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ayearofpike · 6 years

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The Grave

Pocket Books, 1999 194 pages, 16 chapters + epilogue ISBN 0-671-55077-2 LOC: CPB Box no. 1856 vol. 22 OCLC: 42262026 Released September 1, 1999 (per B&N)

Keri Weir has a rough life: her boyfriend bores her, her sister is dead of cancer, her dad has abandoned her to start a new family, her mom is addicted to cocaine and is slowly selling everything they own to get a new fix. That doesn’t mean, though, that she wants it to end. But when she meets a mysterious man at her workplace, and feels inexplicably drawn to him, that’s what happens. But the end itself is a new beginning, one that threatens to never end.

And so we come to the end of Christopher Pike’s output under the imprint of Archway Paperbacks, a solid 11-year run whose end was inevitable thanks to the increasing stature and importance of teen and YA literature. If you weren’t there, it’s really hard to understand what the climate was like, how books for young people were seen as less — less important, less prestigious, less work to read and write. Likewise, it’s kind of hard to overstate the importance of Harry Potter, what it did for not just the readers it aimed at but the whole genre of juvenile literature. Prisoner of Azkaban came out one week after this book in the US, which I remember as being the flash point for interest in the boy wizard over here. After that, nobody was going to underestimate the selling power of a kid’s book, and nobody was going to accept an underdeveloped story that stood alone and didn’t (or couldn’t) promise resolution over a series.

It seems like Pike saw the writing on the wall here. He’s talked a little bit about the market changing around him and not being able to catch it. We saw a lot of the crap we were pushed fall off around the same time; a whole bunch of the series I’d mentioned before became too fluffy or lightweight for the new generation of teen book-purchasers. Longer stories became de rigueur, as publishers saw the willingness of kids to push through four hundred pages of the third story out of seven in order to find out how that poor kid with the lightning scar was going to figure himself out and avenge his parents.

It’s not like Pike didn’t have the chops to write a longer book; his four adult novels illustrate how he can dive in more depth into a concept and really flesh it out. (OK, two of them do.) And it’s not like he didn’t have material to expand upon and really explain — if anything, I feel like I’ve been complaining that he doesn’t unpack ENOUGH here at the end. And maybe that’s the real problem. Christopher Pike rose to fame in a climate where it was OK and expected to not give up all your information and secrets, to not explore a thread that didn’t speak to a highly-focused theme, and above all else to keep your page count down. Adapting to the new model of kidlit would take him some time.

This book is no exception. It starts with a strong and promising presence, reaches a conflict point that explains and engages, and then ... just sorta falls off with no real resolution, or at least not a satisfying one, maybe with a mandate to get out of the book before page 200. It opens another door right at the end, one that would have been OK to leave hanging ten years before maybe, but which now is unsatisfying and frustrating to readers who are expecting to know where that door leads. And maybe there are some other problems with construction, but let’s get into the recap before we talk too much about that.

We start not with Keri, but with Ted Lovett, a college freshman who has fallen for a young woman at HIS work site. She is mysteriously charming and bewitching, and when Ted asks to see her again she promises to call. And she does, holy crap. But her calls are scattered and sporadic, and even though Ted isn’t sure whether he wants this kind of a relationship he finds he can’t stay away. The last call leads to a hike into the forest, where suddenly he is beset on all sides by monstrously strong humans and buried alive in what appears to be a Satanic ritual. He feels a prick in the back, pleads with a morose but determined beauty, and then smothers in a shallow grave.

Keri doesn’t know any of this. She doesn’t know Ted, even. All she knows is she’s stuck in a dead-end with no way to turn around or back out of it. That is, until she meets Oscar, a sensitive and quiet man who has some undefinable quality that draws her to him. He’s certainly a lot more interesting than her doofy boyfriend, who comes across as the worst kind of clingy shithead. We understand this through his behavior as much as we do because Keri wants to shake free of him. It helps that the next night after work she sees Oscar again and asks to go to his apartment to see his paintings. Like, leading up to much? Of course they have sex, and of course Keri’s boyfriend is waiting outside her apartment when she gets home, and of course he’s all whiny and shitty about it.

