NEW MEDIA: E-Books

First I categorized this entry under literature, but decided that everything is story, so I’d take it to the next level.

This Sony reader gizmo due out intrigued me.  Even the $350 price tag seemed okay, compared to the price of paperbacks these days.  But the downloads at even $2.00 each for a book doesn’t make it worthwhile. 

I like the format, and what it can do for the heavy reader versus the pile of paper books or the not so snuggly laptop reading.  So from "I WANT one" I’ve swiftly snuck back to my pre-technology roots until I’ve seen it for myself.  Or at least until I could even think about affording it.

More info here.   

Posted in NEW MEDIA | 2 Comments

PEOPLE: Dana Reeve, Superwoman

This is what makes you want to believe in a God, and why Boethius asks the question of his faith in The Consolation of Philosphy.

Christopher Reeve’s Widow Dies at Age 44.

Posted in People | Comments Off on PEOPLE: Dana Reeve, Superwoman

WRITING: Patterns

One of the topics up for discussion at our next writers group meeting is patterns, things that are contrived or naturally assemble themselves into a thread that winds itself within a work of literature, art, film, whatever, to act as a flexible spine perhaps upon which all else revolves in movement.

For example, even with only two Faulkners under my belt, I wonder if there is an underlying theme of perception that is subtle and yet glaring in its importance to the story.  With the multiple pov and stream of conciousness that Faulkner employs, the reader is not only examining the character in his first person pov, but each character in the third person pov of another.  Faulkner is asking us to question the judge and the judged.  There is also, within Faulkner’s close family unit which acts almost as a single entity with many tentacles that act independently, a resentment within each personality towards another that must be dealt with as to its logic and justification. In The Sound and the Fury, we love Caddie, and we’re in good company with Benji and Quentin on that, but how can Jason dislike her so? 

Faulkner also uses the manipulation of time as more than simple pace of story.  He questions it, and he makes us question it.  In As I Lay Dying, the young Vardaman notices the change from life to death is instantaneous, and tries to go backwards in that one second before his mother was dead, while the fish he caught was still flopping in the dust.  In The Sound and the Fury, Benji may not understand the concept of time as the years go by, and yet neither in many ways does Jason as the past still rules his present.

Patterns and shapes and symbols and focus may or may not always be an artist’s intent.  Sometimes, it may be the intensity of the artist that just finds its way into his work.  Interesting study.

Posted in WRITING | Comments Off on WRITING: Patterns

LITERATURE: BAMS 2005 – Uh…

I really had no intention to do other than enjoy this issue of Best American Mystery Stories as mystery and horror had always been one of my favorite reading (and writing!) genres but one I’ve sadly neglected for many years. 

Even while this issue is edited by the famous Joyce Carol Oates, I must say I am sadly disappointed with the very first story in the book.  It is to my mind, not overwhelming in the writing style, nor the mystery, as the intention of where the story is heading is pretty obvious right from the start.  There’s also a bit of weird surprise to the author when he came upon a decent metaphor then overplayed it:

"In his apartment he found it difficult to sit still, and nearly impossible to sleep.  He began pacing from wall to wall of his apartment, trying to move without any thought or even excess motion, like a fish in an aquarium, varying his passage as little as possible as he continued his routine.

Then, finally, a change.  The phone rang in his aquarium, he picked it up for some reason, following some fish-like impulse, and heard the voice of Bill Evans saying, "I’ve got to talk to you, man."  (The Identity Club, p. 11)

Okay, the aquarium sounded good, but it goes downhill from there.  "Then, finally, a change."   A phone ringing is a change?  I suppose it could be, in comparison with the phone not ringing.  "He picked it up for some reason, following some fish-like impulse…"   Well that’s a new one on me; that fish can’t resist picking up the phone.

It’s just not careful writing–even though the author is the winner of several Pushcart Prizes and has published 11 books and is a Professor of English and editor of a literary magazine.  It’s hard for us writers, working hard to learn and improve our skills to face consistent rejection in a tough market, to find something like this in among the twenty–that’s twenty–best American mystery stories of the year. 

Sigh.

Posted in LITERATURE | Tagged | Comments Off on LITERATURE: BAMS 2005 – Uh…

REALITY?: Movin On

Today I030606r went home, most likely for the very last time.  We moved in when I was ten years old, in a cold snowy January that had us walking down the hill to the mailbox in unplowed waist-high snow.  I got walking pneumonia that first winter, and stayed out of school until my First Communion in May.  When I was twenty-two I had to fight for independence, took an apartment thirty miles away with a co-worker, and the summer I moved out, I was back home to stay with them a month, recuperating from an ovarian cyst operation.  The next time I slept there was when my Dad was ill with flu, and he couldn’t watch my mother, in the later stages of Alzheimer’s.  I finally got her to leave him in peace so he could get some needed rest, but many times I woke to find her standing over me.  I thought it strange that she wasn’t frightened to find me there, asleep in the dark room by myself.  She wouldn’t stay in her own room for longer than a half an hour.  I finally took her downstairs to the kitchen and made some tea.  With a heavy splash of raspberry brandy.  She slept through to the morning.  I stayed over once more, in the days following my mother’s death, so he wouldn’t be alone.

