Tuesday, April 8, 2014

Paperback writer (paperback writer)




Paperback writer


Paper back writer (paperback writer)

Dear Sir or Madam, will you read my book

It took me years to write, will you take a look






It's based on a novel by a man named Lear

And I need a job, so I want to be a paperback writer,

Paperback writer.





It's a dirty story of a dirty man

And his clinging wife doesn't understand.

Their son is working for the Daily Mail,







It's a steady job but he wants to be a paperback writer,

Paperback writer.







Paperback writer (paperback writer)






It's a thousand pages, give or take a few,

I'll be writing more in a week or two.

I can make it longer if you like the style,

I can change it round and I want to be a paperback writer,

Paperback writer.







If you really like it you can have the rights,

It could make a million for you overnight.

If you must return it, you can send it here

But I need a break and I want to be a paperback writer,

Paperback writer.





Paperback writer (paperback writer)

Paperback writer - paperback writer

Paperback writer - paperback writer



Writers you want to punch in the face




http://blog.pshares.org/index.php/writers-you-want-to-punch-in-the-facebook/

OK then, here is a link to something I particularly liked on FB. I don't like much on FB, and every time I (compulsively) go on it, I see a lot of things that are not nearly as good, or see something that makes me mad and feel I can't say anything because most comments begin with the word, "Awesome!!!!!" If you say anything else, you're a party pooper and "negative", which is the worst thing you can be.

Social media hasn't done me a whole heck of a lot of good. It has distracted me from real writing, which is what I need to be doing, always. Right now I am stymied as to how I am supposed to use it to sell my book. I seem to be nowhere with it. I know I'm not supposed to admit this, in case the unusual happens and somebody reads this. It has been known to happen, but a large number of views is rare on this blog because I write it mostly to please myself.




I finally have a book in hand, but feel a little lost. The things that helped me stay afloat and promote and get out there with my last two novels are mostly gone. The independent bookstores have been driven out of business, and Big Booky isn't too friendly these days. It's not the way I thought it would be, at all, and all too often I feel like a dinosaur.

That said, several times a day I look at the published version of The Glass Character and just shimmer all over. As it turns out, the cover has a high shine that resembles that antique turquoise glass, and it's effective, as if Harold is looking through a windowpane. It was a long, long haul writing this, and twice as long selling it, and now, though I don't know exactly where I am going with it, it has been externalized, it's no longer just a story or a thought in my head or a hope or a dream: it's a BOOK, and always will be, even if it goes out of print. As an ebook, I suppose it will always be around in some form or another.




I've written about Rich Correll, and I did ask my publisher to send him an advance copy, but I haven't heard anything back. Rich Correll knew Harold, even touched his films and became his unofficial filmographer. What he thinks of  The Glass Character matters. But I have had almost no feedback, and it's kind of like waiting for a medical test to come back. You tell yourself, it's just a precaution, I'm sure everythng's fine. . . but you know that the possibility of "not fine" exists. You tell yourself, for sure, this is your last book. Has to be.

I remember a time when Rich Correll was just some far-flung possibility. I opened a file last night in Word, my first letter to him, dated 2010. I had no idea what his mailing address was, could only find vague references to talent agencies and taxi companies. I even sent a letter to his lawyer. I gave up some time in 2012, and he phoned me in 2013. I could not believe how long ago: last summer. I thought it was maybe two months ago.




I think a lot of what I am doing now is distraction. I should be working feverishly on Facebook and Twitter (though I loathe the thought and would rather be hung upside-down by my toenails than open a Twitter account) to "try to get the word out". What word? My book is out.  Buy it, it's swell. End of message.

I suppose if I don't promote my face off, I won't be eligible for the awards that can propel a writer out of the Paperback Writer zone ("Dear sir or madam, would you read my book, it took me years to write, would you take a look"). I don't know quite how that works. Do I sound super-confident here? I doubt it.




I do feel good about the book. It's not that. Or, I don't think so. It's everything else, what goes with it. Writers are jerked back and forth: stop being so sickeningly self-congratulatory! Get out there and be a shameless self-promoter! Go away, come back.

And then there is Cinderella Syndrome, the great lottery win, with some obscure or completely unknown author catapulting to the top of the New York Times bestseller list (Nirvana for every writer, supposedly). I should have called my novel 50 Shades of Harold.




It's a weird place to be in. I wouldn't want to go back. All of it has been hard. The writing was the best part, as always. I'll never forget it. And a few people have commented on it. Even my daughter liked it! She's the toughest critic I know, one of the few people who actually speaks her mind when you ask her about something, so her opinion matters to me.

All I want to do is make Blingees, right now, to take my mind off things. I have had no reviews at all so far, and there may not be any (not that they lead to sales). One would be nice. And hearing back from Rich Correll. Now THAT would be nice. An invite to read somewhere, so I don't have to phone an organizer and say, "Please, sir. . . "




But I remember the day the idea fell on me to write this book - just fell on me like an anvil out of nowhere, and my first reaction was, "Nooooooooooooo." Somehow, that led to this. The strange "this" I'm in now, which is a long way from the initial assault. 





Monday, April 7, 2014

Judy in Disguise (With Glasses): but what does the song MEAN?




