Six Words

If you’ve read Ernest Hemingway’s six word story on Dr.Pound’s blog (and if you’re here you at least came from his blog), you can see what a piece of art it is. The words fit perfectly and compliment each other, like an assembled puzzle, and they still manage to tell a story by showing not telling. They show a vivid image, that hints at a larger story around the edges. Six words; barely enough to construct a sentence, but enough to tell a story.

 

At any rate, I humbly present to you my first attempt at a six word memoir:

Oblivious; except once when it mattered.

 

Here’s another:

Stalled life forever; Stall death? Never.

 

Not sure if that last one makes sense. Alas, I guess I’m no Hemingway.

 

 


Second Assignment; First Draft

For our second writing assignment, we were told to write about a person, place, or thing that holds a special importance for us. Here’s my very first draft of that. Notice the raw, unrefined, suck (It will get better, I promise, even if it only happens ever so gradually). Here it goes:

My favourite place is not a place in the usual, singular sense of the word. It is an infinitude of places, but it can be seen if you will only look in a certain direction: up.

I greatly enjoy flying. While I’ld love to portray my hobby as, in the borrowed words of John Maggie, “slipping the surly bonds of earth”, it is nothing of the sort. Think less piloting a sleek, seemless, perfectly engineered jet slicing the air at unphysical speeds, many miles above the entirety of humanity, and more commandeering a “putt-putt-putting” flying lawnmower barely a mile above the earth.

Therein lies the appeal. The modern automobile is still seen as a, if not the, symbol of personal freedom and autonomy. But is that really the case? Driving consists of maneuvering within (two dimensional) predefined roads, choked by countless rules and regulations of what you can and can’t do. And there is little you actually do; you have a go-peddle, a brake peddle, and a very sophisticated computer doing anything that requires any skill at all (it even takes care of shifting gears).

On the other hand, the Cessna four seater is a primitive contraption. Designed on paper and slide rules, its frail aluminum skin stamped and riveted before the British invasion, the most sophisticated piece of electronics on board is a low fidelity radio. Every movement of the hand or feet while in flight is directly translated into a movement in the wings, through a steel cable and some pulleys. At the same time, you feel the environment you pass through intimately; every buffering of turbulence, every gust or breeze of the unstable winds.

Each flight starts with a walkaround; a detailed inspection of the aircraft’s exterior, feeling and looking for any thing out of the ordinary. Owing the aircraft’s exquisite simplicity, the vast majority of potential problems reveal themselves immediately, as each mechanism can be seen and understood in full; if not seen, it can be felt, or sometimes heard. Next, the fuel level is checked by placing a wooden stick into the wing; the line between dry and wet tells you the amount of that crucial liquid on board.

Starting the engine takes a bit of work.  A small knob is unlatched, pulled out, and you hear the fuel rush in. Rushing, rushing, stop. With a bit of resistance, you force it back, and again, you hear the rushing, this time directly feeding the carburetor, not unlike priming a two-stroke lawnmower. Next, you turn the ignition, and nimbly maneuver the hand throttle’s position- in an eighth of an inch, out a quarter. With a bit of luck or skill, the churning and shaking turns into a steady hum, the propeller disappearing from sight. On a good day. Sometimes, the propeller must be hand cranked to push the frigid oil. Sometimes, the mixture setting must be correctly manipulated to clear flooding. You jam the throttle in with all abandon, and just like that the world starts to move by.

Once you start to reach take off speed, the front gear vibrates, then rattles. This machine, after all, was made for flying, so it’s hard to fault if it protests against driving quickly on the ground. But it’s ok. You pull back a touch to relieve the pressure on the wheel, and before you realize it, the world is disappearing from beneath, the trees turning from formidable obstacles into miniatures.

All you see in the large windshield in front is solid blue, while your eyes dart from gauge to instrument to indicator, looking and listening for the earliest sign of trouble. You reach a thousand feet, and level out.

Islands of golden yellow in a sea of leaf green are what grab the eye first. You can see surprisingly far from a height of less than a fifth of a mile up, and in the immediate vicinity you can make out a collage of individual trees, while in the far distance the islands of colour merge into one individual mass, blanketed by a translucent milky covering. You then notice the superimposed topology, various undulations, from gradual rises and falls in the land to shear cliff faces, like a crumpled quilt. A rolling mist spills over a ridge a few miles to the east, which gives a clue to the ever changing and rearranging weather patterns over the landscape; a clue to the winds that will tug you a few miles this was a few miles that as you try to stay true to the pencil line drawn on your navigational map. It’s remarkable how much of the land you’ve never, and can’t ever, see from your car.

You turn to your magnetic heading, and again the world changes. The massive Great Lake-or maybe it’s the Atlantic, hard to be sure with something of that scale- appears, the numerous islands of blue on a green ocean inverted past the shoreline. As you continue on the journey, you sense a sort of interconnectedness, as you see an intertwined continuum of the ever changing natural landscape with the very temporary human efforts to change it. Various industrial and residential areas in all their forms, connected by arteries of asphalt and steel that pierce the gentle hues of nature, all seem to reside in their positions for an implicit purpose. You can sense and see the movement of materials, energy and people to and from each location, each person and thing minding its own business and yet all incidentally working to weave a single unified tapestry.

