The Story. . . .

Some of the elements of the story have been influenced by real events or circumstances. Though everything has been reinvented for purposes of the story, I thought it’d be interesting to highlight elements of the real world that have somehow made it into these books.

Short fact sheet:

Book 1: There are volunteers watching the children play on the playground at Nina’s school. They weren’t there originally until I did some volunteering in my elementary education curriculum. I realized that they’d most likely not only be THERE, they’d be a good plot element. I put them in later.

Book 1: Ivy eats at a restaurant where they insist the largest size is “Biggie” when she tried to call it “Jumbo” based on her last fast food experience. Calling it “Biggie” indicates that Wendy’s is the restaurant, though I didn’t say so in the actual text. And that means that Robert and Ivy originally met at a Wendy’s.

Book 1: Francis makes a mushroom casserole for dinner. My mom used to make it too.

Book 2: Ivy and Bailey do some pranks at a fair. The ride they go on—The Gravitron—is real and is really called that.

Book 2: Ivy’s gym class is kind of a joke with all the kids sitting around doing nothing with no formal instruction. This is how at least a third of my “physical education” class was spent in ninth grade. It happens.

Book 2: Ivy’s economics class was in a trailer classroom and was taught by a teacher who didn’t really care. I had a class like this. I think it was called Life Skills.

Book 2: Most of the requirements Ivy has to take for classes are based on what the requirements were for me during my ninth grade year going to school in Florida. I think since my school days they have gone to one less period a day. Ivy still has seven. I don’t much care if it’s “correct.”

Book 2: Miss Margaret has a rug that Ivy remembers as being sparkly. I had that rug and I used to like to lay on it when I was a kid.

Book 2: We used to play Frisbee out behind the school when I was in high school, just like the boys Ivy and her friends are watching. Once the Frisbee did indeed go on top of the overhang and get stuck there, and I was the one who went up there to get it. Then I jumped off the school trying to be a hotshot. I hurt my back. It sucked.

Book 2: The talent show auditions were something people could hang around and watch if they wanted to at my school too. In the book, acts involving shitty singing and loud bands and dancing and a skit no one can hear over the air conditioning are all mentioned. I think the “skit that couldn’t be heard over the air conditioning” is actually something my friends and I did; we tried to get in doing a scene from Monty Python and the Holy Grail—the part with the French taunter, played by my boyfriend at the time. We also had a magician. Jerry, the magician in the story, is not in any way based on the magician at my school, but they were both very good.

Book 2: Ivy’s friend Adam is said to bend spoons. Apparently that’s a real phenomenon, though not everyone knows about it. Most people who do it say they do something to the metal and then it’s easy to bend like it’s soft. I don’t know the whole story behind this but I got the idea from reading supposedly true accounts, like on www.fork-you.com .

Book 3: Ruben’s fake “hieroglyphic” language is based on my invention of my own alphabet, called Oatanese.

Book 3: Ivy has a lot of the same problems with solo performance that I did when I was a voice major. That’s how I know what it’s like.

Book 3: Zeke mentions getting Ivy to try his bean casserole, which she claims looks like beans coated in walrus snot. It really kinda looks like that. I know because my mom used to make that too. But it’s fantastic.

Book 3: Ami’s Internet talker is based on my favorite talker, MuMu Land.

Book 3: Lots of the Ivy-Zeke interaction is based on my experiences with my high school boyfriend, Phil. Phil started his approach to a physical relationship with me through giving me massages and back scratches, which Zeke does for Ivy at one point. Many of the things that Zeke tries to coax Ivy into doing were things that happened to me, and we had similar reactions. I actually received a gold bracelet gift from a previous boyfriend, the way Ivy does from Zeke. And Ivy and Zeke end up being friends again after a blow-up, just like I did with my boyfriend Phil. We’re still good friends. So are they.

Book 3: The “psychic tests” that Miki describes and that some of the housemates volunteer to participate in for much-needed money are actually real tests, and they are administered mostly as I described. The Rhine cards consist of a circle, a plus sign, a square, a set of wavy lines, and a star.

Book 3: Ami and Ivy write a song based on one of Ami’s old poems. I actually wrote the poem at one point and Ivy pointed out the lines she liked. The poem is reprinted below.

Book 3: The baby-sitting experience Ivy has is very much like one I had once, though I had the pleasure of sharing the work with my sister. We baby-sat two boys and a baby girl. Ivy baby-sits a boy, a girl, and a baby. Messes were involved on all accounts.

Book 3: Ivy describes feeling standoffish and excluded during Ruben’s party. I attended a similar party with my roommate’s theater friends and felt the same way. The feelings conveyed in this scene are from experience.