We brought back my mother’s sewing machine.  That’s all I needed, wanted, for the memories of the gowns and dresses, skirts and costumes she produced for each of us.  And I have my dad’s binoculars, and scythe.  And now they, the house, my childhood is all gone and yet forever part of me.

Posted in REALITY | 2 Comments

REALITY?: Dark Comes Later

Longer days that start out brighter sooner, darken later.  Offers of a different day that follows light and sun ruled time and less of dreams concocted in the mind.

Posted in REALITY | Comments Off on REALITY?: Dark Comes Later

REALITY?: Narrative Structure

Not strictly linear, but rather circular and more like connect the dots even.  A book whose bookmark has fallen out, and guessed where to replace.  Hypertext of disassociated boxes all laid out like puzzle pieces waiting for the strings to unfurl out like a sticky-tongued happy new year blowout tissue paper toy complete with bleat of hope for right connections.  Life is what you write it.

Posted in REALITY | Comments Off on REALITY?: Narrative Structure

LITERATURE: Next Up

I think I shall squelch any impulse to reach for another novel from the pile; instead, I found The Best American Mystery Stories – 2005 that was a traditional Christmas gift for my sister who managed to cancel my Christmas so I have this book to read myself.

In truth, with the demands of learning new software, getting into Philosophy, antsy to get back into Silent Hill or restart Still Life (the much-anticipated Scratches is already out!), I think something different in genre might be just the thing to keep me going. 

I also badly need to write some stories, as well as rewrite others, and put a magazine together within the month.  So maybe this change will get me jump-started.  I’m feeling twinges of anxiety.  Is that good?

Posted in LITERATURE | Comments Off on LITERATURE: Next Up

LITERATURE: Phaedrus – Logical Progression

This is what I’m up against:

"Now, the beginning is unbegotten, for that which is begotten has a beginning; but the beginning is begotten of nothing, for if it were begotten of something, then the begotten would not come from a beginning. But if unbegotten, it must also be indestructible; for if beginning were destroyed, there could be no beginning out of anything, nor anything out of a beginning; and all things must have a beginning."

Faulkner’s a piece of cake compared to this spot in Phaedrus, where Socrates is really just beginning, after having begotten mere rhetoric, to get to the crux of the matter of love.  I do believe that Plato writes the setting and the setup one-third way into the essay more to get one prepared for what is to come, and in his wisdom, knowing one has spent time and effort to get this far, shall continue on to read the ending, knowing well that only then shall it all become evident to the reader.

So therefore, I am grateful I suppose, for the misbegotten beginning.

(If posting henceforth ceases, it is most likely due to a lack of computer access allowed to patients.)

Posted in LITERATURE | Tagged | Comments Off on LITERATURE: Phaedrus – Logical Progression

LITERATURE: As I Lay Dying – Finale

Your typical backwoods family: Anse, hardworking, toothless, faithful, semi-useless; Addie, his wife, very hardworking, resentful, cheated on her husband, dead at an early age; Cash, their oldest son, focused, determined, honest; son Darl, intelligent, watchful, non-risk-taking, strange, arsonist; son Jewel (son of Addie and NOT Anse), wooden-eyed, angry, loner, fiercely loyal; daughter Dewey Dell, dopey, pregnant, loving; youngest son Vardaman, just a kid trying to hold it all together.

Faulkner’s technique in using the multiple point of view and stream of conciousness form provides the reader with a more intimate relationship with the characters, and the involvement requires closer reading to develop insight and decision as to their credibility.  We find ourselves believing one, then may after hearing from others, change our minds.

Conflicts:  Death, unwed pregnancy, adultery, arson, floods, stinky coffin, nutty son, broken wagons, manipulations, selfishness, abortion, surprise wedding.

Faulkner certainly puts a lot of action and misery within one family situation.  Narrative structure is reinforced by different points of view but remains linear with inclusion of some backstory woven within.  Information is fed to the reader in bits gleaned from a myriad number of characters, mainly family and neighbors, so that the story is built in layers of clues that parallel unseen until they connect and move forward.  I visualize the DNA graphics we see in twisting strands of different colored pearls.

Only Faulkner knows how to create literary life using these pearls.