But then they find Keri’s mom inside, barely breathing after an overdose, and they rush her to the hospital. Once in the waiting room, Keri passes out from the exhaustion of not only having to take care of her addict mother but also from doin’ it all night. She has a dream about a beautiful garden full of happy people, and of journeying from it to a cave full of smoke, where a figure shrouded in shadow asks if he should come. This part was super confusing, because it’s literally a page of one-sentence back-and-forth unattributed quotes, and you almost have to mark it with a pencil to keep track of who’s saying what. But ultimately Keri says yes, and then immediately wakes from her dream to learn that her mother is stable and her relationship is over. Well, OK, she and the now-ex talk about it and agree that they need to be done. Which she should have said before, considering how long she’s felt that way, but I get it. (I’ve had my own relationships that dragged on longer than they should have out of obligation, on both our parts.)

So obviously Keri isn’t going to work today, but she does arrange to meet Oscar for a late dinner and maybe some more shpdoinkling. On her way to the car, though, she’s suddenly waylaid by a strong person who chloroforms her and drags her off. She’s aware enough to realize when she gets shot with a syringe in the butt, and fully awake by the time she’s carried from the vehicle she’s in and deposited in a grocery store freezer. She manages to break her bonds, but there’s no fail-safe to escape the freezer — even Pike’s favorite emergency ax has been removed from its hooks. So she feels her body freeze, go numb, and then inexplicably feel warmer as she blacks out for the last time.

And now she’s in her sister’s bedroom, back in the before times, when Sis was alive and Dad was around and Mom was coherent. This part is one of the times when I wish we’d gotten more. We learn that Keri has more or less completely blocked out any memory of her sister’s death, and won’t talk about it to anyone. Her sister tells her that she needs to come to grips with reality, that her death has led to so many of the problems and if Keri will just understand and accept this tragic end it could help her. Only maybe not now, because she’s in a weird place where she’s neither dead nor alive and is going to have to face the coming of the shadowed person. And then Keri wakes up, and we almost never talk about her sister again. Like, what was the purpose of this dream sequence? We just needed someone dead who could explain it to her? Shouldn’t the sister play a bigger part in post-death? I was dissatisfied, much like with the mom, who we’ll get back to.

But yeah, Keri wakes up, and she knows it’s cold but it doesn’t bother her, and she knows it’s dark but she can still see quite well (except suddenly without color), and she knows she’s locked in a freezer but a couple of stiff kicks get her out the door. She also knows she’s hungry, and she eats more food than she would have even been able to look at before she went in the freezer. What’s most disconcerting to her, maybe, is the fact that she doesn’t really FEEL anything about these changes. She accepts that she’s changed, that she should have died and didn’t and is now insatiable and powerful, but she’s not bothered by that — which is the thing that bothers her most.

She leaves the market and, after a run-in with a gang where she totally ruins the leader by kneeing him in the crotch up to his sternum, starts to go to Oscar’s house. Only, wait: Oscar was the only person who could have known she was leaving her place when she did, and he exhibits some of the same things she’s feeling now (colorblind, need to eat, unexpected strength). So maybe don’t seek out the person who made some weird manipulation that cheated your death, but then tried to kill you. Instead she goes home and calls her ex and talks about her concerns about Oscar, staying vague but still ominous and foreboding. She can’t sleep anymore either, so she basically eats all night and into the morning before she goes to see her mom. Mom notices a frightened, frail stance that Keri is taking (trust an addict, I guess), but she also wants to talk about a dream she had where they were all watching Sis pack for some kind of a trip. Keri apologizes for her distance, but then she leaves again right away, after determining that Mom can get home safely after being discharged. And this is the last time we see Mom too. Which I’m kinda OK with, because at least we get a picture of her being on the road to recovery, which allows us to imagine she turns out all right ... but wasn’t it the death of her first daughter that made her spiral to begin with? What’s going to happen now that she never sees her second one again?

But Keri has suddenly realized why Oscar looks so familiar, never mind that this was not foreshadowed or alluded to ANYWHERE in this novel. He’s a dead kid who disappeared last year, who had his picture in the paper next to a tragic article. A dead kid named Ted Lovett. And like, you saw this coming; we had enough foreshadowing that Ted was dead but back somehow. I’m OK with that. What I’m not sold on is Keri going to talk to Ted’s mom. Like, why? She doesn’t know he’s alive; if she did, wouldn’t that have also made news? But she does it, because I guess Pike just can’t leave the parents of dead kids alone, and then she goes to Oscar’s place because what the fuck else is there to do when you’re colorblind and hungry and strong and out of options?