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Judy in Disguise, well that's a-what you are
A-lemonade pies, with a brand new car
Cantaloupe eyes come to me tonight
Your Judy in disguise, with glasses

Keep a-wearing your bracelets, and your new rah rah
A-cross your heart, yeah, with your living bra
A-chimney sweep sparrow with guys
Your Judy in Disguise, with glasses

Come to me tonight, come to me tonight
I've taken everything in sight
Unzipper the strings of my kite

Judy in Disguise, hey that's what you are
A-lemonade pies, hey got your brand new car
Cantaloupe eyes come to me tonight
Your Judy in Disguise, with glasses

Come to me tonight, come to me tonight
I've taken everything in sight
Unzipper the strings of my kite

Judy in Disguise, well what you aiming for
A-circus of a-horrors, yeah yeah, well that's what you are
You make me a life of ashes
I guess I'll just take your glasses


BLOGGER'S NOTE. Normally I would be adding clever visuals to illustrate this song. Not this time. I am dumbstruck. I used to hear this number in the '60s and think: it CAN'T be "cantaloupe eyes". I must be mishearing it, the classic "mondegreen" syndrome ("'Scuse me while I kiss this guy"). But no.

Their performance is - well - very '60s. This band had one hit, and they probably knew it, so they milked it for all it was worth. I especially like the awkward fat guy, a forerunner of Steve Page of Barenaked Ladies fame. The lighting tricks and cheesy trumpet effects (the playing obviously done by studio musicians) are great, especially when the accompaniment is all strings and the lads just keep on blowing away.

The imagery here is so bizarre that I suspect mondegreen syndrome is at work. We may be hearing this one all wrong. The  transcripts from these song lyric sites are based on what people hear rather than a published version of the song (which probably doesn't exist anyway). Then they get replicated and replicated, and eventually become the authentic, "original" lyric. Happens all the time.

Cantaloupe eyes. Jesus!

Friday, April 4, 2014

Daddy oh Daddy, oh




You do not do, you do not do
Any more, black shoe
In which I have lived like a foot
For thirty years, poor and white,
Barely daring to breathe or Achoo.


 

Daddy, I have had to kill you.
You died before I had time--
Marble-heavy, a bag full of God,
Ghastly statue with one gray toe
Big as a Frisco seal


 
And a head in the freakish Atlantic
Where it pours bean green over blue
In the waters off beautiful Nauset.
I used to pray to recover you.
Ach, du.
 



In the German tongue, in the Polish town
Scraped flat by the roller
Of wars, wars, wars.
But the name of the town is common.
My Polack friend
 
Says there are a dozen or two.
So I never could tell where you
Put your foot, your root,
I never could talk to you.
The tongue stuck in my jaw.



 
It stuck in a barb wire snare.
Ich, ich, ich, ich,
I could hardly speak.
I thought every German was you.
And the language obscene



 
An engine, an engine
Chuffing me off like a Jew.
A Jew to Dachau, Auschwitz, Belsen.
I began to talk like a Jew.
I think I may well be a Jew.





 
The snows of the Tyrol, the clear beer of Vienna
Are not very pure or true.
With my gipsy ancestress and my weird luck
And my Taroc pack and my Taroc pack
I may be a bit of a Jew.
 



I have always been scared of you,
With your Luftwaffe, your gobbledygoo.
And your neat mustache
And your Aryan eye, bright blue.
Panzer-man, panzer-man, O You--





 
Not God but a swastika
So black no sky could squeak through.
Every woman adores a Fascist,
The boot in the face, the brute
Brute heart of a brute like you.



 
You stand at the blackboard, daddy,
In the picture I have of you,
A cleft in your chin instead of your foot
But no less a devil for that, no not
Any less the black man who
 
Bit my pretty red heart in two.
I was ten when they buried you.
At twenty I tried to die
And get back, back, back to you.
I thought even the bones would do.



 
But they pulled me out of the sack,
And they stuck me together with glue.
And then I knew what to do.
I made a model of you,
A man in black with a Meinkampf look
 
And a love of the rack and the screw.
And I said I do, I do.




So daddy, I'm finally through.
The black telephone's off at the root,
The voices just can't worm through.



 
If I've killed one man, I've killed two--
The vampire who said he was you
And drank my blood for a year,
Seven years, if you want to know.
Daddy, you can lie back now.


 
There's a stake in your fat black heart
And the villagers never liked you.
They are dancing and stamping on you.
They always knew it was you.
Daddy, daddy, you bastard, I'm through.



Wednesday, April 2, 2014

Sign me up (but not over $100)


This is doing the rounds of the internet. Interesting stuff, and reminds me, most yearningly, of the old blue-splashy watercolor Dick and Jane illustrations of my childhood (though that was much later, of course).


1934 Montgomery Ward Catalogue

If you convert the prices to pound value at the time the prices are not so cheap.  But more importantly consider the rise in the cost of living in such a short period of time, 78 years is not much in the context of history!

Amazing prices! Check the style of ladies dresses and shoes, but wait, check the order blank at the bottom of the page and see what it says about if you are married and the total is over $100.

1934 Catalog


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"If customer is married and order totals more than $100, both husband and wife must sign, otherwise one signature only is required".

This is automatically interpreted as "oh, if the wife buys anything expensive her hubby has to approve it". But this could go the other way: it does say if "customer" is married, then says "both husband and wife" must sign. The customer might be the husband, after all.

Thus one partner can't go on a wild spending spree (coils of barbed wire, 74-cent shirts, day-old chicks) without the other one knowing about it. A practical arrangement, and probably a necessity during the privation of the 1930s. If we brought it back, it might just reduce the debt that destroys marriages more surely than infidelity.





Order The Glass Character from:

Thistledown Press 

Amazon.com

Chapters/Indigo.ca