Work in Progress: Inspired by the Darren Aronofsky Movie

How many readers actually saw “Noah” when it was in theaters earlier this year? The speculative fiction film version of “Noah,” the one that starred Russell Crowe and Jennifer Connolly? Self loved it. In fact, it’s still one of her favorite movies of the year.

Self is calling this work-in-progress “The Ark.”:

Two by two, the counting went on, day and night.

In moonlight sometimes Noah heard his wife singing.

No more than two, Noah said. One pair, that’s all we can take.

His wife began to argue with him. There must be a way, she insisted. Her eyes had that stormy look. Like lake water in spring, when the wind blows hard around.

Right now, it stands at around five pages, double-spaced (1,000 words). Happiness!

Stay tuned.

Teaching Non-Fiction

Self is in the middle of teaching an on-line class for UCLA Extension right now, “Essential Beginnings in Nonfiction.” The book she is using is Judith Barrington’s Writing the Memoir: From Truth to Art.

From Chapter 3, which self is having the students discuss this week:

Do not make the mistake of thinking it is easier to tell the stories you have lived than to make up fictitious stories about imaginary people.  It is no easier to write your own story well than it is to write anything else well.

Stay tuned, dear blog readers.  Stay tuned.

Self Got The Full-On Star Treatment From TAYO Magazine!

Oh the FEEELZ!

TAYO Magazine posted an interview with self.

Check it out.

The banner they used for self’s interview was a picture she took in The Red Room of Café Paradiso in Cork.  That is in fact the ceiling light. Love Ger and her cooking and her warmth and all her fun group of friends who invited self to share their champagne.

Self’s author pic was taken (years ago, cancha tell) by none other than the fabulous Stella Kalaw.

(It’s very funny because self thought all she was doing was having dinner — in Karilagan restaurant, just hailing distance from Max’s in South San Francisco — with Melissa Sipin-Gabon, fiction writer and editor of TAYO, and it turns out what she was actually doing was giving an interview. BWAH HA HA HAAAA!  If only self had an Effie Trinket around to prep for her propo! Any gaffes are entirely her own)

Stay tuned.

 

Tagged! Virtual Blog Tour

Self has a lot of catching up to do with regards to honoring the lovely Rashaan Alexis-Meneses’ tagging of Kanlaon for the Virtual Blog Tour.

She was tagged two weeks ago, but summer is always a blur.  In the summer, self’s brain seems to work at half-time.  Not. Kidding.

Nevertheless, she is now at full attention and ready to participate!

First things first:

THANKS MUCH, MZ RASHAAN:

“. . .  in your blog you acknowledge the people who invited you, answer four given questions about your work and your process, then invite three other people to participate.”

For this post only, self will drop the 3rd person arch-ness and go for first person SINCERE.

My responses are only slightly tongue-in-cheek.

What are you currently working on?

A series of speculative fiction stories, most of them flash, all of them intriguing. LOL LOL LOL

One of them, “The Elephant,” will appear in the next issue of Your Impossible Voice.

“The Secret Room” is already up, on Café Irreal.

How does your work differ from others of its genre?

I don’t “do” narratives of identity.

I write narratives of deformity.

We’re all monsters.  In one way or another.  Inside.

I dig deep to find that which makes us wretched.

Why do you write/ create what you do?

Because I can’t help myself.  And because writing, frankly, is the only thing I’m REALLY good at.

Honestly, if someone had told me, way back when, “Your life will be spent mostly in an empty room (empty of people, that is), writing stories of deep despondency, for which you will be paid nada,” I would promptly have said, “You’re crazy!” or, “You’re dreaming!” or, “Do you think I’m some kind of martyr?” Turns out I am all of those things:  crazy/demented dreamer/ martyr.  Maybe ALL writers are all of these things. Ugh. Welcome to my Pity Party.

How does your writing/ creating process work?

The angrier I am, the better I write.  So I try to stay angry.

I like to think of my process as SLASH AND BURN.

P. S.  It’s really fun to “do” anger in flash fiction.

*     *     *     *     *

Spreading the love to:  Stella Kalaw; Luisa Igloria; Kathleen Burkhalter

Stay tuned, dear blog readers.  Stay tuned.

The List in Self’s “The Secret Room” (CAFE IRREAL, Issue # 50)

Self has long pondered the difference between science fiction, speculative fiction, fairy tales, myths, horror stories and the “irreal.”  The other day, she decided to go through the Café Irreal essay, “What is irrealism?”

