NEW MEDIA: Shrek

Ohmigod–Shrek is on!  I’ve been wanting to see this since it first came out.

I love it already.

The Three Blind Mice, the Dead Broad, er, Snow White–this is wonderful!

UPDATE:  Absolutely amazing graphics, great script (this ain’t for kids really, is it–unless they’re too young to get the innuendos), terrific music, and I cried at the end–but that’s not a bad thing, I get a lot of crying done when opportunity presents itself as cover.

I don’t see a lot of movies, especially when they first come out and I forget to think of renting videos, but this one has certainly become a favorite.  Despite its predictably corny story, the means of presentation and the humorous aspect made it particularly appealing as well as well-worthy of appreciation of the super effects.

The one I’m now really wanting to see?  The Corpse Bride.

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REALITY: Saturday

Put the music on today, a twelve-hour shift in the shop.  The music keeps me working, stops me thinking.  It’s better that way.

The stories just aren’t there.  The ones that I can write about.  And solving mysteries of life leads off in scary directions.  Mechanical work is best for me today.

Willie knows.

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LITERATURE: 100 Years – Writing Technique

I am happy to say that I think I have incorporated a couple more layers of understanding into my reading.  I can follow story, relate to it from some form of experience, find philosophical meaning, dig deeper into metaphor, still use my editing abilities to find typos, and still take delight in the techniques used by writers such as imagery, narrative structure, background, etc.

One of the things that Marquez as a skilled writer was most likely aware of as he wrote was the reader’s possible resistance to the repetition of names and words.  In coming almost close to a "tell" situation, he avoids it by allowing his characters to explain the importance of his choices.  i.e., Ursula’s worry of the long line of Jose Arcadios and Aurelianos.

But Marquez, I think, has an ulterior motive to his selection that Ursula has only touched upon.  The novel is obviously a recounting of a period of time in the lives of the Buendia family.  It also is a viewpoint of a historical era of the country.  The longer I live the more I feel that history indeed repeats itself, only the characters change.  But what if we have a personality that endures, in this case, the two types of Jose and Aureliano?  What if we place the same person in to deal with the same situation in a different time in space?  Is it a series of second chances?  Is it a form of reincarnate living through again to learn from mistakes? 

The dream of endless rooms takes on more meaning now.

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LITERATURE: More on History

Fiction is fiction, not fact.  Yet it is as well a sign of society in the time it is written.  Think Candide and how Voltaire needed to cloak his political views within a fable.  It tells us not only what was going on in this historical era, but the very need to satirize it rather than speak openly says just as much about it.

But Voltaire’s view is not fact, but judgement, opinion.

I am coming to the theory that film alone may be the most accurate (uncut, unedited) record of time.  Still, it is biased by where the camera is aimed–do we pass by the streets of lower 9th at Mardi Gras in favor of the French Quarter?  Is the whole story then true enough of New Orleans?

Late September has brought back the early morning blackness of the garage.  I write my name in the air with the glowing tip of a cigarette.  In memory, it is almost decipherable.  With still film, aperture open for the full two-three seconds, the name can be read in the resulting print.  It is the only true capture of three seconds of time.  Better than my memory of it; better than my words could describe.

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WRITING & REALITY: Editing

Sometimes one would think it is wiser to abandon that which goes nowhere, pull a clean sheet from the lot and start over.

A story can sometimes fall in on itself, all changes made merely add to the muddle.  Without core, without concept, without purpose or skill, it is best burned or buried and started anew.

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STORIES: In Perpetuity

Each night the snow outside the house dazzled with the light from the living room window, as if the one who had died within had been a man and not a monster.  Sometimes, when I came by early in the morning hours, I’d see her there, his widow, maybe waiting up for his return.  She can sit forever as far as I’m concerned; I hope the devil keeps him safely in hell.

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LITERATURE: 100 Years – Input & Output

As much as we put into reading and make it what it becomes for us, we draw a certain amount out and it becomes us as well.

Aureliano goes through his childhood home, removing himself from it in bits and pieces of what he has left behind.  He is no longer that child.  When he has faced who he has become, he shoots himself, but through the trickery of the old doctor who has painted a circle on Aureliano’s chest in response to a question of where exactly his heart lay (exactly the question, no?), the bullet goes through the only place it "could pass through without harming any vital organ."

Who was he, who had he become?  I often told my mother that "two out of three ain’t bad."  She’d laugh through her anger as once more I tried her patience by coloring outside of the lines, the edges they’d drawn.  A mother is forgiving, understanding.

As Aureliano Segundo, son of Arcadio (son of Jose Arcadio, Aureliano’s brother), names his first son Jose Arcadio, Marquez gives us insight into the family history and choice of names through the eyes of Ursula:

"Ursula, on the other hand, could not conceal a vague feeling of doubt.  Throughout the long history of the family the insistent repetition of names had made her draw some conclusions that seemed to be certain.  While the Aurelianos were withdrawn, but with lucid minds, the Jose Arcadios were impulsive and enterprising, but they were marked with a tragic sign."

The living on of Jose’s and Aureliano’s, the thirty-four wars, the endless rooms of a dream, the history of family.  Is there a cycle that need be broken, or is it impossible to break.  Do we become what we are destined in the limited time of a lifespan, or fail.  Are we blind to ourselves until in one striking moment we see all, and are shattered.

