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Spring 2018 Politics . Art . Health . Economics . Entertainment



42 14


Executive Summary


Danielle Richard By Hank Leis


An Interview with Nelson Leis By Salme Leis


The Artwork of Barbara A. Lane


Shane Dean By Britany Snider


Rant: The Zaire River By Hank Leis


Panache, Politics and Parties


Turkish Provocation and Cyprus By Andreas C Chrysafis


Facts and Beliefs In Society By Dr. Gordon Hogg, MP


Missives By Donald J Boudreaux


Dan Walker Chronicles By Dan Walker


What a Ride By Len Giles

On the cover: Attendre la lumière by Danielle Richard METANOIA MAGAZINE



CONTRIBUTORS Beth Allen, Gerald Auger, Maureen Bader, Alex Barberis, Mario Basner, Andy Belanger, John P. Bell, Donald J. Boudreaux, Dr. Tim Brown, Richard Calmes, Andreas C Chrysafis, Anabella Corro, Kamala Coughlan, Brian Croft, Miki Dawson, Shane Dean, Vie DunnHarr, Cheryl Gauld, Len Giles, Kulraj Gurm, William Haskell, Greg Hill, Matt Hill, Carly Hilliard, Dr. Gordon Hogg, Marilyn Hurst, Dr. Arthur Janov, Jeanette Jarville, Randolph Jordan, Richard King IV, Peter and Maria Kingsley, Mark Kingwell, Rod Lamirand, Barbara A. Lane, Valev Laube, Suzette Laqua, Marilyn Lawrie, Hank Leis, Nelson Leis, Salme Leis, Chris MacClure, Dunstan Massey, Seth Meltzer, Thomas Mets, Fabrice Meuwissen, Dr Caleb Ng, Paul Nijar, Janice Oleandros, Stefan Pabst, Dr. Allison Patton, Ivan Pili, Luis Reyes, Danielle Richard, Cara Roth, Dr. Bernard Schissel, Pepe Serna, Diego Solis, Lisa Stocks, Peter Storen, Mohamed Taher, Jack Vettriano, Dr. Jack Wadsworth, Chris Walker, Dan Walker, Tom Weniger, Sharon Weiser, Harvey White, Robyn Williams, Helena Wierzbicki METANOIA MAGAZINE

MONTREAL Gene Vezina

Is a publication of Metanoia Concepts Inc. 3566 King George Blvd Surrey, B.C. V4P 1B5 Canada 604.538.8837




EXECUTIVE SUMMARY A beautiful mind is the penultimate fatal attraction. When artwork captures that moment of pensiveness that absorbs the observer into the mood, wanting to be there becomes an obsession. The artist herself then becomes a subject of interest because it takes an intuitive, insightful and consummate individual to have this kind of talent and ability to transfer a life episode to canvas. Danielle Richard is that artist. She captures the essence of her subjects, who are mainly women, preoccupied and focused on something other than the mundane. In this issue we have done something different. To preserve the integrity of the artist’s answers to our questions, we have printed them in both English and French, to allow her to express herself in both languages. You do the translation. We obviously believe in nepotism. In this issue, Salme Leis, our publisher, interviews her brother Nelson Leis, actor, director, writer and producer. Nelson Leis is a talented artist who has dedicated his life to the arts and as with all great artists, translates experience into meaning. Barbara A. Lane is an unusual artist. She observes patterns, beautiful elegant patterns that must be observed for long periods to appreciate the intricacies of her work. Shane Dean grew up in New York. He is a gifted actor and director who understands the violent nature of society and is doing something to combat it. In this issue Britany Snider interviews Shane Dean to reveal the inner turmoil of a man who is intent on changing the world through his art and personal dedication. And there is more. Much, much more.

Since the founding of Metanoia Magazine by three Naturopathic Doctors and the Leis family in 2008, we have produced over ninety issues. We have had over one thousand articles written, including interviews of over 100 actors, 100 artists, dozens of politicians, philosophers, psychologists, and experts in other fields. A majority of the writers have post-graduate degrees or have expertise or knowledge of a special nature.




APRIL 19-21, 2018







Danielle Richard

Below: Repère



ON A PERFECT WORK Imperfection is in some way essential to what we know of life, of our mortal state. It is a characteristic of life that we go through a state of progress and change. All things are literally better, lovelier, and more beloved for their imperfections. I have preferences in works of great painters, for instance: John Singer Sargent for many of his artworks but particularly, ''Carnation, Lily, Lily, Rose,'' for color harmonies, composition with repetition of forms like notes in music... Nature, childhood, innocence. A painting exempt of the literary and all the weightiness of classical painting that makes the painting and its beauty its main focus. Right: Rendez-vous

ON COMMERCE & THE ARTIST The basic struggle has always been between creating works that spring from the recesses of my imagination and my heart, or creating something that will find a buyer. My reality as a working artist is that both are necessary. My work must grow and expand to satisfy my own creative journey, without being disturbed by the idea of possibly alienating my potential customers. I try to move forward, knowing very well that any progress obtained should be followed by those who appreciate my work. Right: Quelque Part




First, I shield my mind in quiet isolation, entering a solitude of creativity. Then I try to block the forms of the composition, keeping in mind the expressions I wish to capture. Without being pretentious, I would like to know that when viewing my work, people would know they are looking at a skilled artist. My personal touches go into my work now as I feel a freedom to enjoy my own process of creation in a way that listens to my inner feelings and visions of women and their quests. Yes most of my work is about women, I wish to show a femininity that is reserved, quiet and calm. From my works, a question has often been asked: “Who is the artist, who is the subject?” If, as you write, I am able to paint such a nuanced portrait, it is probably because with each piece, I feel connected to my work. Once more, I wish an outsider would see in my offering, unassuming, yet powerful and touching paintings created passionately by a calm, reposed and serene artist. Put another way, the viewer can understand how as an artist, I perceive what I see, what I wish to render... a sense of tranquility, almost a dreamlike state. This probably comes with the passage of time, one’s many experiences as a woman, a mother, and a natural attraction to all terms of endearment. No expression of pensiveness and serenity in a work is possible without the above. And yes I do think that offering images of serenity is a balm, if a humble one, in a world of struggles and anxiety.