Oscar’s not alone. There’s a scientist there, who explains that Keri’s condition is a clever manipulation of her DNA to prevent the body from being able to die unless it is completely destroyed. He created the compound to try to save his daughter, who was succumbing to leukemia ... only she went bad. In fact, she swiped the formula and turned a whole bunch of others, including her brother. The secret, it seemed, was to enhance the dying person’s fear, which would then manifest in cold brutality once they awakened from death. It didn’t work on Ted Oscar, for reasons not sufficiently explained, and now he and the scientist are trying to figure out how to stop the monstrosity that is these other monsters. They have help: an inexplicable vision of a shadowed man, who has indicated that they should impregnate a virile young woman and then turn her so that she brings him into the world.

That’s right: Keri is vampire-zombie-monster pregnant. And the baby she carries will determine the fate of the world.

The bad guys want the baby too, of course. All of a sudden they’re at the door, holding Keri’s ex hostage. Seems they followed her from Ted’s mom’s house. No one has to get hurt, the bewitching beauty daughter says, if they willingly go downstairs and get in the van. Obviously Oscar and the scientist aren’t gonna willingly anything, and Keri wants to get her ex out of harm’s way. Too late she dives after BBD, who calmly and effortlessly rips her ex’s arm off. There’s a monster of a shootout, and our good guys manage to escape (not the ex, who bleeds to death in seconds), only to find once they’re out on the ocean in Oscar’s boat that the bad guys have a helicopter and a flamethrower. So they have to bail as the boat goes up, and sure they have super strength and stamina but Keri can’t outswim a power boat, which is what BBD pulls up in, informing her that she has no choice but to be a prisoner.

They caught Oscar too, and drive the both of them to an abandoned military facility in a mountain somewhere. Their cell is a nice one, as far as cells go, but unescapable: the bars are too strong to break, and the back is raw rock that goes deeper into the mountain. They won’t be able to dig their way out before the baby comes, which thanks to Keri’s enhanced biology should take about a week. After that, the bad guys figure, they’ll just undo Mom and Dad and be able to use this baby for their own nefarious ends.

Of course it’s more complicated than that. BBD still has feelings for Oscar ... it seems that something about the undeath process might make us more susceptible to finding a soulmate or falling in love with a person. At least that’s what I feel like we’re supposed to understand, given Keri’s inexplicable and instantaneous affinity for Oscar; this is one more thing Pike doesn’t go into. Just like the brother, who is a total cocknugget but only really shows up at the birth, so he can menace the couple and torment the doctor before killing him. Seriously: we constantly hear about this dude and what an evil monster he is, but he’s only actually in the book for seven pages. Still, he acknowledges that our other prisoner needs to live, too, as the mother will be critical to feeding the baby while he matures.

And he also does this fast. In twenty days he gains twenty years, reads the entire Internet, and gets crops to grow in their underground cell. Shades of Last Vampire 4, a little bit. BBD tries to get him to explain his goals and doings to her, but he flat-out refuses. In fact, the only person he’ll try to explain anything to is his mom. She asks if he will draw a picture of how he might represent himself before he was born, and it’s ... caprine. Horns, a tail, cloven hooves. And now Keri is all, oh shit, I invited the actual DEVIL into my uterus. But the boy advises her: don’t panic.

So now they’ve been in this facility a month, and all of a sudden there’s sounds of scuffle. It seems that the scientist managed to get away clean, and has given up just enough info to the government that they managed to track these monster fighters to this facility and are now cleaning it out with firebombs. Luckily for our heroes, Oscar has dug up to a boulder that he’s pretty sure is the last blockade between their cell and an underground river. They can’t move it, though, before everyone comes pouring into the holding facility: BBD and Cocknugget with guns, Scientist with an obvious bomb, and then the military. But what if we ask the devil? So he moves the rock without any problem, just behind an explosion and expansion of fire, creating a swirl of water and a gush of ashes and a battering of rocks that leaves Keri unconscious.

