WRITING: To The Beat of a Different Drum

(UPDATE: via Dorothee Lang (Blue Print Review), this most interesting echo of my own feelings: Jason Sanford, in storySouth — this may even call for another post.)

Just remembered that May is Short Story Month (no, I don’t know who started it) and since I made a conscious effort not to conform, I’m thinking of writing a short story a day throughout June.

This goes contradictory to my nature of editing and polishing (though some of my best published stories are those written on the fly). Last summer I wrote a story a day in hypertext for 100 days. While some are really good, the majority are eh and have more value as a learning of format and narrative than for actual story I think. I’m still working on editing them and this is a lot more time and work than I’d already put into them–probably an average of ten to twelve hours per story–originally. Particularly now, when there are several places on the hard drive and in different forms (Tinderbox, html) as well as the online version to update if a change is made.

So do I write my June away? Traditional or hypertext? Or should I just play with clay…

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LITERATURE: Absalom, Absalom! – Pure Metaphor

This one’s amazing:

“(…) a wife after three years to scrutinize, weigh and compare, not from one of the local ducal houses but from the lesser baronage whose principality was so far decayed that there would be no risk of his wife bringing him for dowry delusions of grandeur before he should be equipped for it, yet not so far decayed but that she might keep them both from getting lost among the new knives and forks and spoons that he had bought–” (p. 178)

This is still Quentin’s roommate’s assessment of understanding, this being about Sutpen’s choice of Ellen, daughter of a shopkeeper as his wife when he first comes to town. The first part, simply saying that with nothing but dreams and ambition, Sutpen wisely avoided seeking a wife who would be comfortably ensconced in a status he could not yet afford. The second part, the one about “getting lost among the” cutlery is priceless: simple a reference to proper etiquette about knowing which spoon to use on the custard.

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LITERATURE: Absalom, Absalom! – More thoughts on Allegory and Elements of Style

In Faulkner’s style of using different points of view to reveal both attitudes of the characters and to give another insight that may be unknown to the other characters, I stumbled upon a nugget of information that I’m not sure whether I missed in reading or if Faulkner indeed has employed the process to inject this surprise:

“if he hadn’t been a demon his children wouldn’t have needed protection from him and she wouldn’t have had to go out there and be betrayed by the old meat and find instead of a widowed Agamemnon to her Cassandra an ancient stiff-jointed Pyramus to her eager though untried Thisbe who could approach her in this unbidden April’s compounded demonry and suggest that they breed together for test and sample and if it was a boy they would marry;”  (p. 177)

The speaker here is Quentin’s roommate who is reciting his understanding of what Quentin has told him regarding Miss Rosa and the Sutpen history, so the story here defined once again by an outsider, is based on Quentin’s understanding of it as he received the information from his father and Miss Rosa directly. Now besides the allegory of mythical couples, Faulkner drops in the bit about Sutpen’s rather blunt and unromantic demand that Miss Rosa first provide him with a male heir before any nuptials need be taken.

In the previous chapter, which featured the story from Miss Rosa herself, it seems she did not reveal the horror which had her racing from the mansion back to her own father’s house in town. There was bitterness, yes, but is this the first time I’m reading of the actually insult? Did I miss it before, perhaps sleepy-eyed and dense and lost in Faulkner’s prose? If not, it is sheer genius to startle the reader this way.

If I missed it, my apologies to William Faulkner.

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LITERATURE: Absalom, Absalom! – Metaphor, Simile & Setting

There is lots to love about Faulkner’s choice of words and way with the language, but this was just perfect:

But Quentin was not listening, because there was also something which he too could not pass–that door, the running feet on the stairs beyond it almost a continuation of the faint shot, the two women, the negress and the white girl in her underthings (made of flour sacking when there had been flour, of window curtains when not) pausing, looking at the door, the yellowed creamy mass of old intricate satin and lace spread carefully on the bed and then caught swiftly up by the white girl and held before her as the door crashed in and the brother stood there, hatless, with his shaggy bayonet-trimmed hair, his gaunt worn unshaven face, his patched and faded gray tunic, the pistol still hanging against his flank: the two of them, brother and sister, curiously alike as if the difference in sex had merely sharpened the common blood to a terrific, an almost unbearable, similarity, speaking to one another in short brief staccato sentences like slaps, as if they stood breast to breast striking one another in turn, neither making any attempt to guard against the blows.  (p. 172)

First thing to note is that this is all one sentence. How much else does it bring into itself however, than the simple face to face confrontation? There are the two different timelines, that of Quentin considering the scenario of Judith and Henry, and the scene itself. He brings in as subtle metaphor what they are wearing: Judith holding up her unfinished wedding dress, white and innocent (as well as telling the story by its design composition of what she’s been through the last four years) while Henry is dressed in his military uniform, tattered as well (and telling a tale) but intimating that he is both aggressor and defender in this personal battle just as he was in the war.

