Friday, May 12, 2006

A Kiss from Maddalena

I recently attended a weekend conference for writers sponsored by Grub Street. It was the fifth annual “Muse and the Marketplace” event at which roughly half of the sessions were muse related, i.e. craft related, while the other sessions were concerned with publishing.

After hearing an agent rave about a book fallen in love with and signed the author, I picked it up on the book table. A Kiss from Maddalenais the first book of Christopher Castellani, who is the artistic director at Grub. I even snagged his signature for my book between sessions.

I finished the book after two readathons (due in part to rainy weather in Boston). It has been a while since I had such a yummy read. By the end, my heart was a-flutter, I swear. It is a classic love story set in World War II Italy. Village girl in love with local boy. Village girl gets “flower picked” by a rich Italian back from America looking for a bride. She is forced to consider the fast talking rich guy. I’ll leave the rest to your imagination. It is not a new story, but it is all in the telling. And I was swept away.

Of course I heart all cosi italiani. Having lived a year in the shadow of the Pantheon, who can blame me?

A girl needs a good Italian love story now and again.


Check out Christopher Castellani’s website,
where you can take a

virtual tour of the village of Santa Cecelia
where the story unfolds

www.christophercastellani.com

Penguin Reading Guide

Monday, May 08, 2006

The Innocence Project

Recently I started to think about the death penalty. It had been a while since I had given serious attention to capital punishment. In particular I wanted to know more about those who are exonerated from death row. Although I do remember cases of convicts released after DNA tests excluded them from the crime, I had do idea about the scope of the phenomenon.

I checked out and have just finished reading Actual Innocence: When Justice Goes Wrong and How to Make it Right by Barry Scheck, Peter Neufeld and Jim Dwyer. Scheck and Neufeld founded The Innocence Project in New York to provide legal aid to the wrongfully convicted. The provide counsel free of charge and work tirelessly for the inmates who become invisible behind prison walls.

Violent crime happens.A five-year-old is raped and murdered. An eyewitness is one hundred and ten perfect sure that Jim X did it. The system rushes toward justice and throws away the key. We breathe easier. We condemn the inmate and we walk freely down the streets.

Justice has been served. Or has it? Scheck et. al. shows that underpaid/overworked defense attorneys, shoddy science, racial discrimination, and eyewitnesses who tell compelling narratives add up to blind justice. Literally blind. And not in the fair and impartial way.

We tacitly endorse a system that is efficient and “hard on crime” even at the cost of truth. Modern DNA analysis has shed light on the ranks of the wrongfully convicted and the ways our judicial system failed and continues to fail.

Scheck found that in 130 DNA exonerations, 101 were cases involved mistake identifications. In other words, the eyewitnesses fingered the wrong person. How can this be?

It turns out that eyewitnesses are notoriously bad at recalling their attackers. After the attack when the tension mounts to name the criminal, the victim has incredible pressure both internally and externally to produce a narrative of the attack.

The brain takes data from before and after the attack to form a narrative that explains the events and helps the victim process the experience.

It turns out the brain is much more interested in healing itself by means of a coherent narrative than it is about facts.

Scheck does not go deeply into pyschology in his book, but the problem of eyewitness accounts dovetails nicely with the subject matter of another book I am reading, Strangers to Ourselves by Timothy D. Wilson.

Although I have only just started to page through another book, I can already recommend Surviving Justice: America's Wrongfully Convicted and Exonerated. While Sheck's book is a compelling third-person narrative, this collection is a rich and disturbiing collection of oral histories edited by Lola Vollen and Dave Eggers. (Yes, that Dave Eggers. What a man.)

While you may not have time to read Scheck or Eggers, at least visit the website for The Innocence Project to get a better idea of what is at stake for the wrongfully convicted.


Freakonomics: Success

If you were to examine the birth certificates of every soccer player in next month's World Cup tournament, you would most likely find a noteworthy quirk: Elite soccer players are more likely to have been born in the first six months of the year than in the later months.

If you then examined the European national youth teams that feed the World Cup and professional ranks, you would find this quirk to be even more pronounced.

On recent English teams, for instance, half of the elite teenage soccer players were born in January, February or March, with the other half spread out over the remaining nine months. In Germany, 52 elite youth players were born in the first three months of the year, with just four players born in the last three.

What might account for this? Here are a few guesses: a) certain astrological signs confer superior soccer skills; b) babies born in winter tend to have higher oxygen capacity, which increases soccer stamina; c) soccer-mad parents are more likely to conceive children in springtime, at the annual peak of soccer mania; d) none of the above.

Anders Ericsson, a 58-year-old psychology professor at Florida State University, says he believes strongly in ''none of the above."

He is the ringleader of what might be called the Expert Performance Movement, a loose coalition of scholars trying to answer an important and seemingly primordial question: When someone is very good at a given thing, what is it that makes him good?

Ericsson, who grew up in Sweden, studied nuclear engineering until he realized he would have more opportunity to conduct his own research if he switched to psychology. His first experiment, nearly 30 years ago, involved memory: training a person to hear and then repeat a random series of numbers.

''With the first subject, after about 20 hours of training, his digit span had risen from seven to 20," Ericsson recalls. ''He kept improving, and after about 200 hours of training he had risen to over 80 numbers."

This success, coupled with later research showing that memory is not genetically determined, led Ericsson to conclude that the act of memorizing is more of a cognitive exercise than an intuitive one.

In other words, whatever innate differences two people may exhibit in their abilities to memorize, those differences are swamped by how well each person ''encodes" the information. And the best way to learn how to encode information meaningfully, Ericsson determined, was through a process known as deliberate practice.

Deliberate practice entails more than simply repeating a task -- playing a C-minor scale 100 times, for instance, or hitting tennis serves until your shoulder pops out of its socket. Rather, it involves setting specific goals, obtaining immediate feedback, and concentrating as much on technique as on outcome.

Ericsson and his colleagues have thus taken to studying expert performers in a wide range of pursuits, including soccer, golf, surgery, piano playing, Scrabble, writing, chess, software design, stock picking, and darts.

They gather all the data they can, not just performance statistics and biographical details but also the results of their own lab experiments with high achievers.

Their work, compiled in the ''Cambridge Handbook of Expertise and Expert Performance," a 900-page academic book that will be published next month, makes a rather startling assertion: The trait we commonly call talent is highly overrated.

Or, put another way, expert performers, whether in memory or surgery, ballet or computer programming, are nearly always made, not born. And yes, practice does make perfect. These may be the sort of cliches that parents are fond of whispering to their children. But these particular cliches just happen to be true.

Ericsson's research suggests a third cliche as well: When it comes to choosing a life path, you should do what you love, because if you don't love it, you are unlikely to work hard enough to get very good.

Most people naturally don't like to do things they aren't ''good" at. So they often give up, telling themselves they simply don't possess the talent for math or skiing or the violin. But what they really lack is the desire to be good and to undertake the deliberate practice that would make them better.

''I think the most general claim here," Ericsson says of his work, ''is that a lot of people believe there are some inherent limits they were born with. But there is surprisingly little hard evidence that anyone could attain any kind of exceptional performance without spending a lot of time perfecting it."

This is not to say that all people have equal potential. Michael Jordan, even if he hadn't spent countless hours in the gym, would still have been a better basketball player than most of us. But without those hours in the gym, he would never have become the player he was.

Ericsson's conclusions, if accurate, would seem to have broad applications. Students should be taught to follow their interests earlier in their schooling, the better to build their skills and acquire meaningful feedback. Senior citizens should be encouraged to acquire new skills, especially those thought to require ''talents" they previously believed they didn't possess.

And it would probably pay to rethink a great deal of medical training. Ericsson has noted that most doctors actually perform worse the longer they are out of medical school.

Surgeons, however, are an exception. That's because they are constantly exposed to two key elements of deliberate practice: immediate feedback and specific goal-setting.

The same is not true for, say, a mammographer. When a doctor reads a mammogram, she doesn't know for certain whether there is breast cancer. She will be able to know only weeks later, from a biopsy, or years later, when no cancer develops.