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Above: Ici à jamais Below: Brigitte sous l'arbre

Vos sujets ont-ils toujours été des femmes? J'ai abordé plusieurs sujets dont : le paysage, les intérieurs, la nature morte mais, j'ai rapidement compris que mon intérêt portait d'avantage sur les lieux habités par l'humain...C'était peut-être le désir de mieux pouvoir interagir avec cet espace. J'ai souvent choisi de peindre des femmes, elles sont pour moi, le support le plus approprié aux émotions que je souhaite traduire... Puis, il y a eu mes enfants qui , peu à peu, sont venus habiter mes images. Je proposais aux enfants de partir à ce que j'appelais : la chasse aux images!... On se promenait, à la recherche de ces chaudes lumières de fin de jour . Barques, canots et lacs ont été le theâtre de nombreux tableaux les mettant en scène. METANOIA MAGAZINE


Les lacs, le fleuve, ont presque toujours fait partie de mon environnement; l'eau a clairement été un élément marquant dans mon répertoire visuel... Calme, apaisante, avec tous ses jeux de lumière, ses reflets, ses mouvements... sa douceur, sa profondeur. "In many of her works, the water is used as a metaphor, an element that sets the figures apart from their surroundings that also seems to embrace and protect." R. Tremblay, Le Soleil, Quebec. How have you and your art evolved? Il est plutôt difficile de mettre des mots sur cet aspect de ma production. Je peux toutefois reconnaître que je remets constamment en question mon approche tant au niveau du fond que de la forme. Je crois que cela est sain. Pouvoir se situer par rapport aux mouvements artistiques contemporains, se savoir au bon endroit, authentique et vrai.

Dès mes débuts, j'ai choisi de m'exprimer dans un style qualifié de ''réaliste''... J'étais clairement à contrecourant de ce qui s'enseignait dans les écoles d'art. Heureusement, aujourd'hui, ce mouvement reprend peu sa place dans le monde des galeries et des collectionneurs d'art. De plus en plus d' écoles d'art se dédient à la transmission et à la pratique des techniques traditionnelles. Je ne prétends pas instaurer un nouveau langage, je traduis le réel tel que mon être le ressent et souhaite le transmettre. Mon but n'est pas de faire une narration ou de revendiquer ceci ou cela... Mon propos est plutôt poétique...un regard posé sur ces moments à la fois simples et pourtant magiques...ces moments que je voudrais retenir afin de les offrir à ceux qui y seraient sensibles... Mon message n'est pas clairement formulé d'avance, il se livre en douceur à mesure que l'oeuvre progresse...



Above: Visiteur Below: Jardin

We are most impressionable at an early age. The influences in our life are subtle and mysterious. Can you describe your childhood and the process that lead to your interest in art? Je suis née à Québec, ma famille comptait 5 enfants, j’étais la plus jeune. Mon enfance a été plutôt harmonieuse et encouragée à la créativité. Je me rappelle d’avoir souvent reçu des ensembles pour le dessin ou la peinture... j’en raffolais! Bricoler, dessiner, peindre, remplissaient mes moments libres... L’adolescence fut une période décisive alors que je recevais l’encouragement de mes professeurs à me diriger vers les arts visuels. La peinture représentait un monde où j’éprouvais du bonheur à réaliser que je pouvais opérer positivement sur me émotions et celles des autres... tout un monde qui m’invitait à poursuivre le partage de ce qui me touchait et que je souhaitais traduire... Below: Traversée

Above: Un jour en octobre

On ne peut soupçonner combien un événement aussi banal qu’une exposition de ‘’posters’’ de peintres impressionnistes dans un centre commercial, ou un simple tableau aperçu dans un magasin de souliers ont pu avoir un impact sur l’adolescente que j’étais... Et puis, j’ai voulu en savoir d’avantage sur ce qui pouvait tant m’interpeller... J’ai fait mes études en arts plastiques au Cegep puis j’ai complété un bac en Arts visuels à l’Université Laval à Québec.

Mes années d’études étaient alternées de voyages en Europe et aux Etats-Unis où je visitais les musées qui nourrissaient mon goût du beau et du touchant et me montraient le résultat de techniques artistiques abouties qu’on n’enseignait malheureusement plus, dans nos écoles d’art. Je découvrais progressivement les symbolistes, les pré-raphaélistes, les naturalistes etc. Certains peintres tel Klimt, Waterhouse, Sorolla, Sargent, Whyeth, Colville ont clairement été de ceux qui m’ont marquée . Je trouvais dans ces visites la justification à rester fidèle à ma vision, à demeurer authentique, et non à viser la conformité aux courants en vogue dans les écoles d’art ... J’étais en quelque sorte à contre-courant des tendances...J’ai persisté dans ce sens et je crois que ça m’a servie.

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Actor & Producer

AN INTERVIEW WITH NELSON LEIS A Canadian actor of film, television and stage, Nelson Leis began his acting during his youth spent in Vancouver, B.C.. His accolades include roles in works such as Hell on Wheels, Rogue, Arrow, When Calls the Heart, Lobby Hero, The Toyer, and Closer. Co-creator of the web series The Jim (2010), the series won acclaim for Outstanding Comedic Series at the 2011 L.A. Web Fest. Nelson is a founding member of ARTery Collective, a theatre company based in Vancouver, B.C.

It might not go unnoticed to the reader that we share the same last name. It says in your bio that you started acting in film, television and theatre in 2000. But I can remember being 6 and watching a play in which your character died and our mom had to explain that you were not in fact dead, just back stage, as I cried. So when is it you started acting? Hello sister! Nothing gets by you! You are right, my bio does say I started acting in 2000. That year represents not only when I booked my first professional television acting job (on the series Big Sound), but also when I doubled down and recommitted myself to acting. People often ask when or how I got into acting, and for me there are variations to that answer. I first became interested in acting around 10 years old, probably right around the time I met Michael J. Fox. As you know, we went to a lot of movies and I watched a lot of television, and the world of those people on the screen was absolutely mesmerizing to me. I remember going to movies and by the time I walked out of the theatre I was under a kind of intoxicating spell. But I really had no idea how to be part of that world, how to go from this kid in Vancouver to being on the screen. Not to mention, at that point the idea of performing in front of other people was still an intimidating prospect.

