Today is the day: IMMORTAL is being released. It’s out on shelves in bookstores and available for shipping from Amazon and B&N and wherever else books are sold. Actually, a friend bought it a few weeks ago at a sly and impatient B&N downtown. Which is all good.
I am happy to have it out, after the years of writing, revising, and slogging through the publishing process, which moves at the speed of continental drift.
I hope readers enjoy the book, that they take pleasure and fun and perhaps a piquant idea from it. Let me know.
I’m reading from my forthcoming novel “Immortal” at the Sundance Film Festival. Specifics: today at 2:30 at the NY Film Lounge, 545 Main Street. The opportunity to do this makes me sound much cooler than I actually am; I’ve been reconciled to my inner nerd for many years. But it’s a fun way to promote this novel, and I’m having a good time here.
There aren’t as many celebrities as I’d hoped. I’ve heard of a few, but laid eyes on none. What there are is a lot of people who passionately involved in a creative art. Mostly film people, and they love what they’re doing. From what I can tell, they’re simultaneously exhausted and exhilarated by Sundance. They’re amped up on creative juice while also slogging through the scutwork it takes to bring any ethereal idea into physical reality and widespread distribution.
It’s great to feel this ferment of hard work and inspiration, determination and inventiveness. Sure, film people often have an annoying monovision: film is everything to all people, it’s all there is! And they all dress in a uniform here on the mountain, and they’re proud of that: jeans, sweater, uggs, with a loud “VIP” badge dangling from their necks.
But this is all easily forgiven because of their passion and often courage in bringing unusual ideas into the medium of film, and hoping to share it with the masses. Last night I went to one of those parties that I’d read about, but never thought I’d attend. At a mansion in a gated mountaintop community, a place with its own basketball court in the basement, thirty people serving caviar hors d’oeuvres, and, everywhere, open tubs of ice, containing bottles of Stella for the plucking. There was a live band, a raucous group of Brooklynites called the Jones Street Boys who played blue grass with Southern aplomb.
It was a treat to behold the lavishness. More importantly, I bumped into some interesting people. There was a woman who told me she was producing a film based on the memoir of a blind French resistance leader.
“Wait,” I cried, “You mean Jacques Lusseyran?” She nodded with delight and surprise.
“How do you know him, and his book ‘And there was light’?” she asked.
“I used to be a healer,” I told her. “That’s an important book for healers, about vision and seeing without the physical apparatus.” Indeed, it’s a wonderful book, one of my favorites. The producer seemed not to know what to make of my having been a healer. People often don’t. But for me, it was a thrill to think that a cherished book had a possibility of making its way into mass consciousness, where it can nourish and uplift everyone.
On Gratitude: Trikonasana & the Dyson vacuum cleaner
Arctic winds are breezing across Manhattan, so I decided not to go out to the gym. Instead I rolled out my yoga mat and went into my practice. Within a few moments, as my muscles warmed, stretched and opened, I was asking myself, “Why don’t I do this every day?”
It’s such a pleasure to feel myself grounding deeply into my body, to sense the fabric whole. This, even when my hip flexors complain and my hamstrings ache. It’s a sweet ache. Another ten minutes and the ache merges into my breath, and it’s all one thing: me, the practice, the pain, the warmth, tension flexing into motion, into resonance. After forty-five minutes and a delicious shavasana, corpse pose, I’m another Traci. A better one.
And I love my Dyson vacuum cleaner. I love what it represents: individual inventiveness. And it works good, too.
A certain person who has worked with Carlo Pedretti, the renowned Leonardo da Vinci scholar, told me that, during the restoration under the Sforza palazzo in Milan, working with the pedestal for Leonardo’s incomparable horse, Pedretti has uncovered new information about Leonardo’s use of perspective.