Here’s a fine article about how a writer, Colm Toibin, uses memories of real events, places, and people in his stories—how they relate to reality, how they relate when they’re changed by a story, and how important a true sense of memory is to getting a story to be “right in the mind” and on the page. It’s called “What Is Real Is Imagined.”
“I am Pete Rose, dying with the hopelessly screwed, scorning giants whose plans date back before saviors . . . .” —This from is a mash-up of a blogpost, lyrics from several musicians, and three poems from a poet called Amanda. She can write. Check her out here:
Interview with a Vamp: The Paris Review and Dorothy Parker, 1956
When I read through this interview done in 1956 between The Paris Review and Dorothy Parker, I couldn’t help but wonder what Shakespeare would have thought of her wit. I imagined he’d say: “Call my director: I was wrong, we should be casting women for all those parts. Hell, if we can find any more like Parker, cast her in the men’s parts, too.”
On Loneliness: Art, Life, and Fucking Human Beings
By Sonya Chung
Hello Novel-Eaters,
Have a potato. OK, I stayed up all night, so what. But I got the re-writing of Tesora done at about 4:11 a.m. Thanks to Renée Watanabe and Alexandra Vega for the tough criticism that made it possible. It may not be better now, but I like it. I’ll wait a few days or a few hours and edit the whole thing together like a crazy quilt turned into a Grandma’s delight . . . or something. Now I hope some agent will enjoy reading it. That’s the big project next. Thanks for reading all the silly poetry I use to take a break from the speeding 80,000-word train in my life. Keep in touch.
— David
My next novel which I call Dead Strings, at this point, has yet to leave the ground, but I continue to mine my own experiences and gut-reactions with modern, rock & roll music for the heart of it. One musician/band who stirs my head, heart, and hips is Nina Diaz and Girl in a Coma. Stirring the heart of Nina Diaz, early in her career, was Alice Bag (of The Bags). Alice, too, is a Latina rocker, who now rocks classrooms with inspiration. This article in the San Antonio Current tells the story. Here’s an excerpt:
As a worder, I appreciate the value in three-dimensional art. Kyushu tells a story here, along with the help of Laurie, The Perpetual Vagabond.
I used to hear Esperanza Spalding through the floor of my apartment as she practiced for classes at Berklee. I could tell she was good, but her music now excels at fusing the interaction of her band mates into a joyful whole.
Ms Spalding has a new album that shows off her music with a bit more tunefulness this time without giving up her usual multi-influenced style. The bebop elements are still there, dancing with Latin rhythms. The bass still duels with her voice. Her band is rock-solidly with her material. Though her style varies now from classical influences to avant garde, the sound is always pure Esperanza. Enjoy. There’s a bit of it here to hear below. Downbeat magazine says: “The most anticipated jazz album of the year has arrived, and Esperanza Spalding’s hook-filled Radio Music Society is an artistic triumph.”
http://www.downbeat.com/default.asp?sect=reviews
http://en.wikipedia.org/wiki/Radio_Music_Society
http://www.itemvn.com/player.swf?soundFile=F34EEF4F84&autostart=no&loop=yes
I’ve switched the points of view of my two latest novels to first person, because it works to bring out the personalities of the main characters. Vanessa Veselka has some good ideas about this and she also points out some good examples to learn from. Here is an excerpt from her interview with Rob Hart. She is the author of Zazen.
Rob Hart: What attracts you to the first-person narrative?
Vanessa Veselka: I love the speed and the edge. It reminds me of what lit did to me when I first started reading. From Dostoyevsky to Melville, Celine—to all the modern classics of identity and manhood like Happy Baby, Fight Club or things like that. It drives. You hear the voice of the narrator and inside that, you hear your own. It’s a drug. What it lacks in sweeping majesty it makes up for in intensity. I like intensity.
RH: Which authors, contemporary or classic, do you believe are exceedingly adept at writing compelling first-person narratives?
VV: I mentioned some of my favorites above, but also The Lover by Marguerite.
davidkrancher.com 