It wasn’t until the end of high school that I finally got on stage - which of course is where you saw me as Jean Valjean in Les Misérables, jumping to my death, which became indelibly etched in your six yearold mind! Another important chapter of my life was when I decided to study acting in New York at the American Academy of Dramatic Arts. Looking back, I see that the experience of living in New York City at 20 was the education that I actually yearned for. Theatre school was great, but being in NYC blew my mind! I was immersed in theatre, art, and a 'balls to the wall' city. However, by the late 90’s, before I’d barely begun, I stepped away from acting. At that point I’d had a couple gigs but really didn’t understand the cyclical nature of an acting career, that slower times are a certainty, and so I started to lose confidence. I meandered. I tried a couple other ‘career paths’, which ultimately were not where my passion was. That said, those paths explored and skills acquired during that time are a cherished part of me. They contribute to the artist that I am today, even if on the surface they may seem completely unrelated to acting. Okay so now we’ve come full circle to 2000, when I recommitted to acting and never looked back. METANOIA MAGAZINE


What fuelled your passion for acting? What later lead you into producing? There was always a drive to get better, and the need to overcome my fears. Fears of getting on stage, and eventually in front of the camera. And to this day that continues to be the motivation. Not so much fear - that’s not present anymore, but there are always butterflies, and there’s always a new challenge with every project. There’s always the question in my mind, “Can I serve this moment in the story; can I bring what I think is required?" There’s always something to learn, so I always have to be on my toes. I get off on that feeling of having to be hyper present in the job. I started producing because I wanted to act and I didn’t want to wait for someone to give me a job. That’s potentially one of the most challenging aspects of being an actor - being in wait for someone who deems us worthy to work. And that will continue to be part of the life, but I like to think it’s only one prong. And the other prong is all the self generated work. And often that’s where the truly fulfilling work emerges from. Your latest project is called Letters can you tell us a little about the plot and

Above: Nelson Leis on the set of Hell on Wheels

how you become part of producing and acting in the film?

Letters is a short film about a husband and wife who are disenchanted with their marriage, and on this particular day as they play their weekly game of Letters, we see the demise of the relationship. At it’s core it’s about lack of communication and blame between partners. I had worked with writer-director Michael Goyert years earlier when he was at film school. Fast forward 6 years and he sends me the script for Letters and asked if I’d like to be involved. Vanessa and I had a meeting with Mike and his co-writer and cinematographer Jeff Zwicker, and we were immediately impressed with them. They were very sharp and funny and probably most importantly, we could tell it would be a pleasure to work with them. Ultimately, short films are passion projects, so for me it’s only worth the involvement if I’m truly excited about the material and the collaborators. The ‘short’ is a magnified look at the part of a relationship that can get old and monotonous. The way we can start to hate what is in front of us. How did you connect with that darkness? The funny thing is, despite the darkness of the film, we all had a blast making this. There was a lot of laughter on set. A lot of shenanigans. In terms

of the tension and darkness, so much of that can be attributed to the editing. That’s not to be self deprecating about my contributions, but more so, I recognize that a lot of layers were required to create the tension. This was a very technical film in that ninety-nine percent of what Phil says is actually in his head and it was done through voice-over after we wrapped filming. So on the set, the director would be talking me through the beats as the camera was on a close-up of me. It was a new way to work which presented new challenges. Often on a film, you’ll have a full run of a scene with your fellow actor where you’re working off each other, listening and responding but this was a lot of stop and start, with Michael calling out, “Okay now we’ll cut to this moment in your imagination, so look over here.” It was like green screen work where a lot of the surroundings are added later. A favourite actor of ours Gary Oldman says: “A costume is so important for an actor. It absolutely helps to get into character; it's the closest thing to you, it touches you. Some actors like to go into make-up and then put their clothes on, but I like to dress first; that's my routine.” This role was quite a physical change for you. What does appearance do for how you connect to and play a role?



”There was always a drive to get better, and the need to overcome my fears... And to this day that continues to be the motivation. Not so much fear - that’s not present anymore, but there are always butterflies, and there’s always a new challenge with every project.” Oh absolutely - what Oldman says resonates. Whether I’m on stage or in front of the camera, there’s always a moment when I begin to understand the role, where I find the essence. I’ll be floundering for a bit, which I just take as part of the process, and then bam, there’s a moment where I have something to hold on to, something that gives me an entry

point. Often that moment is discovering the wardrobe, putting it on, walking in it. Wardrobe informs how you move, how you hold yourself. Other times I’ll find a piece of music, or an image that I can build on. I trust the process, I know that the ‘aha’ moment will come through some kind of stimuli. But it’s often a whisper, and never what I expect. The plot twist at the end definitely lent some levity to the film. The comedy is dark. When you play a role like this, are you aware of the comedic aspect in your performance? I was aware that there were moments of levity in the darkness. It’s what drew me to the script. When I read it, I could see the funny moments play out on screen. For instance the moment when we see Phil’s violent urges play out in his imagination and then we’re snapped back to reality. I laughed out loud a few times while reading the script. And I was aware of little contributions I could add that would hopefully heighten the physical comedy. For instance when I lunge across the table, I could see in my mind’s eye that it would be extra absurd if I had on slippers and wool socks. The moment happens so quickly, but in my mind, it’s one of those Easter eggs for the audience.

In real life you are in a relationship with Vanessa Walsh who plays “Gertrude”. Were there aspects of your own relationship that you used to inspire your characters? Vanessa and I being in a relationship was definitely something the crew got a good laugh out of - they would joke that we were working our shit out in front of the camera. But really, It wasn’t that much of a therapy session. Maybe just a little. In actuality we had a lot of fun. Vanessa and I enjoy working together. The great thing is that a film set is this place where people are throwing ideas out, wanting to be heard, and there’s a healthy tension at play. And that tension can be funnelled directly into a scene. In terms of our characters Vanessa is way warmer and less type A than Gerty…and I’m more type A than Phil! Recently you worked opposite Kevin Bacon in Story of a Girl, directed by his partner Kyra Sedgwick. Can you tell us a little bit about that experience and the parallel’s you might have in working with a partner? Being directed by Kyra Sedgwick is a highlight of my career. The special nature of that experience started from the first

Below: Tyler Burrows, Kevin Bacon, director Kyra Sedgwick, and Nelson Leis of the movie Story of a Girl



moment I met her. When I walked in to the audition room, she shook my hand which immediately created a different dynamic from the usual audition. She talked about the scene, and then we tried it a few ways, and it was like we were

jamming. She encouraged improvisation - whatever was needed make the scene fly. It was fabulous. I would attribute that collaborative spirit to the fact that she’s been working as an actor for 35 years. Oh, and at the end of the audition she gave

me a hug! I can tell you that’s the first hug I’ve got from a film director in the audition room. When we were on set that sense of improvisation continued. Kyra uses language that is obviously very actor friendly, and that is incredibly refreshing and exciting. It was not unlike some of my stage experiences in terms of the exploration. She encouraged me to throw a lot of colours against the canvas. It was liberating. Kevin was a power house! The scene that we share culminates with him and I getting into a nose to nose confrontation. When someone brings the commitment and energy that he did, your emboldened to match that. He was a great scene partner. Kyra and Kevin had a very respectful and supportive dynamic on set. It was a pleasure to witness. In terms of acting and directing, I think when you work with your partner, when things are at their best, you know each others rhythms and so you have a short hand which allows you to communicate your desired intention with just a few words. I remember when I read Napoleon Hill’s Think and Grow Rich, he wrote about the importance of creating a mastermind alliance with your spouse. That stuck with me. What I understand it to mean is that you can’t create the big vision of your life if your partner isn’t on board. There’s power in partnership. It’s sort of a ‘the whole is greater than the sum of its parts’ type of thing. A career path is always hard to plan as a creative person, because mostly you are trying to seize every opportunity that comes to you. If you look into your crystal ball, what things do you see for your future? What characters and stories would you most like portray? What other aspects if any of film and TV do you see yourself getting involved in?

