Showing posts with label Notebooks. Show all posts
Showing posts with label Notebooks. Show all posts

Tuesday, July 5, 2022

10 Writers to Road Trip With


 

Hunter S. Thompson, if he lets you drive

Jack Kerouac, if you’re a man

Laura Ingalls Wilder, if you enjoy a slower pace

Madeleine L’Engle, if you tesseract

John Steinbeck, if it’s California or bust

Joseph Conrad, if you think there’s a chance you won’t want to return

Geoffrey Chaucer, if you’re fine with a group rate

Robert Frost, though there are miles to go before you’ll sleep

John Milton, as long as it's not an island cruise

Flannery O’Connor, if you leave the grandmother and Pitty Sing at home


NOTE: I'm taking a summer break from writer interviews and am just going to have FUN with this blog for a month or so.

Wednesday, January 22, 2014

10 Classic Works You MUST Read (IMHO)

Okay, last week was true confessions for me: the Important Works I had not read that I should read. (In case you’re wondering, both The Road and Beloved have many vocal fans…okay, Faulkner and Shakespeare, too. In fact, someone spoke up about each of my neglected books, adding to my guilt.)

To show that I’m not a dolt, here is my list of classic books that I have read that I feel immense passion for, that affected me deeply and profoundly, that I can’t imagine my life being the same without.  All in my humble opinion, of course.  And I think I’ll stick to pre-WWIish or so, though I may fudge a little bit.

1.  Moby-Dick by Herman Melville. I had purposefully skipped this one during college/grad school, afraid of TMI about whales, and yet that’s one of the many things I loved most the summer I spent reading it, whales and obsession and the post-modern tricks that were so post-modern that Melville used them even before modernity. One of the greatest books, ever.  There’s probably a reason that this book came to mind first.

2.  “The Wasteland” and “The Love Song of J. Alfred Prufrock” by T.S. Eliot. Yes, I’m already breaking my pre-WWI rule—even though Eliot said, “It's not wise to violate the rules until you know how to observe them.” I read “The Wasteland,” unsupervised, in a terrible American lit high school class where the teacher gave us a list of Great Writers and we picked through them independently through the semester while he read magazines at his desk, and I had no idea what was going on here, but I thought it was something important.  When I got to college, I saw how right I was.  I have a recording of Eliot reading “The Wasteland” that I often listen to when I fall asleep, and I feel that the words are imprinted on my soul. (Yes, yes, some people call this recording “melodramatic,” but I happen to love it.)  Okay, throw in “The Hollow Men,” too, which even my high school brain could figure out.

3. Pride and Prejudice by Jane Austen. Does the inclusion of this book really need any explanation?  I came to it for the romance in my early teens and read it now for the wicked humor and its dark reality of the Way Things Are (I mean, Were, because surely women’s lives are lived in a perfectly fair world now).

4.  The Portrait of a Lady by Henry James. I read this first my freshman year of college and have a little notebook from the time with handwritten “Important Quotations” that is filled with lines from this book.  When I reread it a couple of summers ago, I saw why:  what a psychological study, what a depth of mind—examined, and examining.  What frustrating sorrow. What an achievement.

5.  “Leaves of Grass” by Walt Whitman. Another one that passed quickly through my head in that terrible high school lit class, then caught me in college, but was a deep and true revelation one perfect summer afternoon, read out loud while lying in a hammock under a tree.

6.  The Adventures of Huck Finn by Mark Twain.  Why do they let kids read this book? I loved Tom Sawyer and couldn’t wait for this “sequel” when I was ten.  Oops.  Reading it as an adult was, ahem, a little bit of a different experience.  I’m not sure it’s possible to understand American without reading this book.

7.  Wuthering Heights by Emily Bronte.  The landscape, the passion, the wails across the moors, the story of a story, the passion, the passion.  Let’s not forget that people are always people first, even back in the olden days when everyone was wearing all that buttoned-up, stiff clothing, sitting around parlors drinking tea.

8. Heart of Darkness by Joseph Conrad.  I read this for class at least three times in college, and it wasn’t until the last time that I sunk into its depths.  Or, rather, its depths sunk into me.  I think it makes for a great sequence to read Heart of Darkness, then watch “Apocalypse Now,” then reread Heart of Darkness then watch “Heart of Darkness: A Filmmaker’s Apocalypse,” about the making of the movie.  Then reread Heart of Darkness.

9.  “Dover Beach” by Matthew Arnold.  Well…I hope the kids still read this in their survey courses (if that’s what they’re called), but I’m not sure it’s still considered the must-read it was back when I was in college.  But what a potent message for the impressionable young writer, especially one who lived in a dorm room overlooking a lake, listening to the waves each night?

10.  Toss-up:  Anna Karenina, Middlemarch, Thomas Hardy, Ibsen, Chekhov!  All works that were influential enough on me to make this list—yet none feels 100 percent deserving of its own entry the way the others do.  Yet I ache at the thought of excluding any of them.  Remember what Eliot said about rules?

11.  I’m not sure Little Women by Louisa May Alcott is this type of classic, but I don’t think anyone can really understand women without reading this book.  (Watching “Sex in the City” is NOT a substitute!)  I still can’t forgive Amy for burning Jo’s manuscript, and it still annoys me that Jo was able to!


