Radical Transparency

(in case the other blogs need a friend) 
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The Basest Of All Things Is To Be Afraid

Highly illegal to post this, I guess.

But why would Faulkner want his words hoarded?

He was "using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail among whom is already that one who will someday stand where I'm standing."

I think that counts as permission to share.

  
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Filed under  //   fear   intellectual property   permission   pirates   speeches   the law   william faulkner   writing  

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Not a Poem Yet

I found these words, scribbled:

morning run in NH

New England heart
sparkling dew
magic mist
endless fence post
squishy mud
expect a rainbow
ferns you want to lick, eat


And turned them into these, an email to the original's author:

morning fun on earth


dew brings the heat
ferns misty in magic mud
endless
like a rainbow
or a fence
posts sparkling
and squishy
to eat


Mr. Stanley, my romantic poetry and travelwriting professor, would tell me that isn't a poem. Not yet, anyway. It's a reaction. An impression. A clever joke (his adjective, one I've never really been able to incorporate). A beginning. A draft.

The poem comes later. When every letter, every comma or capital not included, is a choice. A poem is a poem when it's fully intentional.

Stanley and I argued about that sometimes. What about jazz?, I'd ask. He'd shake his head and write the same comment on every piece of writing I ever gave him: It'll get better if you spend more time on it.

He's certainly more right than I was.

And that, above, is not a poem.

But it does have an alternate title: lick my heart, baby.

Filed under  //   ferns   improvisation   lmw   mr stanley   mud   notes   poer   rainbows   similes   writing  

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Nouns and Verbs

This came in the mail today:

Write with nouns and verbs, not with adjectives and advebs. The adjective hasn't been built that can pull a weak or inaccurate noun out of a tight place. - Wiliam Strunk and E. B. White
 
Makes me want to look at everything I've written over the past 6 months, tally, evaluate, and probably cry.

Uh oh. Already. Probably. I have a long way to go. Clearly.
 
Also sets me imagining the building of adjectives. I picture Santa's elves: chiseling giant wooden letters out of treestumps, packed around coffeestained conference tables, diagramming on whiteboards, arranging the letters on huge Scrabble-style trays, and pondering.

Filed under  //   adjectives   adverbs   crying   elves   letters   lmw   metaphors   nouns   verbs   words   writing  

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Fantasy, Value, and Premature Literary Criticism

I'm reading Philip Pullman, loving it, thinking about it in relation to (comparison with) the JRR Tolkien Middle Earth Project, and wondering about value.

I think Tolkien's work is immensely impressive in its imaginative scale and as a demonstration of accessible but ambitious storytelling, and I think it's educationally valuable in that it turns people into readers, writers, and explorers of the originally weird thoughts we all have.  In my opinion, however, Tolkien's orcs are a very big worry.  I think it's fundamentally unethical to tell war stories in which the bad guys don't have families.

So.

How do we teach Tolkien?  (If we teach Tolkien.  Which I'm pretty sure we do and I'm pretty sure we should.  Because of the imagination, the fact that his work can be a gateway to literature and learning and love of stories, words, and communication.)

Maybe we teach the man with the work? Explain his personal weirdness and how it contributed to his (in my opinion problematically simplified) vision of good and evil and the virtue in violence? 

Worth some thought I think.

And then there's Pullman.  I'm halfway through the second book of the His Dark Materials trilogy, and, so far, I love it.  So far, it feels questioning and complicated and real. 

So.

So far, I say teach it.  For imagination.  For storytelling.  And for truth.

Yikes.  Bold statement from someone that still has 500 pages to read.

Filed under  //   education   good and evil   imagination   literary criticism   literature   orcs   philip pullman   reading   storytelling   the bad guys   tolkien   truth   violence   war   writing  

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Riding? Writing? Both?

Pretty sure this is my second favorite one line song.

Guesses on my favorite favorite?  Your favorite favorites?

All the Tired Horses is track 1 on Self Portrait.