There is also Faulkner’s tendency towards redundancy which simply would not be tolerated in today’s publishing world: “the two of them, brother and sister, curiously alike as if the difference in sex had merely sharpened the common blood to a terrific, an almost unbearable, similarity…” two, brother and sister, alike, difference, common, similarity” all saying pretty much that the two appeared almost as one.

The best part of all is the almost metafictional statement that the pair is “speaking to one another in short brief staccato sentences like slaps (great simile here) though Faulkner chooses never to say in three words what could be said in a paragraph. And earlier in the sentence, “the running feet on the stairs beyond it almost a continuation of the faint shot” that seems to tell the reader that as many times as he emphasized this particular action in the chapter, if you didn’t, you should have caught this intentional continuation of the bullet flying through to destroy lives.

Amazing, when you really look into it deeply.

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LITERATURE: Absalom, Absalom! – Perspective

Just finished the wild ride of Chapter V wherein Miss Rosa takes over the narrative and repeats what’s happened, yet shows a different slant because of her own mental baggage.

One thing that I read a bit warily is the drama that Faulkner puts into his work. There are several pages of Rosa describing how she entered the mansion and attempted to fly up the stairs where her niece is waiting, having just found out that her fiancee has been shot by her brother (why is a short story, but Faulkner has managed to write it up to half a book already).

There is more that one can infer from this drama and the length of Rosa’s recital of an event that would take only a paragraph if written by other than Faulkner. It is how she says it, more than what she tells; it is that Shakespearean “methinks she doth protest too much” attitude that speaks footnotes into the actual text. I myself am suspicious that Rosa felt that Judith’s fiancee, Bon, should instead have been presented to her as a possible suitor with marriage the ultimate goal. Rosa feels put upon, feels she has gotten the short end of the stick from her family, particularly since her sister Ellen who married Sutpen and mothered Judith and Henry (while Sutpen additionally fathered Clytie in bedding a slave) was so much older than Rosa that her niece is actually younger than her.

It’s a nice tool, giving the characters each their own voice, and Faulkner does it flawlessly. It’s what drove me nuts in The Sound and The Fury until I accepted him into my soul.

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WRITING & REALITY?: My Favorite, Perspective

In reading around the web this morning, particularly political topics but more personal and opinionated ones as well, I came across a tweet from New Scientist that offers a visual that illuminates the power of perspective on our beliefs as well as our reasoning.

In writing, it gives us the opportunity to show story from different points of view (as in Faulkner’s). In life, it should show us why and how someone sees something so differently than we do. It should breed tolerance and understanding, if not agreement.

Along with an easy answer of why and how what we think we see is not always truth: “Impossible Motion

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EDUCATION & WRITING: The Need for Guidance in Writing Flash

So now the trend is short story, flash fiction anywhere from 140 characters to abide by twitter-fic, to as much as 1500 words or so, depending on whose definition of flash versus short story we’re using.

Love it. However…somebody back at the education level needs to explain exactly what flash is, and how it works. A short scenario without at least intimating at story is not a story; it’s a vignette. Story doesn’t have to be complete to work, but it does need a beginning and an ending that is either revealed by the author or, Barthes-style, left up to the reader to write.

Even at Fictionaut which is one of the largest communities of great writers I’ve seen online is beginning to get some crap that passes for story. Writers need to understand that a single exchange or interaction between two characters can be a profound narrative, or it can be a fantastically interesting moment that should have included a story in there somewhere. One of the most annoying questions directed by the professor of my Creative Writing classes has been, “What’s the story?” or “Is it a story?” I hated that but anticipated it in every CW and Contemporary Fiction class after a night’s reading. It was, I see now, the most vital part of all the words put together to form a narrative. Theme, imagery, tone, voice, arc, conflict, denouement, exposition, resolution, climax–all take second, etc. place to story when writing a story. If it’s a bit of time taken out of a character’s life and doesn’t have a story, stay home and write the next chapter. If it’s a feeling, maybe it should be a poem instead.

