LITERATURE: Aristotle on Steinbeck

Unreal.  I’m up to twelve pages, single-spaced, and still working.  Although the vast majority of the text is taken up in quotations from either Poetics or Cannery Row, there is some input by me in comment.  This is not what I had intended, but this is what it grew into as a project. 

Too bad it’s only for my own purposes–wins me no degrees, no recognition, not even a lousy grade, which is why I haven’t as yet gotten into a bibliography, although I probably will add it in just to cover my ass since this is currently available online as I work on it.  And after all this, I’ll probably keep it there until I’ve gotten over myself on the effort alone.

However, I shall have learned from this endeavor that in future readings I shall simply nod and smile to myself and think: Hmmm.  Sounds like Aristotle had something to say about this.  And just keep reading.

Posted in LITERATURE | Tagged , , | Comments Off on LITERATURE: Aristotle on Steinbeck

NEW MEDIA: Hypertext – Take #2

I don’t often read my own posts after they’re written…oh all right, if I thought they were particularly eloquent I might, but do check when I wonder if I’ve made sense or if a comment draws my attention back to what was written.  Yesterday’s New Media:  Hypertext left me a-gigglin’ and a-wonderin’ with this line:

"As soon as I am able, I will seek out an online course perhaps that will more quickly teach me the direct paths to answers for the questions. The side trails take not only time but disturb the pattern of the thought process when we wander off and double back and crisscross over needlessly, until the sense of where we’ve come from has been lost, and the most direct route then, never truly found."

Recalling that the point of the post was to extol the virtues of new media methods and hypertext in particular for both the planning and the presentation of a particular work I’m still chugging away upon, the above statement is both pro and con towards hypertext (same with IF), and seems to beg me to open up the can of worms of "Well, which is it then, a good thing or a not so useful thing, since the "side trails" are exactly what hypertext is all about.

Shall I then learn to write hyperfiction, go through all the trials and trails and trauma and frustration to master the art and then proceed to present a piece that offers readers all the trials and trails and trauma and frustration as well?

I think, yes.  Not only is there fun and intelligent interaction offered from such method along with the pain, but it would as well put the reader through the process if as Barthes claims, he is indeed the writer of what he reads…let him work a bit.

Posted in NEW MEDIA | Comments Off on NEW MEDIA: Hypertext – Take #2

REALITY?: 2006

Cold grey first of January sky, night’s fresh snow already muddied to a sandy brown, belies the promise born of only hope refashioned from despair; that lives and turns of luck are cyclic to rotation of the earth.  That challenges belief and yet inspires by need that man can make his own moon in his world.

Posted in REALITY | 1 Comment

NEW MEDIA: Hypertext

Feels strange and yet so normal, working on a project that makes tomorrow appear a deadline and makes me hope for snow.

Just the skeleton of this, the Poetics/Cannery Row essay, would be better and more easily planned out perhaps in Macromedia, or Powerpoint, but who has time to learn these timesaving devices.  I love the learning; but it just takes so long to learn the simplest things and then remember them when not required again immediately.  And I really should clarify that it is not fully learning–especially when not retained–but rather the figuring out, the solving of the immediate mystery, the dig around and click this thing or that and thank-God-for-the-Undo-button game of it all.

And here, while the software would help tremendously in the planning and the writing, the power of hypertext as in Macromedia FlashX particularly in the way this is laying out would be the perfect medium for the presentation.

Likewise, I design a banner yet can almost but not quite get what I want.  I learn the Illustrator tools–of likely stumble upon it; only to forget where and what it was an hour later.  A cockeyed website banner I need to move.  I play and play with numbers, press the buttons look again–it hasn’t moved a pixel.  Coming off Adobe Illustrator, working with a selection arrow, how very badly I want to simply click on it and move !

As soon as I am able, I will seek out an online course perhaps that will more quickly teach me the direct paths to answers for the questions. The side trails take not only time but disturb the pattern of the thought process when we wander off and double back and crisscross over needlessly, until the sense of where we’ve come from has been lost, and the most direct route then, never truly found.

Posted in NEW MEDIA | 2 Comments

REALITY?: New Year Blessings

Wishing you all a New Year of hope, good health, and happiness that grows and extends past its boundaries.
Posted in REALITY | 1 Comment

LITERATURE: An Essay on Cannery Row

It doesn’t look like I’ve done much yet, but I don’t have a written outline–that’s not my style of writing–so I just started from point A and with the help of my notes, will continue on from there.  But, just to prove I’m seriously doing this (It will be constantly updated as I go along):

Aristotle’s Poetics as Applied to Steinbeck’s Cannery Row

Posted in LITERATURE | Tagged , , | Comments Off on LITERATURE: An Essay on Cannery Row

LITERATURE: Aristotle on Steinbeck

This post started out as a comment in response to those by Steve and Mark at this post of mine, but in my usual rambling manner, got too ungainly to fit into one of those little comment boxes:

I think that even if Steinbeck had not been aware of Poetics, it was learned in some manner.  What Aristotle put together was not something he made up, but rather what he observed and kindly put down in an essay as to what he found to be the "recipe for success" or at the least, the traditional and established norm, as well as discussing the roots of literature form.  Much of the nature of Aristotle’s essay can be absorbed through reading as well as studying literature and writing, although most of this, I’m sure, has been based on Aristotle’s input anyway.  Even everyday conversation gives us a feel for storytelling.