Above: Story of a Girl with lead Ryann Shane and Tyler Burrows Below: At the Vancouver Cast and Crew screening of Letters


If I can continue to collaborate with top notch storytellers like I did on Story of a Girl, and keep producing my own projects, that’s the dream realized. I’ve played a lot of characters on the darker end of the human spectrum, which is always a lot of fun, but I’m looking forward to exploring other colours in the human condition. More comedy for instance. And I know those roles are coming. Aside from acting I’ll keep telling stories as a producer and writer, and of course the next inevitable journey for me is directing. I’ll let you know when I do. One of the greatest things about being an actor is that you can never know what role and collaborators are around the corner. And I like it that way. 18



Above: Midas Touch


Barbara A. Lane Barbara A Lane is an International Digital Artist, Graphic Designer, Brand Strategist and Entrepreneur. Growing up in Alabama then moving to the beautiful state of Colorado has given her the opportunity to experience the stunning beauty of landscape and wildlife. This has influenced her to have a diversity of style and especially creating designs of nature, wildlife, vintage, fantasy, fractals, fairy tale, surreal and a little whimsical too. She considers herself an Eclectic Digital Artist.

Having a mother who is an accomplished National Abstract Watercolor Artist has influenced her artwork and design style. There are also many more artists in her family, so it is only natural to share her affinity for all things artistic. Feeling a strong connection to the world of mandalas, kaleidoscopes, and fractals; as they all have an intriguing quality that can draw you in with a mesmerizing subtlety. Her art usually has a sacred circle connection that she hopes you find the symmetry of



the artistic images will bring you insight, reflection, and relaxation. With a vivid imagination, she has always been fascinated with the magic of kaleidoscopes and prisms giving off beautiful colors. Her focus currently is digital photo artistry that includes her fractals. Barbara’s technique is an ever- evolving process that allows for an expansion of higher awareness of the self. The circles and fractals you find within her artwork symbolizes the connection of our world because she believes..."We are all connected. We are all one."

Above: Plaid Mandala

Above: Deep Space

Above: Light Within

Above: Golden Beach Kaleidoscope Right: Colorful Metals Kaleidoscope METANOIA MAGAZINE


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“We are all connected. We are all one.” Above: Autumn Goddess



For more information, visit: or Above: Queen of Fractals Right: Golden Lotus Swirls Far Right: Cat Art-ificial Intelligence




Ivan Pili

Dreams of the unconscious Spiritual escapism

Existential meaning








What was it like growing up in New York? Very strict, but at the same time I would say liberal. I used to have to take the subway when I was 11 or 12 years old into the city to go to basketball practices by myself. I was always taught to be responsible, and to be able to take care of myself. I saw bad things, and you have to learn to get around them, because in New York everything goes. The energy in New York is like none other. You know what? It is one of the greatest places in the world, there's so many different people there, so many mixes, and we're honest. Very honest. So growing up there you were into sports? Yes, I was a basketball player, which is the biggest sport in New York. I ended going to college on a basketball scholarship. I played basketball mainly to get a free education through athletics. That was what was always preached to us early on. We were taught to get good grades, and that this whole path would lead us to eventually getting into a Division One school. How did you get involved in the arts? I always wanted to do it. That's been in my veins for a long time. A lot of people don’t know but the city that I'm from has a lot of famous musicians, actors, and athletes. It’s called Money Earning, Mount Vernon. Our most famous is Denzel Washington, he went to the same high school as me. I’m always proud to watch him on screen, and as far as music is concerned, Heavy D, he’s rapper, a great MC. He used to come to the (basketball) games, and stuff like that. I've always been around stardom, I guess, coming out of my city, whether it has been athletics, like I said, or music. Phylicia Rashad from The Cosby Show lives in Mount Vernon. So we have stars that come and live here as well. It's the first city outside of New York City, it's right next to the Bronx. Basically you can get the city life and not so city life all in one, because you're only 20 minutes from Manhattan. Sounds like the best of both worlds. Absolutely. I think I have a great foundation, a prideful foundation. I think that really pushed me. I was coached by one of Denzel's first acting coaches. He taught me the whole theater aspect of the acting process. He really armed me with what I needed to be successful.

You mentioned that you went to college, did you end up finishing school before you pursued acting? Yes, I graduated with a Bachelor's in Management, because I wanted to be able to do stuff for myself. Which is what I am doing now, outside of acting I'm also a producer, director and writer. That's actually what I'm known for before being an actor, people know that I've created my own projects. My last film I did, I produced, directed and co-starred. The main star I had in the film was Tom Sizemore from Saving Private Ryan and Black Hawk Down, who is a phenomenal actor. As well, Clifton Powell, who gives really strong performances. He played Jamie Foxx's manager in Ray. I’ve been able to work with some very talented people in the industry. And my background, having a Bachelor degree, that's what I'm respected for, is management. On the film I did had 65 actors to manage, not to mention everything else I had to do. That's a lot to handle. What was the best piece of advice your parents gave you? They always told me that the sky wasn't even the limit. If it's something that you were passionate about, that's something that you should pursue. And that's what I believe as well. If you can find an area that you actually love, it's not so much work anymore, and you look forward to putting in more work. I'm pretty much OCD when it comes to anything in the arts. I want to get it right all the time. Besides being involved in acting and directing, you also do some humanitarian work. I saw that you're involved with Stop the Violence, Save Our Future, which helps combat gun violence in the US. Yes. Stop the Violence, Save Our Future project was something that came about with my management. There's a lot of places in the United States that have problems, but there's one place in particular, and that's Chicago. There’s so much going on there, and people are not talking about it enough. We're helping out a lot of different places outside of the states, but this place where children are dying, is in the USA. It's an epidemic. They've adopted the nickname 'ChiRaq'. This is just one part of Chicago, 'cause Chicago's a big city. You can go to other places in other parts of Chicago, and you wouldn't even think that much violence was going on, but in the south side of Chicago? Whoa. And what touched METANOIA MAGAZINE


