WIDE, the margin between carte blanche and the white page. Nevertheless it is not in the margin that you can find me, but in the yet whiter one that separates the word-strewn sheet from the transparent, the written page from the one to be written in the infinite space where the eye turns back to the eye, and the hand to the pen, where all we write is erased, even as you write it. For the book imperceptibly takes shape within the book we will never finish.There is my desert.
The individual cannot think and communicate his thought, the governor and legislator cannot act effectively or frame his laws without words, and the solidity and validity of these words is in the care of the damned and despised litterati...when their very medium, the very essence of their work, the application of word to thing goes rotten, i.e. becomes slushy and inexact, or excessive or bloated, the whole machinery of social and of individual thought and order goes to pot.
To have output you must have input. It helps to go on a period of creative nourishment, or dolce far niente, clearing the brain. Go to bed with the cat, some flouffy pillows, tea and a book which could not in any sense be called improving. Read for fun for a change: superior Chicklit is good, or children’s classics. You are not allowed to try and analyse what the author is doing. After a good sleep, go and do something new, or that you haven’t done for a while....
How dare I presume to say: He is my friend, or even, more cautiously, I think I know him? At the very most we are like two strangers meeting in the white wintry veld and sitting down together for a while to smoke a pipe before proceeding on their separate ways. No more.Alone. Alone to the very end. I… every one of us. But to have been granted the grace of meeting and touching so fleetingly: is that not the most awesome and wonderful thing one can hope for in this world?
I'd write of people and places like I knew, and I'd make my characters talk everyday English; and I'd let the sun rise and set in the usual quiet way without much fuss over the fact. If I had to have villains at all, I'd give them a chance, Anne--I'd give them a chance. There are some terrible bad men the world, I suppose, but you'd have to go a long piece to find them...But most of us have got a little decency somewhere in us. Keep on writing, Anne.
I don't know where to start," one [writing student] will wail. Start with your childhood, I tell them. Plug your nose and jump in, and write down all your memories as truthfully as you can. Flannery O' Connor said that anyone who has survived childhood has enough material to write for the rest of his or her life. Maybe your childhood was grim and horrible, but grim and horrible is Okay if it is well done. Don't worry about doing it well yet, though. Just get it down.
Anger ... it's a paralyzing emotion ... you can't get anything done. People sort of think it's an interesting, passionate, and igniting feeling — I don't think it's any of that — it's helpless ... it's absence of control — and I need all of my skills, all of the control, all of my powers ... and anger doesn't provide any of that — I have no use for it whatsoever."[Interview with CBS radio host Don Swaim, September 15, 1987.]
You better [start writing] now because you know how to write, and you have fingers, and you have this one life, and during this one life, you should put your words down, and make your voice heard, and then let others hear your voice. And the only way any of that’s going to happen is if you actually do it. People can’t read the thoughts in your head. They can only read the thoughts you put down, carefully and with great love, on the page.So you have to do it, goddamnit.
A Cyclops on a unicycle juggling three giant eyeballs couldn’t compare to the balanced vision my writing presents. In fact, noted linguist and translation expert Dora J. Arod had these flattering words to say about my writing: “I wouldn’t read Jarod’s writing—not even if he paid me to read it. And he does pay me to read his writing, but that doesn’t mean I do.” Of course the quote continued on, but that was the only part that was praising.
People often ask me why my style is so simple. It is, in fact, deceptively simple, for no two sentences are alike. It is clarity that I am striving to attain, not simplicity.Of course, some people want literature to be difficult and there are writers who like to make their readers toil and sweat. They hope to be taken more seriously that way. I have always tried to achieve a prose that is easy and conversational. And those who think this is simple should try it for themselves.
The large, gaping flaws in the construction of the stories--mad wives in the attic, strange apparitions in Belgium--are a representation of the life she could not face; these gothic subterfuges represent the mind at a breaking point, frantic to find any way out. If the flaws are only to be attributed to the practicce of popular fiction of the time, we cannot then explain the large amount of genuine feeling that goes into them. They stand for the hidden wishes of an intolerable life.
May in Varanasi. 25° and wet. It's like the 6th circle of the inferno here, Edith - where they flail the arses off the howling heretics and the men who fuck marine life etc. NATO's stomping on the Balkans while India and Pakistan threaten one another with nukes. "Dead From the Waist Down" on MTV. The humidity's making me horny and mad. I miss Robin. In his new book, Ken Wilbur calls it "skin hunger". I feel like I'm building up a charge. Monsoon's on its way.
Remember William Blake who said: "Improvement makes straight, straight roads, but the crooked roads without improvement are roads of genius."The truth is, life itself, is always startling, strange, unexpected. But when the truth is told about it everybody knows at once that it is life itself and not made up.But in ordinary fiction, movies, etc, everything is smoothed out to seem plausible--villains made bad, heroes splendid, heroines glamorous, and so on, so that no one believes a word
Remember that you own what happened to you. If your childhood was less than ideal, you may have been raised thinking that if you told the truth about what really went on in your family, a long bony white finger would emerge from a cloud and point to you, while a chilling voice thundered, "We *told* you not to tell." But that was then. Just put down on paper everything you can remember now about your parents and siblings and relatives and neighbors, and we will deal with libel later on.
Initially, I feel expansive when I try something new, and then contract as soon as I encounter difficulty or the unknown. I am learning to experiment with my tolerance of difficulty and the not knowing, in order to go further with my creative dreams.Whenever I experience contraction, I explore it by asking, "Where did I stop and why?" Building a creative dream life is not just about achieving, succeeding, or "meeting goals." It is also about floundering, stumbling, tripping and failing.