In the background, radio chatter pops in and out of existence. Sometimes it’s a position report from someone similarly skimming the tree tops, hundreds of miles away, broadcast for all and none; others it’s an airliner on the edge of space communicating precise instructions before it swoops in for its landing. Using your watch, the magnetic compass, maps, and forecasts of the prevailing winds, you navigate over the four hundred mile distances. Perhaps you spot something interesting, and deviate for a minute for a closer look, skimming by a few hundred feet away. Something that is days walking distance from any unmarked road, but trivial to nearly touch from the air.

Finally, it’s time. After a small amount of effort, you see the “landing strip”. A piece of asphalt thirty feet wide is a more accurate description, with perhaps a small shed, is a more accurate description. A brief check for traffic, idle power, a few coordinated movements of the feet and hands, maybe the stall horn blares, you bounce and then come to a stop. Once it’s time to go, you do the same as before, and once again get everything correct lies squarely on your shoulders.

It’s this marriage of high responsibility, craft and freedom that appeals to me.

 


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Parts of Speech

There’s only eight different parts of speech. Every word that exists, or has yet to exist, belongs to (atleast) one of these categories. And yet, this is sufficient to express the infinite experiences, thoughts, ideas and emotions of humanity  in their infinite permutations.

The assignment was to copy the first three pages of a Top 100 novel, and then underline the adjectives and adverbs, bold the nouns, and italicize the verbs. I chose “Crime and Punishment” by Fyodor Dostoyevsky, although in hindsight every version of it is only a translation from the original Russian, so some of the author’s voice and personality is inevitably lost.

On a very hot evening at the beginning of July a young man left his little room at the top of a house in Cerpenter Lane, went out into the street, and, as though unable to make up his mind, walked slowly in the direction of Kokushkin Bridge.

He was lucky to avoid a meeting with his landlady on the stairs. His little room under the very roof of a tall five-story building was more like a cupboard than a livingroom. His landlady, who also provided him with meals and looked after him, lived in a flat on the floor below. Every time he went out, he had to walk past her kitchen, the door of which was practically always open; and every time he walked past that door, the young man experienced a sickening sensation of terror which made him feel ashamed and pull a wry face. He was up to the neck in debt to his landlady and was afraid of meeting her.

It was not as though he were a coward by nature or easily intimidated. Quite the contrary. But for some time past he had been in an irritable and overstrung state which was like hypochondria. He has been so absorbed in himself and had led so cloistered a life that he was afraid of meeting anybody, let alone his landlady. He was crushed by poverty, but even his straitened circumstances had ceased to worry him lately. He had lost all interest in matters that required his most immediate attention and he did not want to bother about them. As a matter of fact, he was not in the least afraid of his landlady, whatever plots she might be hatching against him. But rather than be forced to stop on the stairs and listen to all the dreary nonsense which did not concern him at all, to all those insistent demands for payment, to all those threats and complaints, and have to think up some plausible excuse and tell lies-no! A thousand times better to slip downstairs as quickly as a mouse and escape without being seen by anybody.

This time, however, as he reached the street, his fear of meeting his landlady surprised even himself.

‘Good Lord!’ he thought to himself, with a strange smile, ‘here I am thinking of doing such a thing and at the same time I am in a jitter over such a trivial matter. Well, of course, everything is in a man’s own hands, and if he lets everything slip through his fingers, it is through sheer cowardice. That’s an axiom. I wonder, though, what people fear most. It seems to me that what they are afraid of most is of taking a new step or uttering a new word. However, I’m talking too much. It’s because I talk too much that I do nothing. Still, I daresay the opposite is probably true too. I talk too much because I do nothing. It is during the last month that I have got into the habit of talking to myself. Lying about all day long in that beastly hole and thinkingthinking all sorts of absurd things. What the hell am I going there for now? Am I really capable of doing that? Is that serious? Not a bit of it! It isn’t serious at all. Just amusing myself by indulging in fantastic dreams. Toys! Yes, I suppose that’s what it istoys!’

It was terribly hot in the street, and the stifling air, the crowds of people the heaps of mortar everywhere, the scaffolding and the bricks, the dust and that peculiar summer stench which is so familiar to everyone who lives in Petersburg and cannot afford to rent a cottage in the countryall that had a most unfortunate effect on the young man’s already overwrought nerves. And the unendurable stench from the pubs, which are particularly numerous in that part of the town, and the drunks that came across every few yards although it was a weekday, provided the finishing touch to a picture already sufficiently dismal and horrible. For a brief moment an expression of the profoundest disgust passed over the young man’s refined face. He was, incidentally, quite an extraordinarily handsome young man, with beautiful dark eyes, dark brown hair, over medium height, slim and wellbuilt. But soon he sank into a sort of deep reverie, or perhaps he might truly be said to have fallen into a kind of a coma, and he went on his way without paying any attention to his surroundings and without even giving them a thought. From time to time he would mutter something to himself because of his habit of indulging in soliloquies, a habit to which he was had just acknowledged himself to be addicted. At that moment he was fully aware that his thoughts were at times confused and that he was very weak: for two days now he had hardly anything to eat.