But I am intrigued by the notion of going so far back into these written basics to see what holds true in Steinbeck’s writing.  Unfortunately, I’ve gotten in deep, over my head maybe even, and I’ve starting writing it in a Word Document that will be linked here, and it will have to be broken down into sections rather than a rambling piece.  Right now I’m concentrating on the building up of Tragedy (vs. Comedy, which started me on this whole thing, the tragi-comic situation Steinbeck created) and there may need to be subheadings or whatever on Plot, Character, etc. as each is valued by Aristotle in Poetics.

In other words, it’s turned into a project.  But the easiest way to understand and post about Poetics is exactly what inspired me to do it–having read it, and then seeing it in action as it applies as I read Cannery Row.  It is easier, I think, to find the "rule" or "law" or "norm" as Aristotle lays them out and apply them to the novel, than to write of Poetics and seek out examples.  Especially since they have been recognized in Cannery Row as becoming familar.

Posted in LITERATURE | Tagged , , | 1 Comment

REALITY: The Law

So I’m sitting here reading Aristotle and Steinbeck and watching "Down to Earth" with Chris Rock and you know how some of those commercials come on and are repeated all night?  Well I just saw one that caught my eye because of its presentation via Disney’s "Cinderella" and it’s import to my life and of course, I’ll never see it again.

But Aha!  There is the internet to surf:  Put in "CT Booster Seat Laws" and within three hits I find what I’m looking for, confirming sadly what I wasn’t sure I’d heard:

"Further recommended: Children should continue to ride in a booster seat until they are 4’9”."  (http://www.ctsafekids.org/pdf_files/Booster%20Seat%20Flyer_BW_FINAL.pdf)

I am a mere three inches beyond needing a booster seat.  That, and of course, almost half a century.

Posted in REALITY | 1 Comment

LITERATURE: Cannery Row – Aristotle on Plot – (Just a Beginning)

Yes, story is important, although it need not be epic in nature, just something that touches the heart or stirs the mind to interest. 

For me, the enjoyable journey through a story is fed by good writing. 

I can’t get excited, particularly with a novel, about story regardless of its magnitude because it is just that; a product of the imagination.  Hell, there’s more in life every day to get hepped up about.  But with the narrative structure, the plot… (and here I have Aristotle to back me:

But most important if all is the structure of the incidents.  For Tragedy is an imitation, not of men, but of an action and of life, and life consists in action, and its end is a mode of action, not a quality.  (Poetics, Part VI, para. 5)

…the plot is particularly a product of good writing.  Believe me, I know this well; my stories often fall flat because despite the flow of words, the arrangement and choice of sequence to build the conflicts to follow an arc isn’t there.

While I am still working on applying Poetics to Cannery Row (It’s actually much easier to see what Aristotle means when you read something, remember something that Aristotle wrote, then go back and reread both, his essay becomes clear.), I need to dig out the most relevant section from Poetics to examine the sequence of events in Cannery Row that I just posted on yesterday.  It may take several postings to cover all the aspects, but that’s what I’m trying to do now, pick out the most relevant and obvious of Aristotle’s statement as well as select carefully from Cannery Row to best display the theory without going into a 12-page thesis (which I see now I could easily do.  In fact, if I ever went for a Masters, I’d seriously consider applying Poetics to a literary work.)

Posted in LITERATURE | Tagged , , | 3 Comments

WRITING: Climax

For almost two years now I’ve been searching for a climax, a major trauma plopped into the orderly lives of a seemingly perfect family kept orderly by a guilt-ridden and overachieving mother.  It has to be more than what I have; the sixteen year-old daughter coming home late.

It’s more than this, it needs to reveal the woman to herself the way her family sees her, far different from the way she sees herself.  The rest of the narrative is too set and (I think) well planned out to reach for magical realism or heart-shattering drama.  It just needs that one thing that opens up the door. 

This one has been a toughie.  I need to settle back into it some more.  I might kill off the feeble-minded mother-in-law.  Or let the husband lose his job.  Or something that just sets the orbit of their world out of whack, and stand back and watch what the woman does.