Am I evil hiding behind a bouquet of begonias?

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WRITING: Perception of Character

So simple: Make your character likeable, with flaws that can be forgiven.  Someone to whom all can relate.  Sympathetic.

The reality is different.  To one I am angel, defender and savior.  The other, I am evil destroyer of dreams.  This week that’s my scorecard, from those who should know me, yet my tally of self adds my own judgement too.

We are all lost in a concept of who and why and justification and yet we are hurt to believe what we never could fathom nor see in the small space of self that is part of a whole.

Sad at perception of others, or worse, realization of the devils inside?  How does one write someone’s character?  Who is my character?  Who even am I?

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LITERATURE: Words of History

Neha, Cristopher, Steve, and Gabriel have gotten me thinking on words and history and context and time.

We were explorers, invaders, discoverers, pilgrims, slaves and immigrants, refugees, boat people, and illegal aliens.  Time has a say in how we are named in history, and too, in how we perceive those named in history from the present point of view.  And, who got where first before those who came after.

I am multi-colored by sun, my legs below cutoffs are shades darker, my feet cut in two by shoe-lines–a farmer’s tan, they call it.  I am American, New England, yet Polish somehow too.  And I cling to that part of history that steers me to eat Bazycht that I’ve made just from memory, and the Zdrowas Maryjo I whisper when scared.

I am a part of my immigrant history as I am brown-haired and green-eyed.  Neha converses in Hindi, Chris likely knows Scot, Gabriel wrote in Spanish and Steve speaks in tongues.  We are alike but different in wonderful ways as we travel the earth and seed ourselves somewhere to cross-pollinate, adapt and to grow.

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REALITY: Symbolism

This morning’s doorstep overview of the land brought a yellow sky to the east, a rainbow over the west.  Minutes go by, and admittedly it’s boring though luck and good fortune seem closer today.  I am smiling inside since I need to, but then the ribbons start to fade.  I have never before seen one fade away.

How deep should you dig into signs?

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LITERATURE: 100 Years

I must say, I’ve come a bit down off my high since Jose died. 

I’m in the second half of the book, and besides some catching up on the new generation, there appears to be a political bend to the story, and I’ve never been one for politics.  I am more of the nurturing type, and government is about as far away from home and hearth as you can get. 

Aureliano has resigned himself from war and mayhem, and has shot himself.  He screwed it up, but we knew that would happen because Marquez has told us that he dies of old age.   

Perhaps I’m grieving for Jose Arcadio Buendia.  I loved his outlandish plans and dreams.  His idea of bettering mankind was via inventions, not war.  I miss him.

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LITERATURE: John Cheever’s “The Swimmer”

Well, a few weeks into the fall semester and once again, The Swimmer is the biggest hit of my weblog (I’m not linking to it here–let them dig!).

What astounds me is the number of times a yahooer comes back to check out the many entries.  I suspect that they may well be showing up as submitted essays in many a lit class, and only Professor Ersinghaus will recognize my writing–so his students be fairwarned.

Heck, if anybody’s teaching McCarthy or Marquez, there’s an overload of information on their novels for the researcher.  Well, I wanted to be read and remarked upon, but like most writers, I’ll never hear the bulk of it.

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WRITING: Inspiration vs. Plot

Using Plot in this case as in planning, considering a story’s narrative structure and its timeline, its arc and its measure of conflicts and resolutions all the way up to the big bang.

One thing that sticks in my head (that I still can find amid the mess) is Josip Novakovich’s incredulous response in his critique of my work to my insistance that the stories had nothing to do with me (aside from normal necessary experience, i.e., the boiling pot is hot) and that I sat down in a rush with an opening line and wrote from there.  He finally believed me, I think, when he realized that my stories had no real ending, nor any real conflict to get them there.  Characters were changed by inner revelation rather than in response to stimuli, but that makes for either a really tough job to make it intense and interesting, or it falls flat.  Mine fell flat.

As I work my way through Marquez’s 100 Years of Solitude, or recall McCarthy’s Suttree, I realize that even with strong characters, there is so much else going on in their daily lives that these are not simple character studies, and in 100 Years, most likely the star of the show is political upheaval and history. 

To me, as a currently stuck writer of story, it seems to tell me that even through the creative flow of words has trickled down to these weblog entries, it would behoove me to start the seemingly less natural act (for me, honest) of sitting down and thinking out plots. 

Never did this before, but I suppose it’s time to try it.  Not only will it shake me out of my uselessness as a writer sitting on my hands waiting for the morning sun to smile kindly upon me and beam down the words, but it will perhaps give me the needed kick to get back on track. 

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REALITY: Autumn

September’s song of sun-dried leaves stirred by the wind of wings in search of seed is strengthened by the musty scent of grapes fermenting into wine. 

It looks, it sounds, it smells of autumn.

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WRITING & REALITY: As affected by Literature

There was a time I was inspired by fine writing, racing from page read to page written.  No longer true, perhaps because of the superb quality I have lately encountered, but I am intimidated instead, content to quiver in the shadow of literary excellence.  And story turns in on itself.

Yet the urge is still strong, and as I lose those that provided some comfort in communication, I turn even more inward seeking some depth but get lost in the murkiness of soul and retreat.  So the words should come out, but they’re not allowed to meet ear nor eye.

But the pain hammers away at the base of my skull, the tension of feeling and words striking bone.

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