MacPorts On Snow Leopard

by Richard Dooling on September 12, 2009

in Geekophilia

If you used MacPorts on Mac OS X (Leopard) and you went ahead with the Snow Leopard upgrade, not realizing that it would break MacPorts, then the next time you ran a port command, you probably got an error message like this:

dlopen(/opt/local/share/macports/Tcl/pextlib1.0/Pextlib.dylib, 10): no suitable image found. Did find:
/opt/local/share/macports/Tcl/pextlib1.0/Pextlib.dylib: mach-o, but wrong architecture
while executing
"load /opt/local/share/macports/Tcl/pextlib1.0/Pextlib.dylib"
("package ifneeded Pextlib 1.0" script) invoked from within
"package require Pextlib 1.0"
(file "/opt/local/bin/port" line 40)

You fed the error message into Google, and now here you are!

When you travel to MacPorts to find out how to upgrade, you wind up on the Macports Migration page, where it tells you to save a list of your installed ports by running the command:

port installed > myports.txt

Then clean any partially completed builds, and uninstall all installed ports:

sudo port clean installed
sudo port -f uninstall installed

But, er, uhm, your MacPorts installation is broken, remember? Meaning that when you try to run the commands above, you just get the error message above.

Maybe I’m the only one dumb enough not to realize that it’s okay to download and install the MacPorts Snow Leopard upgrade from here and then proceed with the above commands. For some reason I had the mistaken impression that I had to totally uninstall the old MacPorts, first. Not necessary, at least not for me.

Note, before installing the Macports Snow Leopard upgrade, you must first install the new Xcode from the custom folder of your Snow Leopard install disk, as explained at the MacPorts install page. Some even suggest that you must install from the disk and NOT from the Apple Developer site.

Other than that, everything works out just peachy.

Also note, that if you are a MacVim user, there is a temporary build available for Snow Leopard here, courtesy of the ever-generous Björn Winckler.

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Critical Care: Revisited

by Richard Dooling on August 16, 2009

in NY Times Op-Eds

The new IT article on health care: How American Health Care Killed My Father, by David Goldhill, writing in the September 2009 Atlantic.

Richard Dooling on NPR’s Talk of the Nation discussing his opinion piece in the New York Times, “Heath Care’s Generation Gap.

It was my first novel, and I wrote it almost two decades ago, but I doubt I’d change a word of it. If anything, the money and the madness changing hands in the ICU have only gotten worse. When I wrote Critical Care, circa 1990, total expenditures for health care ran at roughly 10% of our gross national product. Now, as my opinion piece in the New York Times indicates, it’s 16% and headed for 31% in the next 25 years, unless something changes.

The new hysterical fear is that if we counsel elderly patients about end-of-life choices it means we are “pulling the plug” or sending them off to suicide parlors. People need to know what all of this aggressive, no-holds-barred, spare-no-expense intensive care buys you at the end of life. It’s not pretty, and that is the real subject of Critical Care: What happens when modern medicine doesn’t know when to quit.

Here then, by popular demand, is an excerpt from an early chapter of Critical Care: A Novel:

Resignation was the order of the day. Everybody from the nurses on down to the respiratory therapists and the lab techs had already privately agreed that Bed One would ‘code’ sometime tonight, code being short for Code Blue. Bed One’s heart would stop beating, or he would stop breathing, or both; the hospital operator would then announce: “Code Blue, Ninth Floor Intensive Care Unit” three times over the hospital’s public address system, and a dozen or so specially trained personnel would then descend on Bed One, snap Bed One’s head back, pump Bed One’s lungs full of oxygen with an ambu bag, inject massive doses of expensive drugs in some of Bed One’s veins, draw blood for expensive tests from other veins, shock Bed One with electricity, beat on Bed One’s chest, and generally do everything possible to jump-start Bed One, as if Bed One were a ’57 Chevy that should have been taken to the junkyard twenty years ago, and the doctors and nurses were a bunch of drunk teenagers whose car had broken down on the way to a pig roast.

It would go on for hours. It would require more blood, stool, and sputum specimens to be drawn and sent to the lab. Worse yet, everything would have to be scrupulously documented for the Legal Department. Afterwards, there would be witness interviews, probably depositions, just like the ones they had after the craniotomy in Bed Seven was struck by lightning that came in through the TV set.

Bed One had no business dying from a simple valve replacement. The lawyers knew that.

Because it was 3:30 A.M., Werner was solely responsible for the likes of Bed One. All the real doctors and primary physicians had gone home, had barbecued steaks, had watched a few hours of cable TV and had gone to bed. In Werner’s capacity as House Officer, Werner had to respond to every medical emergency occurring outside the normal hours of the medical work day: like Bed One dying too soon.

“This is what makes it all worthwhile,” he said to a wombat at his elbow. “Being able to help people. This is where training pays off.”

