contribution to bossa nova even before the genre be established as such. At age 16, during a bus trip, which led Oscar Castro Neves to make  his first major contribution to the bossa nova even before the genre be established as such. 

At 16 years old, during a bus ride, the then cavaquinista guitarist had also began to create his first song. Upon arriving home, went straight to take the guitar melody that he had. Harmony ready, he called the architect friend Luvercy Fiorini to create the letter. "Cora your sorrow" was ready. When he got home, he went straight to the guitar take the melody that had taken. Harmony ready, he called the friend architect Luvercy Fiorini to create "Cora thy sorrow" was ready.
 
It was 1956 and the young composer would have to wait three years until Alaíde Costa was hooked, during a session at a friend's house. The singer, who had just released his first LP, "I like you" (1959), there began to assemble the repertoire of his second album.

Caught by surprise, Castro Neves knocked on the door of the house of Carlos Lyra, asked his mother's friend to show him the notes, the musician did not dominate the score,  he commissioned arrangements to friend Nelson Trombone and after 15 days of recording, was called to the studio to check the result.


"When I heard all those strings, it was very emotional to listen to my music orchestrated!" Reported the musician in an interview.


Around the same time, Castro Neves wrote another song with Ronaldo Bôscoli, "Do not do that," which was recorded by the group Boys of the Moon, which was integrated João Gilberto .


Born in Rio de Janeiro on May 15, 1940, Oscar Castro Neves had musical initiation at home, soon forming a quartet with his brothers Iko (bass), Leo (drums) and the oldest Mario (piano). Known as The Brothers Castro Neves, the set drew the attention in the southern zone of Rio, in the mid-1950s. And when Mario, encouraged by younger, took courage and called Tom Jobim, he was surprised to hear that the famous musician and conductor knew them and that there would be a few minutes in the garage where they rehearsed.

At that time, in 1956, Jobim was 30 and the influence of his personality and music was crucial to the Oscar's formation for the next 16 to 20 or so years. As well as João Gilberto, bossa nova maximum reference and whose famous beat Castro Neves defined as a process of "settling"
of the various weaving of rhythmic Afro Brazilian. After that meeting with Jobim Oscar gradually became one of the most influential musicians and arrangers of bossa nova, with a fundamental role in the dissemination of the genre in the United States. Alongside Roberto Menescal, Carlos Lyra and others he took care of the musical accompaniment for Tom Jobim and other participants of the legendary performance at Carnegie Hall in 1962.

One of the leaders of the Brazilian invasion, his work caught the attention of jazz greats. Oscar started touring and sharing the stage with big names like Dizzy Gillespie Quintet, the trio of Lalo Schifrin, Stan Getz Quartet, and musicians such as Bud Schank, Ray Brown and Shelley Man On returning to Brazil in 1963 he worked primarily as an arranger, and even returned to the United States in 1967, as the fifth element of the Quarteto em Cy. With the return of the group to Brazil, Oscar decided to stay, making Los Angeles his home. Alongside Sergio Mendes and Brazil 66, he released more than 15 albums between 1971 and 1981, when he left the group.


Heading his quartet or working in the studio, Oscar has amassed a huge and impressive list of partnerships and musical contributions, which includes work with Yo-Yo Ma, Michael Jackson, Barbra Streisand, Stevie Wonder, Airto Moreira, Toots Thielemans, Herbie Hancock, Ella Fitzgerald, among many others. Works themselves as "Color and light - Jazz Sketches online Sondheim" stood out among the best releases of jazz according to publications such as the "Billboard" and the "Time Magazine".


The musician actively participated with Joe Henderson Tribute to Tom Jobim, which resulted in the album "Double Rainbow" (1994), which received a Grammy nomination, an award he would win soon after with his participation in the album "Soul of the Tango: The music of Astor Piazzolla ", recorded in collaboration with cellist Yo-Yo Ma


Reposted from: Infoglobo Comunicação e Participações SA

My Cuba Libre: Bringing Fidel Castro to Justice Author, George Fowler III, Interviewed on Radio Marti

Spanish Speaking Fans Check it Out!  George Fowler III Interviewed on Radio Marti about his new book.  The Interview is in Spanish and his participation starts at the 25.25 minute mark.