Posted in WRITING | 1 Comment

WRITING: Point of View

I’ve heard it said that there seems to be an extraordinary amount of first person POV fiction written these days.  I’ve heard students in writing classes say that first person is the easiest to write.  Personally, it took a while for me to accept liking to read first person, since my stubborn streak insisted that No, that’s not what I did.  I always found writing in the first person more difficult as well, for the same stubborn problem.

For me, it was easier to watch and write down in third person what a character was doing.  This is the clearest way to get yourself out of a story and allow the characters to do what they would do, not what you want them to do (although of course, this isn’t quite so simple for a control freak to accomplish readily).  While you need to get into the head of the character written in third person, it’s more of an understanding of him, more of, once having created the creature, knowing him well enough to expect how he will act and react to whatever is thrown at him, allowing him to surprise you if possible.

First person demands a different mindset.  The writer needs to think like the character he’s created, not just understand him.  In fact, he may not need to understand him at all–if the channeling is complete without author interference. 

Sounds like much ado about nothing, I’m sure, but voice of the narrator and the complexity of the character has a lot to do with how the story will proceed.  Even when the character is not the main thrust of the story, what he does in it is, whether he is a metaphor for the human race, the human condition, or just a particular strain of it, his thinking and actions must be his own.

I’ve just left a third person story and am tackling a rewrite of a first person.  As I read it to reacquaint myself, I need to slip inside her mind.  I need to see who she is; I need to assure myself that it isn’t just me in a different setting.  Then I’ll find out where she ends up.

Posted in WRITING | 7 Comments

LITERATURE: Cannery Row and Poetics

A most interesting development in the reading…

For many chapters, Mack and the boys have been planning a party for Doc just to show their appreciation of him.  Well, it starts out as they need to make money to be able to throw a party, so they visit Doc and find that he needs frogs, at least 300 of them.  Back and forth haggling with Lee Chong for the use of his truck–for which they barter its repair, getting gas, getting there while Doc is off on his own trip collecting baby octopi, and an incredible series of mishaps to get all ready, the party is almost pulled off, but Doc is late returning home, and in the manner of Suttree‘s Harrogate, the best intentions leave a mess without proper planning.  Eight hundred frogs are traded to Lee Chong for food, booze, decorations, etc., and while the party goes on fueled by drinking and fighting and general merriment before Doc even gets there, his lab is destroyed and the frogs all escape.

That’s a brief summary without all the details that make this part of the narrative so intense and enjoyable, but the point that struck me is what do we have here

A comedy of errors that makes itself into a tragedy. 

So now I need go back to Aristotle to see what he would say about this, after explicitly delineating the separate branches of Comedy and Tragedy by specific values.  Plot would be primary in Tragedy, and the Characters imitative of comedy, and this may well fit with the theory.  This will take me some time…

Posted in LITERATURE | Tagged , , | 2 Comments

LITERATURE: Cannery Row – Character as Statement

When a writer wants to express more than a story, when he wants to reveal not just a personality but a human trait, one of the best means is through one of the characters in a segment of story.  Steinbeck has established the character of Doc as knowledgeable, tolerant, patient and kind.  A bit of a loner, too, although he numbers all he knows as among his friends.

The following is a bit of backstory relating to Doc’s early years at University, where he takes off on a walking trip after a bit of a trial.

And everywhere people asked him why he was walking through the country.

Because he loved true things he tried to explain.  He said he was nervous and besides he wanted to see the country, smell the ground and look at grass and birds and trees, to savor the country, and there was no other way to do it save on foot.  And people didn’t like him for telling the truth.  They scowled, or shook and tapped their heads, they laughed as though they knew it was a lie and they appreciated a liar.  And some, afraid for their daughters or their pigs, told him to move on, to get going, just not to stop near their place if he knew what was good for him.

And so he stopped trying to tell the truth.  He said he was doing it on a bet–that he stood to win a hundred dollars.  Everyone liked him then and believed him  They asked him in to dinner and gave him a bed and they put lunches up for him and wished him good luck and thought he was a hell of a fine fellow.  Doc still loved true things but he knew it was not a general love and it could be a very dangerous mistress.  (p. 99)

Ain’t that the truth.  Does honesty scare people?  Do they only understand someone on their own terms?  Do we live in our own created world of normal, exclude anyone different, fear if their aspirations seem loftier in purpose and so degrade it by relegating it to an oddness in another?

And the sentence, "afraid for their daughters or their pigs," — is not, I don’t feel, a leveling of women to animals, but rather a metaphor for what is important to them; honor, and property, the loss of either is more vital to maintain and protect than being open to honesty. 

Steinbeck is religious about reaffirming his images within a few pages of what he has presented.  In this short chapter on Doc, we learn that he carries around a suggestion once made to him to try a beer milkshake.  He realizes, having learned the ways of human nature, that this request would be suspect.  But on this short journey he is making to seek specimens, and after being annoyed by a hitchhiker, the moment is right:

Doc walked angrily to the counter of the stand.