Werner looked the impending medical crisis squarely in the eye and measured himself against it, his self-confidence barely surmounting sleepless anxiety. As usual, he fought the urge to panic by silently reminding himself of his credentials: I am Doctor Peter Werner Ernst. I graduated at the top of my medical school class. I was Editor-In-Chief of the University’s Journal of Medicine. I am qualified and capable of practicing medicine. I will not panic or succumb to stress and make the wrong decision. That would be irrational and inconsistent with my past performance.

Given the hopelessness of Bed One’s situation, another medical resident might have thrown up his hands and accepted the inevitable descent of the patient. Another resident might have been discouraged by the resignation on the faces of the Intensive Care Unit nurses–faces that said ‘Bed One is about to code, creating boatloads of pointless labor and paperwork for us all.’ Yes, another resident might have allowed the normal course of human events to degenerate into chaos, death, and a Code Blue. But not Werner Ernst. Werner was blessed with a superior medical mind, trained in the healing arts.

Werner’s rigorous training had prepared him for this moment, when he, the House Officer in charge of the Medical Center and the resident physician immediately responsible for the welfare of Bed One, would come up with the right combination of medications to drip into Bed One, just the right mix of dosages given at just the right intervals, to keep blood pressure up, keep CO2 down, keep heart beats passably even, and urine flowing . . . keep everything just so, for six or seven hours at least . . . so that Bed One would go down the tubes and croak on the Day Shift, not the Night Shift. So that Werner could eat and possibly nap tonight, instead of presiding over the death of a corpse. So that the ICU nursing staff could embroider or read romance novels through the wee hours. So that Bed One could sleep one, last, peaceful, vegetable sleep before being assaulted by a Code Blue wrecking crew trying to save his life. And, above all, so that all the wicked, ridiculous insanity concerning the demise of Bed One (who, only two months ago was a grandpa, a loving husband, and dad to the people who had brought him here) would come down on Bed One’s primary physician and the Day shift. The Day Shift had advised Bed One and Bed One’s family that eighty was not too old to try for another valve replacement. Eighty? Bed One’s primary physician, Bed One’s chest surgeon, and Bed One’s family made Bed One’s bed of slaughter and anguish, why should Werner and the Night Shift sleep in it?

Excerpted from Critical Care: A Novel, by Richard Dooling

If you’d like, you can read all of chapter one at Amazon.

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Writer Uninterrupted

by Richard Dooling on July 28, 2009

in Writing

Great post from Paul Graham on the difference between being a manager and a maker. Most writers and computer programmers are makers, and for them, meetings can ruin the whole day.

Most powerful people are on the manager’s schedule. It’s the schedule of command. But there’s another way of using time that’s common among people who make things, like programmers and writers. They generally prefer to use time in units of half a day at least. You can’t write or program well in units of an hour. That’s barely enough time to get started.

It makes for an interesting comparison to novelist Neal Stephenson’s “Why I’m A Bad Correspondent”:

Writing novels is hard, and requires vast, unbroken slabs of time. Four quiet hours is a resource that I can put to good use. Two slabs of time, each two hours long, might add up to the same four hours, but are not nearly as productive as an unbroken four. If I know that I am going to be interrupted, I can’t concentrate, and if I suspect that I might be interrupted, I can’t do anything at all. Likewise, several consecutive days with four-hour time-slabs in them give me a stretch of time in which I can write a decent book chapter, but the same number of hours spread out across a few weeks, with interruptions in between them, are nearly useless.

On one level, both men are saying nothing more than the obvious: Writing requires long blocks of uninterrupted concentration, but the beauty of both pieces is how they explain this in terms non-writers may be able to appreciate.

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New Yorker: Show Or Tell

by Richard Dooling on June 12, 2009

in Publishing,Writing

Should Creative Writing Be Taught?

From The New Yorker, June 8, 2009, by Louis Mendand

The workshop is a process, an unscripted performance space, a regime for forcing people to do two things that are fundamentally contrary to human nature: actually write stuff (as opposed to planning to write stuff very, very soon), and then sit there while strangers tear it apart. There is one person in the room, the instructor, who has (usually) published a poem. But workshop protocol requires the instructor to shepherd the discussion, not to lead it, and in any case the instructor is either a product of the same process–a person with an academic degree in creative writing–or a successful writer who has had no training as a teacher of anything, and who is probably grimly or jovially skeptical of the premise on which the whole enterprise is based: that creative writing is something that can be taught.

More at The New Yorker. . . .

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The Big Takeover

by Richard Dooling on March 29, 2009

in Uncategorized

Finally, somebody (Matt Taibbi for Rolling Stone) explains A.I.G. and the financial crisis in plain English. It’s long and depressing, but worth the trip:

So it’s time to admit it: We’re fools, protagonists in a kind of gruesome comedy about the marriage of greed and stupidity. And the worst part about it is that we’re still in denial — we still think this is some kind of unfortunate accident, not something that was created by the group of psychopaths on Wall Street whom we allowed to gang-rape the American Dream.

More at Rolling Stone – The Big Takeover: The global economic crisis isn’t about money – it’s about power. How Wall Street insiders are using the bailout to stage a revolution.

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