Book 4: I based most of the bus trek experience on my own ride on a charter bus in high school. Later I took out the TVs and some of the swankiness because a regular bus wouldn’t have that, but the same feeling remained though I had yet to go on a bus at that point. Later I took a day-long Greyhound trip and found I’d been pretty on the money.

Book 4: The contest for Mr. Grant’s prize is based on a real contest. I’ll zoom in on that in a minute.

Book 4: Ivy’s mom tells her she didn’t “escape” until just before age 2. I decided to make her escaping at that age for a very silly reason: I wanted her to have had her most important immunizations by the time she disappeared. Most parents have immunized their children before their second birthday.

Book 4: Nicholas tells Ivy that Tarot cards are traditionally supposed to be given to the person they’re for, never purchased for oneself. That’s a true tradition but I doubt too many people listen to it anymore.

Book 4: Ivy plays shock tag with her brother. I used to do that with my sister. It’s fun.

Musical Inspiration!

In Book 2, Ivy’s chorus class sings several pieces. One of them is given special treatment: A song that claims to be “Moods of Seasons, Part Two: Winter Winds.” It is of course a fictional piece, but it is based on a poem I wrote—I put the lyrics in a slightly altered form into the book when Ivy’s friend Andrea reads it aloud as she imitates a beat poet. The original poem, however, was inspired by a piece I did in my own college chorus class. Ivy’s piece would sound nothing like this because it is awfully complex for a beginning high school choir, but nevertheless I used it as inspiration to write the lyrics. The poem that inspired my poem is next, followed by the poem I created in response.

A POEM AMORY SENT TO ELEANOR AND WHICH HE CALLED "SUMMER STORM"

by: F. Scott Fitzgerald (1896-1940)

FAINT winds, and a song fading and leaves falling,
Faint winds, and far away a fading laughter . . .
And the rain and over the fields a voice calling . . .
One gray blown cloud scurries and lifts above,
Slides on the sun and flutters there to waft her
Sisters on. The shadow of a dove
Falls on the cote, the trees are filled with wings;
And down the valley through the crying trees
The body of the darker storm flies; brings
With its new air the breath of sunken seas
And slender tenuous thunder . . .
But I wait . . .
Wait for the mists and for the blacker rain--
Heavier winds that stir the veil of fate,
Happier winds that pile her hair;
Again
They tear me, teach me, strew the heavy air
Upon me, winds that I know, and storm.
There was a summer every rain was rare;
There was a season every wind was warm . . .
And now you pass me in the mist . . . your hair
Rain-blown about you, damp lips curved once more
In that wild irony, that gay despair
That made you old when we have met before;
Wraith-like you drift on out before the rain,
Across the fields, blown with the stemless flowers,
With your old hopes, dead leaves and loves again--
Dim as a dream and wan with all old hours
(Whispers will creep into the growing dark . . .
Tumult will die over the trees)
Now night
Tears from her wetted breast the splattered blouse
Of day, glides down the dreaming hills, tear-bright,
To cover with her hair the eerie green . . .
Love for the dusk . . . Love for the glistening after;
Quiet the trees to their last tops . . . serene . . .
Faint winds, and far away a fading laughter . . .

And now my poem:

WINTER WINDS

Steady rains of autumn
Washing leaves away
Tender wisps of sunlight
Strained all through the day
Freezing winters coming
Are made of stillborn dew
And wind that's made of moonlight
Will blow in snowflakes new
Songs all fade in winter
Are buried under snows
Yet fading laughter carries
On breeze that never slows
Autumn's birds are trembling
Their wings heard in the trees
And distant thunder's rumbling
A warning in the breeze
All is known of winter
The cycle of each year
Yet every circle echoes
With messages of fear
Autumn's taking beauty
And crushing with its hand
The hopes like shattered branches
And mixing them with sand
Snow on sand in winter
Is mixed with older ages
And thoughts of past and future
Will turn our dream-book's pages
Ride on, through autumn night
To winter, keeping time in sight
Moving with its winds tear-bright
The crying eyes of dark to light

Stolen phrases include “fading laughter,” “tear-bright,” and wings being heard in the trees. Overall, there’s a slight scent of similarity.

In the beginning of Book 3, Ivy sings “a song I’d never liked, a song about the beauty of birds in the springtime,” which is an especially flighty song because the teacher wanted something that her high voice and lack of knowledge of foreign languages could handle. In the fourth book, she is actually found to be singing the fluffy song, with the lyrics “Flowers, flowers, blooming everywhere . . . Lovely flowers, spring is in the air. . . . ” This is not an actual song, but it is based on a goofy song I sang in my own chorus days. It is a Mozart song that was translated to English by Frank La Forge; its English title is “Longing For Spring.” Can you picture Ivy singing something like this?