Meanwhile, the best way to learn is to learn from the great storytellers, the writers who have mastered the skill of brevity in story. You’ll know. You won’t be left scratching your head and wondering what you’ve just read.

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REALITY?: Din-din

Last week I made clam chowder and going back to the grocery store this week I couldn’t resist the urge to pick up more cherrystones. Jim wanted a Fra Diavlo sauce but these clams were so good that I really wanted to enjoy the full flavor of the clams with a touch of garlic and lemon. A nice salad to top it off and I had an easy, delicious meal. The picture was taken before baking so they may not look as good. I was afraid we’d start eating before I remembered to take one!

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NEW MEDIA & WRITING: The Writer and Social Networking

Got my panties in a twist this morning but spent a good part of half of my mind thinking about the implications of social networking and the creative writer. It started when I posted on twitter and Facebook that I had a story published and just out with an e-zine, and provided the link to the piece. I received one comment and one “Like” on FB. Now more than half of my “Friends” on FB are writers, many of them more local and in-person friends as well as FB friends. It made me feel bad.

I know, I know: not everyone has the time to read never mind comment on all that’s posted daily on these social networking sites, and no one has the same habits or routines. I tend to read at Fictionaut and comment there, especially to new writers who are talented and may need the kind words. And it’s not set in stone, but in my experience it seems that the writers who excel at their craft, who put their heart into the words whether poem or story, are the ones who most likely need the reassurance that they are indeed writing something that others enjoy reading. There are those who don’t, who have the self-confidence or don’t require any validation but that’s often because they’ve already been convinced by others and have come to accept their work as good or they aren’t really that good but merely believe themselves to be and don’t care what others think. But in the deep dark place where our heart and soul and mind have meetings, we usually still find the input of others to be essential to our belief in ourselves.

Then we get into social networking. And, reciprocity. And, not hurting somebody’s feelings for overlooking them.

Once the network spreads too wide, this is bound to happen. We all make up our own rules I suppose, just to keep sane. I personally try to make sure that I post a comment on the artist/writer’s initial posting, or at the very least, the first notice I get of a showing, a publishing, or whatever. A simple “Like” will do, though a “Congrats!” takes only a second longer. I always go and read the story and uh-oh, there’s a place to leave a comment there too sometimes. I try to do so. Then you might get a half-dozen more FB notices from friends on this same item. Are you supposed to comment on all of them? I don’t. As long as the writer/artist knows that I’ve viewed his work, I think that’s sufficient.

Now there’s a lot of benefit to social networking besides the pat on the head; there’s the hitching of one’s wagon to a star, and that’s what I avoid doing. There’s a lot of folks wanting to be noticed–I’m one of ’em–but I just can’t find it in myself to schmooze in hopes of catching the eye of an editor or publisher, or work the web just to benefit my own status. There are folks out there that need  and there are folks who are just plain needy. It’s hard, but it’s best for me to learn about people and see what they’re asking for before I give what I can.

Facebook, MySpace, et al, have created some monsters and have resulted in some terribly unfortunate suicides because of fragile egos. Why do we let folks we really don’t know very well get to us so deeply?  Because, we’re human. Because we leave ourselves wide open to a select group. The internet expands that select group to hundreds of people if we choose. That’s a helluvalotta people to allow to influence us.

It’s hard to sell yourself; the soul of a poet is often at odds with that of a marketing expert, though the two combined make the best whole. After I whined, friends came to the rescue through the medium and emails and it made me feel rather foolish and yet, in the back of my head there’s still that feeling that I shouldn’t have needed a double-call to acknowledge. Or develop a thicker skin but then, thick skin would prevent one from feeling what we want to put into words that will move others as well.

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REALITY?: 25 Academy Hill

This is the house I was born into. It doesn’t look the same, but then, neither do I.There were gates and a sidewalk leading up to the front porch from the street. A railing on the garage top to keep us–who weren’t supposed to be up there–from falling off.

It was the house my grandfather and grandmother bought some time after coming here from Poland in the early nineteen-hundreds. They lived on the first floor, along with my Aunt Olga and her husband, my Uncle Connie and their two daughters, both younger than I. We lived on the second floor, my mom and dad and two older sisters and I. There were only two bedrooms, so the three girls shared one room. I remember that my bed was against a set of glass pocket doors that led into my parents’ bedroom. I remember before that, when I slept in a crib within their room.

