meyerlanewrites's avatarMeyer Lane's Short Attention Span Press

“The urge to convert experience into a group of words that are in a grammatical relation to one another is the most basic, ongoing impulse of my life. It is a habit of antiphony: of call and response. Most days begin with sentences that are typed into a journal no one has ever seen. There is a freedom to this; freedom to write what I will not proceed to wrestle with. The entries are mostly quotidian, a warming up of the fingers and brain. On days when I am troubled, when I am grieved, when I am at a loss for words, the mechanics of formulating sentences, and of stockpiling them in a vault, is the only thing that centers me again.”

 
From Wikipedia:

Jhumpa Lahiri (Bengali; born on July 11, 1967) is an Indian American author. Lahiri’s debut short story collection, Interpreter of Maladies (1999), won the…

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this is good stuff

meyerlanewrites's avatarMeyer Lane's Short Attention Span Press

George On Approaching Writing

I don’t believe at all in the Deep Dark Secret theory of literature: this idea that there is a right or a wrong about a given story or a given approach.  My own pathetic output is proof that, at least in my case, Mastery is totally elusive.  For me, every story is a whole new set of problems, expressed in a whole new language, plus my glasses are out of prescription, and its raining.  So I am a very humble writer and a very humble reader, flinchy even.

George On Confronting the Real Story

We all try to skip around the heart of the story.  It is a form of avoidance that all of us do.  I don’t know quite why, but I see it all the time – in my work and in the work of my students.  It’s very odd, and very universal.  Maybe…

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Family is Fiction, part two

FAMILY: A FICTION, PT. 1

Family 1

2

            Quick to give up, or in, to description.  Sidelong glances, or enough periphery, and it’s known – they are there.  Are here.  Which is firstly what needs be established.  Shaggy in-turned male and self-consciously-nondescript-as-a-waged-war-within-herself – are here – whether explicitly denoted or not, for that is not what this story’s about.  And all of their children – as if we’re in shadows – near presences felt.

If the man were currently reading (he is reading now), and is sitting at his desk, surrounded by more words, words bound up to burst and licking the chops of their leafy lips, prepared to murmur and shout.  It seems to him.

And she would be (read “is”) pushing a broken body into limited stress-inducing motions purposed to loosen and tighten.  Laying on a mat on a floor watching women on a screen count and stretch and breathe, mimicking them with her own limbs and torso. Accentuating her “core,” strengthening her “self” for this losing battle.

The children are learning and eating, playing and working – whatever it is youth do to fend for themselves and their futures – their shadow-dance with age.

Unable to say it as is – the is too complete and far from attainable – in segments and particles, or a falsified whole from great distance.  Oh nature.  Oh being.  Because of the facts, we have to just enter, and being recursive it matters only slightly where or when – inception/conclusion are unrecognizable to a decentralized everywhere, connective and mobile.

Some are known by their doings, some by their fathers’ or mums’; others according to their works or the times.  Some hardly known of at all.  To speak of them is to personally encounter –  as if face-to-face – an intersubjectivity of optimal expressivity.

Or not.  Language gets carried away.  When we search for a meaning or some explanation is it not because we already believe it is there?  Something already imagined?  What remains is a tying together in  idealized systems like logic – building a case or crafting a theory, replete with supporting cast of regulatory theorems.  Which demonstrates little but our ability to make science out of anything.  Exercise in closing the systems.  While all remain open.

The rugged male shifts from his papers, given possibilities, which it turns out rhymes everything.  She teases her hair nonchalantly (she hopes) and attempts to forget her over-calculations by delving into them – representing them – externalizing image and textures.  Viewed askance not head-on, but in outlines and shades or peered at and through, as we’d envision a form from behind.  Anything to remove the scrutiny of mere appearance – incorporate more and defraggle illusions of skin.

She scribbles it onto used papers,  ready surfaces already marred, turning scarrings and blots into figures and wounds; while he accentuates the peculiar, alarmed by specifics and seeking connective similitude.  If a thought comes queer, he tattoos it with ink until it sounds available.

