Bibliographic record
Abstract
We can never forget. We must be aware that the apocalypse is not only imminent, it is happening now. The bomb is not the only threat hanging over the human race. It includes our move towards the bomb. The dropping of the bomb has begun. Timothy Findley was generous and patient with interviewers. He listened carefully, and responded thoughtfully. He arrived early and paid for his own breakfast, even when suffering through a bad cold on a dark morning of an Edmonton winter. He was a man of conviction - his novels and plays all warn against the proclivity of the human race to self-destructiveness. But he also celebrated creativity and kindness. In the worst of all possible worlds, there is still some hope of salvation. My first conversation with Timothy Findley was about his early novel, The Wars, which I believe in many respects is his best work. My second interview was about The Telling of Lies, the first of several metaphysical mysteries in which the search for a murderer is an investigation of the human heart and mind. Findley returned to the scene of the crime in his last novel, Spadework, set in Stratford, Ontario, where he had worked as a young actor with the Shakespeare Festival, and where his play, Elizabeth Rex, premiered in 2000. Findley won the Governor General's Award for this play, and for The Wars. But as the many testimonials of writers, actors, and friends made very clear when he died, Tiff was also a mentor and an inspiration to many writers in Canada. And he was also a collector of cats, when he lived on a farm in southern Ontario. In Not Wanted on the Voyage, Mottyl, the blind cat, is Findley's seer. The biblical flood he revisits in this novel will be only the first of many human catastrophes.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.011 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.012 | 0.010 |
| Scholarly communication | 0.007 | 0.010 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.006 | 0.013 |
| Insufficient payload (model declined to judge) | 0.044 | 0.013 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".