(Reinvention)

Still reassessing. Expect posts soon?

(22) Announcement

Again, still trying to figure out and refocus this blog so it means something. We'll see what I write about. Not sure at this point. I'm in the States and finally over jet lag, so I expect to start writing again now or soon. Keep well.

--jd

(21) Memories of Laos

Looking back on it, there was one moment in January 2011, while teaching ESL in Laos, that left me mystified. I was the only American in the office during that stretch—Brad and Stacy had left to have their baby—and as such, I was invited to all events.

I was about a half hour into teaching my 2D class when a student from C came to the door, nopped, and asked if I would please come to the ceremony in the next room. I gave the students a writing assignment and headed over to find the students all standing stock still, with several desks arranged at the very front of the classroom with bottles of water and a tall stack of gifts wrapped in silvery paper.

The head of English, Nakhavet, along with Sifong and myself, sat in the chairs as the students stared dutifully at us. The whole time I was thinking how little I’d asked my students to read, and when it would be over. The head of the class stood up, gave a ten minute presentation in Lao, and the class clapped mechanically for a full thirty seconds. They then gestured to us teachers. Nakhavet stood up, chuckled, and delivered a clipped three minute speech. Then Sifong, in her sixties, stood up and launched into a seemingly urgent speech that, like the tide, ebbed and flowed for a good twenty minutes. I didn’t pick up much, but I heard a bit about water and blessings—one of my fellow teachers leaned over and whispered the metaphor. “The wisdom of teachers spill onto the students to grow them like a spring harvest,” he said.

Finally, my moment came. The head of the class smiled and said, “Please, share wisdom with us.” And although I’d spent three years performing on stage in college, making things up as I went along, I couldn’t for the life of me figure out what to say. Wisdom? ‘Life’s Lesson’? It sounds like a really entertaining improv game, actually. So rather than manufacture anything of my own, I turned my eyes up to the signs on the walls. Students make an effort to spruce up the classroom with traced drawings or—the eternal favourite—mis-translated sayings from their textbooks.

“Better to be the head of dog than the fail of lion,” I began, then stopped myself. Nobody batted an eye. So I kept on.

“A rolling stone gathers not moss,” I said.

“Money is time, and it is never too late to mend.”

Emboldened by some of the students’ looks, I continued to scan the walls.

“The wise man is always a good listener. And only education leads us to the successful,” I said with a flourish.

Each student sat in rapt attention except for one—the class president—who began to follow my gaze. I let my eyes wander to the far side of the classroom and happened upon the last of the aphorisms.

“Everyone learn from mistake no one is perfect.”

“Where there is a will there is away.”

“Single rod can’t be made a good fence.”

“The blind leading the blind.”

As I said the last one, almost unthinking, the perfect irony dawned on me, and I sat down doing my best to stifle a laugh. The class gave a mechanical clap, and Sifong stood up for a few words before the president handed each of us gifts in turn. As he presented me my gift, he slipped a small package underneath—a personal token from one of the students—which I later unwrapped to find a striped orange and brown tie folded in an old Marlboro box.

(20) !!!

Augh! No! This blog is suffering from purposelessness! Will solve as soon as I start giving a crap again. Which will be AFTER I move back to America. Shame, huh? Only two more weeks. I know you're holding your breath...

XIX: Move-In

From a draft of a work in progress. Maybe I have a loophole--I'm removing the text in one week. Lemme know what you think.

[removed]

The novel stands at 40 pages. Ish. Continuing on...

XVIII - On Fear

So this has been mentioned to me in the past, and was the primary reason that the last incarnation of this blog was shut down. First Publishing rights. If I put up anything, some nit-pickers tend to think I've published it. Which I haven't. Because, I mean, really? Who reads this? I mean really?

So. Consider this a change in focus. If you would like to read what I'm writing, feel free to leave me a comment. From here on out, I'll only put up stuff I would never *seriously* try to get published. So what is this blog about? Let's figure that one out together, hows about.

