Friday, January 20, 2012

Literary History

There and Back Again: A Literacy History

For as long as I can remember, I have been surrounded by books. I have vivid memories of reading Shel Silverstein growing up. I would read anything by him and would form opinions about the book. I remember enjoying Where the Sidewalk Ends much more than any other. Something about the uninhibited, free-form work he created. My parents, also avid readers, would be supportive of whatever I wished to read. They simultaneously bolstered my reading and allowed me to choose. It was a sort of give and take, I suppose.

The Early Years and Elementary School

My parents read to me from day one. I called my mom to ask her about it. And she recalled reading to me from the earliest days. I wish I remembered specifics of what they read. But I can’t. And it makes a lot of sense that I’m somewhat of a bibliophile today. Today I still consume libraries whole, leaving hardly any books without being at least looked at. I do remember journeying to the Carson City Library with the family and we all were allowed to select a book or two. After feeling precocious one day, I decided I was going to read 20,000 Leagues Under the Sea by Jules Verne. I was probably eight or so. And I would warrant a guess that going after the larger, intimidating books plagues me to this day (I have been trying to read Infinite Jest by David Foster Wallace for about two years.

Attempting to recall precisely what I read when I was younger the aforementioned Shel Silverstein comes to mind. Along with Judy Blume, Roald Dahl and others. I do remember in elementary school enjoying library day. We would go listen to the librarians talk about the critically acclaimed books and then quiz us on them. Who wrote which one, what prize they won, etc. And then we were allowed to walk around the library and pick out any book we wanted. I remember picking books about countries a lot. I think I held on to the book about Norway for triple the time allotted. I enjoyed being transported to a different world through a book. Another book that was colossal for me was The Hatchet by Gary Paulsen. This book is about a boy, who for some reason is traveling in a small plane, the plane plunges into the wilderness and he has to survive. The pilot of the plane is killed in the crash, so he is alone. There is something about this story that I think is attractive to everyone.

Furthermore, I think this is a satellite issue to my literacy history. When I was in elementary school, I was in speech therapy. Rumor has it I couldn’t pronounce the letter R. I like to think I was just speaking with a New York accent. But I think that ostensibly played a role in my advancement. I learned the difference in words and for that matter, how things are heard. Also, I remember urging my parents to write my Christmas list out for me because I enjoyed how their writing looked. My Neanderthal script was nothing compared to their looping cursive.

Middle School and High School

In general, I enjoyed English oriented classes in my early education. I do remember being fascinated by words. I would pick up words that my parents and their friends said that I didn’t know. And then I would attempt to use them usually incorrectly. My affinity for words and texts didn’t stop there. I also attempted to write stories at a very young age. However, I would mostly lift stories right from the original text and place them where I wanted. There are probably tubs of writing from my younger self that are replicas of books. At one point, I had written, cast and was planning on directing an adaptation of Street Fighter. I had typed out congratulatory letters to the people I had deemed worthy of my cast. There is also a story very similar to The Hatchet somewhere at my parent’s house.

The first chapter book—that I felt like a grown up reading anyway—that I fell in love with, was The Hobbit by J.R.R. Tolkein. When I was given the task of reading this book in my 7th grade English class I was dreading it. It was, after all, an old book. What would I want with this old thing? However, early on I was hooked. The idea behind the assignment was for us to read a book and then present on it. We had to write a book report and then complete some sort of auxiliary project. We could create a model of something, a poster board, a video, etc. The first pages of The Hobbit include a map and I decided to create the map. We were also required, in the book report, to type out a summary of the book. Just give the big ideas, big plot points, etc. of the book. What I turned in was a chapter by chapter summary of the book. Something you might find on Sparknotes today. (I was a little sad when the teacher didn’t make any comments about my achievement.) It wasn’t easy to recall each chapter and the major occurrences in each, while also including all the characters and their various issues.

Once I entered high school and was required to be tested on my reading comprehension, I was elated to find out that I was reading at a college level, when I was only in 9th grade. I felt this was quite the accomplishment. Something refrigerator worthy. And throughout high school I knew I was a person who could read. And at a high level. However, there was something nagging at me. I wasn’t performing well on quizzes about the book. I would finish the reading assignment without much issue. And I would participate in class discussion. But I wasn’t performing that well on the tests. I then realized that I really didn’t like reading for a class. I was finishing the reading, but usually after it was due in class. I liked to take my time with the words. Let them sink in.