me was when I found out a six year old girl got hit by a stray bullet and died out there on the street. When that happened, I was like, "Wow, this is something." It's one thing to have the gang stuff going on. That's between those people. That's bad too, but when that's spilling over onto people that have nothing to do with that world, somebody needs to do something. I'm looking to put efforts in with that through real estate. I'm working on a reality show right now, called Flippin’ The Hood. It's rehabbing homes in the city of Chicago, but we're starting in the south side of Chicago. We're putting gang members to work, and trying to rebuild the community and make it worth more. We target guys that are potentially about to join gangs to step in and help. They learn responsibility and teamwork. My ultimate goal is to tap into the leaders of these gangs. They're doing bad things, but to run anything I think you have to have a unique mind, regardless if it's for good or bad. If those guys could somehow be turned around, then we're winning. But we're starting with the youth, because that's the next generation and one of them could be the next leader. So preventative measures then? Yeah, exactly. Gun violence and violence in general is so prevalent in the US and in other places, what do you think is going change that? Well, I think that people need to be more understanding and not so judgemental. I say that, because being from New York, I've seen a lot of different things there, but for the most part in my brain I was either around blacks or whites. But leaving and going to other places like Canada, Vancouver in particular, you get opened up to so many different things. Right now we're having a problem with police brutality in the United States. I've been through it personally. I've been through it on a number of occasions, and I'm not that kind of person. But you can get typecasted like that. When I first came to Canada I was blown away by how the police were treating me up here. I was like, "Really?" It was like they really were there for my benefit, and not for any type of ulterior motive. Not to say that cops are bad in the United States because there's a lot of good ones, but there are a lot of bad ones as well. I think that approach needs to be taken with the entire world. You learn new things through new experiences. Don't just have a conversation with someone about Malcolm X and Martin Luther King,

like the differences b e t w e e n those two, 'cause Martin was more of a, "Let's spread love." And it was brought to me that Malcolm was total opposite. Segregation and all this stuff. Now it's like, you know what, you're right, but at the same time you're wrong. Because right before he passed he took a journey to Mecca where he first saw white Muslims. His mind got expanded and opened to new things, and he came back to America to spread that and not everybody took that well, which is why it ended up being the way it was. He was ahead of his time. I think that's more the approach, 'cause there's so many different people out here, and they're all beautiful. We're all the same. We all have the same powers, it's just how we use them. You're also involved, or rather you're the Water Ambassador to Ghana and to co-found the Thirst For Water campaign. What's that like being involved and seeing issues firsthand? Another touchy situation. In Ghana, and other places as well, 'cause you gotta start somewhere. In Ghana, in particular, they are walking one way three and a half miles to carry water in buckets on the top of their head that is not even clean water. It's dirty. Well over 65% of the deaths and diseases that are caused is from the water. I can not... Water? And we over here dump it. We take it for granted. It's something as simple as that can change lives. You know what I mean? Very touchy situation, and again issue affecting youths always touches me. When I see the kids, and they're taking water, and they're in line with the buckets on their heads. I'm like, man, they really working hard and killing themselves basically. In a nutshell. We are arranging a system of bore holes, where you have to dig and actually put a system in quickly, water. So they don't have to take these long journeys anymore.

Basically t h a t ' s what we're doing. Have you been successful in doing that? Very successful so far, as far as putting together the funding. That's what we're doing right now, and then meeting with the consulate in New York that deals with Ghana. So I don't even have to go over there, just go there in New York and talk to them. And I have my liaisons in Ghana as well. Because then we have the Ebola crisis as well. That was something that slowed me down from actually physically going over to Ghana But the plan is still in play. We just want that part to ease down a little bit, especially for me. I don't need that kind of thing. We're gonna start with one village. We haven't picked which one yet. We're gonna do that soon, but my thing is I want to be able to do about four to five bore holes at one time instead of one. I really want to put an impact on that, and it's gonna happen. It's definitely gonna happen, 'cause everything that I've put my mind to I always complete it. METANOIA MAGAZINE


Sounds like it. Yeah, absolutely. That's what it's about. It's about achievement for sure. Where do you think your determination comes from? From your family, or have you just picked it up along the way? I'm gonna say circumstances that I have dealt with in my life brought it out. I didn't know I had it, but I found that if you didn't wake up a sleeping dog, you weren’t going to get much from me. So if you presented me with a challenge, that

was what kept me going. In basketball, I have had my best games against the best competition. No, I'm not gonna let nobody share the ball, and then you know, I let everybody else go. All that kind of thing. I was that kind of a player. But when it was needed, and the challenge was there, that was the height of everything for me. That's something you only find out through real life circumstance. If you can recognize it and apply it to other things in your life, it's golden. And that's what it is for me. Everything is a challenge. I had no idea

I'd be a Water Ambassador of Ghana, but I think it was something that my management put together for me. I went and met with the consulate in New York and it was like, "Really? Am I sitting in this office right now with these people?" And I was. We hit it off, and the energy was great. That's a totally different culture, the language I don't know any of it, but at the same time it was a common understanding. I swear, emotionally, spiritually, mentally, it was as if I was born there or something. It was weird how that connection happened but it was a beautiful thing. METANOIA MAGAZINE


What is next for you? What's not next for you, is the question, I guess. It's a lot going on right now. I just got off a recurring guest starring role that I'm just finishing up right now. I'm working with a Oscar and Emmy winner. Her name is Allie Light. I'm starring in a short that she's looking to end the live action short. I'm playing a homeless, Iraq war vet with PTSD. That has been the consumption of my time. Blown away how that project came to me, but I feel very blessed that it did. It's called Any Wednesday. Allie Light, as I said, she's won an Oscar and