LONGING FOR SPRING

Come lovely May and make the forests green again
And let us find the violets that Spring brings in her train.
Oh, how I love to gather them, to gather them once more.
And tread the forest pathways as we have done before.

When all the birds are singing, how happy we shall be
To wander through thru the meadows, and chatter merrily.
For now the snow is on the ground and we must stay inside.
Come lovely May with flowers, we’ll roam the meadows wide.

In Book 3, Ami sings an unnamed French song that can only be described as gorgeous. Ivy is told by another girl that she could never sing it because it is for rich-voiced people like the alto Ami—not to mention her voice teacher, Justine, claims she does not need to be tackling a foreign language. The song I meant is entitled “Au bord de l’eau,” which means “At the water’s edge.” It is a song by Gabriel Fauré. Here are its French lyrics and the translation.

Au Bord de L’eau

S’asseoir tous deux au bord du flot qui passe, Le voir passer; Tous deux, s’il glisse un nuage en l’espace, Le voir glisser; A l’horizon s’il fume un toit de chaume, Le voir fumer; Aux alentours, si quelque fleur embaume, S’en embaumer; Entendre au pied du saule où l’eau murmure, L’eau murmurer; Ne pas sentir tant que ce rêve dure, Le temps durer; Mais n’apportant de passion profonde, Qu’à s’adorer, Sans nul souci des querelles du monde, Les ignorer; Et seus tous deux devant tout ce qui lasse, Sans se lasser; Sentir l’amour devant tout ce qui passe, Ne point passer!

To sit together at the edge of the passing wave, To see it pass; Together, if a cloud glides by in space, To see it glide; If a thatched roof sends smoke on the horizon, To see it smoke; If in the vicinity some flower gives off a scent, To take in that scent; To hear, at the foot of the willow where water murmurs, The water murmur; Not to feel, so long as this dream lasts, Time last; But bringing no deep passion Except to adore each other, With no concern for the quarrels of the world, To know nothing of them; And alone together, in the face of all that causes weariness, Without becoming weary, To feel love, in the face of all that passes away, Not pass away!

In Book 3, Ivy and Ami write a song, and Ivy compliments the lyrics and quotes a few. Here is the complete poem the song was supposed to be set to:

The choice is the word,
The word is the choice;
The people will listen
If you raise your voice.

To pass through a wall,
To go through a door,
To find all the answers
You've always searched for . . .

The treasure is far,
The truth is quite near.
The truth is the treasure.
The treasure is here.

You look up and see her,
The earth mother's daughter,
Who's singing a love song
While walking on water.

You are not like her,
The others all say,
But after she's spoken,
Your doubts fall away.

Her voice is a song,
And the song's but a word,
Perfectly clear now
When once it was blurred.

It says, "You are here now
And you know the way,
And you'll tell your children
My stories someday."

She pours from her teapot
A rainbow of age,
Invites you to drink
And to read from her page.

Here are the answers
And stunning true lies
Which litter the ages
And patch up the skies.

You know all the truth now
And know of your fate;
That you, once created,
Must finally create.

With tears in your eyes
You must show the world
How to untie their ribbons
And fly flags unfurled.

And for those of your own,
Never let them go under.
Teach them to love
And to always, always wonder.

When the hunger is gone,
They'll listen for you.
You'll tell the truth,
And then they will too.

The choice is the word. . . .

The Psychic Challenge!

The huge plot point of Book 4 involving Mr. Grant and the Grant Institute is based on James Randi’s real-life “Psychic Challenge.” I’ve included his information on the contest below, from his Web site at www.randi.org .

APPLICATION FOR STATUS OF CLAIMANT

This statement outlines the rules covering an offer concerning psychic, supernatural or paranormal claims. Since claims vary greatly in character and scope, specific rules must be formulated for each applicant. All applicants must agree to the rules set forth here before any formal agreement can be entered into. Applicant will declare agreement by signing this form where indicated before a notary public and returning the form to the James Randi Educational Foundation. Test procedures must be agreed upon by both parties before any testing will take place. We do not act as judges nor do we design the protocol independently of the claimant. All applicants must identify themselves properly before any discussion takes place. Due to the large amount of correspondence exchanged on this subject, applicants must send a stamped, self-addressed envelope, or in the case of foreign letters, only a self-addressed envelope. This offer is administered by The James Randi Educational Foundation, Fort Lauderdale, Florida.