Both, in a way, finding commerce, a transaction with others engaging/avoiding themselves.  Feeling so like and unlike.  A pestilence of the species, er, human condition – overwhelming similarities of form with infinite intricacies of difference.  Everything related – never one without another – a closed system of incalculable possibilities.  They labor in.

Male smells sour in just a few days, not accustomed to shouldering public, perhaps what allows for his mess.  Adapting  to the threat of her attention, though in the absence of comprehension.  She allows him his comforts till they confront and offend.  Peaceable enough – this arrangement – and duly provocative:  they enhance and combine, stimulate and remind one another in a struggling intimacy – they love.  Not without precedents or fear, but they love.

And in their sleep, the gears will turn.

He writes off stuck places – the uncanny processes of dreams.

The children behave like loosely arranged magnets, at times slamming close, or sullenly repelled.  Usually vibrating, tensely, between.  The volatility of past and a future reacts in young bodies as now.

Viewed collectively – it’s an inter-&-co-dependent mechanism, sketchy and atomically diagrammed – similarly potent (at least potentially) in its splittings and pressures.

Live things best metaphor themselves.

Found Objects

Greetings all – squishing this in before the homework hits.  As always I highly encourage any and all of you creatives out there to take these generous prompts and craft away, as exercise or effort – The Friday Fictioneers weekly wonderful co-creativity :

Copyright-Rochelle Wisoff-Fields

“Look, the details don’t matter, okay?  It happened, and here’s the proof, and now nothing will ever be the same.”

“As if it were.  As if things could change like that – all over and immediate.  How do we even know what from this collage?”

“Jesus Ralph!  They’re connected by the photograph!  Look!”

“As if the image were the thing itself.  C’mon Rachel, really?”

“God dad!  It’s grandpa, a menorah, a dial-up and some crayons – how obvious does it have to be?”

“I’m gonna need something more than a sign Rachel, something more than a trick of the light.”

N Filbert 2013

Fumbling toward FICTION

Okay, here goes.  I’ve been diddling my way into another attempt at a longer go of writing, and today have decided, (largely by the courage of company – Tocksin has also begun posting portions of a novelistic go) to post a few rudimentary fragments.  Up until yesterday  the working title was simply FICTION.  I’ve written 3-5 chapters over the past month or two and in seeking an orientation for the work certain symbols and recurrences have led to an inquiry.  “Write about what you want to know” Lance Olsen says, and I can see I’m searching after something in these words.  The epigraphs that shoot me on are the following…

“Reality is the motif”

-Wallace Stevens-

“The universe was the glue that held him together”

-Jonathan Lethem-

“I only care about fiction that raises the question of what fiction is…”

-R. M. Berry-

“The line is only a shadow cast by one (memory or fiction) over the other (fiction or memory).  Once I place memory into language, memory becomes a rumor that makes room for uncertainty.  Memory slips into fiction but then fiction becomes memory once again in an/other way…It is difficult to separate fiction from memory, which is different from separating truth from lying.”

-Doug Rice-

and so it begins…

Family 1

Family 12Family 13

Aspects of Writing: The Beginnings – Conception. Inception.

        

The Beginnings: Conception, Inception

To be thinking about thinking about thinking the origins, the inception, where/when/how the movement-act, a specific verbal urge – that is, to write – conceives.

“To form or develop in the mind.”  “To become pregnant (with child); to grasp seed.”  No when, no how.  No description.  What? – it is a verb, it is verbal.  Con– implying, for inference, a with-ness.  Form requires relation in order to.  Something grasped, taking shape, coming to be.  Wombed – a gathering and a nurturing growth.  Where? – the mind, the gut – of imagination and body.

Inception, then, a beginning, a change, necessarily requiring an other, an outside – entity or energy, movement/matter, to be taken, grasped, to form and develop.   WITH.

Lodged “under the skin,” catching “in the throat,”  sticking “in the mind.”  Festers and swells.  Obstructs and impedes.  Reminds and welcomes or avoids.  Alters, morphs, catalyzing change in and with the host.

Conception: to take with, grasp with, grow and develop with.  To begin is to become.