an Emmy, and she's wrote this script, and she's co-directing it with a Vancouver writer Patrick Stark. Anyway, the story follows a 81 year old woman name Agnus with dementia, and myself as a 25 year old war veteran, homeless, with PTSD. She is struggling to remember, I'm struggling to forget. The story starts off with her going to a choir rehearsal alone, and she leaves her husband and son back home, but she loses her train of thought after the rehearsal. Finds out her tire's flat and me, the homeless guy, offers to fix it. I get money from her, and then I ask her for a ride. And then we take off into this journey. She's totally not getting back home like she should be. She goes through her issues, and I'm going through mine. It's a sweet story, because it's coming from two total different worlds. She's shedding light on me, and I'm shedding light on her. The title is about my character picking a Wednesday to actually commit suicide, which 18 to 22 vets are doing every day currently. The script takes place in Austin, Texas. Somehow it found its way up here. And found you. Yes. And found me. I'm still kind of coming down from it. I still am. That's the most important story I've been involved in, and the fact that I'm majorly a part of telling it, I feel a major responsibility to all the people that are going through this. Mental health is a huge issue in our society. Yes, very much so. It was very intense preparing for the role. I watched countless hours of PTSD videos, of real guys that are suffering, and hear their stories. Very, very helpful and fruitful information. I didn't know the actual effects of it. I mean, I knew it could be heavy. You can only empathize as much as you can, but to actually hear it from the guy's mouth is just wow. I also have recurring guest star on Amazon's The Man In The High Castle, Season 3. I play George 'Mingus' Jones, Leader of the Black Chinese Resistance. It is expected to premiere early 2018. As for the short, Any Wednesday with the Oscar winner, Allie Light, we are looking to premier at Sundance and the major festival circuit but we won't know about Sundance until December. Fingers crossed there. It will have a Los Angeles and New York theatre run as it is required to be considered for an Academy nomination. Wow, that’s great! Good luck with everything Shane! Thank you. METANOIA MAGAZINE


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The Congo River


The Zaire River, more recently known as the Congo River, represents geographically and figuratively the division in the mindset that allowed humans to evolve. It alone is the single most important contributor to everything, we as humans are today. It represents the darkness and the light, both needed, to emancipate human kind, from the bondage to the limits of its past animal instincts, to the contemplative proactive primate that contributes to its manifest destiny. The Zaire River is what separates the conscious from the unconscious. It is the physical barrier that prevents one from contacting the other. It is the Zaire River that makes us strangers to ourselves - as if one could exist without the other. The length and breadth of this divide, once a dry riverbed, prevented the inhabitants of one side in making contact with the other. When the waters came rushing back, the separation of families, over time brought about new species, each dependent for survival on the riches that were found on their side of the river. More than 100,000 years ago, there was a surge in the power of the Chimpanzees partly as a result of their protein diet and their propensity to seek adventure to maintain it. Their increase in brain size facilitated their use of aggression to secure food and dominate their enemies. Their cousins, The Bonobo, were well fed with the abundance of plant life-settled disputes by making love-not war. Sex, rather than murder became their solution to resolving conflict.

Hank Leis is author of The Leadership Phenomenon: A Multidimensional Model

PANACHE, POLITICS AND PARTIES Jim Pattison Indy Panchi Andrew Scheer Dr. Allison Patton






Turkish Provocation and Cyprus REVOLUTION OF THE MIND SERIES

I have been listening carefully to public interviews and statements given by the presidential candidates and I am not convinced that after the elections the country will leap forward to a more stable future or to enjoy a socially conscientious government as promised by those contestants aspiring for the top chair! Generally, politicians in Cyprus have not performed well and there is no indication they will do better next time around. Why should they? The cultural and political system works perfectly well for them; it’s not what one knows but whom he/she knows! Meritocracy in the system is a rare commodity indeed! With the exception of the nationalist candidate, all the other hopefuls are a product of the same political mould and rose to power within the system and remain so as an integral part of the Cyprus politicocracy (Kommatokratia). They are campaigning for votes by sharing the same superficial rhetoric to attract swing voters, who would help them gain an edge over their competitors. People are aware that it’s wishful thinking to expect changes from the current political elite mentality. Choosing a new president will certainly not alter the existing ethos but would instead intensify the political power of the status quo. Electing a dynamic leader with statesmanship, charisma, and a vision to propel the nation to greater heights would be a miracle for Cyprus and miracles rarely happen in real life! However, no matter what happens at the polls a President will ultimately be elected! Come Election Day, voters will rush out to execute their civic duty and cast a ballot for the leader of their own

choosing on the misconception that ballot casting is what democracy is all about; cast a vote and hope for the best! Greeks do not choose on policies when voting but like drones, they blindly follow political party dogmatism! Ironically only a rare few would question the system itself; an institutional and corrupt political system that in the past ten years has bankrupted Cyprus and brought ruin to a wonderful island. Today however, the Republic faces a greater risk under the proposed Bi-Zonal, Bi-Communal Federation (BBF) and be partitioned. The island is about to become yet another test case for the UN and EU; just like Troika’s bail-in did to the economy! The BBF issue is very high on the electioneering campaign but none of the politicians and candidates offer – except for pies in the sky – real clarity on how to deal with the issue. Actually, the political system on the island has always produced secondrate politicians that dare not stand up to be counted and do the right thing. In fact, they shamefully voted with the Anastasiades government for the bail-in robbery on stealing people’s pensions, cropping worker’s wages, and raiding people’s bank accounts in order to save a corrupt banking system. That’s the kind of calibre of leadership Cyprus produces; spineless politicians that quickly forget the people and the reason that put them in office in the first place! To this very day, the government feels no remorse or shame for approving Troika’s 2013 banking criminality and the President campaigns for re-election. His government’s thievery has triggered an economic collapse, personal bankruptcies and a suicide rate never seen before on the METANOIA MAGAZINE


island. Five years on and fully protected by the establishment, those same banks are now planning a new and more radical onslaught against the most vulnerable sector in society; repossession of homes in the name of institutional profit and greed! Without a shred of social responsibility, bank-repossession orders are expected to start soon after the 2018 elections. For the first time ever in the history of Cyprus, homeowners in financial difficulties (mostly triggered by the bailin catastrophe) will forcibly be thrown out onto the streets and become homeless statistics. Actually, the selling of toxic loans to third parties has already begun and repossessions are not far behind. With the government’s approval, Hellenic Bank has just unloaded 145-million property package to a Norwegian hedge fund at less than 40% of their actual face value some believed to be much, much lower than that! Why borrowers and property owners were not offered the same opportunity or the right of first refusal before dumping their home-loans onto loan sharks remains a well-kept secret! Contrary to pre-election spin, citizens are not stupid and the outcome of such a move is quite obvious to everyone- a social chaos! Now that the banks have been given the green light by Parliament to dump toxic loans on the international market for quick cash, nothing stops them selling home mortgages! This move will open up the floodgates of social disobedience and possibly outright revolt to protect the rights of the people. The voters for sure, will not forget the government’s bail-in

and its staunch support of the banking system. No matter what happens at the polls the country demands a government and the electorate are truly faced with a dilemma; to choose a President straight from one frying pan and into another! Traditionally, entire families of Cypriots vote on party-dogmatism and the same is expected this month but with one difference: there are thousands of disenfranchised citizens and they will punish the system at the polls – a weak government is anticipated as a way to clip the wings of the major parties and force politicians start to support the people and not a failed political system. Politics on the island have always being considered failed/faked politics but especially this year. Vast amounts of money are spent on sleek campaigns to 'convince' the public to go out and vote. All parties fear that the electorate will choose to abstain and for certain would destabilize the traditional dogmatic voting pattern. That will send a severe message and devastating blow and to all the political parties that the people control the government and not the other way round.

