REALITY: Gardening

Finally spent some sweat outdoors this morning.  Filled seven planters with geranium-yums, dianthus, allysum, and the silly petunias.  Now to the garden, to pull out the two-year old carefully tended baby peach trees that have turned out to be chokecherries, I think.  The tiller is broken so hand-hoeing must be done, turn the soil and hide herb seeds and yellow squash and tomatoes and anything else that I want.  Maybe okra; there’s nothing like freshly picked young okra sauted in a bit of butter. 

And the trimming.  The no-man’s land between what is garden and officially lawn.  Spouse says it’s my territory, though I point out his lawn growing into my sweet williams.  Ah well, I have the patience and virtue of a saint, and he, well, does not.  Or so I say.

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REALITY: Food Portions

Spaghetti tonight, enough for six people though there are three.  Why can I no longer measure spaghetti into portions anywhere close anymore?  I wonder, remembering my single days, my younger days, when the last strand was the last I could put down.  Perfect.  No waste, no hunger.

Ah, it dawns on me.   Younger, voracious, I ate whatever amount I made.  Truthfully, in a salad bowl–no, not the individuals, the big mother serving bowl–smothered in white clam sauce with escargot and black olives and parmesan cheese.

I eat less now, but weigh 5 lbs. more.  I never vary anymore from 100 lbs.

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EDUCATION: Nutrition

I’m hanging in there and hating it on the course.  Mostly because it’s so cram-jammed into eight weeks and there’s so very much to memorize.  Plus, I love food too much to analyze it this way. 

Just got back from an assignment which I dreaded–checking out the food safety routines of an eatery.  I chose a Dunkin Donuts uptown because my brother-in-law owns it.  I never go there, because it’s expensive and Bill has enough money.  Plus I’m not normally hot on sweets unless it’s a craving or emotional need.  However, I did complete the assignment and since it made me nervous (I dislike questioning people about their jobs) I came out filled with 570 calories of Coolatta and two glazed donuts. 

Now was that healthy?

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REALITY: Walls

Separate worlds this morning, just as winter snow remains outdoors.  Wake up in dark cool familiarity.  Take my coffee cup outside the kitchen door into another world.  Sitting on the back step, even breaths are different; heavy, close with humid air drawn in and out in shallow bits of the place outside my home.  Birds fly slowly, it would seem.  Blades of grass do not stir but plan to sleep, I think, throughout the heat of day.  It is quiet too; no leaf to rustle in a breeze.

I go back in to seek and find the fraud of comfort, the air conditioned noise.

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BLOGGING: Endurance & Moving On

Some kind of changes coming to the blogging world, but then, it is still fairly new and evolving. 

One blogger this morning wondering why his hits have dropped, one deciding to drop the weblog and start serious writing.  I lost another blogline subscriber this morning which shows up when I go to read other blogs.  It seems you may catch a new reader from a particular entry, and then when they’re with you a while and see that that may not be your usual topic (mine vary, sometimes I’m on a personal streak–and that’s going to be more rare from now on, and sometimes they go on and on in a trend, such as literature analyzing for me right now because I can finally take some time to read), they drop you from their reading list.  This is fine by me.

I’ve considered giving it up, but then my poor framing customers would have to listen to some boring replay of either my day or Suttree’s.  Here at least I feel someone has read and if they’ve understood or empathized, have left a comment or e-mailed me to communicate further. 

With weblogs, you can stick to a topic, or like mine, diversify to whatever’s got you hot and bothered that day–or minute.  With friends, you share certain interests and that usually overwhelms the necessity to go into other areas that are transient or sometimes, painful.  Weblog friends are a different breed, but just as dear and necessary.

I think that when someone gives up writing or reading a weblog, there’s a lot of thought put into it.  I respect it, miss them, think about my own.  But when it’s time, we’ll know it.

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LITERATURE: Character Build

There’s much going through my head this morning about characters within a story and I’ll be posting more on it later, but I wanted to get the base down now–before I go write up sales slips and plant geraniums.