The kitchen was red tiled floor with cheery white curtains at the windows. There was a porch where my mother hung the clothes out on the line. I played army with the clothespins. Downstairs, there was a huge shared hallway. A flight of stairs up to the second floor started with a post with a big round ball on top. That  was Peter. John, the other post, was upstairs in our apartment.In the attic was a little room we used to hide in from my mother. And, a laundry chute down to the bathroom where we used to peek in on my oldest sister.

It was a great setup, just the four rooms around a cluster of pantry and bathroom in the center. If my mother was after me I could run fast enough around the rooms to get a lead and jump into the bathroom and lock the door. If we clomped our feet hard enough as we ran, or cried loud enough, my babcia would come upstairs and complain (and save me!). This made my mom soooo mad.

I remember walking down the hill to the little store for groceries. The one at the corner of Derby Avenue. Mrs. Fitol was mean, it seemed to me, but she spoke broken English, like my grandparents. I didn’t know till I was older that she’d come outside and watch till we got safely home again.

I remember walking up the hill where my Uncle Windy and Aunt Elizabeth lived, and where her (and my mother’s) two bachelor brothers lived as well. Between here and there was where my kindergarten boyfriend lived. And the girl I sometimes played with lived right next door. Across the street was Mrs. Burr, who had a goldfish pond outside her scary looking mansion.

In the backyard–well, it was a double back yard, since it held a garden and many fruit trees and ran all the way down to my Uncle Louie’s house, my father’s brother. The only other relatives that didn’t live in Derby, or within this neighborhood, were my Uncle Frankie and his family in Portchester, NY, and my Aunt Stepha and her family in New Haven. These were day trips, made on holidays.

When I was ten, my parents bought their first home. It was across the street and up the hill from my grandfather’s, just above Mrs. Burr’s. They did a lot of work both on the inside and the outside. The house cost them $14,000.

Since then, there are two more houses built between my grandfather’s house and my Uncle Louie’s. And the house is no longer in the family since my cousin died.  And now, there are two more houses between my father’s house and Mrs. Burr’s.

I think of all these things, try to remember all the good times and the people. Today, eight years ago, my mother died.

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EDUCATION & NEW MEDIA: Some Very Good Answers for The Libraries

In (of all places) PC World, a suggestion to bring libraries some income instead of relying on pubic funding alone and the subsequent pain of budget cuts:

“Library staff would be hired based on their creative talents as well as their other competences. So a job offer for a library job might sound like this: “Mr. McCartney, I understand you like composing songs. We’re thrilled to have you join our library staff. Ms. Dickinson, your poetry is truly distinctive, welcome to our library staff. Mr. da Vinci, your drawing talent will be a big asset to our library community. Mr. Wright, we’re so happy to have someone interested in building flying machines join our staff.”

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REALITY?: Colors

As rain paints the day springtime green, I see the trees of wine, jelly, applesauce, turn blooms to mini-fruit. Crabapple, quince, peach and oh, a sour cherry tree that took fifteen years or more to grow a pie.

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WRITING: Some Thoughts Thereon

Exactly a week ago I was sleeping off the drunken effects of a 24-hour sit in Arts Marathon where together with anywhere from two to eight writers I spent a solid day devoted to the creation of story. Not that the first 18 hours were so different than many days spent here at home where the laptop overheats out of sheer use and never seeing the darkness of a closed lid.

What I feared most in this endeavor was the camaraderie, the physical bodies in the writing room as well as the  visual artists dancing by and the entertainment of live and boom-boxed sound. I am a solitary soul, even more so in my writing time. It was amazingly satisfying to see, however, that stories came through regardless of what was going on around me. That sentences could hang while I listened to someone else talking, and then miraculously continue on their way. That the only time I was bothered by the living beings around me or found the necessity and ability to completely shut out the environment was when I was coding into hypertext and making bits and changes that applied to some but not all of the templates. These things were carried in my head and distractions did take a minor toll on efficiency.