 
Cuba Libre, By George J. Fowler III
My Cuba Libre Bringing Fidel Castro to Justice
by George J. Fowler III
purchase on Amazon.com


Audio Entrevistas con Julián Martinez en Cuba y George Fowler desde New Orleans. Tomas Cardoso y la periodista Cary roque entrevistan al activista Julián Martinez Báez desde San Jose de las Lajas sobre el cólera. En la segunda parte Tomas Cardoso y Omar Lopez Montenegro hablan con el abogado cubanoamericano, George Fowler sobre su libro, Cuba Libre. George explica que el libro es sobre el impacto familiar a llegar Fide Castro al poder. También George como abogado ha presentado varias demandas contra el gobierno de Fidel Castro 



Guest Post: Former Lit Agent Nancy Nigrosh Helps Writers Crack the Code to Success


This fall, former talent and literary agent Nancy Nigrosh will be offering her very popular course, Cracking the Code: How to Become a Professional Screenwriter in Hollywood, in which she aims to help aspiring screenwriters unlock the secrets to success. Nancy has represented Academy Award caliber talents like Kathryn Bigelow, Stuart Beattie, and Barry Morrow, to name a few.  Read below for some quick tips Nancy was kind enough to share with the Writers’ Program about her upcoming course!  

Writers’ Program: Could you tell our readers briefly about yourself and your background in entertainment?
Nancy Nigrosh: My background is unusual for an agent since I went to film school (NYU and UCLA) where I studied screenwriting, film history, global cinema and learned all aspects of film production.  I worked as a film editor and was also a freelance script analyst. Since I was a motion picture lit agent, my background made sense. Talent agents usually come from the casting world or they started out as actors while below-the-line agents usually come from the production side.

Wp’: Do you think people have a misperception regarding the role of talent agents?

NN: Not only is a misperception common, it’s virtually a universal stereotype. If you ask anyone what an agent does, they will most likely answer that they set up meetings, make calls, and make deals. That addresses only a tiny fraction of what an agent actually does.

Wp’: Your course is primarily about helping writers find their “writer identity.” How is this different from finding one’s “voice”?

NN:  The writer’s “voice” is what’s on the page. There are some great classes at the Writers’ Program to help address how a writer can discover his or her voice and get it on the page. “Writer identity” is the writer’s human persona — what’s not on the page. This is the aspect of a writing career that isn’t just a critical factor to agents but also to buyers.

Wp’: Your course also builds on top of this basic principle by guiding writers to develop a “genre identity.” Why is that so important to unsigned/unproduced writers?

NN: Genre identity is important to every writer — an established one or someone new, since genre is the writer’s “address” from a buyer’s point of view. You need to know the address before you can send a check, right?

Wp’: In your course, you talk a lot about writers learning about coded behavior (hence the course title). Not only how to tailor their own behavior to best suit their goals but also interpret the behavior of industry professionals. How relevant is this to someone just looking to sell a script?

NN: Try selling a script solely based on “what’s on the page” and let me know how that goes for you. If your sale (or two) doesn’t result in a writing career, you won’t be selling any more scripts. Think of it as an athlete who scored some points but lost focus on how the game is played — meaning the player’s behavior undid his ability to score. Actually, I can give you many, many examples of a “script sale” (a term that can be infinitely variable) that didn’t result in the writer having a writing career. Since I started teaching at Extension, many successful writers who have active careers told me they wish they had taken a class like this years ago because they would have better understood the entertainment business and would have handled some of their professional situations differently.




For a full bio on Nancy Nigrosh, please visit her website here.

Nancy is teaching Cracking the Code: How to Become a Professional Screenwriter in Hollywood this spring, starting October 5.  Enroll online or by calling (310) 825-9971.

Jeff Bonnett is the Program Assistant for Screenwriting (Onsite & Online).  Contact him at jbonnett@uclaextension.edu or (310) 206-1542.

New YA Book By Kareem Abdul-Jabbar and Raymond Obstfeld in Bookstores and Amazon September 24th!

 Theo Rollins is starting eighth grade six inches taller, and his new height is making everyone expect more from him. Coach Mandrake wants to transform him from invisible science geek into star basketball player, even though Theo has little experience with the game. When Theo tries to hone his skills by playing pick-up ball in the park, kids are eager to include him at first; then they quickly see that he has no control of his gangly body. A girl named Rain even dubs him "Sasquatch." To make matters worse, all his time spent on training is starting to hurt his science club's chances of winning the "Aca-lympics," the school's trivia competition. Just when Theo thinks he can't handle any more pressure, he's accused of stealing. Can he find the real thief before he is kicked off the basketball and science club teams, or will his attempt at sleuthing be yet another air ball?