It is estimated that more than 35% of voters will choose to disassociate themselves from a political system that manipulates their vote in the name political-party expediency. Out of 40,000 new young eligible voters last month, more than 30,000 decided NOT to register. This paints a grim picture of things to come in the life of politics in a pseudo-democracy; one that aims to accommodate the elite and a banking system but chooses to ignore and protect the ordinary citizen at large.

Andreas C Chrysafis Was born at Ayios Ambrosios, Kerynia, Cyprus. He studied and lived in the UK and Vancouver, Canada for most of his life where he practiced his profession as an architectural designer. He is a prolific writer of books, press articles including The Vanishing Cyprus Series and the Revolution of the Mind Series both published worldwide. Today, he lives between London and Cyprus devoting most of his time writing and painting works of art.

In the final end the country has to have a government to govern the nation. Good or bad that’s the system of today and people have to make a choice: go out and vote for a party of a lesser evil; abstain or cast a white/blank vote and reduce the power base of all the political parties so they start to pay attention of people’s needs and not be ignored after the elections. Ultimately, the final word rests with the electorate and on January 28, they will decide who is going to manipulate their vote less than the other!





Former B.C. Minister of State for ActNow B.C., Gordon Hogg was a Member of the British Columbia Legislative Assembly for the Liberal Party. A psychologist, he was a Regional Director in the province’s Corrections Service prior to his election in 1997. Currently, Dr. Hogg is representing the South Surrey- White Rock riding as a Member of Parliament in the House of Commons of Canada. ActNow B.C. is a government initiative that crosses departmental lines to promote healthy living.

Now for something completely different. I was recently approached by a constituent who asked me how I could possibly be so stupid as to have supported a particular piece of legislation.

can often be blind to the obvious, and secondly, that we are often blind to our own blindness. It seems that we don’t see the obvious and that we can’t see that we don’t see it.

Well, I’ve been looking for an answer to that question. It does seems that there are times when people just don’t agree with me. I get challenged and criticized. I know that those criticisms are sometimes unfounded and sometimes unfair, but perhaps sometimes I am, as my constituent suggested, stupid.

I think the researchers are saying that when we don’t see the obvious but have it pointed out to us, we may see it and still deny its existence. They are suggesting that we may be stuck in a kind of cognitive illusion of denial. They are similarly suggesting - in a mirror image of the familiar optical illusion of an oasis in the desert, where the parched wanderer craves water and sees it, but it’s not there that politicos crave answers and can’t see them, but they are there.

A Canadian researcher and Yale professor named Philip Tetlock may have found an answer. He asked what it is about politics that can make people seem so dumb. His research answered the question by the finding that politicians, and the populace generally, are susceptible to occasional bouts of ideologically induced insanity and that defections from those ideological beliefs are a rarity. Two other researchers have also tried to answer this very important question. Their research discovered, two important insights into how our minds work. However, to my knowledge, no one in this Legislature was a subject to any of their studies. They concluded, firstly, that we



This research seems to be of questionable value. It tells us that some people find it impossible, due to their cultural or group belief systems, to be open to other options. But knowing that doesn’t seem to be of much value. As for that constituent who asked me how I could possibly be so stupid, I answered him by saying: “For me, it was really very easy. I just had to be myself.’’ That seemed quite acceptable to him.


Missives MIND YOUR OWN BUSINESS “And never mind that much of today’s opioid ‘crisis’ is an artifact of government restrictions.”

DONALD J BOUDREAUX Professor of Economics and Martha and Nelson Getchell Chair for the Study of Free Market Capitalism at the Mercatus Center George Mason University Fairfax, VA 22030

Mr. Larry D: You ask, in effect, if I believe that the state is justified in using force to prevent people from selling and buying opioids, and using opioids to get high. My answer is no. I fully endorse Milton Friedman’s summary of this issue: “I don’t think the state has any more right to tell me what to put in my mouth then it has to tell me what can come out of my mouth. Those two are essentially the same thing - and they both are essential elements of freedom.”* A ‘social’ problem far worse than drug abuse is power abuse - which is heavily fueled by the notion that it’s okay to butt into each other’s personal affairs if we do so through the agency of the state. But I emphatically reject the notion that using the agency of the state transforms

otherwise unjust actions into just - or even acceptable - actions. If my neighbor were ruining his life and undermining his family’s happiness by abusing alcohol, I would do my best peacefully to persuade him to mend his ways. But were I to use coercion to prevent him from using alcohol, I would step way out of bounds. I would become a criminal. Ultimately, his life is his business; it’s not mine. Ditto if my neighbor were ruining his life and undermining his family’s happiness by, say, gambling, by philandering, or by overeating. In none of these circumstances is it my or anyone else’s business, besides that of his family, how my neighbor conducts his life. You would, I’m sure, regard me to be unambiguously in the wrong if, to stop my neighbor from overeating, I



coerced him and his grocers into cages. The ethics of the situation are unchanged if I and other of my neighbors vote to hire a gang of armed thugs whom we call “the government” to coerce my neighbor into eating less. Such coercion against a peaceful person remains wrong. And the ethics of the situation are also unchanged if my neighbor’s chosen method of self-destruction is opioid abuse rather than any one of the countless other methods available for self-destruction. An adult’s life belongs to him and her; it does not belong to you, to me, to the state, or to any collective.


The Dan Walker Chronicles CAMAGÜEY TO PILON


Is an adventurer, a businessman, and raconteur. He has visited every country in the world. His trusty Rolls Royce has taken him across many continents. He includes his grandchildren in some of his travels allowing them to select the destination. Originally, he hails from Victoria, British Columbia, but now resides in Costa Rica. We are pleased to present the Dan Walker Chronicles.