Without meaningful feedback, a doctor's ability actually deteriorates over time. Ericsson suggests a new mode of training.

''Imagine a situation where a doctor could diagnose mammograms from old cases and immediately get feedback of the correct diagnosis for each case," he says. ''Working in such a learning environment, a doctor might see more different cancers in one day than in a couple of years of normal practice."

If nothing else, the insights of Ericsson and his Expert Performance compatriots can explain the riddle of why so many elite soccer players are born earlier in the year.

Since youth sports are organized by age bracket, teams inevitably have a cutoff birth date. In the European youth soccer leagues, it's Dec. 31.

So when a coach is assessing two players in the same age bracket, one who happened to have been born in January and the other in December, the player born in January is likely to be bigger, stronger, more mature. Guess which player the coach is more likely to pick?

He may be mistaking maturity for ability, but he is making his selection nonetheless. And once chosen, those January-born players are the ones who, year after year, receive the training, the deliberate practice, and the feedback, to say nothing of the accompanying self-esteem, that will turn them into elites.

This may be bad news if you are a soccer mom or dad whose child was born in the wrong month. But keep practicing: A child conceived on a Sunday in early May would probably be born by next February, giving you a considerably better chance of watching the 2030 World Cup from the family section.

Stephen J. Dubner and Steven D. Levitt are the authors of ''Freakonomics: A Rogue Economist Explores the Hidden Side of Everything."

© Copyright 2006 The New York Times Company

Wednesday, May 03, 2006

Michael Cunningham "Speciman Days"

It is a struggle to get back into the “normal” flow of things. The rainy weather actually helps. I have hunkered down in one Newbury cafe or other with my shiny new laptop and tinkered away at my work-in-progress. Tuesday morning I took a break from my work to read the Boston Globe. There I saw that Boston University’s Book Store was hosting Michael Cunningham as part of their lecture series. L. was out of town; I was in a blue funk. I decided to kick myself out of the house and endure the rain for the chance to hear Cunningham read from his latest work.

The minute Cunningham entered the small room and approached the lectern, I was impressed. He just moves well. Tall, lean. Casual in jeans and black knit top. He pulled out his glasses and got his cold water bottle in place before he dove into his novel Specimen Days(already out in paperback). He explained that it is difficult to read from because it is a “big whackball of a book” that has three sections: a ghost story, science fiction, and a thriller. The characters move through each genre. And Walt Whitman serves as a kind of Virgil for the reader (I imagine, as right now this is the best book I still haven’t read yet).

His reading voice was bursty—coming in bits and punches, silent pauses while he took tiny gulps from this bottle. It was an urgent voice. In fact, it reminded me of my attempts to read my own work to a crowd. When I read other authors I cradle each word or set them up on pedestals or shoot them off like roman candles, trusting the semantic magic show created by a “real” author. When I read my own stuff, I am a clod. I am deeply worried that I might bore my audience. Or I want to stop and talk about each detail with raptures of joy or angst, depending.

But I digress. I am sure that Cunningham has read hundreds of times. He was probably more bored himself than afraid of boring us.

As he read from one of the sections, he described a burning building. A woman steps onto a window ledge and readies herself to take the awful plunge. I can’t quite recall the exact language, but an image of her with wide skirts billowing in the wind lingers in my imagination. The narrator describes her image up there in the window as precise and fragile.

He ended the section. Wiped his glasses on the bottom of his shirt. He continued to read.

Then it hit me: his prose is just like the woman he described in his story: precise wordsmithing yet fragile enough to resonate with emotion and image.

Does that make sense? His writing is that woman on the ledge, her skirts billowing in the wind. Ready to take the plunge. A slow motion fall toward death, but a death that is revelation to the young boy who watches her. The reader sees the images he creates with photographic precision and is left vulnerable to the wind strong enough to blow her skirts, yet eager enough to feed the flames that kill her.

He is famous for his book The Hours (winner of the Pulitzer Prize and the PEN/Faulker Award). But it is not that work that I recalled at that moment.

Instead a short story I had read recently and an off-hand remark about Cunnningham’s genius took center stage in my mind. Of course: This is the Michael Cunningham who wrote “White Angel,” a story that sheared off the top of my head and wore out my highlighter when I read it for the first time a few weeks ago.

Then I wanted to know: does he teach? and where?

During the questions and answer session he proved to be both quirky and intelligent. At least, I found him witty and jumped on board with his take on writing. When an audience member asked him why he writes stories that take place across eras, he replied that he wants to get as much time into his work as possible. He remarked that human nature has not changed but that the pace of our lives has dramatically altered. Our right now is deeply infused with historical awareness and a deep longing for the wonders the future will hold. He wants to get this sense of our time-consciousness into his novels.

Another person asked him about his interest in writing science fiction. He said that many people are shocked that he would attempt such a “lowly” art form. But he doesn’t see it that way. For generations other art forms have blended highbrow and lowbrow. Literature, however, is stodgy. He wants to play with the forms. Do the unexpected. See what comes. Yes, he thinks that most science fiction is “crap,” but the good stuff is really, really good. And he wanted to take a shot at it.

He was asked about his use of Walt Whitman in the book. He adores reading poetry, calling himself a “poetry hound.” And he worships Whitman because he was “the least stupid optimist” in American history. I mean he is “Walt ‘fucking’ Whitman,” he said. He was hesitant to use Whitman in this book, however. After all, he had made a bundle on Virginia Woolf. But nevertheless, he is there. It seems Cunningham uses him partly because Whitman, a man of our American past, is still here with us in our American identity. He is past, present, and future. And Cunningham sees that and wants to celebrate the miracle of ideas and objects that survive and endure, and even grow sacred.

Applause.

I hadn’t intended to buy the book. I came to get myself out of funk. But I had been swept off my feet. When he signed my book, he exuded warmth. Of course I asked him where he teaches. Brooklyn. Alas.


The Michael Cunningham Website
(with links to a biography, books, interviews, reviews, tour dates, etc.)

Interview with Cunningham about Specimen Days

Sunday, April 30, 2006

The Cell, NewburyPort, Sailing on the Charles, and Kenya

Compared to the nuptial weekend, this weekend has been very "slow." The weekend was also "lonely" with just the two of us! I had plenty of time to indulge my honeymoon read: The Cellby Stephen King. The King of Creep. I finished it last night in the dead-dark after midnight. I had goosebumps trying to sneak quietly up the stairs to the bedroom--in my own apartment. People should read a King novel just to get jolted now and again. His writing works on you, you have to admit it. Besides high school kids read him (just like I did when I was in high school) and I want to keep up my cool factor.

We did make it up to Newburyport on Saturday. The first annual literary festival was the draw, but the good weather and a day trip from Boston were also key factors. We managed to hear one author speak.

We heard a local author reading from the second book in a planned trilogy. The Season of Open Water is set in a New England town entangled in the Prohibition-era rum-running trade. The author is Dawn Clifton Tripp. She was a good speaker, very candid and open. The historical material for the novel was culled from interviews she did with residents who either remember that era or remember the stories passed down through the generations.

When she read from her book I was convinced to read it, even though she is a "new" author for me! I refrained from purchasing it just yet. My book shelf is too deep as it is. But I will blog her here in my external memory. (A blog is wonderful way to store information in your virtual brain.)

My favorite parts of Newburyport: the tea house and the jewelry store on the corner. The tea house was brilliant--the world needs more tea houses. (Mark my word.) I loved the jewelry story because I discovered a brilliant sapphire that I can wear. It shines like a diamond, without all the political/metaphorical heaviness. I shall have a sapphire one day.

Today we set off to the North End in Boston to catch a day of free sailing--free boat trips are offered to the public at the start of each sailing season. Just as we went out the door, L. called a friend....who invited us to go sailing with him. We stopped in our tracks. He picked us up five minutes from our front door in his MIT sailboat. We cruised the Charles River. It was my very, very first time in a sailboat. It was brilliant. I could be converted to a life that involves more sailboats.