She comes to in a beautiful garden, like the one in her dream. Oscar and their son are there too, so obviously they’re dead and in heaven, right? No, idiot, they can’t die, remember? And the son has decided he’s going to say in this nowhere and be one with nature, and that his parents have to go on without him. Keri doesn’t want to, but Oscar thinks they have to, and he has a rationale: he’s pretty sure that their son is not Satan, but instead is Pan, the ancient god of the wild. They both have goat legs and horns, after all, and look at how good this kid has been at making plants grow no matter the lack of water or sunlight. This doesn’t go any farther either, and I need more, specifically: how the shit does tampering with human genes equal giving birth to another fuckin’ Percy Jackson character? We never get to find out. Keri and Oscar leave, they run into BBD (who also somehow made it out alive), they tell her to fuck off, and then they keep walking, and the book ends.

So if you’re keeping count, that’s at least five people whose stories have not been satisfactorily explored in this novel, which pulls up well short of half of the page count that Harry Potter would get to lose a rat. If we’re looking for an inability or unwillingness to expand and explore both the narrative and the changing state of YA, this is it right here. Just like Pike’s career, it fizzles out unresolved and without warning. Couldn’t he have spent just a little more time on some backstory or character building, to explain just why these douche-monsters were so horrible but Oscar was good? Was there no chance at all of explaining the connection between technology and nature that would explore just how and why Pan reincarnated in the womb of a half-dead high school senior? What happened to Keri’s family that it fell apart so hard and was predisposed to forget about a dead sister through running from her? Is it any wonder that The Grave was his last book for four years?

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a-breton · 6 years

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The Secret to Hitting the Creative Sweet Spot

This article is adapted from an excerpt in the new book The Creative Curve by Allen Gannett, from Penguin Random House.

Most of what you know about creativity is a lie.

Our culture has embraced the idea that creative genius is inborn and innate.

And, if you’re not one of the privileged few with creative skill in your genes, there’s not much you can do to change that. You’re either a brilliantly creative content marketer or you’re not. That’s how the creativity story goes.

And it’s totally, completely, utterly wrong. You can teach yourself to become more creative.

I’ve spent the last three years speaking with creative experts of all stripes. I sat down with Michelin star restaurateur José Andrés; Netflix CCO Ted Sarandos; reddit co-founder Alexis Ohanian; The New York Times writer and co-creator of Billions, Andrew Ross Sorkin; YouTube superstar Casey Neistat; creator of Black-ish, Kenya Barris; Jerry Greenfield of Ben & Jerry’s; and countless other creative heavyweights.

To understand the scientific processes behind creative insight, I chatted with leading neuroscientists and pioneering academics.

Here’s what I learned.

To improve your creativity, you need to understand the two titanic forces behind every instance of creative success: familiarity and novelty.

To improve creativity, know the two titanic forces behind success – familiarity & novelty, says @Allen. Click To Tweet

HANDPICKED RELATED CONTENT: How to Train Your Brain to Be Creative: Lessons for Marketers

Attracted to the familiar

In 1968, Robert Zajonc conducted a study that would revolutionize the field of psychology. He recruited students at the University of Michigan for a “language learning experiment.”

He showed them “Chinese characters,” claiming they signified various adjectives. Students saw the characters at varying frequencies before rating their positivity (i.e., a good trait or bad trait) and how much they “liked” the character.

The “Chinese characters” had no meaning. The study tested whether frequency affected their feelings. And it did. The more often participants saw a character, the more positively they perceived it. They liked the character just because they saw it more.

Put another way, familiarity is attractive. We feel safe.

But, there’s a problem with this conclusion.

Have you ever noticed that when a new iPhone model comes out, the old one seems less attractive? If people are more comfortable with things that are familiar, shouldn’t everyone be carrying iPhones from 2008?

The attractive power of familiarity is limited by something. And the same researcher discovered what that is.

Interested in novelty

Imagine you’re walking through an art museum and you see this abstract painting.

Now imagine you walk by it five more times. Would seeing it repeatedly change your opinion of the work? What if you saw it 10 times? 25 times?

Robert Zajonc’s team of researchers conducted a similar experiment. Paintings seen by students 25 times were about 15 percent less liked than ones seen for a single time. In short, the students preferred novel paintings more than familiar ones.

Now we know we are motivated by novelty and fear of the unfamiliar. How do we balance our interest with our apprehension?

Intersection of familiarity and novelty

Researchers at the University of Toronto and the University of Montreal wanted to know.