Posted in LITERATURE | Tagged | Comments Off on LITERATURE: As I Lay Dying – Finale

LITERATURE: As I Lay Dying – Drama

We knew the river was rising, the rains swelling it to wash out the bridges, and the Bundren’s are in trouble crossing with the wagon loaded with Addie in her coffin.  Two things detracted from the drama of the moment (for me).

First, a few years back I had watched the TV mini-series movie (not the show) Lonesome Dove.  In it, the main character Gus had extracted the same type of promise from his friends; that he be brought to some distant place to be buried.  The same thing happened, with the coffin caught up in a river crossing (only Gus fell out).  So the reading of the Bundren’s struggles in Faulkner’s As I Lay Dying lost some of its punch.

Second, the multiple points of view that Faulkner uses could have been extremely powerful here, in this immediate dramatic situation, and yet the still slightly difficult to follow free thinking of the characters detracts by dragging the moment out and by not making it totally clear what is happening, as the views are broken up between those on the banks and Cash, Darl and Jewel in the river.  Somehow, for me, the excitement was slow-paced, and all I wanted to do was see if the coffin would make it safely somehow to land.

Posted in LITERATURE | Tagged | Comments Off on LITERATURE: As I Lay Dying – Drama

LITERATURE: As I Lay Dying – Time

Though I’m not sure I agree with the language and thought patterns that Faulkner assigns his characters, I do again see his dedication to understanding the passage of time in other than our own decided measured out format.  Here Darl, one of Addie’s sons, is narrating the story as they try to cross a swollen stream with Addie’s coffin in the back of the wagon:

The river itself is not a hundred yards across, and pa and Vernon and Vardaman and Dewey Dell are the only things in sight not of that single monotony of desolation leaning with that terrific quality a little from right to left, as though we had reached the place where motion of the wasted world accelerates just before the final precipice.  Yet they appear dwarfed.  It is as though time, no longer running straight before us in a diminishing line, now runs parallel between us like a looping string, the distance being the doubling accretion of the thread and not the interval between.  (p. 146)

You need to read this several times to visualize it.  I keep in mind something Anse, the father, had made a point of early on in the novel; that is, that roads brought a horizontalness and motion to the world that man and trees, as uprights, were yet in conflict.  Darl’s view above can give us a point of time from here to there–most easily seen as ahead.  But here he sees the river as time running sideways, separating him and his brothers Cash and Jewel, and of course the body of their mother, from the others across the stream.  They appear smaller than they should at his estimated distance. 

"runs parallel between us like a looping string, the distance being the doubling accretion of the thread and not the interval between" – This is more difficult to comprehend.  Focusing upon the double threads (being looped) and the idea of a loop being endless, I almost see time as running on between them as they are standing still; an idea of infinity and how the human mind and body are unaffected by it, as well as it by them.  Addie has been dead five days, and yet she is lying among them.  Does it affect her the same way as those living?  I see the separation of the family by some Faulknerian measure of time and space, and wonder how it affects the story.

Posted in LITERATURE | Tagged | Comments Off on LITERATURE: As I Lay Dying – Time

LITERATURE: Phaedrus Sexual Love

In his comment to a prior post, Mark brings up what I have been purposely avoiding, or justifying on terms meant to allow the reading to apply to modern times and society.

There is no denying that in Symposium and Phaedrus the focus is upon man as lover, young boy as the beloved.  I have discounted this focus as primary for many reasons.  For one, I would feel that whether it be heterosexual or homosexual, abiding love that encompasses romance, lust, and friendship and esteem, they are no different from each other in theory or depth.  Secondly, while it is apparently clear that sexual love is included in these discussions, the same good and bad would apply in either case; the jealousies, the transitory nature, the demeaning and debasement that love can arouse just as the ecstacy and joy of fulfillment will be there.  I would think that what the Philosophers are seeking and focusing upon is the intimacy of the meeting of minds of the lovers, something that again can be achieved in any form of relationship.

But there is something else here that need be updated, and that is the current societal view of what would be considered pedophilia in a sexual relationship defined by Phaedrus, Socrates, and the others.  It is clear that Socrates, in discussing love, uses this as an example:

"Now the lover is not only unlike his beloved, but he forces himself upon him. For he is old and his love is young, and neither day nor night will he leave him if he can help; necessity and the sting of desire drive him on, and allure him with the pleasure which he receives from seeing, hearing, touching, perceiving him in every way. And therefore he is delighted to fasten upon him and to minister to him. But what pleasure or consolation can the beloved be receiving all this time? Must he not feel the extremity of disgust when he looks at an old shrivelled face and the remainder to match, which even in a description is disagreeable, and quite detestable when he is forced into daily contact with his lover; moreover he is jealously watched and guarded against everything and everybody, and has to hear misplaced and exaggerated praises of himself, and censures equally inappropriate, which are intolerable when the man is sober, and, besides being intolerable, are published all over the world in all their indelicacy and wearisomeness when he is drunk."