Tonight ends the week of unofficial honeymooning. I have found the destination for the official honeymoon: Kenya. Il Ngwesi. So start saving your pennies if you want to join us for a night sleeping with the lions!

Friday, April 28, 2006

One Week After

The wedding was perfect. Need I say more? One week of wedded bliss. I'll write about it later, perhaps. These things need time to clarify events. In sum: we both said, "I will"; we have rings; there was a feast; our friends gave brilliant toasts (all about us!); we roasted a pig; and the Kansas stars were never so near in the midnight air.

It is back to the reading/writing grind these past few days. It feels good to sleep as much as I need, then wake up to a hardback novel that needs my attention. Finally this afternoon I sat down with my rough draft (I am up to almost 40,000 words!) and did some serious revision. I have a plan to finish the novel. This is good. Endings are tough. Theory is good. Action not so easy (for me, I should say).

Plans for the weekend: the Newburyport Literary Festival. 35 miles from Boston. On the shore. Literary events. Spring air. Did someone say lobster?

Monday, April 17, 2006

Nuptial Fete Menu (April 21) Laszlo Barabasi & Janet Kelley

The Wedding Feast

Aperitifs
palinka (plum brandy), made by Béla Keresztes, uncle of the groom

Blessing
Ronald Kelley, father of the bride

Appetizer
spinach salad with roasted peppers, apple-smoked bacon, romano cheese,
and balsamic vinaigrette
or
original chicken fingers with dipping sauces

Soup
hideg cseresnye leves (chilled cherry soup)

First Course
tenderloin fillet of bison and garlic redskin mashed potato

Toast
Deborah Justice, friend of the bride

Second Course
pan-seared tilapia, seasoned with cilantro and coriander,
served over savory beans in a fragrant broth, bacon, spiced pecan, and garlic,
and topped with tomatoes and crisp leeks

Toast
Boldizsár Jankó, friend of the groom

After-Dinner Entertainment

Champagne Toast
Jason Dinges, friend of the bride

Cake
dobos torta

Dancing

Cheese Course
selection of cheeses, Hungarian salami,
and fresh fruit

Monday, April 10, 2006

Schlink: The Reader

Tonight we will discuss Berhard Schlink’s The Readerfor novel writing class. I admit: I read it twice. I will help lead the discussion and wanted to get a firm grasp on what has been called a “moral maze.” (I also had time due to a cancelled class.) The novel’s central love story involves a fifteen-year-old Michael and a much older woman, Hanna.

In the later parts of the novel Michael, a young law student, watches her trial for war crimes committed during the Holocaust. Michael realizes during the trial that Hanna is illiterate and unable to read the charges against her or set up a defense. She admits to her crimes readily. But because she is busy trying to hide her illiteracy, she appears more guilty than her fellow female guards. She is sentenced to life in prison.

Hanna spends eighteen years in jail, where she learns to read and write with the aid of books Michael reads on cassette and sends to her. The rest you will have to read for yourself. It is a post World War II tale that asks its readers to consider life in the aftermath of terrific violence.

Useful Links

Oprah Winfrey Show: discussion excerpts

Reading Discussion Questions

"Reader's Guide To Moral Maze"

Memorable Lines

"When rescue came, it was almost an assault." (4)

"I didn't reveal anything that I should have kept to myself. I kept something to myself that I should have revealed." (74)

"When I think about it now, I think that our eagerness to assimilate the horrors and our desire to make everyone else aware of them was in fact repulsive." (93)

"All survivor literature talks about this numbness, in which life's functions are reduced to a minimum, behavior becomes completely selfish and indifferent to others, and gassing and burning everyday occurrences." (103)

"Should we only fall silent in revulsion, shame, and guilt?" (104)

"If felt the numbness with which I had followed the horrors of the trial settling over the emotions and thoughts of the past few weeks. . . . But I felt it was right. It allowed me to return to and continue to live my everyday life." (160)

"Pointing at the guilty parties did not free us from shame, but at least it overcome the suffering we went through on account of it." (170)

"You can chase someone away by setting them in a niche." (199)

"The tectonic layers of our lives rest so tightly one on top of the other that we always come up against earlier events in later ones, not as matter that has been fully formed and pushed aside, but absolutely present and alive." (217)


Sunday, April 09, 2006

Whirlwind

March 30 – April 7

The weeks have been a blur. Life lived one event at a time with no room to think about tomorrow. It was quite a change from my writer’s life of pajamas till noon and books as my companions.

We had three guests, one birthday, two parties, late-night girl talk, seafood and pasta, dress shopping and the philosophy of wedding dress shopping, and a tired visit to the Garden of Eden for macaroni and cheese.

After my guests were safely aboard planes and trains, I set off for Kansas and a whirlwind of florists, caterers, and a priest. Pancakes were involved. I was supposed to fly back to Boston late Tuesday, then fly out early to DC.

But the flight was delayed. . . so I had them reroute me directly to DC. I headed for a round of Capital Hill lobbying in my torn jeans. Luckily Ann Taylor at Union Station had just the navy suit and faux pearls (a double strand) that I never knew I always wanted. The shoes were cute, but evil. (Note: wedding shoes –which haven’t yet been purchased—may be less cute.)

Luckily my brother pointed out a Starbucks that morning and praised-be they gave me an embarrassingly huge venti latte by mistake. That tanker of milk and caffeine lasted me until our calorie break at 4:30—an apple thrown into my bag at the last minute way back in the Wichita airport.

We met with every single Indiana congress person and senator. Well, we met with their very young aides. We gave a spiel about the Writing Project. We were intelligent and dynamic and our (my) feet hurt like the dickens. That night wine and cheese at the postal museum reception and then pizza and wine with my brother at the Matchbox.

The next day it was sessions and digital story telling and blogs and the achievement gap. I took the train to Baltimore. I saw the house and the wedding album. I ate a pound of chips and salsa before the enchiladas. Then onboard the flight back to Boston, another delay. My seatmate was something like a soul mate, but we never even exchanged names. Then metro home. Then hugs and kisses. Then bed. Then no dreams, bliss.

Monday, March 27, 2006

Saturday in New York

L., D, and I drove into New York City Saturday morning. First thing: a new york bagel and coffee. Thus sustained we headed into the American Museum of Natural History to see the Darwin exihibit. The exhibit tells the story of Darwin's life and scientific discoveries. There is a nice balance of "live" exhibits and artifacts (such as letters) to keep all ages engaged. We hit the dinosaur halls next. I wanted to see the butterfly exhibit, but we were running out of time and calories.

We left the museum and headed down to see a friend of L.'s for lunch. We ate in a cozy-funky place called Bar 6 in the West Village. Then L's friend took us to see Slava's Snowshow. The entire show is a set of sketches performed by one main clown "Yellow" and a troupe of four "Green" clowns. The Russian clown who started the show has created a piece that transcends political boundaries as well as age differences. There is something for everyone here. Here is one description: If a stray spore of Cirque du Soleil had taken root in one of Dostoevsky's Russian winters, this deeply imaginative act of theatre might have been the result. Slava, a Russian clown of the old school - the really old pre-vaudeville school, surrounds himself with dreamlike scenery and fantastic situations in a show that has won critical approval worldwide. (http://www.entertainment-link.com)

I will refrain from a larger discussion of the existential clowning, but if you wish to know more I would be happy to discuss. Here is one review "Clowns on the Edge of a Nervous Breakdown" that might be helpful. After the show, our friend took us backstage. The cast was relaxing and eating pizza between shows. We learned more about the history of the show and got to see inside the lives that bring the show to life for the audience. We even got to eat pizza with them.

Our final stop in the city was Veniero's Italian cake shop. We had a taste test. We ordered three kinds of cheesecake. Our first pick: Sicilian. Second: New York Style. Third: Italian cheesecake. All three were wonderful, but the Sicilian was over the top.

Poem: The Persistent Accent

I have taken today's poem from The Writer's Almanac by Garrison Keillor. Visit the webpage to listen to the program.