Below: Plaza de la Revolution

After a huge breakfast we got the car out to find the bicycle fellow who guided us into town waiting to guide us out - he must have liked the tip. He pointed out that the right front tire needed air. The attendant at the service station’s air hose checked the pressure and charged to put in air. There was a serious hustle to get us to take off the tire and check it for leaks, but we ignored it. A common mode of transport is the horse drawn bus. These are roofed carriages with side curtains and benches down each side. As many people as can crowd into the interior, while the rest hang on the outside. They run frequently, both inside the city and on the highway, adding to the list of hazards to dodge, We did a driving tour of Las Tunas about 120 km from Camagüey, which seemed a pleasant place, with a smaller historic centre. Another hour of driving saw us in Bayamo, another small historic town credited with being the foundation of Cuban independence and the place the national anthem was first sung. We tried to drive to the Central Plaza, but all entrances are blocked, so I left Marilynn with the car and walked to the main hotel on Plaza de la Revolution. It was pre-booked by group tours, but the lady at reception phoned someone with a guest house who was there in minutes. It wasn’t up to the standards of last night, but was clean and had all the necessary conveniences such as air conditioning, a fridge, private bathroom etc. This is basic with guest houses, and has cut our accommodation cost by two thirds, a good thing as our credit cards cannot be used in Cuba. Once settled in we walked around town, including several blocks on a pedestrian street lined with well staffed shops with



very little to sell. We had four croquettes at a speciality restaurant where we were the only clients but there was a staff of 5. We have yet to find a convenience store or supermarket, however we are told that produce, meat and so on are purchased at open markets outside the city. We found a place called a mini-super, but it had only candy, cookies and drinks. Marilynn was delighted to find the only Diet Coke of the trip. The manager, who spoke some English from his tourism training, was kind enough to hang onto our purchases while we visited the Centro Cultural Beatles. It took a number of requests for directions before we found the life sized statues of the four Beatles in front. It was closed, but we chatted with people in front while taking photos. Once they got to know us a little we found out that they are the band. They were headed in for a rehearsal, so invited us along. Chairs were set up in the shade in front of the band and we were given us a private concert. They were fabulous musicians; very versatile in their music. We found that they too were on government salary. After saying a fond farewell and receiving invitations to their Saturday night concert, we picked up our purchases and walked back to the room for a rest before having a really delicious beef dinner at the nearby Bodega Restaurant. It fronts on the square and overlooks a river in the back. After dinner we stopped at a couple of bars before going to the Casa de Trova, where they play traditional Cuban music. Unfortunately, before they got going the power went out in the area, so we walked back to the plaza for a couple of more drinks. When it became evident that the power wasn’t coming back on we headed home for an earlier night than planned.

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After the wonderful experience and opportunity to be on the Musical Ride, I was ecstatic to be returning to real police work. It was what I wanted to do and what I enjoyed the most. I reported to Kamloops Sub-Division Headquarters in mid-November and was told I was being assigned to Vernon Detachment on temporary duty. After that I was to move to Salmon Arm Detachment on December 1st. I didn’t mind the short temporary duty as it gave me the opportunity to reacquaint myself with general policing working on the town detail before moving to my permanent posting. After the first week, I was called in by Staff Sergeant F.J. Regan, I/C Vernon Detachment and told I was to go down to Vancouver and pick up one Russell Spears who was being held in Oakalla Prison and bring him back to Vernon. He was to appear in Court during the Fall Assizes. I believe he was facing charges of sexual molestation. The following day, I was driven to the Penticton airport and flew to Vancouver. There, I checked into the Georgia Hotel at Georgia and Howe in downtown Vancouver and confirmed with staff at the Oakalla Prison that Spears would be released for escort to Vernon in the morning. I had reservations on a flight back to Penticton the following morning. First thing in the morning, I proceeded to Oakalla Prison where Spears had been readied for me to pick up. Following the usual administrative procedures he was brought out and handcuffed. We departed in a police van for the airport. It was a typical cold November day, low overcast, rainy and miserable. I did not like the idea of flying in such conditions. Spears began complaining well before we even got near the aircraft. He did not want or like to fly. The aircraft was a small twin-engine propeller driven aircraft, a Convair I believe, that could accommodate between 40 to 50 passengers. The interior was like a bus; the overhead racks only had a cord along the outer edge to keep things in. No

heavy baggage was to go up there, only coats and the like. Taking off at about 9 a.m. was no problem. The flight was to take about an hour and fifteen minutes. However, as we climbed to altitude it was apparent that it was going to be a much more difficult flight than expected. It became very rough and altitude did not save us from the stormy weather. We could not get above it. As we bounced all over the sky, coats, blankets and light articles fell from the overhead luggage rack. The engines roared as the pilots tried everything to maintain control. Visibility was very limited and the wingtips frequently vanished into the fog. By this time, Spears was sick, and almost crying due to the violent movement of the aircraft. As the flight got worse, so did his airsickness. Fortunately, with my assistance he was able to keep all of his discharge in the airsickness bags, although I am sure the smell contributed to others on the flight being sick as well. Somehow, I was able to maintain my well-being, although it was difficult. Finally, we were over Penticton and everyone on board was looking forward to getting back on the ground. By this time, for many, facial colour had changed to a deathly grey green; sunken eyes looked heavily out of the windows in search of the first glimpse of ground which remained hidden in cloud, fog and rain. Silent prayer for a quick and safe landing filled our thoughts. With each breath, our nostrils reluctantly accepted the foul odour that had filled the cabin. “Get me out of here” was the only criteria which made sense. We wanted out of this flying tube that had been bouncing around like a cork in a rough sea for the past hour and a half. After several attempts, and to our extreme disappointment on each pass, the pilots finally concluded it would be impossible to land. The only alternative was to return to Vancouver, taking the METANOIA MAGAZINE


same roller coaster ride all the way back. Some three hours after our departure we landed back in Vancouver. By this time, almost everyone on the flight was ill or very close to it. Weak and trembling, all were exceptionally thankful to be back on the ground. We left the aircraft on the tarmac and walked through the rain and cold November wind, to the terminal. It actually felt good. Through the airport RCMP detachment, I was able to make arrangements for Spears to be taken to the Vancouver City Police cells and held there while I made other arrangements to get back to Vernon. Spears said he would not fly again and I knew it was not an option to force him onto an aircraft against his will. Subsequently, I learned there was a train leaving at 5 p.m. from Vancouver Central Station which would get us to Kamloops. I knew I could get a police vehicle from Vernon to pick us up. The arrangements were made and I just had time to grab a bite to eat before I had to pick up Spears again. He had been fed in the cells so I did not have to worry about him.

Leonard N. Giles joined the Royal Canadian Mounted Police (RCMP) in 1960. When the Canadian Security Intelligence Service was proclaimed in 1984, he crossed over after twenty years in counterespionage. In his career, Giles had assignments in the United States, Japan, Singapore, Thailand, India, Macau and the Philippines, retiring in 1991.


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Metanoia Spring 2018  

Since the founding of Metanoia Magazine by three Naturopathic Doctors and the Leis family in 2008, we have produced over ninety issues. We h...

Metanoia Spring 2018  

Since the founding of Metanoia Magazine by three Naturopathic Doctors and the Leis family in 2008, we have produced over ninety issues. We h...