Note now the slight transition from "reasonably intriguing showcase of one's writing" to "lame-ass blog"

XVII - On Writing a Novel / Soulless

So I’m apparently in the middle of writing a novel, which is exciting. And, though I am writing, and writing quite a bit, I don’t feel comfortable putting up even intermittent snippets—for me, getting critiques about the writing as I’m putting something together end up killing the process for me, as I discovered on my old blog. I’ve lost whole short stories (like my shotgun coffee shop/live painting story in 2009) because I just put stuff up before I’d gotten through a whole draft.

That said, I can share some other things. I find that, as a writer, I respond especially to music as I compose stories. The music affects a wide range of things—most noticeably my mood, and the overall emotional timbre of the piece. I’ve had short stories spun out of lyrics or concept albums—like my seven dreams piece, which was really rooted in Shearwater’s Palo Santo. For Americano—which I’d sum up succinctly as Faust in a coffee shop, replete with train stations through hell, strange guardian angels burrowing through basement walls, and a lot of tempo changes—I turned to both Amanda Palmer (specifically her persona, drunk in an empty auditorium singing radiohead covers) and other strong female singers, as well as Nick Drake, Anais Mitchell’s Hadestown, Blonde Redhead’s spare euro-pop album Penny Sparkle, Talk Talk’s Laughing Stock, and, earlier in the process, Jefferson Airplane’s “Somebody to Love”. Near the end of the process, and the novella, I found a tone in Boards of Canada’s album “The Campfire Headphase”, which sounds like you’re sixty years old on a salt-sanded beach.

Overall, after I’d smoothed out the kinks with the voice, I was left with a second draft that was, largely, controlled and sad and, for the most part, distant. I’d told a story that spun Eurydice on her head, made her a sex-crazed emotionally torn Faust, and left her, at the end, more or less in hell. It wasn’t an easy thing to write, and though I found a lot more hope in it than others, my impression from readers was that it was more or less depressing, and in their eyes, hopeless. This was not my intent, but the music sang, and the prose spoke, and the character ended where she would.

It’s my hope, as I move forward with this novel, that I find a different emotional core, a different voice. If Americano was Eurydice, then this one’s Orpheus. Doesn’t mean it’ll end happy, but I think it’ll end differently, if nothing else. It’s turning deeply personal, and I’m really looking forward to seeing what comes out of it. At the time of this writing, it’s at 26 pages and counting.

I’ve compiled a playlist for this album, too. It’s massive, and I’ve tried to keep it alternating between two extremes—every other song. What’s on it? I started with Patty Griffin and Over the Rhine, the National, M. Ward and Joni Mitchell—warm, soulful voices—and then I heaped artists like Aphex Twin, Radiohead (Kid A & King of Limbs style), Flying Lotus, the Knife, and Boards of Canada—distant beats, cold, quick sounds. Among others. Sigur Ros’s Untitled album looks to be a fair influence too, for different parts. It’s my hope, through my voice, if nothing else, that I can produce something warmer, though just as trying and emotionally resonant as Americano.

I’d like to close with a short letter one of my close friends sent me—some harsh criticism that I really took to heart. Posted without his permission, of course, as is my wont.

I did read your book, and I found it to be further proof of your excellence as a writer. Indeed, Joe, you've quite surpassed the rest of us in that regard. I liked the hell scene and I thought your unctuous Mephistopheles -- Mr. Bean -- was the perfect tempter. I was not convinced, however, by the logic of the Faustian bargain. In order to sell her soul, Mary had to have one in the first place, and I found little evidence of that. She seemed too cool, detached, cynical. The sex she engaged in was horrible in its passionlessness -- it reminded of the encounter between the secretary and the "young man carbuncular" in the Wasteland. But maybe that was your point -- to show the blending of earth and hell, to rewrite the Faustian bargain as something easy and unconscious, rather than momentous and signed in blood. But this brings me to my primary concern: why is it, my dear Joe, that you refuse to allow your main characters souls? Real, living, human souls? The ghost, the little mermaid, the necrophile, now Mary -- I feel like it's becoming a problem. Really, I'm curious. Your newsletters are so full of color and life -- but your fiction is always gray and, well, dead-feeling. Beautiful, too, don't get me wrong. Dead things often have a kind of ethereal loveliness (and when you aren't being intentionally ugly -- with the vomit, urine, mechanical sex -- this story has it too). But seriously, what's the deal with that? Why do you think this has become your aesthetic?