Alter your position, feel what meets your body, even if only air.  Step forward or back, turn – ceiling, sky.  Nuzzle your nose inside of your neckline – inhale.  Be with all that you are with.  Take it in, work to grasp it, and let it grow and develop, in and with you.  Change.  Begin.  Become.

Conceive.

Otherwise inception, impossible.

 other Aspects of Writing

Aspects of Writing: Writing the Impetus. The Self-Reflexive.

The Self-Reflexive.  Impetus.

The urgency, that is, the urging I feel in setting forth to compose, is dismantling.

In other words, the forcings that encroach, impinge and unleash within me when I’m ‘of a mind’ (experiencing the intention of) ‘to create’ is one of destruction, a defensive attack.

I am thus synonymed by sculptor, woodcarver, archaeologist.

One wants to undo the stories before they reach the page.

In order to find, discover, the figure of them, a more lasting (perhaps) form or shape.

To strip them of their ‘qualities’ or ‘style.’  Their manipulations.  Creation as a straining of the weak, the falsifiable…a process in survival of the fittest, the more “true”(?) or apt.

Chiseling personal explanations and perspectival descriptions down to possibilities.  Unraveling myths toward oracles.  Discounting proofs into theories.

The impetus of writing evokes the motivation of doubt, the landscape is struggle.

“To be inspired” might mean to be activated by an experience accurately called “perfink” (David Krech), or, “perceiving, feeling and thinking at once” (Jerome Bruner).

Regurgitant feeling: investigation, analysis, interpretation – meanings attacking meanings, in hopes.  In hopes that a perfink of “meaning” (a satiation of anxiety, terror, doubt) might prove indestructible – as a possibility.

The narrative, then (the verbal expression of a perfink), is a traffic jam of conventions, presuppositions, reality-views and solipsistic Gnosticism forged within the forging self; writing – as apparatus, activity, function – reflexes: brings self-world to bear on self-worlds in attempts to deconstruct automatic (as it were) constructions of perceiving/feeling/thinking – fighting, clawing, tearing against it with the information and energy of shared resources: language, “knowledge,” the usable past.

Clashings of systems, perfinking perfinks, violent internal skirmishes and acts of terror(ism) – a doing that attempts the undoings of doings – an otherwise endlessly insular, of unverifiable and infinite traces, activity known as self-reflexive

– producing stalemates of exhaustion, individual paucities of supply and reinforcement, ourobourosian

offering only extrinsic chances for momentary cease-fires – the artifact, figure, form of the battlefield, photographed in process and thus submitted – to critics, to readers, to colleagues, to shadows (i.e. to genuine Others) that it might become real (exist in relation, to be directly experienced), corroborated or dismissed by equally limited and idiosyncratic perfinking, outside – both in the world, and of it.

“the contest any artist has with his or her art: working toward a perception that is his or her mind’s peace.”

-Louis Zukofsky-

“the mind carries an austere

inwardness that will not put out its eyes”

-Laurie Sheck-

“Writing is a lonely business’ is both a dull myth and a material fact of the profession, one I happen to be temperamentally suited to endure but which doesn’t gratify my sense of what it’s for.”

-Jonathan Lethem-

Creeley

-Robert Creeley-

see Aspects of Writing

Umwelt

“Language is a thing: it is a written thing, a bit of bark, a sliver of rock, a fragment of clay in which the reality of the earth continues to exist.”

Maurice Blanchot

umwelt

Entanglement

Getting back into A swing of things, I’ve missed the past couple of prompts for the wonderful mixed company of creatives that take part in the Friday Fictioneers (yes, please DO join us!).  So here’s to restarting refreshed…

Copyright-Roger Cohen

Entanglement

So this is our journey.  No way out of it.  Bound together, bound apart, bounded in.  We call it “Situation.”  Shared in common.  Held by circumstance.  Anything might bow us, but both will be effected.  The cords behind, some measures of rest, and whatever comes next – it all impacts the song.  Lucky for an other – no sound can be heard if there is only one, if our strings never touch.  Though sometimes cross and crossed over, at others we vibrate one another to the sweetest hum. It happens together in our ever-bordered context – the space of our entanglement.

N Filbert 2013

back at it with renewed vigor for the new year!