"The Persistent Accent" by Patricia Dobler from Collected Poems. © Autumn House Press. Reprinted with permission.

The Persistent Accent

Until the grave covers me, on foreign soil
I shall remain Hungarian

Hungarian folk song

Because this fat old lady
has exactly the voice
of my dead grandma,
I find myself
trailing her through the supermarket
as she complains to her friend
about the Blacks, the kids, the prices,
age, disease, and certain death,
and I'm seduced
by that Hungarian accent
decades in this country can't diminish,
and I see the smoky fires
of the harvesters, a golden-braided girl
fetching their dinners of peppers and lamb,
and I follow her
through the aisles,
wanting to lay my face
between her hands,
to ask her for a song.

Tuesday, March 21, 2006

Fnuny Stfuf

I cdnuolt blveiee taht I cluod aulaclty uesdnatnrd waht
I was rdanieg. The phaonmneal pweor of the hmuan mnid!
Aoccdrnig to rscheearch at Cmabrigde Uinervtisy,
it dseno't mtaetr in waht oerdr the ltteres in a
wrod are, the olny iproamtnt tihng is taht the frsit and lsat
ltteer be in the rghit pclae. The rset can be a taotl mses
and you can sitll raed it whotuit a pboerlm. Tihs is bcuseae
the huamn mnid deos not raed ervey lteter by istlef,
but the wrod as a wlohe. Azanmig huh? yaeh and I awlyas
tghuhot slpeling was ipmorantt!

Monday, March 20, 2006

Weekend of Mystery

I spent the past weekend clustered around a conference table with twelve other aspiring mystery writers. Actually I have never aspired to write mystery. In fact, except for a brief affair with Mary Higgins Clark in high school, I have rarely picked mysteries to read (plane rides being exceptions, but even for planes I prefer thrillers).

Yet I have known some teachers who teach mystery reading and writing. High school students love it. I thought: never me. I was just too uncomfortable as a nonreader of mystery. Following an old adage to do the thing that most scares me: I signed up for the weekend seminar at Grub Street to learn all I could about the genre as a teacher, not to mention pick up tips for fiction writing for my own novel-ever-in-progress and short stories.

Here is the class description:

Instructor: Hallie Ephron
2 days, 9AM - 4PM, includes hour for lunch
Fasten your seatbelts for this two-day crash course in mystery writing. Mystery author and Boston Globe crime fiction critic Hallie Ephron will step you through the process of turning a kernel of an idea into an intriguing mystery novel. You'll learn to capitalize on your writing strengths and shore up your weaknesses. The class will address:
* planning, twisting the plot, and constructing a credible surprise ending
* creating a compelling sleuth and a worthy villain
* deceiving and revealing with red herrings and clues
* writing investigation, spine-tingling suspense, and dramatic action
* revising-from sharpening characters, to optimizing pace, to smithing words
* making the reader care
Cost of registration includes a copy of Writing and Selling Your Mystery Novel: How to Knock'em Dead with Style.

Ms. Ephron, author of several mysteries (see below), proved to be a dynamic teacher who is both a master of her material and an excellent presenter. We sat there and just absorbed the "bones" of a good mystery. We were given gems of practical tips for writing in the genre (and writing fiction in general), and how to establish oneself in the community.

One of her messages was: writing is not a miracle. It is hard work (massive amounts thereof) coupled with persistence that get published. She encouraged us to believe in our writing. If it is good, it will get published (after much rejection, of course). All in all, she was very positive without being falsely enthusiastic.

I had worried about dedicating an entire weekend to mystery writing. Now I can say that it has given me new ways to see my own novel (for example, how to build good dialogue and suspense). I may also teach mysteries next year armed with my new knowledge and my copy of Ms. Ephron's wonderful craft text: Writing and Selling Your Mystery Novel.

Hallie Ephron Mysteries
(writing as G.H.Ephron)

Amnesia
Addiction
Delusion
Obsessed
Guilt

Visit her website at http://hallieephron.com/


Thursday, March 16, 2006

Yo-Yo Ma (and me)

L. and I made the short walk to the symphony tonight for an 8 pm concert. It was our second trip this year, our first time to hear Yo-Yo Ma. We were fortunate to see James Levine conduct our first visit (he is currently undergoing surgery for an arm injury suffered during on on-stage tumble a few weeks ago). Yo-Yo Ma was the superstar draw and he did give an impressive performance wailing away at this cello. Both L. and I, however, preferred the Ligeti piece. He is one crazy Transylvanian composer, excuse or bias.

Symphony hall is impressive with its wall of organ, ornate gilding, mythological statues, and eclectic crowd. It is worth going just to eavesdrop on the rich array of strange, strange conversations. There are some serious orchestra fans out there.

It is amazing to live within walking distance to the hall, and so many other art venues (not to mention independent book stores, boutiques, etc.--and, of course, a Dunkin Donut on every corner.)

This year in Boston reminds me of the riches of living in Rome, where I studied during college. Indeed, it does feel like I am "living abroad" here in Boston for the year. Only this time I have the cash to go to concerts and eat in restaurants. Truthfully, the free concerts in Roman churches still rival any ticketed event here. The romantic memories of a college year in bella italia are hard to top.

While Yo-Yo Ma was making his cello sing, my mind drifted here and there. I thought of my first cello solo experience back in college. It was a fall night at Notre Dame, waiting in line to buy football tickets. Matt came by (I don't remember his last name! roommate of B.) and played a simple piece (was it by Bach?). I was entranced by that impromptu cello under the stars. In my book, his performance beats Yo-Yo. So, wherever you are Matt, I am sending you my thanks!



Here is a link to the program notes for the concert we heard this evening:

David Robertson, conductor
Yo-Yo Ma, cello
Ligeti, Shumann, Strauss

And an excerpt from Shumann's Cello Conerto

Wednesday, March 15, 2006

Writerly Quote of the Day

"A thing I have always loved about writing, or even simply intending to write, is that it makes attentiveness a habit of mind."--Marilynne Robinson

Sunday, March 12, 2006

Eve is Coming! Eve is Coming!

Eve Ensler is coming to Boston March 21 - 26 to perform her newest play "The Good Body." I bought myself a nearly-front row ticket the better to see her expressive face by. I won't rave about Eve here and now, but I could (and should) in a later entry, perhaps. I do want to encourage local Bostonites to check out the show. I can't vouch for the play yet; but I do support her activism to end violence.

In honor of Eve, here is a poem that I have been working on. I am still not "finished" with it. Or perhaps it is not yet finished with me!

The Scent of Belief
for Eve Ensler

My vagina speaks two words from the pulpit of her: "I believe!"

Hallelujah! Praise be to the Living God
on High from High,
I have found the scent smack between my warm white thighs.

Pink-folding rose purpled red, brown-bleeding,
ocean depths of deep-crystalloid wet,
torn fire-breathing,
ripped from cry of laughter
that stinks up,
wretched river of sweat,
civilizations gone into your wide-mouthed face,
deep into the proteins of your rusty-forgotten red soul until

you cannot stand hushed before such truth—

Wash over me! You on my skin gentle, skilled. Deep down water. Yes, yes.

That smell, my smell,

you can name it now.

Alluring-repulsive invitation with waxy seal, always there, unspoken.

We believe you will beg,

lament on hard—blistered fists pounding and kneeling—sore knees aching,
for sugar blackened incense.

Agitated, never right, no peace. Only impressed upon.

Waiting

until you too find your voice,
find your words stolen, and then

speak softly

through folds of bruised flesh collapsing in praise:

amen.

Friday, March 10, 2006

Gladwell on Freakonomics

Those who know me, know that I am a Tipping Point/Gladwell fan. I also enjoyed Freakonomics by Levitt and Dubner.

Now Gladwell (on his very own BLOG) has commented on Freakonomics, a book he loves but yet has criticisms for as well.

Of course, this is fascinating stuff if you have read Malcolm and Freakonomics (plugging here).

But, even if you have not yet moved Jane Austen to the back burner in favor of a little modern cultural/pyschological/economical analysis. . . .this is still a worthy read.