She’d first read it several years ago, when she began writing lots of speculative fiction.  It was nice to re-discover it.

The essay reminds us that, in “pre-modern” times, the people telling and listening to folk tales and legends assumed them to be “true.” These people, if they had heard Kafka’s “Metamorphosis” read aloud to them, “would most likely assume that the transformation” of the protagonist into a bug was likely the result of “a spell” (And why not? In “pre-modern” times, spells were considered practical ways to deal with malevolence; in other words, spells were not “magic.” They were solutions to a problem) For them, “the irreality of the story — which flows from an irresolvable clash between the real and the unreal — would be lost.”

There’s more, much more to ponder in the essay.  Self recommends that readers go over to Café Irreal to read it in its entirety.

Self’s story, “The Secret Room,” is in the current issue.

At yesterday’s writers group meeting, self’s esteemed friend (and soon-to-be-famous published novelist) Lillian Howan mentioned that her son liked the list in the story.

Which, self confided to Lillian, was the trickiest part of the piece.  Self had to keep working at it and working at it, constantly changing the items in the list because she was never completely satisfied with the “mix.”

Here’s the list in its final, published version:

  • A map of an island with no name.  There was no way to tell whether this island was near or far, whether it lay within the bounds of the Narrow Sea or beyond, in some yet undiscovered realm.
  • A piece of yellowing parchment, on which had been written, in her husband’s careful hand, the letters KMCVQH
  • An iron knitting needle
  • A stone the size of her fist, on whose rough surface glittered a sparkly metal that might have been silver
  • A drawing of a unicorn
  • A broken silver chain
  • A dozen gold coins stamped with the profile of Aurelia, the Queen of the Undersea
  • A small painting, about the width of a hand, of a man with no eyes

Stay tuned, dear blog readers.  Stay tuned.

Aimee Bender on Fairy Tales

These days, self’s reading is all over the map.  She’s tried so many times to finish reading Sebastian Barry’s The Secret Scriptures, but despite him being such a beautiful writer, she can manage only a page a day.

Aside from that book, she’s also perusing her personal bookshelf.  The books she consults most often are lined up on the shelves in son’s room. Here’s an excerpt from one of those, Conversations With American Women Writers (University Press of New England, 2004).

It’s from an interview with Aimee Bender, author of the (magical realist?) short story collection The Girl In the Flammable Skirt.  The interviewer (Sarah Anne Johnson, one of the best) asks her about fairy tales. Self thinks about fairy tales a lot because she’s thinking of sending yet another piece to Café Irreal. And she’s also reading a book of Oscar Wilde fairy tales she picked up in Dublin.

I’ve heard you say that fairy tales present plot as metaphor.  What do you mean by that?

Mainly that a fairy tale character has no internal world, so the entire plot is a reflection of their internal life.  Or at least it can be interpreted that way, to good effect.  So suddenly the plot becomes wildly meaningful.  Instead of the truth of regular life, where I don’t believe in signs and symbols in the same way, in fairy tales everything is a sign for something, and the world is this strange, blinking ordered universe of actions.

How else do fairy tales inform your writing?

I feel like somewhere along the line I ate fairy tales. I ingested and digested them, and now they’re part of my whole person.  The way they move plot, the settings, the imagery.

Stay tuned, dear blog readers.  Stay tuned.

Catching Up: Books of The Economist, 15 March 2014

No more apologies!  Self is going to get to the every single back issue of The Economist (Her subscription is good until next year), by hook or by crook!

Here are the books she wants to read, after perusing the Books and Arts section of 15 March 2014:

The Hard Thing About Hard Things:  Building a Business When There Are No Easy Answers, by Ben Horowitz:  Self chooses this book to read because part of it is a blow-by-blow of how a business failed.  The author’s advice for prospective entrepreneurs?  “If you are going to eat shit, don’t nibble.”  Mr. Horowitz took his company public, but alas his timing was poor, for the terrorist attacks on 9/11 hit just a short time later.  Mr. Horowitz goes into “wartime” mode.  Read how he does it.

The six-volume, 3,500-page autobiography by Karl Ove Knausgaard, My Struggle (The first three have been translated from the Norwegian by Don Bartlett):  The Economist calls it “the most exhaustive account of a modern life ever written.” Mr. Kanusgaard turned out this magnum opus by writing 20 pages a day, “baring bits of his soul to a timetable, coping, on the one hand, with the growing fury of his family and, on the other, with the ever-present fear of failure.”  Not until almost at the end of the review is Proust even mentioned, but Proust was in the back of self’s mind from the moment she began reading it.  Like Proust, Knausgaard is obsessed “with the mechanics of memory: he claims that he does not have a good memory until he starts writing.”