But the surprise was there. Looking back now I can reason the changes in my writing style. First, I’ve written so much in the past couple years that I find myself writing while watching television. I can do both without losing either story line. Also, the 100 Days project of last summer, and the slew of new stories I’ve written since December to meet deadlines and challenges have taught me the way to pick up on an idea and run with it. This was nearly impossible back in the days of Creative Writing Class and the five-minute exhortation to produce based on a simple premise. “No!” I used to cry; “Can’t do it! I don’t work that way!” I moaned with self-pity. I felt that the muse must find me, must strike with the opening line and from thence I could grow a story. I also needed complete silence, preferably a room empty of people completely.

It’s nice to have matured in both how I write as well as how I write. It’s a necessary thing to accomplish for the serious writer.

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LITERATURE: Absalom, Absalom! – Character Description

Again on Faulkner’s style, his description of aging and the normal gaining of weight is done with a flourish:

He was not portly yet, though he was now getting on toward fifty-five. The fat, the stomach, came later. It came upon him suddenly, all at once, in the year after whatever it was happened to his engagement to Miss Rosa and she quitted his roof and returned to town to live alone in her father’s house and did not ever speak to him again except when she addressed him that one time when they told her that he was dead. The flesh came upon him suddenly, as though what the negroes and Wash Jones, too, called the fine figure of a man had reached and held its peak after the foundation had given away and something between the shape of him that people knew and the uncompromising skeleton of what he actually was had gone fluid and, earthbound, had been snubbed up and restrained, balloonlike, unstable and lifeless, by the envelope which it had betrayed. (p. 81)

Holy guacamole. That’s some process, no? One of the things I noticed is that while the aging encompasses years, Faulkner employs several short sentences to step up the pace of his emphasis on the speed of this in Sutpen (of whom he is speaking).

There is also the bringing in of a whole lot of characters–Rosa, Wash Jones, the negroes, the people–as if to attest to this physical change. Perhaps this is a grounding technique, a base of reality and thus credibility.

There is the mixing in of time, of eras: “not portly yet, though he was now getting on toward fifty-five. The fat, the stomach, came later.” “the year after whatever it was happened to his engagement to Miss Rosa and she quitted his roof and returned to town,” and “one time when they told her that he was dead.” There are even more, but this seems to illustrate something that Faulkner does quite a bit in this work; he hints at things, large events, big drama, and continues with little references that grow into a story. It’s as if he is giving pieces of the puzzle–though this is not a mystery story–while focusing on the characters in the story and not letting us forget the story line.

Then of course there is that textural ending: “the uncompromising skeleton of what he actually was had gone fluid and, earthbound, had been snubbed up and restrained, balloonlike, unstable and lifeless, by the envelope which it had betrayed.” How visual, how real to the touch. The transformation of hard bone into liquid, the taut sausagelike feel of a well blown-up balloon, the paper skin or envelope, which holds it all together even while this exterior has been a bit of a liar to reality.

Very nice.

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LITERATURE: Absalom, Absalom! – Writing Style

Getting used to Faulkner again, and his interminable sentence structure that bathes a scene and character in mood with words that wrap around and spiral into sumbigdeal.

They would be seen together in the carriage in town now and then as though nothing had occurred between them at least, which certainly would not have been the case if the quarrel had been between Bon and the father, and probably not the case if the trouble had been between Henry and his father because the town knew that between Henry and Judith there had been a relationship closer than the traditional loyalty of brother and sister even, a curious relationship: something of that fierce impersonal rivalry between two cadets in a crack regiment who eat from the same dish and sleep under the same blanket and chance the same destruction and who would risk death for one another, not for the other’s sake but for the sake of the unbroken front of the regiment itself.  (p. 79)

Sentences–yes, that’s a single sentence employing both a semi-colon and a colon amid the sprinkle of commas–like the above make me wonder why I fell in love with Faulkner and wonder if the bloom is off the rose.

In the example above which describes the changing relationship between Sutpen and his daughter Judith, Faulkner brings in the other characters to contrast the scenario had it been other characters involved. Then he brings in the example of “two cadets” to complete his explanation. Simile here seems stretched way above and beyond the necessary. But Faulkner wants to involve the reader so deeply into these dramatic family situations that he pulls out all the stops. Is it overwriting? According to today’s standards, most definitely. I’m guessing that about three-quarters of the verbiage of the sentence could be dumped with little meaning lost.

But then, I don’t find myself weary of the words, as I did with Styron’s Nat Turner. I find myself reading, reading, reading; a bit breathless before I stop to consider what I’d just read. And that, I suppose, is the magic of Faulkner.

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