Plus, you will get to see a picture of Malcolm.

Thursday, March 09, 2006

Google Chat with a Ten-Year-Old

me: Hey Dani

Daniel: hiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

me: whoah
tell me a joke...

Daniel: hiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
hiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
hiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

me: Okay, now you are just showing off!

Daniel: booooooooooooooooooooooo

me: :)

Daniel: booooooooooooooo
boooooooooooooooooo
booooooooooooooooooooo

me: who

Daniel: booooooooooooooooo

me: ?who?

get it?

bo who?
stop crying?
stop crying!

Daniel: lame+old

me: OUCH!

Daniel: what?

me: calling me LAME and OLD

Daniel: the joke is LAME and OLD

me: Oh, right.

Daniel: jeeeeeeeeeeeeeeeeeeeeeez

me: :)

Daniel: ;)

me: Did you invite Jon over yet?

Daniel: no
john

me: what are you doing this weekend?

sorry JoHn

Daniel: chases birth­day...... science pro­ject........ same old same old

me: Is Chase in your class?

Daniel: chase's
no he left
went to amenia

me: then how are you going to his party?
I am confused

Daniel: his mom or dad is taking me

me: to Armenia?
Isn't that in Europe?

Daniel: Amenia, no

me: Is it in NY?

Daniel: it's in Dutchess county

me: Sweet
What did you get him?

Daniel: ds game

me: good deal.

Daniel: mo­mo­mo­mo­mo­mo­mo­mo­mo­mo­mo­mo­mo­mo­mo­momo

me: will you play football again? at the party, I mean.

Daniel: ?????????????????????????????????????????????????????????????????????????
i don't know

me: okay. I am off to take a shower.
I just got back from the gym

And now I have to go to a writing class
I don

Daniel: ts

me: I don't want to be sticky in the class.

Daniel: forgot the e

me: I AM THE STINKIEST right now

Daniel: huh?

me: tse?

Daniel: hahahahahahahahahahaha
u forgot the e

me: okay....spelling po­lice...whatever!

Daniel: ts as in the noise

me: what? I don't get iti!

Daniel: HAHAHAHAHAHAHAHAHAHAHAHA

me: like you are shaking your finger at me for being a bad girl?

Daniel: SPELLING POLICE. WATCH OUT­!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
NO

me: danger beware all bad speller­s....*WE ARE AFTER U*

Daniel: ?!@#$%!?@# CAPS LOCK­!!!!!!!!!!!!!!!!!!!!!!!!
no bold?!?!?!

me: I think spelling is over­rated. I mean...who cares?

Daniel: yeh

me: I know, I just caps lock and it totally didn't work with the bold

Daniel: mine did

me: show off

Daniel: AD
@!?@#$%!&!@#$ CAPS LOCK

me: crazy

Daniel: UHUH

me: ALD­FJDLKJSLFJD­SKL
HA HA

Daniel: see it works!

me: cool

Daniel: @!#$^#!$#@$$@$%@@!%!$@$^@

me: awesome awesome awesome are you.

Daniel: ye­h............. right

me: Ser­i­ously, dude, I STINK
must go shower

Daniel: :{

me: must be clean

Daniel: :}
;(

me: must be the CLEAN­EST in the world!!!!!

Daniel: :(
noooooooooooooooooooooooooooooooooooooooooooooooo

me: what are U doing?
finished with homework, etc.

Daniel: faces
yep

me: I heared that is supposed to be really warm this week­end...

Daniel: yep

me: maybe 60 degrees

Daniel: wwwwwwwwwwwwwww­wooooooooooooooooooooooooooowwwwwwwwwwww

me: now that is ....truly......AWE­SOME

Watch me:
I
am
about
to
sign
off
and
take
a
shower

Daniel: noway

me: yesway

Daniel: crud

me: crudway

Daniel: huh

?

me: Why? Do you have something to tell me?

Why should I stay?
Give me a reas­on....

Daniel: u
dont
need
shower
@@

me: You don't smell mle

Daniel: _

me: Ser­i­ouisly, I STINK reall nasty

Daniel: @@
-
@@

me: I am saying goodbye now.......

Daniel: -

me: bye
bye
bye
bey
bey
bye
bye
bye
bye

Daniel: heheheheh­heheh­h
bey

me: BYE

Daniel: u stiill on?

me: szia
etc.
bye
bye
bye
No I am not
I am not here
I am in the shower
I am washing my hair now

Daniel: NO SPELLING PO­LICE!!!!!!!

me: The water is too hot!

Daniel: UHHUH
HOW ARE U TYPING

me: It is hard to reach the comptuer from the shower­.....but I can do it!

Daniel: UHHUH
O
O
O
O
O
O
O
O
O
O
O
O
me: STOP SHOUTING

Daniel: IS URE LYING GRADE

me: What?
Janet is scratch­ing her head in confusion

Daniel: 0 IS URE LYING GRADE
NICE

me: Oh.....very, very very very FUNNY
(really that was funny!)

Daniel: 100 IS URE WRITING GRADE

me: :)

Daniel: UHHUH

me: Wait, who is the teacher?
I am supposed to give grades.....

Daniel: UH­H­H­H­H­H­H­H­HH U
YE­H............................

me: Dude
I
am
outa
here
Catch you
LATER

Daniel: NO URE NOT

me: ACK!
Daniel did not receive your chat.
Daniel did not receive your chat.

Daniel: ure still on?

me: LEAVE ME ALONE
just kidding

Daniel: NOOOOOOOOOOOOOOOOOOOO

me: I was rereading our chat

Daniel: UHHUH

me: we are two funny people...

Daniel: WHERE IS TATA

me: Cali­for­nia

He will be back tomorrow am

Daniel: UHHUH

me: k
bye

Daniel: KK

me: bye

Daniel: UHHUH
UHHUH
UHHUH
UHHUH
UHHUH
UHHUH
UHHUH
UHHUH
UHHUH
UHHUH
UHHUH
UHHUH

me: Ack
Argh
uch

Daniel: Ar­ghAr­ghAr­ghAr­ghAr­ghAr­gh
Argh
Argh
Argh
Argh
Argh
Argh
Argh
Argh

me: :0

Daniel: ACK
ACK
ACK
ACK
ACK
ACK
ACK
ACK
ACK

me: splat

Daniel: GO OUT ON 1
5

4

3

2

1

God Says Yes to Me by Kaylin Haught

God Says Yes to Me

by Kaylin Haught

I asked God if it was okay to be melodramatic
and she said yes
I asked her if it was okay to be short
and she said sure it is
I asked her if I could wear nail polish
or not wear nail polish
and she said honey
she calls me that sometimes
she said you can do just exactly
what you want to
Thanks God I said
And is it even okay if I don't paragraph
my letters
Sweetcakes God said
who knows where she picked up that
what I'm telling you is
Yes Yes Yes

Taken from Being Alive edited by Neil Astley and published by Bloodaxe Books

Saturday, March 04, 2006

Hubbard Street Dance in Boston

A few times over the years that I was living near Chicago, I
attempted to make it to a Hubbard show to no avail. Finally
tonight L, d. and I will make a night of it: Italian for dinner
and then off to the show!

Here is the program description:

In their 2004 Celebrity Series debut, Hubbard Street
Dance Chicago mesmerized crowds with energy that
literally jumped off the stage and into the audience.

From its humble beginnings nearly three decades ago,
Hubbard Street Dance Chicago has blossomed into one
of the most influential and original forces in contemporary
dance. Performing the repertory of the most innovative
international and American choreographers, the
company of 21 powerfully versatile dancers sails through
work blending ballet, jazz, and modern influences.

"The troupe can dance anything and everything-
and...they invariably do so with fluid brilliance and
understated virtuosity."