I know there are many, many books I haven’t included and might if I wrote this list on a different day.  I know that I cheated with some on the WWI cut-off and not on others that would make this list with an expanded or different timeline.  I know I’m supposed to have Shakespeare on this list or Homer.  I know my list reflects my American background and schooling.  But there is something bracing about winnowing, about pushing to think which books go on the shortest possible list, which classic books changed my life profoundly, making me who I am, which books would be the absolute last I would toss into the fire.

Wednesday, November 2, 2011

What I'm Thinking about Today

“All the knowledge I possess anyone else can acquire, but my heart is all my own.” ~Goethe

“I prefer winter and fall, when you feel the bone structure of the landscape—the loneliness of it, the dead feeling of winter.  Something waits beneath it, the whole story doesn’t show.” ~Andrew Wyeth

“Writing is both mask and unveiling.” ~ E.B. White

“Only describe what you have seen and look hard at the things that please you, even longer at what causes you pain.” ~ Colette

Friday, October 22, 2010

Notebook: Heroes vs. Villains

What happens to the notes that you take at all the ba-jillion writing conferences/talks you attend? If you’re like me, they sit around, unlooked at for years. I’ve decided to spend the week digging up some of those notes and pulling out some nuggets. These are paraphrased (not direct quotations), attributed as closely as I can, considering I’m pulling them from scribbled notes.

From the “Crime Wave: Life on the Street” panel at the Virginia Festival for the Book in Charlottesville, 2008…no panelists noted, sorry!

Villains don’t realize they’re the “bad guys”

Villains are proactive, heroes are not

There’s a fine line between the hero and the villain

[typing this made me realize that I absolutely didn’t know how to spell “villain”!]

Thursday, October 21, 2010

Notebook: Effective Memoir

What happens to the notes that you take at all the ba-jillion writing conferences/talks you attend? If you’re like me, they sit around, unlooked at for years. I’ve decided to spend the week digging up some of those notes and pulling out some nuggets. These are paraphrased (not direct quotations), attributed as closely as I can, considering I’m pulling them from scribbled notes.

From AWP 2008, a panel called “Truth Is Fiction, Fiction Is Truth”; inexplicably, I didn’t write down the names of any of the panelists…oops!

“the” truth vs. “my” truth

Obligation of voice: not to “sound” like anything (i.e. quirky) but to make deeper and deeper sense of things; a penetrating attention to experience

The “literal facts” of memoir are not the point—the point is the self-discovery taking place in the narrator

The memoirist’s obligation is to make sense; credit is to the art, not the life

Wednesday, October 20, 2010

Notebook: Jay Parini on Place

What happens to the notes that you take at all the ba-jillion writing conferences/talks you attend? If you’re like me, they sit around, unlooked at for years. I’ve decided to spend the week digging up some of those notes and pulling out some nuggets. These are paraphrased (not direct quotations), attributed as closely as I can, considering I’m pulling them from scribbled notes.

From Jay Parini’s talk at the F. Scott Fitzgerald conference in Rockville, MD, no date—maybe five years ago?

Place is not just an accumulation of details, but also the culture and grasp of the way place can affect the mood

Sense of place is often rooted in early childhood memories

Robert Frost: “locality gives art”—a line in a notebook…Frost was born and raised in San Francisco, CA!

Attitude of a writer: be perpetually stupid and dumb; wake up like a child and be amazed at what you see

We are where we are—which is often where we’ve been and where we’d like to go

Tuesday, October 19, 2010

Notebook: Francine Prose on Reading Like a Writer

What happens to the notes that you take at all the ba-jillion writing conferences/talks you attend? If you’re like me, they sit around, unlooked at for years. I’ve decided to spend the week digging up some of those notes and pulling out some nuggets. These are paraphrased (not direct quotations), attributed as closely as I can, considering I’m pulling them from scribbled notes.

From Francine Prose’s keynote speech at the American Independent Writers Conference in Washington, DC, 2007:

--keep a mental rolodex of what writers do well, i.e. the party scene in Joyce’s “The Dead”

--examples of what to look for when you read:
Balance between:
--dialogue and thought
--scene and summary
--description

--when you find yourself thinking “I can’t do this,” find an author who did that and see how

--isn’t the point to do what no one else has done?

Monday, October 18, 2010

Notebooks: How to Choose What to Read at Your Reading

What happens to the notes that you take at all the ba-jillion writing conferences/talks you attend? If you’re like me, they sit around, unlooked at for years. I’ve decided to spend the week digging up some of those notes and pulling out some nuggets. These are paraphrased (not direct quotations), attributed as closely as I can, considering I’m pulling them from scribbled notes.

David Everett in a talk about how to give a good reading; undated, but maybe 5 years ago. I don’t remember the name of the conference, but it was held at Towson University in Towson, MD:

On selecting what to read when you’re giving a reading:
--the first person works well
--not too much dialogue; not too many characters
--little to no set-up necessary
--action is key
--defined scene/section is preferable

Work-in-Progress

DC-area author Leslie Pietrzyk explores the creative process and all things literary.