They played clips from a half-dozen songs for 108 students. Students reported liking a clip more the second through eighth time they were exposed to it. But they liked it progressively less between the ninth and 32nd plays.

Both of Zajonc’s studies are correct, but neither provides the full picture. At first, the more we are exposed to something the more we like it. Once that exposure reaches a peak, we tire and like that thing less and less each time we encounter it.

If you graph the interplay between familiarity and novelty – between nostalgia and excitement for the new – you get a distinct shape.

Embrace the creative curve

The pursuit of both familiarity and novelty results in a bell-shaped curve relationship between preference and familiarity. I call this bell-shaped curve the creative curve.

Here’s how it works.

Creative insights aimed at the bottom right part of the curve won’t be long for the world. Too much novelty and not enough familiarity means that the idea will attract fringe interest but most people will stay away.

As the curve slopes up, familiarity increases and novelty sinks to non-threatening levels. The upward slope is what I call “the sweet spot” of the creative curve. Ideas in this region are familiar enough to be comfortable, yet novel enough to compel attention.

But as people become more and more familiar with the new idea, the novelty bonus deteriorates. Then, we reach the point of cliché, where familiarity and novelty are perfectly balanced.

Novelty bonus deteriorates as people become more familiar with a new idea, says @Allen. Read more>> Click To Tweet

It’s a bad idea to aim an idea at any part of the curve past the point of cliché. Many ideas become a follow-on failure. For example, if you opened a cupcake shop in 2015 soon after the cupcake craze had peaked, you might have had a busy year. By 2016 or 2017, you likely would have experienced a sudden drop in business.

Put that all together and here’s what you get.

HANDPICKED RELATED CONTENT: Finding Your Sweet Spot – An Extreme Content Focus [Exercise]

Case study: Clothing brand Ed Hardy

Let’s look at how the creative curve operates in real life.

Don Ed Hardy was a tattoo artist originally best known for his Japanese-inspired designs at Tattoo City, the San Francisco studio he opened in 1977.

In the late 2000s, businessman Christian Audigier convinced Hardy to license his designs. Audigier’s branding acumen made Hardy’s artwork a smashing success. By mid-2009, the snakes and skulls of Hardy’s tattoos were plastered on anything and everything.

Suddenly, Ed Hardy was a household name. And this ubiquity was big money. In 2009, the Ed Hardy brand sold $700 million in clothing and accessories.

Familiarity had created an empire.

But familiarity giveth, and familiarity taketh away.

After 2009, Ed Hardy shirts were a gaudy cliché. By 2016, the brand was gasping for air.

How did a brand climb so high then tumble so far?

Let’s look at Google. The search engine giant’s tool shows the number of people who search for a phrase over time. It’s a good way to observe and time trends. What happens when we plug in the words “Ed Hardy”?

.@Google search trends can illustrate a topic’s creative curve, says @Allen. Click To Tweet

Notice anything familiar?

HANDPICKED RELATED CONTENT: Search Engine Trends: Rand Fishkin Weighs in on Google and More

Putting the creative curve to work

Content marketing is all about providing value to your audience. And that’s why creativity is so important.

Your audience has seen the same five tricks repeated 500 times. Repetition is boring, and boring doesn’t add value. That’s where creativity comes in. If you can provide something novel and exciting, you’ll catch eyes and hold focus.

But here’s where people mess up. You need to balance this novelty with familiarity.

Creative success requires a balance of novelty and familiarity, says @Allen. Read more>> Click To Tweet

If you offer a bold take on a topic and a revolutionary method of presentation and do it at an unexpected time, you risk novelty overload. Pick one creative angle and commit to it fully. Don’t change too many things at once. Repaint the wheel, don’t reinvent it. Too new is sometimes as bad as too boring.

Content marketers who learn how to strike the perfect balance between the familiar and the novel will set themselves up for dependable and repeatable creative success.

HANDPICKED RELATED CONTENT: The Best Content Marketing Books of 2017 to Boost Your Creativity and Productivity

Adapted from THE CREATIVE CURVE: HOW TO DEVELOP THE RIGHT IDEA, AT THE RIGHT TIME © 2018 by Allen Gannett. Published by Currency, an imprint of the Crown Publishing Group, a division of Penguin Random House LLC.

Catch Allen and his insight on LinkedIn video at one of hundreds of sessions at Content Marketing World Sept. 4-7 in Cleveland, Ohio. Register today using code BLOG100 to save $100.