-Chicago Sun-Times

Program:

Enemy in the Figure - (1989)
Choreography: William Forsythe
Choreography Assistance: Ana C. Roman,
Thomas McManus, and Ayman Harper
Original Score: Thom Willems

Strokes Through the Tail - (2005) Boston Premiere
Choreography by Marguerite Donlon
Music by Wolfgang Amadeus Mozart

Float - (2003)
Choreography by Julian Barnett
Music by Orvar Smarson and Gunnar Tynes

Gnawa - (2005) Boston Premiere
Choreography by Nacho Duato
Music by Hassan Hakmoun, Adam Rudolph,
Juan Arteche, Xavier Paxadiño, Abou-Khalil,
Velez, Kusur and Sarkissian

Check out their website:

Hubbard Street Dance Chicago
You can read information about each dance
on the program as well as each choreagrapher's bio.


Wednesday, March 01, 2006

Eisenberg: Twilight of the Superheroes




I am currently paging my way through this very "hot" collection of short stories by Deborah Eisenberg. It seems it is getting press everywhere all over the place. So far, it deserves all the attention it has garnered.

Link of Note:

NPR Audio Book Review 'Twilight of the Superheroes' Explores the Senses' by Alan Cheuse

Saturday, February 25, 2006

Philip Roth: Goodbye, Columbus


Sheer Playfulness and Deadly Seriousness are my closest friends.
--Philip Roth

This week's novella for class discussion is Philip Roth's first, Goodbye, Columbus, which is still published with five short stories. It was first published in 1959 and won the National Book Award the following year. Other than this work, I have previously read "Sabbath's Theater" (1995) and I still have "The Plot Against America" (2004) on my bookshelf--a Christmas present I am still wading my way toward.

Here is a summary of the novel provided by enotes.com:

‘Goodbye, Columbus’’ is narrated from the point of view of Neil Klugman, a twenty-three-year-old Jewish man who lives with his aunt and uncle in a lower-middle-class neighborhood in Newark, New Jersey, and works at a public library. It concerns his relationship over the course of one summer with Brenda Patimkin, an upper-middle-class Jewish college student staying with her family in the suburbs. Their relationship is characterized by the stark contrast of their socioeconomic differences, despite the fact that they are both Jewish. The summer ends with Brenda's brother Ron's wedding, after which Brenda returns to Radcliffe College in Massachusetts. When the two arrange to meet at a hotel over the Jewish holidays, she tells him that her parents have discovered her diaphragm and have both written her letters expressing their dismay and their disdain for Neil as a result. As Brenda feels she can no longer continue the relationship, Neil leaves the hotel, ultimately achieving a new sense of self-knowledge, which is expressed by the dawning of the Jewish New Year as he arrives back in Newark.

Here is the New York Times May 17, 1959 Review of the novel:

By William Peden

Some years ago, in the vanguard of the Southern literary renascence, Ellen Glasgow commented that what the South needed was "blood and irony." The same might be said of some recent writers who have concerned themselves with depicting the role of the Jew in American society, which is the subject of Philip Roth's collection of short stories and a novella. An English instructor at the University of Chicago, 26-year-old Mr. Roth has published fiction in Harper's, The Paris Review, The New Yorker and other periodicals. "Goodbye, Columbus," a Houghton Mifflin Literary Fellowship Award, is his first book, and an impressive one. There is blood here and vigor, love and hate, irony and compassion.
Mr. Roth's novella is a somewhat incongruous mingling of conventional boy-meets-girl material and portrait-of-the- intellectual-as-a-young-man, narrated with an occasional fondness for clinical detail reminiscent of Edmund Wilson's "The Princess With the Golden Hair." Young Neil Klugman ("Whenever anyone asks me where I went to school I come right out with it: Newark Colleges of Rutgers University") meets beautiful, wealthy Brenda Patimkin, a Radcliffe undergraduate. Neil pursues Brenda with the determination of a well-trained bird dog, and soon catches her. After a summer love affair, he rejects Brenda and the nouveau-riche Patimkins with the smug self-righteousness of Joyce's Stephen Dedalus.
Such a summary, however, does justice neither to the author nor to his people; out of such hackneyed materials Mr. Roth has written a perceptive, often witty and frequently moving piece of fiction. He is a good story-teller, a shrewd appraiser of character and a keen recorder of an indecisive generation. Although Brenda's family has "moved up" from Newark economically by virtue of Mr. Patimkin's Kitchen-and-Bathroom-Sinks Enterprise, and Neil has made the "migration" intellectually, they are all of them refugees haunted by echoes from a not-to-be-buried past, unsatisfied by the too-tasty viands of a sterile hedonism, and confused by the uncertainties of the future. Characteristically, at the wedding of Brenda's brother, Neil and Brenda are further apart than ever, and in the gray confusion of early morning Neil sees some of the Patimkins "from the back, round-shouldered, burdened, child- carrying--like people fleeing a captured city."
Most of Mr. Roth's protagonists are, like Neil Klugman, adrift in a limbo between past and present. The author seems to know his people inside and out, whether he writes of a boy arguing the Virgin Birth with an exasperated rabbi, ("The Conversion of the Jews"), or, in "Eli, the Fanatic," of a young Jewish lawyer trying to explain suburban mores to the leader of a rabbinical orphanage, or, in "Epstein," of the ludicrous yet pitiable aftermath of an aging man's search for love. These stories, though concerned with universal, archetypal experiences, are somewhat transmuted into that which is at once strange and familiar. "I'm a Jew," one character says. "I am different. Better, maybe not. But different."

It seems that there is little I can say about the author only because there are legions out there in the literary world who are making their living doing just that.

Check out a few of these links:

The Philip Roth Society

CNN/TIME: America's Best Novelist

New York Times Featured Author: Philip Roth
(needs free registration with New York Times)


Vocabulary and Great Lines from Goodbye, Columbus:

dithyrambs
1 : a usually short poem in an inspired wild irregular strain
2 : a statement or writing in an exalted or enthusiastic vein
- dith·y·ram·bic /"di-thi-'ram-bik/ adjective
- dith·y·ram·bi·cal·ly /-bi-k(&-)lE/ adverb

"Actually we did not have the feelings we said we had until we spoke them -- at least I didn't; to phrase them was to invent them and own them."

"Sitting there in the park, I felt a deep knowledge of Newark, an attachment so rooted that it could not help but branch out into affection."

muscleless devotion

slashing my face with a smile

"His breath smelled of hair oil and his hair of breath and when he spoke, spittle cobwebbed the corners of his mouth."

sententiously
1 a : given to or abounding in aphoristic expression b : given to or abounding in excessive moralizing
2 : terse, aphoristic, or moralistic in expression : PITHY, EPIGRAMMATIC
- sen·ten·tious·ly adverb
- sen·ten·tious·ness noun

"By the light of the window behind him I could see the hundreds of spaces between the hundreds of tiny black corkscrews that were his hair."

At the wedding:
"I stayed behind, mesmerized almost by the dissection, analysis, reconsideration, and finally, the embracing of the trivial."

I smiled as collusively as I knew how.
: secret agreement or cooperation especially for an illegal or deceitful purpose
- col·lu·sive /-'lü-siv, -ziv/ adjective
- col·lu·sive·ly adverb
". . . and I did not say a word, afraid what a word, any word, might do."

"I was getting no answers, but I went on. If we meet You at all, God, it's that we're carnal, and aquisitive, and thereby partake of You. I am carnal, and I know You approve, I just know it. But how carnal can I get? I am acquisitive. Where do I turn now in my acquisitiveness? Where do we meet? Which prize is You?"

". . .with just a little body-english"

"And then he exploded into silence."

"I looked, but the outside of me gave up little information about the inside of me."

"What was it inside of me that had turned pursuit and clutching into love, and then turned it inside out again? What was it that had turned winning into losing, and losing -- who knows -- into winning? I was sure I had loved Brenda, though standing there, I knew I couldn't any longer."


Boston Symphony Orchestra

Tonight we will finally make our first trip (at least my first trip) to the Boston Symphony. Here is the Boston Globe review that convinced me to get my act together:

Passion rules the night in BSO's 'Gurrelieder'

Many in the audience were on their feet, applauding, before intermission of last night's performance of Arnold Schoenberg's ''Gurrelieder" by James Levine the Boston Symphony Orchestra, and by the end of the concert the response was unanimous.