We are free as readers to form opinions of story characters, and are just as free to verbalize them without threat of slander.  Now we form opinions of real people as well, but it hopefully takes longer, and is done with a touch of polite conservative open-mindedness.  In building a character, a writer strives to make his protagonist real and likable–whether a good guy or a bad guy.  There is no doubt that Dorothy Parker’s characters are relative–even when they are from a now bygone era (as read in the present), and the relationships between protagonist and antagonist is where Parker shines as a writer.  We also see Parker’s personal opinions of them, and especially in a marital plot, as she blesses them with the worst traits and common pitfalls of man/woman interplay.

Cormac McCarthy’s characters are tougher to figure out.  We see many sides of them as he gradually puts them into a scenario and we must watch carefully to see how they react.  We’re unsure of Cornelius Suttree.  I like him; I see some good things in him as he helps his friends.  But there’s always the question:  Why did he desert his family, his wife and child, and why is there such hatred towards him from some of them?  Is it justified? 

By the time McCarthy brings in the death of Suttree’s young son, whom we didn’t know about until we hear the news, we are torn between his abandonment and the vicious reaction of his inlaws and the town when he goes for the funeral.  Much more than the normal reaction of divorce.  What did he do?  How big a bad-ass was he?

So we reserve judgement, and follow him more carefully, cautiously back home.  We watch, wait, and become totally involved in his life.

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REALITY: Pain

Pounding headache all day yesterday.  Catholic in me lets me take one aspirin after many hours.  Finally at night an antihistimine–I knew that’s what I needed all along.  Rationale, I need to get some decent sleep, need to work come morning.

Heathen in me has me down the pill today an hour after waking up.  An hour of pain has paid my sins today; I’ll just have to try my damnedest to be holy.

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WRITING: Setting

Sometimes something hits you in the face and even with prior knowledge, I’m amazed at how thickheaded I can be.  I have most certainly been taught about setting, its importance to lay a framework of the story space where a reader can settle in and become involved with the story.

I am in the middle of McCarthy’s Suttree, a master of imagery in particular with place, and yet it just dawned on me that in my own writing, I very seldom spend time on creating the world in which my characters live.  Listen to this, from Josip Novakovich’s "Fiction Writer’s Workshop":

"Without a strong sense of place, it’s hard to achieve suspense and excitement–which depend on the reader’s sensation of being right there, where the action takes place.  When descriptions of places drag, the problem usually lies not in the setting, but in presenting the setting too slowly.  Make your descriptions dynamic and quick; give bits of setting concurrently with characters and action."

I realize that I tend to focus on the character in my stories, but I don’t give him a "home."  Without that, the reader can never know him as well.  There is much one can infer from setting; lifestyle, taste, income level, interests, even hobbies. In my own home, one room is dominated by computer equipment and longbows.  That is more telling than if I went into a paragraph about my interest in new technology and old archery techniques.  Though it may be tough to blithely name the books on someone’s shelves (as I did recently in a post) within a story, you must admit it would give you a good idea of what the person was into.

I may be tempted to go back into some of my recently finished stories and look around to see if I’ve grounded my characters and their stories sufficiently to invite others in to read about them.

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REALITY: Hurry up and Wait

Getting nervous.  The Writers Conference is just one week away, which means I need to have all the picture framing caught up and picked up next week, as well as get the outside work done because I will be pretty much gone each day and well into the night for all that next week after.  Then before you know it, it will be July.

Has time sped up on me, or was I asleep?

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REALITY: Gottados

There seems to be no end in sight to the things that keep me from what I would rather be doing.  I am determined to get to the bottom of the pile of framing, and clean up the mess I call a frameshop, before I get to some of the other gottados so I can do the wannas.

At least I have been able to do a little reading and writing in between, considering these to be a "break" rather than giving them the full measure of importance and attention they deserve. 

It’s clear that I will most appreciate the day when I can sit for a few hours with a book, or writing a story undisturbed by guilt for having left something yet undone. 

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LITERATURE: Character

Dorothy Parker’s characters are real to me, perhaps because of the era, perhaps because, though this was not as my family lived, it was something I had watched in nightly movies on Channel 5’s The Early show.