However, I enjoyed my American Literature Survey course immensely. My teacher, Mr. Macy, was a wonderful example of how to teach the content area. He always started the class by reading from his Flash Fiction book that was rather beat up. It was torn and well loved I’m fairly certain the cover had long since departed the book. The stories in the collection showed me that literature didn’t have to be pretentious and crotchety. It showed me that stories could be subversive and provocative .We read everything from The Scarlet Letter to The Man in the Wheatfield. The latter is a book by Robert Laxalt and centers upon a small community in Nevada. I suppose that was pivotal because it proved that literature can happen in a place you’re familiar with.

This American Literature course is where I was introduced to Kurt Vonnegut. Kurt Vonnegut was attractive to me because of his piercing wit, his propensity for humor in the most difficult settings, and of course his talent as a storyteller. The class read Cat’s Cradle which remains one of my favorite books. Vonnegut’s ability to weave together an entertaining story while commenting on society is spell-bounding.

College and Writing

It is rather surprising because of this that I ended up where I am today. I never thought when I left high school that I would major in English and Theatre. Both degrees required a good deal of writing and reading. I always enjoyed the activity of writing and the activity of reading. I suppose I needed to allow myself to figure out that I can both enjoy the text and finish it for a class. There is a list of books that I read in my undergraduate career that I would like to read again. Jane Eyre for example was a book that we were required to read ten chapters of in between class sessions. The class was Tuesday and Thursdays. Consequently, I did not read that as thoroughly as I should have.

I think because of my long time adversity towards the formalized conquests of English and literacy that will reflect my teaching style. I will teach the standards that need to be taught; however, I am fairly certain I will be a bit more energetic towards creative writing or contemporary fiction and have to kind of slog through teaching MLA format and sentence structure.

I enjoy the writing process and intend on trying to pass this zeal to my students. Throughout my courses in writing, most of them say to “just type” first. Your first draft will probably be horrible (they use a different word—an expletive). But the first draft is where you harness the raw feelings and then you’re able to take the raw emotion and cut about 20% of it. In college, I read On Writing Well by Howard Zinsser who is adamant about removing unnecessary words. Small words are not your friend and should be removed. They don’t mean much. For example, one could say “I opine” instead of “In my opinion.” They say the same thing; however, it is easier to say “I opine.” Another pivotal book was The Elements of Style by William Strunk and E.B. White. This book is a must have.

My ascension into creative writing has grown exponentially in the past few years. While an undergraduate at Augustana College, I completed a screenplay entitled One Fine Sunday and was fortunate to have a staged reading. In 2009, I travelled to Vilnius, Lithuania as part of the Summer Literary Seminars. I was able to interact with writers from all walks of life and participate in a workshops in poetry and playwrighting. My senior year at Augustana I published a chapbook of poetry called Bipolar Musings of a Failed College Dropout. This past December a play I wrote was staged at Augustana College.

My history has been peppered with differing books and authors. I’ve always lived two lives. One of the tangible world in which I go to school, play sports and chat with friends. The other was much more revealing about the content of my character. I solved mysteries with The Hardy Boys, went to the end of sidewalk with Shel Silverstein, ate green eggs and ham with Dr. Seuss, was afraid with Ponyboy, and traveled there and back again with Tolkein and his hobbits.

Throughout high school I wore a scarlet letter, feared ice-nine, searched for the white whale, and learned about a tragedy of a young couple of Verona. In college I began to define myself as a writer and reader. And as I type this essay, I think about my most recent achievement. I finished On Writing by Stephen King. His Golden Rules of writing are “Write a lot and read a lot” and “if you don’t have time to read, then you don’t have the time (or tools) to write.” As I said before I don’t remember everything I’ve read. I know I haven’t remembered all my successes and failures, but as I’m sitting writing this paper, surrounded my books, I can say that I have been lucky.

Monday, January 16, 2012

Writing and Learning

Here we are on the 16th day of the new year.

January has been a pretty swell year so far. I've decided that every Monday, or so, I'll post something of a writing prompt. For even if you don't consider yourself a "writer", just writing a few thoughts down could be useful. A way to synthesize all those conflicting, powerful thoughts that occur.

Some of this is based off a book I was presented by my roommate Justin. It is part journal, part therapist in a way. The premise is you are asked a question, every day of the year, and you're supposed to respond. And then 2013 rolls around and you answer again. And again for five years. So you see how your ideas change (or not). Questions as diverse as "Are you a leader or a follower?" or "What's your favorite accessory?" And the beginning of the year starts with a rather amorphous question. And that is "What is your mission?"