  
(download)

Filed under  //   bob dylan   favorites   horses   music   one line songs   riding   writing  

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Barely Sketching the Outlines

What goes on inside is just too fast and huge and all interconnected for words to do more than barely sketch the outlines of at most one tiny little part of it at any given instant.

David Foster Wallace wrote that.

I agree.

And sometimes I'm afraid that lots of people forget it.  Not that what goes on inside is more than words can handle.  Easy to remember that.  But that it's fast and huge and interconnected.  And unique.  And awesome.  So awesome, in fact, that even our most inadequate sketches are probably worth sharing. 

Thank you D.T. Max and The New Yorker for the quote.

Filed under  //   david foster wallace   imagination   storytelling   the new yorker   words   writing  

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Early Onset Dementia

As I chip away at this tagging project, I'm discovering blog posts that I don't remember writing.

Most notably, this one, which is about the airport in Marquette, Michigan, an airport that sells no gum except for sugary chicklets in a coin drop glass bubble.

That post includes both a reference to road trips and soggy lettuce and the Pain song Easy Out.  I made that very same wet lettuce reference less than a week ago in a post about the moment I fell in love with Sublime.  And I posted Easy Out again even more recently in a post about baseball and my sometimes embarrassing fanaticism.

The fact that I'm retelling stories and reintroducing songs is a little bit worrisome, but I do enjoy comparing the writing and thought processes, and I guess it is important to remember that memory imperfection is the biggest reason we write all this stuff down.

Filed under  //   dementia   gum   memory   pain   posterity   road trips   storytelling   writing  

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Before the Sharks Smelled the Blood

Charlie Dean died in Laos in 1974.  A few months earlier, he had been living just west of Cairns, Australia, with my uncle Kim and Kim's best friend Richie on Rosebud Farm, the commune that Kim and Rich had started a few years earlier.

Louella Bryant, wife of Harry Reynolds, who went to high school with Kim and Charlie, just wrote a book about Charlie, and, a few hours ago, she drove up to my grandfather's house, where she's spending the next two nights.

When Hal, my grandfather, handed me the book a few weeks ago, he directed me to one chapter in particular.  It was set on the Great Barrier Reef, and Hal wanted to see how well I thought the author had described it.

I read:

Eager for a swim, they took turns jumping overboard with speargun and snorkel, careful not to brush up against the hard limestone corals - a gash could be disastrous.  Those aboard watched for sharks and box jellyfish, whose tentacles inflicted fatal stings.  The blue-ringed octopus, the size of a golf ball with a poisonous beak sharp enough to pierce a wet-suit, could kill a man in minutes.  All of the fifteen species of sea snakes on the reef had small fangs with lethal venom, and the barbs on a stingray's tail would cut deep.  If any any of the men was adept enough - or lucky enough - to spear a fish, there was real threat of shark attack.  So, the trick was to keep out a wary eye, and if you hit your mark, head back to the boat and climb aboard with all haste before the sharks smelled the blood.

Not well I told him.  Sensationally.  Hyperbolically.  And totally unnecessarily so.

One of the first things I found out tonight, of course, was that Hal had passed my review immediately back to the author, and, as soon as she connected me to the objection Hal had brought up with her, she wanted to hear more.

Luckily for me, as soon as I started explaining, Hal interrupted, told a ridiculous and tenuously tangential story, derailed the train of thought, and accidentally rescued me.

So I stayed quiet and listened.  Louella talked about Charlie, Kim, writing, and the questions she had been asking audiences on her book tour, and Hal, the archetypal 87 year old ex-politician, raved on about Vietnam and India and philanthropy and government, paying little attention to questions asked or subjects under discussion.

And, quietly, off to the side, I developed a little theory.

Louella Bryant, an author quite distant from the story she's telling, has gathered her events and settings and characters from people like Hal.  She has built her book on material collected from incorrigible storytellers, from entertainers whose language sprays out sticky from the sap of their overflowing imaginations.  She is embellishing upon embellishments, and, when she describes the dangers of diving on the Reef at least, she drifts a dangerous distance from the truth of actual experience.