McCarthy’s characters are real because of how they live; McCarthy building the character into his more vivid descriptions of their environment.  Again, this is not as I have ever lived, but Suttree indeed pulses with a life that is disturbing.  This must be, for me, its appeal.  The man, the place, the deeds done that mama warned about.  There’s hopelessness, yet one thin fishing line that will not break, and the patience of the fisherman to fight against the slapping sea and flapping fish to reel in something that would make the battle worth the while.

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LITERATURE: Ranked Rank

I well admire Crof at Writing Fiction, and read with much interest his list of "The Ten Most Harmful Novels."  Especially since three of them have just been mentioned here recently.

By harmful, he means the effect it leaves more on writers who come after the fact.  And in many of those on the list that I have read, I do agree with him.  But then, "Blood Meridian"?  "Catcher In The Rye"?   "Wuthering Heights?"

He gives good reason for his choices, and as with "Catcher", both the popularity of it as required reading in the 60’s and the freedom it offered youth at a time when it was looking for a plot to mark its passing, it helped spawn a bit of a rebellion.  And "Wuthering Heights" is noted as well written; its fault in creating illegitimate progeny that fell far short of its luster.

His problem with McCarthy’s "Blood Meridian" is, well, let me quote here:

"Blood Meridian, by Cormac McCarthy. This hand-embroidered depiction of rape and slaughter is all too typical of current “literature.” The more metaphors and similes you can throw in, the more the critics praise you. The effect is like a nice firm dog turd garnished with whipped cream and a cherry on top, and served on a fine porcelain plate with a silver spoon."

Yes, McCarthy tells his tales in imagery, weaving metaphor and simile heavily into his tapestry of story.  For me, it pulls me in, beyond the marvel of the language use, deep into the sordid dirty life and time of his characters.  By the same means, he lets me see horizons of such overwhelming beauty that I gasp.

But I can understand where Crof is coming from, and there are many who believe McCarthy is simply overdone and enjoyed for its abuse of traditional style of writing.  I still like it though.  I still am awed.  I still am sometimes shattered by his words.

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LITERATURE & REALITY: Suttree and Me

Okay, so who here knows what’s going on?  Really?  Don’t lie or try to slip one by me in a rowboat while I’m trying not to tip my own canoe.  Because I’ll know, you see, I’ll know.  I’ll see through the fancy twirling ribbon sentences and hear the unvoiced struggling stammers since most likely you, like me, don’t have an ort of understanding nor the map.

I wonder if Suttree, and McCarthy himself are just like one of us, the words not borne of deep-kilned knowledge but instead, of wondering wandering paths of silvered snail trails and the anguish of the needed turning back.  Eloquence not only sticking in the picking up of clues, but in the useless striving for the words.  Words that can be tossed and tumbled in the mind until they come out fresh and clean like laundry from a dryer.  Still hot.  Cooling slowly.  Wearable.

But words are only words and not enough.

I went to sleep last night exhausted from my reading.  There is sense among the nonsense but you need to dig and bring it up to light and study it.

If Suttree was a color it would be muddy greys and garish black and whites of town.  Suttree in a faded blue denim shirt and jeans, his eyes the surface color of the river.  I’ve walked and I’ve walked (another McCarthy technique in language) within this world, and come to feel as if I’m seeking something that lies within myself–as sought in Bud Suttree.  He touches lives along the way, the worse-off than him, the characters he’s chosen over those he left behind.  He cares, but in a way that’s almost planned yet seems a part of his salvation.

And this is where I wonder if the words are pulled from anguish and frustration at trying to explain the unexplainable.  The randomness of what sets off his thinking onto paths that cannot lead anywhere but back to himself.

The feeling is familiar to me, only not as bizarrely eloquent as is McCarthy’s way.

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REALITY: Dusk

A thin slice of moon in the silver blue evening sky.

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WRITING: Connotation

A form of show, not tell, I suppose.

Just took a minute to write a bit as a scene presented itself, and was about to write, "I hate that." 

Now last year, I would have written just that.  The 1st person p.o.v. protagonist is telling the story, why shouldn’t he tell us how he feels about something.

Because there’s a better way…

"It stopped me cold.  My stomach tightened and I heard the grind of teeth.  An involuntary muscle started twitching on the right side of my jaw."

Not the best writing, but the idea is there.  Does kinda sound like he hates that, doesn’t it?

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