I thought about that one for a while. Perhaps the best part is that you only really (if you write in the book) have about three lines to answer.

So perhaps that is your first writing prompt:

What is your mission?

I hope this Monday is finding you well. And I hope that you take a moment or two to reflect in honor of MLK JR.

Take care, y'all.

Friday, January 6, 2012

A New Year

Greetings.

I hope 2012 has begun with a flourish. And may this year be everything wonderful for you and yours.

I am determined to post every day for the year of 2012. I've made this claim before; however, I feel like I will do it this year. Granted I've already missed five days so far. But I opine that it will be easier to post everyday this time.

A few updates since the last time I posted.

The Kids are Pissin' on the Front Lawn went along with a wonderful production. The play itself was well attended (probably an understatement, we had to add chairs two of the three nights), and I heard plenty of beautiful statements about it.

I'd like to speak a little bit about an experience I had during intermission of the performance:

I nod to a patron who was entering the theater probably a few moments before the intermission was ending.

She hesitates, continues walking and then turns back to me.

'It is like you've been inside my dreams or read my diary,'

I laugh. Laughter is a defense mechanism you know.

'It is truly...' she stops and walks back towards her seat.


I have been replaying this encounter over and over in my head. I was too caught up in the...something to truly appreciate her comment. And now, I'm not sure who she was, or who she was there to see, or what. No idea how I could speak to her again. To actually communicate with her.

I guess this meant more to me then nearly everything else. To hear that this play, this clamoring heap of a play, connected to her in a completely tangible, perhaps frightening way for her. That perhaps this play may have come along at a time when she needed to hear it. The way many works have come along at a time when I needed to hear it. To hear that I wasn't the only person who felt some of these feelings.

I am drawn to a quote by David Foster Wallace. He said "This is nourishing, redemptive; we become less alone inside."


Thursday, November 17, 2011

So YOU want to be a 'writer'

One of the most polarizing and crude poets happens to be one of my favorites. Charles Bukowski, generally speaking, writes poems with a unique subversive voice that the reader can't seem to put the book down, no matter how enraged they might become.

His poem 'So You want to be A Writer' is one of my favorite poems. The poem is at the bottom of the post.

I have been thinking for the last couple of weeks about what it means to be a writer. And after one of my plays was chosen to be produced and a friend asking me if I considered myself a writer, I was taken aback. I don't know, am I? I mean, sure. I write stories that are apparently pleasing to people. I mean, no one has booed. Or ripped my book in half. No one has damned my writing or called for it to be burned. But am I a 'writer.'

I will admit to being a bibliophage. Maybe even a bit pretentious. Maybe I'm a burgeoning writer. Someone who will have a meteoric rise. Not now though. Now I'm just hanging out, banging keys on my keyboard.

Since my show The Kids are Pissin' on the Front Lawn was chosen to be produced this December, I have heard plenty of nice things about the script. And me. And me as a writer. I've heard people speak about themes of the show. About the characters and their relationships. I've listened to people discuss the design of the show. I've listened as actors discover their characters. I've enjoyed hearing the director discuss her excitement about the show and its meaning.

Sure I had inspiration for the show. Yet, the unsexy answer is I wanted to write a play. And this is what came out. This often disruptive, clamoring heap of a show. And to be fair, I started with the inspiration, the event that occurred, and then blew that up. I annihilated it. I picked up the pieces and examined each one to create a world that was difficult, comforting and haunting.

I am extraordinarily interested to see how people react to the characters. Will they identify themselves in the characters? If they do, will they admit it? Will it affect them? If it does will it be immediate? Or will they be walking down the street and then all of a sudden they'll think "Crap. That bastard affected me." To that end, was it me? My words?

I started this play because I met David Lindsay-Abaire. He received advice from Marsha Norman while he was at Juilliard. Norman said 'If you want to write a good play, write about what frightens you most.' What frightens me most? That's a good question. And I won't answer this directly except for saying if you come to the show, you'll hear the characters talk about fears quite a bit. And I won't tell you which things are directly attributed to me, but there are a few.

But it is an interesting thought. To write about what is most personally frightening. To become a servant to the audience. To open up the private self and present it in characters. And what if, what if the audience doesn't retain the wall between the author and the characters and projects the characters thoughts directly upon mine. This play asks a fair amount of rude questions and has a fair amount of rude language, what if the audience shuts down and doesn't respond at all? What if people walk out? Or if people are so filled with vitriol they egg my house.