I, James Randi, through the James Randi Educational Foundation, will pay the sum of US$1,000,000 (One Million Dollars) to any person or persons who can demonstrate any psychic, supernatural or paranormal ability of any kind under satisfactory observing conditions. Such demonstration must take place under these rules and limitations:

This offer, as of May 1, 1996, is managed and guaranteed by the James Randi Educational Foundation (J.R.E.F.), Fort Lauderdale, Florida.

1.Applicant must state clearly in advance, and the applicant and Mr. Randi will agree upon, just what powers or abilities will be demonstrated, the limits of the proposed demonstration (so far as time, location and other variables are concerned) and what will constitute both a positive and a negative result. This is the primary, basic, and most important of these rules. 2.Only an actual performance of the stated nature and scope within the agreed-upon limits, will be accepted. Anecdotal accounts of previous events are not accepted or considered. We have no interest in theories or explanations of how the claimed powers might work; do not provide us with such material. 3.Applicant agrees that all data (photographic, recorded, written, etc.) of any sort gathered as a result of the testing may be used freely by JREF in any way Mr. Randi may choose. 4.Tests will be designed in such a way that no "judging" procedure is required. Results will be self-evident to any observer, in accordance with the rules which will be agreed upon by all parties in advance of any formal testing procedure taking place. No part of the testing procedure may be changed in any way without the express agreement of all parties concerned. Mr. Randi, though present at formal tests, will not directly interact with the materials used. 5.The applicant may be asked and/or required to perform informally before an appointed representative, if distance and time dictate that need, for purposes of determining if the applicant is likely to perform as promised. This is to eliminate the need for formal testing in such cases. There is no limit on the number of times an applicant may re-apply. 6.All expenses such as transportation, accommodation and/or other costs incurred by the applicant/claimant in pursuing the reward, are the sole responsibility of the applicant/claimant. 7.When entering into this challenge, applicant surrenders any and all rights to legal action against Mr. Randi, and against the James Randi Educational Foundation, as far as this may be done by established statutes. This applies to injury, accident, or any other damage of a physical or emotional nature and/or financial, or professional, loss of any kind. However, this rule in no way affects the awarding of the prize. 8.At the formal test, an independent person will be placed in charge of a personal check from James Randi for US$10,000. In the event that the claimant is successful under the agreed terms and conditions, that check shall be immediately surrendered to the claimant, and within ten days the James Randi Educational Foundation will pay to the claimant the remainder of the reward (total US$1,000,000 as of June, 1998). One million dollars in negotiable bonds is held by Goldman Sachs, New York, in the "James Randi Educational Foundation Prize Account," as surety for the prize funds. Validation of this account and its current status may be obtained by contacting the Foundation at: 1-954-467-1112, fax 1-954-467-1660. 9.Copies of this present document are available free of charge to any person who sends the required self-addressed envelope requesting it, or can be downloaded from the Internet. 10.This offer is made by James Randi through the JREF, and not on behalf of any other person, agency or organization, though others may become involved in the examination of claims, others may add their reward money to the total in certain circumstances, and the implementation and management of the challenge will be carried out by James Randi via the James Randi Educational Foundation. JREF will not entertain any demand that the prize money be deposited in escrow, displayed in cash, or otherwise produce d in advance of the test being performed. JREF will not cater to such vanities. 11.This offer is open to any and all persons, in any part of the world, regardless of gender, race, educational background, etc., and will continue in effect until the prize is awarded, or until the death of James Randi or the advent of the year 2001 C.E . 12.EVERY APPLICANT MUST AGREE UPON WHAT WILL CONSTITUTE A CONCLUSION THAT, ON THE OCCASION OF THE FORMAL TEST, HE OR SHE DID OR DID NOT DEMONSTRATE THE CLAIMED ABILITY OR POWER. 13.Please accompany this notarized form with a brief two-paragraph description of what will constitute the demonstration.

Please accompany this notarized form with a brief 2 paragraph description of what will constitute the demonstration.

NOTE: No special rules, exceptions, conditions, standards, or favors will be accepted, without mutual agreement of those concerned in advance and any applicant who refuses to agree to meet the rules as outlined here, will not be considered to have ever be en a claimant. Only complete agreement with these rules will constitute the "applicant" being considered a "claimant." Applicant, by signing, notarizing and returning this form, signifies agreement with all of the above rules.

Please be advised that several claimants have suffered great personal embarrassment after failing these tests. I strongly advise you to conduct proper double-blind tests of any ability you believe you can demonstrate, before attempting to undergo a testing for this prize. This has saved me and many claimants much time and work, by showing that the powers were quite imaginary on the part of the would-be claimant. Please do this, and do not choose to ignore the need for such a precaution.

-- James Randi

(This is an older version; his rules have since changed, but since I based my contest on his and it's all in a fantasy novel, it doesn't really matter!)