Stay tuned, dear blog readers.  Stay tuned.

 

Because July 4, 2014 Is Just Around the Corner

The Fourth of July is one of self’s faaaaavorite holidays, for many reasons:  the red, white and blue!  The parades!  The picnics!  The fireworks!  The summer heat (if a parade takes place in less than scorching weather, it’s not really a parade, in self’s humble opinion)! The crowds! The mood!  The retro rock music!

In honor of this year’s holiday (which falls on a Friday, thus making the weekend a three-day, which means everyone — those getting away as well those doing staycations — is in a mellow mood), the Wall Street Journal asked six Americans — a potter; a world-champion swimmer; a novelist; a fashion designer; a CEO; and a performance artist for their own particular takes on the concept of “Independence.”

Here’s what the novelist, Richard Ford, has to say:

Independence contains the seeds of drama — the very thing a novelist is looking for — because it always implies independence away from something.  It also confers consequence on a person and a complex sense of interiority, which are also things that novelists are interested in.  But does it confer strength or powerlessness?  That question is part of the American narrative.  A month before my novel Independence Day was published, I threw out the ending and wrote a new one, which we used, in which my protagonist, Frank, is standing beside a Fourth of July parade as it marches down the street and feeling the urge to join in.  Whether or not I knew it before I started the book, I knew then for certain that the real virtue of independence was the degree to which it allows you to join the human race, rather than stand apart.

Stay tuned, dear blog readers.  Stay tuned.

Room 3: Button Factory, Temple Bar, Dublin

Lest dear blog readers think self is losing her wits, she blurred these photos deliberately, to give an effect of — mood?  Energy?  Transience?

The setting was the Button Factory, in Temple Bar Music Centre, 4 Temple Bar, Dublin.

Self is riffing off this weeks’s WordPress Photo Challenge:

SHARE YOUR TAKE ON THE IDEA OF ROOM — it could be an actual room in your house, a favorite gallery in your local museum, a cubicle at work.

Last Set of the Night:  Jaime Nanci Barron & the Blue Boys Getting Ready to Set Up

Last Set of the Night: Jaime Nanci Barron & the Blue Boys Getting Ready to Set Up

The audience at the Button Factory listens with rapt attention.

The audience at the Button Factory listens with rapt attention.

The Magic of Music and Midnight in Temple Bar

The Magic of Music and Midnight in Temple Bar

Why, self muses, is this bar called the Button Factory?  Having been in Dublin for a wee bit, she knows it is because, in all likelihood, the place did indeed use to be a button factory.

Her B & B is near Ballsbridge.

The local supermarket is called Spar.

The street itself is called Lower Mount Street.

The saloon on the corner of her previous B & B, in Inchicore, was called the Black Horse Saloon and in fact that was the name of the actual stop on the Luas (tram) line.

Some of that nuance and pungency must have worked itself into her writing.  The stories she’s written here in Ireland are:  Spores, Toad, Residents of the Deep, Breeder.  She likes!

Stay tuned, dear blog readers.  Stay tuned.

Twist 3: The Stone Lintel’s Close-Up

The stone lintel self passes almost every day, in the garden between the farmyard cottages and the Main House of the Tyrone Guthrie Centre in Annaghmakerrig, is now ready for its close-up:

What is this mysterious thing?  And what is it doing on the grounds of the Tyrone Guthrie Center?  Who made it?  And why?

What is this mysterious thing? And what is it doing on the grounds of the Tyrone Guthrie Center? Who made it? And why?  Her musings about it remind her of her musings on the mysteries of Stonehenge.

Self thinks it is a very good thing to do an artists residency in a rainy place — such as a boggy island like Ireland — because one is given so much incentive to stay indoors.  And since everything else is so far away (like movie theatres, like newspapers, like television), one perforce has to exercise the utmost resourcefulness to keep oneself entertained.  And, in self’s particular case, that means concocting convoluted (yet entertaining) narratives involving ships and voyages and science and spores and changeables and hedgehogs and Commons and bongs and elephants and imaginary cities.

Stay tuned, dear blog readers.  Stay tuned.

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