And elsewhere, in Symposium, the youth is described as not having yet come to beard.  But there are centuries of changes in the age of puberty, and so I have for the most part, read around this designation as well.  Then too, society and cultures vary; nine years of age may be considered by some to be a good age for marriage for a young girl.  In our own society, while only a century ago sixteen was fine and twenty for a young woman was considered nearly an "old maid," through the past several decades the age for both men and women has risen.  Thirty is common for women, thirty-five or older for men to consider marriage.  This of course also ties in with the rising level of longevity as well, and the childbearing years of women.

So as I read more into Phaedrus to reach into Socrates’ final argument (after all the friendly discourse of the first section, and the deniably valid argument of the second), I do hope that I am not bringing into the reading a preconceived notion that will change the wisdom of the words.  But as with Symposium (not necessary with Consolation of Philosophy), I will seek out research notes to help with the conclusions and proper understanding of the piece.

Posted in LITERATURE | Tagged | Comments Off on LITERATURE: Phaedrus Sexual Love

LITERATURE: Phaedrus – Love as Control

From Socrates’ opening speech, we catch a glimmer of the selfishness of love:

"He who is the victim of his passions and the slave of pleasure will of course desire to make his beloved as agreeable to himself as possible. Now to him who has a mind discased anything is agreeable which is not opposed to him, but that which is equal or superior is hateful to him, and therefore the lover Will not brook any superiority or equality on the part of his beloved; he is always employed in reducing him to inferiority."

Speaking still in the theory of lover and beloved, we see a very common fault of loving, in that manner of control, one over the other.  While man may desire a love of someone whom he would hold of highest esteem, it often fails to satisfy as it holds the danger of that person realizing, as does the lover, that the lover is unworthy. 

You see it all the time: the husband who is controlling of his wife; the short balding rich man with the gorgeous blonde on his arm who doesn’t have a brain beneath the halo of shining hair.  These lovers seek love in a self-indulgent manner, find someone who will make others jealous to see them, and yet privately knowing that the person has a flaw of sorts that keeps them dependent upon them. 

I’m not sure yet where Socrates is leading us with this, but most likely it is towards a goal of a purer love that is not for flattery, but for itself and its own purpose.

Posted in LITERATURE | Tagged | 1 Comment

LITERATURE: Phaedrus – A Word on Technique

Something about the style of Plato’s essays, his use of what was common then, the play and interaction of the actors, permits a wonderful sense of realism to his lectures.

Phaedr: Now, Socrates, what do you think? Is not the discourse excellent, more especially in the matter of the language?

Soc. Yes, quite admirable; the effect on me was ravishing. And this I owe to you, Phaedrus, for I observed you while reading to be in an ecstasy, and thinking that you are more experienced in these matters than I am, I followed your example, and, like you, my divine darling, I became inspired with a phrenzy.

Phaedr. Indeed, you are pleased to be merry.

Soc. Do you mean that I am not in earnest?

Phaedr. Now don’t talk in that way, Socrates, but let me have your real opinion; I adjure you, by Zeus, the god of friendship, to tell me whether you think that any Hellene could have said more or spoken better on the same subject.

Soc. Well, but are you and I expected to praise the sentiments of the author, or only the clearness, and roundness, and finish, and tournure of the language? As to the first I willingly submit to your better judgment, for I am not worthy to form an opinion, having only attended to the rhetorical manner; and I was doubting whether this could have been defended even by Lysias himself; I thought, though I speak under correction, that he repeated himself two or three times, either from want of words or from want of pains; and also, he appeared to me ostentatiously to exult in showing how well he could say the same thing in two or three ways.

Phaedr. Nonsense, Socrates; what you call repetition was the especial merit of the speech; for he omitted no topic of which the subject rightly allowed, and I do not think that any one could have spoken better or more exhaustively.

Soc. There I cannot go along with you. Ancient sages, men and women, who have spoken and written of these things, would rise up in judgment against me, if out of complaisance I assented to you.

In the sarcasm of Socrates, in the willingness to play with words with his friend, and with the final statement that he does disagree, Plato reiterates what Phaedrus has just spoken of, the honesty of those who are not lovers, because the fear of loss and disapproval does not interfere.

Plato usually seems to let Socrates listen carefully, declaring himself less wise or knowledgable, and then, through clever and gentle discourse reveals the truth that often can refute without derision what has been said by others.  It’s a subtle style of argument and yet bears impact.  Socrates here, I don’t think, is proving Phaedrus’ recital wrong in content, but rather in presentation.  In other words, to question the writing separately from what is said.

Posted in LITERATURE | Tagged | Comments Off on LITERATURE: Phaedrus – A Word on Technique