Cover image by Joseph Kalinowski/Content Marketing Institute

from http://bit.ly/2u6m29g

#Online Marketing

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hotspreadpage · 6 years

Text

The Secret to Hitting the Creative Sweet Spot

This article is adapted from an excerpt in the new book The Creative Curve by Allen Gannett, from Penguin Random House.

Most of what you know about creativity is a lie.

Our culture has embraced the idea that creative genius is inborn and innate.

And it’s totally, completely, utterly wrong. You can teach yourself to become more creative.

To understand the scientific processes behind creative insight, I chatted with leading neuroscientists and pioneering academics.

Here’s what I learned.

To improve your creativity, you need to understand the two titanic forces behind every instance of creative success: familiarity and novelty.

To improve creativity, know the two titanic forces behind success – familiarity & novelty, says @Allen. Click To Tweet

HANDPICKED RELATED CONTENT: How to Train Your Brain to Be Creative: Lessons for Marketers

Attracted to the familiar

In 1968, Robert Zajonc conducted a study that would revolutionize the field of psychology. He recruited students at the University of Michigan for a “language learning experiment.”

Put another way, familiarity is attractive. We feel safe.

But, there’s a problem with this conclusion.

The attractive power of familiarity is limited by something. And the same researcher discovered what that is.

Interested in novelty

Imagine you’re walking through an art museum and you see this abstract painting.

Now imagine you walk by it five more times. Would seeing it repeatedly change your opinion of the work? What if you saw it 10 times? 25 times?

Now we know we are motivated by novelty and fear of the unfamiliar. How do we balance our interest with our apprehension?

Intersection of familiarity and novelty

Researchers at the University of Toronto and the University of Montreal wanted to know.

If you graph the interplay between familiarity and novelty – between nostalgia and excitement for the new – you get a distinct shape.

Embrace the creative curve

The pursuit of both familiarity and novelty results in a bell-shaped curve relationship between preference and familiarity. I call this bell-shaped curve the creative curve.

Here’s how it works.

But as people become more and more familiar with the new idea, the novelty bonus deteriorates. Then, we reach the point of cliché, where familiarity and novelty are perfectly balanced.

Novelty bonus deteriorates as people become more familiar with a new idea, says @Allen. Read more>> Click To Tweet

Put that all together and here’s what you get.

HANDPICKED RELATED CONTENT: Finding Your Sweet Spot – An Extreme Content Focus [Exercise]

Case study: Clothing brand Ed Hardy

Let’s look at how the creative curve operates in real life.

Don Ed Hardy was a tattoo artist originally best known for his Japanese-inspired designs at Tattoo City, the San Francisco studio he opened in 1977.

Suddenly, Ed Hardy was a household name. And this ubiquity was big money. In 2009, the Ed Hardy brand sold $700 million in clothing and accessories.

Familiarity had created an empire.

But familiarity giveth, and familiarity taketh away.

After 2009, Ed Hardy shirts were a gaudy cliché. By 2016, the brand was gasping for air.

How did a brand climb so high then tumble so far?

.@Google search trends can illustrate a topic’s creative curve, says @Allen. Click To Tweet

Notice anything familiar?

HANDPICKED RELATED CONTENT: Search Engine Trends: Rand Fishkin Weighs in on Google and More

Putting the creative curve to work

Content marketing is all about providing value to your audience. And that’s why creativity is so important.

But here’s where people mess up. You need to balance this novelty with familiarity.

Creative success requires a balance of novelty and familiarity, says @Allen. Read more>> Click To Tweet

Content marketers who learn how to strike the perfect balance between the familiar and the novel will set themselves up for dependable and repeatable creative success.

HANDPICKED RELATED CONTENT: The Best Content Marketing Books of 2017 to Boost Your Creativity and Productivity

Catch Allen and his insight on LinkedIn video at one of hundreds of sessions at Content Marketing World Sept. 4-7 in Cleveland, Ohio. Register today using code BLOG100 to save $100.

Cover image by Joseph Kalinowski/Content Marketing Institute

The post The Secret to Hitting the Creative Sweet Spot appeared first on Content Marketing Institute.

The Secret to Hitting the Creative Sweet Spot syndicated from https://hotspread.wordpress.com

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lucyariablog · 6 years