''Gurrelieder" is one of the composer's early masterpieces, composed mostly in 1901 and 1902, although Schoenberg didn't complete the orchestration for another decade. The work is a series of narrative songs that recount the old Danish legend of King Waldemar, his beloved Tove, and his jealous Queen who engineers Tove's death. The King mocks God and is condemned to ride nightly from dusk to dawn for eternity, but the King finds Tove again in the splendor of the natural world.

In the music, as the work progresses, you can hear the 19th century pass into the 20th, and Schoenberg evolve from the world of Brahms, Mahler, and Richard Strauss into the world that he both perceived and helped to create.

The work always stirs an audience but it is seldom performed because of its size, cost, and difficulty. Last night the orchestra assembled a world-class team of soloists. It took tenor Johan Botha and charismatic soprano Karita Mattila awhile to warm up and ride their voices over the orchestra in the songs for Waldemar and Tove, but both came through in the later songs which Schoenberg scored more considerately -- Mattila did seem swept away by passion, and rose thrillingly to the great climax of her last song. Botha, who looks like a cross between a scholar and a bounty hunter, surmounted the most strenuous passages with impressive security and he never forced. Given the opportunity, he can also deliver text with sensitivity. The rolling bass-baritone of Albert Dohmen was luxury casting as a peasant; tenor Paul Groves achieved a convincing physical and musical characterization of the fool/jester without quite meeting every vocal demand.

The veteran Viennese tenor Waldemar Kmentt has sung three roles in this work in the course of his 56-year career. As the narrator, he delivered the speech/song with musicality, insight and instinct, occasionally coloring a word with his fondly remembered singing voice. Lorraine Hunt Lieberson was magnificent in the tragic narrative of the Wood-Dove who sings of Tove's death. Wearing a period dress in dove gray, her hair done in feathery style, Lieberson sang with flaring, all-giving tone; tragic splendor; and soul-sharing communication.

The huge orchestra -- 8 flutes, 10 horns -- covered itself with glory throughout. It also covered the men of the Tanglewood Festival Chorus too much of the time, but the full TFC sounded like a sunburst at the end. Levine has probably conducted more performances of ''Gurrelieder" than anyone in the work's history; he helped the performers deliver every dimension of the piece -- its roots in tradition and its modernity; its peculiarities and its reassurances; its particularity and its universality.


James Levine, conductor
Karita Mattila, soprano (Tove)
Lorraine Hunt Lieberson, mezzo-soprano, (Wood Dove)
Johan Botha, tenor (Waldemar)
Paul Groves, tenor (Klaus Narr)
Albert Dohmen, baritone (Peasant)
Waldemar Kmentt, tenor (Speaker)


Friday, February 24, 2006

American Life in Poetry: Boys Are Born To Wander


BY TED KOOSER, U.S. POET LAUREATE

Every parent can tell a score of tales about the difficulties
of raising children, and then of the difficulties in letting
go of them. Here the Texas poet, Walt McDonald, shares
just such a story.



Some Boys are Born to Wander

From Michigan our son writes, How many elk?
How many big horn sheep? It's spring,
and soon they'll be gone above timberline,

climbing to tundra by summer. Some boys
are born to wander, my wife says, but rocky slopes
with spruce and Douglas fir are home.

He tried the navy, the marines, but even the army
wouldn't take him, not with a foot like that.
Maybe it's in the genes. I think of wild-eyed years

till I was twenty, and cringe. I loved motorcycles,
too dumb to say no to our son—too many switchbacks
in mountains, too many icy spots in spring.

Doctors stitched back his scalp, hoisted him in traction
like a twisted frame. I sold the motorbike to a junkyard,
but half his foot was gone. Last month, he cashed

his paycheck at the Harley house, roared off
with nothing but a backpack, waving his headband,
leaning into a downhill curve and gone.



First published in "New Letters," Vol. 69, 2002, and
reprinted from "A Thousand Miles of Stars," 2004, by
permission of the author and Texas Tech University
Press. Copyright © 2002 by Walt McDonald.
This weekly column is supported by The Poetry Foundation,
The Library of Congress, and the Department of English at
the University of Nebraska-Lincoln. This column does not
accept unsolicited poetry.

Thursday, February 23, 2006

Poetry: Odes

This week I will attempt to write an ode for my poetry class at Grub Street. Here is the assignment provided by our instructor, Morgan Frank:

According to The Teachers and Writers Handbook of Poetic Forms (Ron Padgett), Edmund Gosse defined the ode as "enthusiastic and lyrical verse, directed to a fixed purpose and dealing progressively with one dignified theme." While you might find it useful to explore the classical history of the ode, which dates back to the fifth century B.C., the former definition suits our purposes, albeit with a little modification to give you focus. For this assignment, you are going to choose as your subject an object you encounter in your everyday life. Neruda's elemental odes addressed such things as watermelons, maize, and wine, and Robert Pinsky takes on such everyday objects as the shirt and the television as focus for meditation. How might meditation on the thing itself let you unfold larger themes and intentions, and keep you away from sweeping statements and abstractions?

While I will most likely stick to an object, the following poem by Robert Pinksy is an amazing example of a modern ode to a idea, in this case "meaning."

Link to the poem: http://www.ibiblio.org/ipa/pinsky/meaning.html

Ode to Meaning
by Robert Pinksy

Dire one and desired one,
Savior, sentencer--

In an old allegory you would carry
A chained alphabet of tokens:

Ankh Badge Cross.
Dragon,
Engraved figure guarding a hallowed intaglio,
Jasper kinema of legendary Mind,
Naked omphalos pierced
By quills of rhyme or sense, torah-like: unborn
Vein of will, xenophile
Yearning out of Zero.

Untrusting I court you. Wavering
I seek your face, I read
That Crusoe's knife
Reeked of you, that to defile you
The soldier makes the rabbi spit on the torah.
"I'll drown my book" says Shakespeare.

Drowned walker, revenant.
After my mother fell on her head, she became
More than ever your sworn enemy. She spoke
Sometimes like a poet or critic of forty years later.
Or she spoke of the world as Thersites spoke of the heroes,
"I think they have swallowed one another. I
Would laugh at that miracle."

You also in the laughter, warrior angel:
Your helmet the zodiac, rocket-plumed
Your spear the beggar's finger pointing to the mouth
Your heel planted on the serpent Formulation
Your face a vapor, the wreath of cigarette smoke crowning
Bogart as he winces through it.

You not in the words, not even
Between the words, but a torsion,
A cleavage, a stirring.

You stirring even in the arctic ice,
Even at the dark ocean floor, even
In the cellular flesh of a stone.
Gas. Gossamer. My poker friends
Question your presence
In a poem by me, passing the magazine
One to another.

Not the stone and not the words, you
Like a veil over Arthur's headstone,
The passage from Proverbs he chose
While he was too ill to teach
And still well enough to read, I was
Beside the master craftsman
Delighting him day after day, ever
At play in his presence
--you

A soothing veil of distraction playing over
Dying Arthur playing in the hospital,
Thumbing the Bible, fuzzy from medication,
Ever courting your presence,
And you the prognosis,
You in the cough.

Gesturer, when is your spur, your cloud?
You in the airport rituals of greeting and parting.
Indicter, who is your claimant?
Bell at the gate. Spiderweb iron bridge.
Cloak, video, aroma, rue, what is your
Elected silence, where was your seed?

What is Imagination
But your lost child born to give birth to you?

Dire one. Desired one.
Savior, sentencer--

Absence,
Or presence ever at play:
Let those scorn you who never
Starved in your dearth. If I
Dare to disparage
Your harp of shadows I taste
Wormwood and motor oil, I pour
Ashes on my head. You are the wound. You
Be the medicine.