He was so badly dressed that any other man in his place, even if he were accustomed to it, would have been ashamed to go out in the daytime into the streets in such rags. It was true, though, that in that particular part of the town it would be hard to astonish anyone by the kind of clothes one wore. The proximity of the Hay Market, the great number of disorderly houses, and, most of all, the working-class population which crammed these streets and alleyways in the centre of Petersburg, lent so bizarre an aspect to the whole place that it would indeed have been strange to be surprised at meeting any man, however cautiously dressed. But so much bitter contempt had accumulated in the young man’s heart that, notwithstanding his occasional youthful fastidiousness in dress, he was least of all ashamed of his rags in the street. He would, no doubt, have felt entirely differently if he had met some of his acquaintances or former friends, whom, as a rule, he was not very fond of meeting. And yet when a drunken man who for some unknown reason was being taken somewhere in a huge empty cart drawn by an enormous drayhorse, suddenly shouted at him as he drove past, ‘Hey, you there, German hatter!’ and began bawling at the top of his voice and pointing at him, the young man at once stopped in his tracks and clutched nervously at his hat. His hat was tall and round and it had come originally from Zimmerman’s fashionable shop, but it was very shabby now, grown rusty with age, full of holes and covered with stains, without a brim, and cocked on one side at a most disreputable angle. But it was not shame, it was quite another feeling, a feeling that was more like fear, that had overtaken him.

I knew it!’ he muttered in confusion. ‘I thought so! That’s the worst of it! It is just such an idiotic thing, such a trivial detail, that could ruin the whole plan! Yes, I’m afraid my hat is too noticeable. It’s incongruous, and that is why it is noticeable. With my rags I ought to wear a cap, any old cap, but not this horror. Nobody wears such a hat. It can be seen a mile off. And people might remember it. Yes, that’s the trouble. They might remember it, and there’s your clue. In this sort of business one has to attract as little attention as possible. It’s the small things that matter. The small things. It’s just the small things that ruin everything. Always ruin everything.’


A Licence to Suck

Reading “On Writing Well”, the blogs of other people in the class, and notes from the first days I’ve missed, it seems that a resounding message, perhaps the key message, of the class is that your first draft is supposed to be of very poor quality, at the very least mediocre, and that the quality is supposed to come out in the numerous rewrites after. Not only is this fine, it is in fact strongly encouraged. And hearing this from the experts is especially reassuring.

I like to think that at my best, I can potentially write modestly well. But like many people (to various degrees), I suffer from writer’s block. This isn’t so much for a lack of ideas, but an apprehension of putting pencil to paper, of putting thoughts that are as fleeting as bubbles in a foam into a physical form. Sure, you have an eraser, or, in the  worse case scenario, the garbage can or matches, but it’s the prospect of an idea taking some sort of initial shape, a specific ordering of words corresponding to each specific idea, and not any other words. Sure ,there’ll always be rewrites, but in a way each draft afterwards is descended from the first. Ideally, every word is the one with the right connotation, the right intensity, and serves its purpose better than any other word in that place; but English has so many words, how do you deal with such immense responsibility to not screw things up from the start? Well the answer, William Zinsser, Dr.Pound, et al, assure us, is TO screw up from the start. Just put things down the first way they come to you. And then, through effort, the drafts will slowly become more refined.

Approaching writing from this angle makes things more accessible. When framed as something that requires mainly effort for anyone to reach a modest level of competence, it becomes a craft before it is an art form, and it’s thus less intimidating for someone who lacks confidence or experience. Often writing is seen as something that relies solely on raw talent, you’ve either got it or you don’t, but rather it should be seen as playing a musical instrument, which most people feel like they could learn to do modestly, as long as they put in the time. Sure, talent is required to be the next Mozart, but to play or write all you need is (perhaps a great deal of) honest effort.


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So it Begins…

Apparently, I like to spend my time browsing through the random aisles of a bookstore that primarily sells textbooks. “Hmm, I wonder how colourful the economics covers are. Does chemistry have more over priced textbooks than biology?” So there I was, admiring (and more than a little envious) the reasonably priced books of the English department, when I stumbled upon the books for the class. Not sure what caught my eye, perhaps it was the eye catching typography and layout of “Sin and Syntax”, or maybe I was just going from subject to subject. Anyways, my attention was grabbed, and I was intrigued; not just by the large creative component surely involved, or the universality of the class (by “writing in a variety of modes” I pictured, in my idealistic mind, that the class would at least touch upon every conceivable form that involved putting words on paper/magnetic platters), but the pragmatism. The class wouldn’t focus so much on academic knowledge, which, admittedly, is often interesting in its own right, but rather on immediately useful knowledge which is both “practical” and interesting (scare quotes because all knowledge can be either useful or perfectly useless, of course, depending on how nihilistic you’re feeling).

 

So that’s how I got here, intrigued by the typography of the cover of a required book, and all too aware of my lack of ability in the area. But the least you can always do is try.