Maybe.  It's the beginnings of a theory anyway.

I started to tell her about it when I walked her to her room, and we'll discuss again tomorrow night I'm sure.

Filed under  //   australia   embellishment   exaggeration   fear   great barrier reef   hal   kim   sharks   writing  

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Lies, Storytelling, and Writing as a Business

I'm reading East of Eden, and I was about to make a post about Steinbeck's incredible talent for introducing characters and how excited I am that I have 500 more pages in this beast and have only just met Samuel Hamilton, who is, already, after nothing but one of those amazing introductions, well on his way toward becoming one of my favorite characters of all time.

But then I read this, smack in the middle of another Steinbeck character introduction, and I had to change course:

I think the difference between a lie and a story is that a story utilizes the trappings and appearance of truth for the interest of the listener as well as of the teller.  A story has in it neither gain or loss.  But a lie is a device for profit or escape.  I suppose if that definition is strictly held to, then a writer of stories is a liar - if he is financially fortunate.

Think of the implications for journalism.  Think of the big newspapers, the big news organizations, and why they publish what they publish and with what extra emphases or embellishments. 

Think of selling out, of playing for the love, of the difference between an amazing debut album from a totally unknown band and the second, big label sponsored album that follows it up.

Think of Dreams from My Father and The Audacity of HopeDreams is real and heartfelt and shows that Barack Obama is an exceptionally thoughtful and compassionate person.  Audacity, on the other hand, feels political and written, in part at least, in search of support: votes, money, big name stumping, etc.

And think of Steinbeck.  He wrote East of Eden in 1952.  He had already published quite a bit before that.  Of Mice and Men came out in 1937, The Grapes of Wrath in 1939.  He was already critically acclaimed, and I wonder how financially fortunate that had made him.

Maybe it doesn't matter, but, regardless, I think it's important to explore stories, lies, exaggeration, and the motivations for them all.  Accurately cataloged details don't always communicate truth as well as re-crafted narrative, but put those re-crafting tools in the wrong hands, and beware.

Filed under  //   barack obama   east of eden   journalism   playing for the love   storytelling   truth   writing  

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Come On

Just finished The Sun Also Rises again.

I was in Beijing the first time I read it.  Reading Henry Miller and Aldous Huxley and The Art of Loving as well.  About ready to take off on the trip that almost made a writer out of me, one that still might someday make a writer of me.

Hemingway's effect was different this time.  It was about the poetry and the adventure then.  About discovering love.  And it'll always be about that.  But there was more this time. 

Lady Ashley was real.  A force.  Something unstoppable. 

And Jake was forgivable.  No longer a traitor to aficion.  No longer a steer or blinded bull or washed up matador.  Dude was just simply stuck in love, hardened, frozen, arthritic and struggling, nowhere to go.  And pretty damn elegant about it, given the circumstances.  Stupid.  And in a mess he'd made himself.  But still smiling.  Smiling and shaking his head at the situation.

"Bring me a telegram form, please"

He brought it and I took out my fountain-pen and printed:

LADY  ASHLEY  HOTEL  MONTANA
MADRID  ARRIVING  SUD  EXPRESS
TOMORROW  LOVE  JAKE.

That seemed to handle it.  That was it.  Send off a girl with one man.  Introduce her to another to go off with him.  Now go and bring her back.  And sign the wire with love.  That was it all right.  I went in to lunch.


Hemingway was 26 and 27 when he wrote that.

Anyway, this one goes out to Jake Barnes and Ernest Hemingway and the lovely Lady Brett Ashley.  It's a song I remember from way back, when my dad introduced me to rock and roll the proper way, first things first, starting with Chuck Berry.  This is a Rolling Stones version, though, one I discovered a couple of weeks ago. 

Come On.

  
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Filed under  //   characters   covers   lady brett ashley   music   the sun also rises   writing  

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