Not to be brilliantly quixotic, but then I guess I succeeded. And this play succeeded. And the cast and crew should be proud. It has been a whirlwind month. I have no idea how I will feel when I walk in and see the set for the first time. And I have no idea how I will feel on December 8 when the lights dim and the show begins. Or on December 9 when a former professor, Dr. Darcie Rives-East, asks me questions about the show and then opens the discussion up to the audience. Or on December 10 when my in-laws and a friend from New Mexico are in the audience. Or for that matter later on December 10 when the lights dim and the set is taken apart and the play returns to the ephemeral state.

So, I guess, what was the point of this post. No idea. Besides the fact that this play came 'roaring out of me'; but I am prepared to wait as well. I'm also struck by a quote by Jonathan Franzen. And that is "I voluntarily inflicted a certain level of insanity on myself.' Boy did I. And perhaps that is what it means to be a writer. The ability to inflict insanity upon yourself, to become a glorified schizophrenic, to hear voices and put them to the page. Ultimately, to annihilate yourself, to blow yourself up, and pick up the pieces.

So, am I a writer?

So You Want to Be a Writer by Charles Bukowski

if it doesn't come bursting out of you
in spite of everything,
don't do it.
unless it comes unasked out of your
heart and your mind and your mouth
and your gut,
don't do it.
if you have to sit for hours
staring at your computer screen
or hunched over your
typewriter
searching for words,
don't do it.
if you're doing it for money or
fame,
don't do it.
if you're doing it because you want
women in your bed,
don't do it.
if you have to sit there and
rewrite it again and again,
don't do it.
if it's hard work just thinking about doing it,
don't do it.
if you're trying to write like somebody
else,
forget about it.
if you have to wait for it to roar out of
you,
then wait patiently.
if it never does roar out of you,
do something else.

if you first have to read it to your wife
or your girlfriend or your boyfriend
or your parents or to anybody at all,
you're not ready.

don't be like so many writers,
don't be like so many thousands of
people who call themselves writers,
don't be dull and boring and
pretentious, don't be consumed with self-
love.
the libraries of the world have
yawned themselves to
sleep
over your kind.
don't add to that.
don't do it.
unless it comes out of
your soul like a rocket,
unless being still would
drive you to madness or
suicide or murder,
don't do it.
unless the sun inside you is
burning your gut,
don't do it.

when it is truly time,
and if you have been chosen,
it will do it by
itself and it will keep on doing it
until you die or it dies in you.

there is no other way.

and there never was.



Monday, August 8, 2011

A Case of the Mondays

So, I've been attempting to think of something to post today. And if I'm being perfectly honest, I'm too lazy to think of something. And so I remembered this video from a HBO special with Lady Gaga. So, here is your post today, a different version of 'Born This Way.' Enjoy. I hope you're swell.




Sunday, August 7, 2011

A Few Thoughts

Strange thing.

Why do we hold on to things? I mean, as I stated before, I'm in the midst of moving, and might I say that I have a lot of crap. And this isn't the oh-man-I-have-a lot-of-stuff 'crap.' It is crap. Stuff I'm not even sure where I got it. But it is a strange thing, no? Holding onto certain objects just because they meant something extraordinarily special at some point. There are certain things I wouldn't give away, no matter what. But there are some things where I am not sure exactly why I have them.

Anyway, I just wanted to write this post because I'm not exactly sure what to make of it. Why I'm so attached to certain things. And why I feel the need to hold onto them.

One thing was from the first college I attended, Holy Cross College. One was the packet given to all freshmen at orientation, another was the disciplinary letter after I was got with alcohol in my room, and another was a card inviting my parents to orientation weekend. Now, I could easily throw all of this away. Easily. Yet, it is still in my pile of stuff to be packed and transported with my other cherished belongings to South Dakota. But, why?

Is it because this was stuff from such a tumultuous time? A time when I made several life altering (And I'm not being dramatic) decisions. And it is a way for me to remember my monolithic journey. Maybe.

Anyway, this also reminds me of the question 'if you had 30 seconds before you had to leave your apartment, what would you grab?' or better yet 'what is your most cherished possession?'

Some food for thought, ya'll. I hope you're swell.

Friday, August 5, 2011

'The Corrections' Corrected





The previous link is a portion of the book I am currently reading, 'The Corrections' by Jonathan Franzen.

Now I do not claim to be a cultural theorist or a person who necessarily is adept at philosophy or anything. However, I opine that a few people in this country feel the same way as the main speaker of this passage. The what-good-is-it-to-attack-everything crowd. And I think that she has a point. Is there a stopping point for 'unpacking' things? Well, yes. And no.