Wednesday, February 22, 2006

Roddy Doyle: The Woman Who Walked Into Doors

I am reading a number of short novels this semester for a novel writing class at Emerson College. This week we discussed the Irish author Roddy Doyle's amazing work of voice and dialogue, The Woman Who Walked Into Doors (1997). Although I had seen the 1991 movie adaptation of Doyle's The Commitments, I had no idea it was an adaptation at the time and since then had not run into any of his extensive work. Among other notable works, he won the Booker Prize in 1993 for a novel called Paddy Clarke Ha Ha Ha, which is written from the perspective of a ten-year-old boy.

The Woman Who Walked Into Doors is told from the point-of-view of a thirty-nine-year-old Irish working class woman who, well, walked into doors (as they say). It is well-crafted and the woman's voice quite believable. It is so well done, in fact, that it is painful to read at times. The story arc gives away much of the climax at the very beginning of the book, a trend in the novels that we have read so far.

We have discussed in class the tell-all approach in terms of craft. Should you build to a climax using suspense to draw your reading into the story world--the "traditional" approach? Or can you spill the beans on the first page and then lead your reader into the finer nuances of truth and psychology behind the facts of the climax? The answer is: of course you can do both! The question is what subject matter or characters will be best served by each approach?

I am toying with using the tell-all approach for my current project. Toying. In fact, I may play out this approach all the way through the first draft of the novel. That way I will know how the story "ends" and then I can go back and craft the arc with a finer chisel.

Alas. Shop talk.

Read Doyle. It is not "light" or "easy" in terms of subject matter. But I did hear that this particular novel is his most bleak. Then let me know what you think. . . .

Useful Links

biography/themes/publications

Review of The Woman Who Walked Into Doors

Roddy Doyle: Audio Reading

Sunday, February 19, 2006

Sunday Lunch

Beef Pörkölt
Serves 4

Ingredients
25g/1oz Lard or 2 tbsp Olive Oil and 2 tbsp Butter
3 Onions, chopped
675g/1-1/2lb Stewing Beef, cubed
4 Potatoes, thickly sliced
240ml/8fl.oz. Fresh Beef Stock
240ml/8fl.oz. Sour Cream
2 tbsp Tomato Paste
Salt
Ground Black Pepper
3 Tbsp Paprika
2 Bay Leaves

Instructions
1. Heat the lard (or oil and butter) in a large saucepan, add the onions and meat and fry until the beef is browned on all sides and the onion is softened.

2. Add the remaining ingredients (except sour cream), mix well and bring to the boil then reduce the heat to very low, cover and simmer for at least 1-1/2 to 2 hours, stirring from time to time. Serve hot with sour cream on the side.

Nokedli (noodles)
2 eggs
1/2 teaspoon salt
3/4 cup water
2 cups all-purpose flour
1 large pot filled with salted boiling water

Place large pot filled with salted water and bring to boil. Combine eggs, salt, and water, beating well with whisk. Add flour, a little at a time. Add only enough flour to make a soft, sticky dough. Let mixture rest for about 10 mins. Beat mixture again. Using the side of a teaspoon, spoon small amount of dough into boiling water. Dipping the spoon in the hot water will remove the dough from the spoon (if you have a spaetzel maker, that makes is easier as you want very small noodles). The noodles are done when they float to the top. Remove from water with large slotted spoon, and place in colander. Serve immediately or rinse with cold water. You may want to make the dumplings in 2 or 3 batches so they dont overcook. Serve with chicken paprikas (or any dish that has a rich sauce). The dumplings are also nice added to a stew. You can heat the dumplings in a frying pan with melted butter. Do not let the dumplings get too brown or crisp.

Uborka Salata (Cucumber Salad)

1 or 2 large cucumbers
1/2 cup vinegar
1/2 cup water
1 Tbs sugar
1/2 tsp salt
pinch of black pepper
1/4 onion thinly sliced

Slice the cucumbers paper thin. Sprinkle with salt and let stand for at least one hour. Squeeze excess liquid from cucumbers. Mix the vinegar, water, sugar, salt and pepper. Add to cucumbers and let stand for at least an hour and better if left overnight. Garnish with dill or red pepper or paprika when serving.

Tuesday, February 14, 2006

Cuernavaca, Mexico

L. and I visited Chile last year over the winter holiday. The summer sun was intoxicating. We vowed to head South during the winter months whenever possible. So when L. got an invitation to give a lecture in Cuernavaca, Mexico, we booked our flights. We even used frequent flyer miles.

We left Boston last Wednesday and returned Sunday night, flying in just after the huge blizzard that had shut down the airport for most of the day. Good timing.

While Chile is gorgeous, I found Mexico to be even more interesting. The food, the food, the food. Did I mention how good the food was? We ate well. And the tequila was almost too good to be tequila. Our favorite meal was at a roadside restaurant where we ate handmade tortillas cooked right before our eyes, grilled meats, family-style beans, cheese and salsa. We asked our driver to take us there after we visited the Xochicalco ruins.

Cuernavaca may not have a beach, but our hotel was paradise. The city is filled with beautiful gardens, a stunning cathedral, and there are several worthwhile side trips. Our trip to the ruins was outstanding. We even got a tour deep beneath the ruins inside an ancient observatory. Luckily we had a Spaniard with us who could provide translation.

After just a few days, we headed to Mexico City where we spent Saturday afternoon through Sunday morning. We dropped our bags at the charming La Casona hotel and taxied down to the historic center. There we toured the cathedral and then saw the Diego Rivera murals in the National Palace. We ran into a Hungarian tour group viewing the murals and got to listen in to the descriptions. Small world. As it was Saturday and market day, we also got to stroll through the chaotic and teeming outdoor markets near the main square.

After a nap that evening, we again headed toward the historic center. This time we wanted to eat and then find some dancing. Even though the salsa club we had heard about "did not exist" we pushed on through the eerily empty streets toward the Plaza Garibaldi.

It was near 11pm when we arrived and the square was packed with fully decked out mariachi bands. Food stands surrounded the square and smelled divine. People were singing, dancing, eating and having a really good time. We stopped in a club (one of the many surrounding the square) and even did our own special brand of salsa dancing until 2am.

Sunday morning we strolled through the Zona Rosa, near our hotel. It is packed out with a more "refined" crowd and tons of very elegant stores and places to eat. It must have been lively there too Saturday night, but we are glad that we ended up hanging with the mariachi instead.

A few days in Mexico is not enough and I hope to return some day. Preferably during January or February!

A Love Poem

This week I was supposed to write a LOVE poem. A daunting task. Here is the draft I will take to my workshop. I look forward to having it ripped to shreds! But do give me credit for the purposeful lack of heaving breasts and throbbing hearts.


STORM

The downed storm line undid our house that night.

Winds smashed potted plants

while we sat in the tub,

our knees near,

the fear audible.

Our muscles

forgot to breathe. We stared.

Later,

we did not laugh,

or push the tale at dinner parties.

The electric line was restrung.

Pots sat cracked

but became mansions for grateful, lonely spiders.

Monday, February 13, 2006

Poetry: Geology by Bob King

American Life in Poetry

BY TED KOOSER, U.S. POET LAUREATE

We constantly compare one thing with another, or attempt to,
saying, "Well, you know, love is like...it's like...well, YOU
know what it's like." Here Bob King, who lives in Colorado,
takes an original approach and compares love to the formation of
rocks.

Geology

I know the origin of rocks, settling
out of water, hatching crystals
from fire, put under pressure
in various designs I gathered
pretty, picnic after picnic.

And I know about love, a little,
igneous lust, the slow affections
of the sedimentary, the pressure
on earth out of sight to rise up
into material, something solid
you can hold, a whole mountain,
for example, or a loose collection
of pebbles you forgot you were keeping.

Reprinted from the Marlboro Review, Issue 16, 2005, by
permission of the author. Copyright (c) 2005 by Robert King,
whose prose book, "Stepping Twice Into the River: Following
Dakota Waters," appeared in 2005 from The University Press of
Colorado. This weekly column is supported by The Poetry
Foundation, The Library of Congress, and the Department of
English at the University of Nebraska-Lincoln. This column does
not accept unsolicited poetry.


For more poems, check outWrite Now: Poems: Salty and Sweet