The waitress, a blonde beauty with just the hint of a goiter, smiled at him.  "What’ll it be?"

"Beer milk shake," said Doc.

"What?"

Well here it was and what the hell.  Might just as well get it over with now as some time later.

The blonde asked "Are you kidding?"

Doc knew wearily that he couldn’t explain, couldn’t tell the truth.  "I’ve got a bladder complaint," he said.  "Bipalychaetorsonectomy the doctors call it. I’m supposed to drink a beer milk shake.  Doctor’s orders."

(…) "It sounds awful," said the blonde.

"It’s not so bad when you get used to it," said Doc.  "I’ve been drinking it for seventeen years."  (p. 101)

And so we go through life, learning what can be openly expressed, and what is best left unsaid, kept to ourselves.  This is the plane of life on which we commonly operate, on which we interact with each other.  Is heaven–if there be one–a place without veils?

Posted in LITERATURE | Tagged , | 1 Comment

WRITING: Overwriting

Shoot.  I think I had it and now I’m wrecking it.  I need to turn ruthless and slash my way through, so for now, Big Tim Dawson is off the platter of Spinning and and I’ll do some severe workshopping-style critique on it before I send him off to face the big bad world of lit journals.  Though it is difficult to do to one’s own piece, especially when one has been living with it for a month, but I think it’s so close to completion that a day more of concentrated effort should do it.  One of the methods of cutting at the Wesleyan Writers Conference was (yuck!) going by word count when we needed to limit a piece to a three-minute read.  I found it extraordinarily easy to delete unneeded scenes, dialogues, description, and backstory when faced with a "must do" situation. 

I’ll link soon to whatever I pick up to work on next, and again, appreciate input if you have been able to take the time to read.

Posted in WRITING | Comments Off on WRITING: Overwriting

LITERATURE: A Journey

Both my reading and writing habits started out under the horror genre, after the first Nancy Drew Mysteries and the Hardy Boys, that is, which immediately followed the Golden Books, Aesop’s Fables, Grimm’s Fairy Tales, and some poetry books that showed up under the Christmas tree since I was able to read.  From there came a short dry spell as elementary school at that time did not promote reading other than English Grammar and history and geography texts, and Nancy and the boys held me until high school. 

From there my interest was fired up by my Freshman English Teacher, Mrs. Virginia Baltay, who brought literature into our lives by bringing in a box of books that we dug into and read on our own and swapped and shared until the last day of class when we were each allowed to take our favorite for keepsies.  I chose Rebecca, by Daphne DuMaurier.  But, I immediately procured a copy of Wuthering Heights, and sought Edgar’s work in a $30 (hey, that was a lot at the time!) compendium of his full works.  Mrs. Baltay was about as nuts about Poe as I soon became.  In class, we read Franny and Zoey, Catcher in the Rye, The Iliad and The Odessey, Moby Dick, and a number of others over the next few years.

On my own, I had abandoned Nancy Drew for a large number of other detective stories, read some romance, and science fiction, starting with Orwell’s 1984, through The Time Machine, and the like. Other interests went towards Lawrence of Arabia, Portnoy’s Complaint, The French Lieutenant’s Woman, Grapes of Wrath, The Great Gatsby, To Kill a Mockingbird, etc.  Detective stories gave way to true crime, nonfiction, and a taste for horror was satisfied by Stephen King. Somewhere in there as well were books on psychic phenomenon as I went through that trend, as well as Joy of Sex and Joy of Cooking.

There were many, many more of course, but for a while I admit I just lapped up the horror and crime paperbacks, with Lord of the Rings, Lord of the Flies, Story of O, and Watership Down interspersed among them.  Being reintroduced to some of the greats via college courses that taught me how to read beyond entertainment and escape, I’ve managed to reacqaint and meet several more authors.  Still, there are so many that I can’t believe I haven’t yet gotten to and need to read:  Faulkner, Rushdie, Woolfe, another Hemingway, Austen, Vonnegut, and on and on; the novels only in conjunction with a reading list meant to enlighten and expand my perception of the world, and that’s a few years’ worth as well.

Unfortunately, life bogs us down with realities that demand time.  Oddly too, while I spend so much of my time on the computer and would have easy enough access to at least some of the works I seek, I prefer to hold that material book in my hands and settle into the corner of the couch in the welcoming silence of the early morning hours.  I think what I should be taking advantage of is the library; the deadline of returning the books within a two-week period, the cost of zilch, the ready access as well as the mind-boggling fun of looking through a display that entices like the smell of a bakery on a Sunday morning, would do me good.

This may be one of my New Year’s resolutions; to grow intellectually and both explore and mellow.   Besides, of course, the resolution to simply survive.

Posted in LITERATURE | 1 Comment