The first day of my undergraduate Engl 380 class we critiqued a song by Hannah Montana. I have included the song lyrics now to aide this discussion:

Don't let no small frustration
Ever bring you down
No, no, no, no
Just take a situation
And turn it all around

With a new attitude everything can change
Make it how you want it to be
Stay mad, why do that? Give yourself a break
Laugh about it and you'll see

Life's what you make it
So let's make it rock
Life's what you make it
So come on, come on, come on, everybody now

Why be sad broken hearted?
There's so much to do
Life is hard or it's a party
The choice is up to you

With a new attitude everything can change
Make it how you want it to be
Stay sad, why do that? Give yourself a break
I know you want to party with me

Life's what you make it
[From: http://www.elyrics.net/read/h/hannah-montana-lyrics/life_s-what-you-make-it-lyrics.html]
So let's make it rock
Life's what you make it
So come on, come on, come on, everybody now

Let's celebrate it, join in everyone
You decide 'cause life's what you make it

Things are looking up anytime you want
All you gotta do is realize that
It's under your control
So let the good times rock and roll!

C'mon everybody
Do it now
All right, let's get the party started
Yeah, yeah, yeah, now that's a party
Yeah, yeah, put your hands together

Life's what you make it
So let's make it rock, let's make it rock
Life's what you make it
So come on, come on, come on, everybody now

Let's celebrate it, join in everyone
You decide 'cause life's what you make it, aww yeah
Life is what you make it


And now that we have the contribution from the Gospel According to Hannah Montana (or Miley Cyrus, I never know which, this is so confusing) let's think about what this song says. I mean to boil it down to the root, I suppose it says 'Why the hell are you so sad? Be happy. Life's not that bad. Stop this messing around. Life is what you make it' Of course, it has been Disney Channel-ified. But here is where I think the character in the book, perhaps as a point. Is Miley Cyrus using this song as call-to-arms against all people with depression, bipolar disorder, or other mental issues? No. Probably not. But is this is a song that could challenge the abstruse idea that you can do anything in the world that you want as long as you work hard enough...maybe. But then, is that bad?

I had the benefit of having a professor who was good about accepting other ideas. And gave us free-reign as far as these frustrating, fascinating topics/theories/etc is concerned. But I am struck with a simple sentence in this passage:

'It is so typical and perfect you hate those ads!'

So I thought then, why do I hate the ads I hate? Sometimes I think it simply because they are 'below' me and I'm feeling esoteric that day. Sometimes I think it is because they are just poorly made. But is it because sometimes that in my heart of hearts I have some unknown creature of white-male-succesful-itis. And I really do dislike people who are different than me. Well, no. I'm pretty open about other places, cultures, etc. But it is interesting to think about. Why do you hate the ads you hate? Again, what do you CHOOSE to pay attention to? And do you CHOOSE it? Our programming is chosen by someone in some office somewhere who bases 'what is on' by statistics of who is watching. So, then, do we choose what we pay attention to? That is to say, if we- the general we- stop watching certain things and stopped consuming certain products (both nutritionally and entertainment) would the cigar-chomping big wigs change their tune?

Now, to connect the book passage to this previous paragraph. The word 'corporate' and what that signifies. The passage says: They all know 'corporate' is a dirty word.

Interesting, yes? Does corporate mean evil and is it a dirty word? No. But there are plenty of words that go along with corporate nowadays: sell-out, big business (that's interesting in and of itself, 'big' business), global economy, CAPITALISM, etc etc etc. I wish I could use this example from a book I have somewhere, but alas, I am in the midst of packing, so I can only speak in generalities. But the book contains a table of what kind of music is used to advertise certain products. Generally speaking, classical music seems to be used for 'elite' products. But why is that? Couldn't Mozart just as easily sell McDonald's Fries as it is paired with Lexus or Mercedes? Again, to the point of the passage about 'stupid, lame problem with signifiers and signifieds.' Apparently classical music is used for elite, whilst cheeky jingles are attributed to fast food.

I feel as though I'm one of those people who are 'wringing their hands' about problems in this culture. Though, I'm not exactly sure what the problems are. OR who causes them. OR better yet, how to solve them.

I think it is important to pay attention to and to critique things. However, I think there must be a stopping point somewhere. Perhaps it is a point just before we all become xenophobic and all build cellars and hide from everything.


I'll think I'll leave it here for now. I hope you're swell.