Bukowski!

So You Want To Be A Writer

if it doesn't come bursting out of you
in spite of everything,
don't do it.
unless it comes unasked out of your
heart and your mind and your mouth
and your gut,
don't do it.
if you have to sit for hours
staring at your computer screen
or hunched over your
typewriter
searching for words,
don't do it.
if you're doing it for money or
fame,
don't do it.
if you're doing it because you want
women in your bed,
don't do it.
if you have to sit there and
rewrite it again and again,
don't do it.
if it's hard work just thinking about doing it,
don't do it.
if you're trying to write like somebody
else,
forget about it.
if you have to wait for it to roar out of
you,
then wait patiently.
if it never does roar out of you,
do something else.

if you first have to read it to your wife
or your girlfriend or your boyfriend
or your parents or to anybody at all,
you're not ready.

don't be like so many writers,
don't be like so many thousands of
people who call themselves writers,
don't be dull and boring and
pretentious, don't be consumed with self-
love.
the libraries of the world have
yawned themselves to
sleep
over your kind.
don't add to that.
don't do it.
unless it comes out of
your soul like a rocket,
unless being still would
drive you to madness or
suicide or murder,
don't do it.
unless the sun inside you is
burning your gut,
don't do it.

when it is truly time,
and if you have been chosen,
it will do it by
itself and it will keep on doing it
until you die or it dies in you.

there is no other way.

and there never was.

Outrunning the black dogs

Right. This is one of those mornings that I wish I could make disappear. The weather around here has been putrid, unrelentingly cold and wet and grey, dank, with dampness seeping in everywhere. My beautiful new Mother's Day hanging baskets of flowers are wilting and turning slimy and brown. I don't want to go out.

I had something happen to me today, and I guess I shouldn't even been surprised, but it has lit the fuse of memory of every other time I have been stepped on as a writer. I know I shouldn't feel that way, and somehow that just makes it worse. I should be cool and detached and never take offense. But I've never been any good at that.

Sometimes I think that writers (like me, I mean, not successful ones) have to roll around showing their pink bellies to people who then slash at them with a razor blade. Or something like that. And I'm supposed to be fine with it.

I'm not fine with it. I hurt so bad it might just ruin this whole week, so I want to throw my mind into a topic I've been turning over for quite a long time. (It seems the only anodyne to the agony of being a writer is more writing.)

Several years ago, before I was run out of town by some people with very sharp teeth, I wrote a blog for Open Salon. I had been trying to read Gone with the Wind for about the third time, and was once more getting stuck on black stereotypes that sometimes made me feel literally nauseated.

I started doing an exploration of such things, and what popped out of the Google images was a riot of pulsating energy and saturated color: the works of dozens and maybe even hundreds of African- American artists, many of them taking the phenomenon of the black stereotype and turning it on its ear.

Drawing on ceramic salt-and-pepper sets of Uncle Ben and Aunt Jemima, old ads with grinning black children eating watermelon, and (in a much darker exploration) the old slave posters that equated selling a human being with "needles, pins, ribbons &c. &c.", these artists recombined the images into a potent mixture of parody and protest, shoving it under our noses in the most provocative way possible.

Betye Saar created Aunt Jemima's Revenge, seen above, in which the comfy and familiar Mammy-figure on the pancake-mix box wields a shotgun. There were so many others I had not heard of: Robert Colescott, Kara Walker, Mark Steven Greenfield. There was a unique creative energy here, subversive, riotous and "in your face".

One of the purposes of art, of course, is to disturb and unsettle. Back a few years ago when I did my GWTW exploration, I encountered paintings that were probably the most extreme of any of them: deeply saturated colors so vibrant they could trigger a migraine, with figures that were both fierce and embarrassing.

Embarrassing only because of their Mammy-ness, their Little Black Sambo-ness, their resemblance to those Golliwog dolls that people like to buy at craft fairs and collect. They were salt-and-pepper shakers come to life.

The artist was a man, and there was a web site, and I didn't save the link because I was sure I could find it again. Art this potent had to have a following.Well, guess what.
I can't find it. Can't even find his name.

I've been looking for days now, beating the bushes. I've found sites that list literally hundreds of African-American artists in every genre. My artist might be in there, but I just don't have time to go through all of them.

In some cases, I found long, stuffy, scholarly articles that filled the entire screen with flyspeck print, and no illustrations. Fooey. Even if he's in there, he's buried.

So all the little girls in neon gingham, the little boys with spikily nappy hair, and all those other down-on-the-old-plantation characters that he has transformed into a strange kind of protest, is lost to me, seemingly forever.

What happened? How can you suck back something that's been on the 'net for years? You can't. So I don't know what's going on. If I just had a name. I'd have something to go on.

So I could forget this punch in the stomach. Maybe.

Woof, woof, cha-cha-cha

Yeah, but the bike has training wheels!

Kirstie Alley: in it to win it

Get one thing straight, people. I never watch Dancing with the Stars. It's just too cheesy and spangly and phony. OK, I did watch Kate Gosselin until she was eliminated, but that was that.

I don't quite know how I got hooked in this time, but I am ashamed to admit that, like a lot of people, I began to follow Kirstie Alley because I was surprised that she'd even try a thing like this. I think a lot of people tuned in to see her fail.

The thing about Kirstie is that she rampages through life with a lusty recklessness that kind of reminds me of Elizabeth Taylor. She's up, she's down; she's a Vulcan in Wrath of Khan, she's a wisecracking comedienne on Cheers; she's fat, she's thin, she's on Oprah showing off her body in a bikini, then, shit, she's fat again!

Because of her yo-yoing weight, women view her with a mixture of compassion and scorn. For God's sake, an attractive woman like that - a woman who used to look downright sultry, with smoky eyes and a husky, almost Kathleen Turner-esque voice - how could she ruin it all with nachos and beer? On top of that, she made a desperate grab at restoring her career by starring in a "reality" show called Fat Actress. It was a case of "look at me, I'm pathetic," and I had to look away.

But this is a different Kirstie, feisty, energetic, and determined to win. In a marriage of opposites, she has been paired with Maksim Chmerkovskiy, a man who has that arrogant indifference (combined with a prowling panther's body) that attracts women like kamakaze flies. The two of them either hit it off, or hit each other, I'm not sure which.

Her first dance was dynamite and wowed the judges, who were probably feeling sorry for her right out of the gate. I think it was a cha-cha, the kind of dance where your feet can't be half an inch out of place. She was rather heavy but looking sultry again, and her joy in performing was evident.

There followed a rollercoaster ride of ups and downs which somehow reflected the course of Kirstie's life: Max's leg collapsed under him and both of them tumbled to the floor. This was a fault in choreography, as far as I am concerned - a 200-lb. woman should not throw her whole weight on a 150-pound man's knee. But it was painful to see the "fat girl" fall, and I am sure many people sneered.

And just when you thought she had (literally) picked herself up again, there she was sitting on the floor frantically fiddling with her shoe. It had partly come off and she was trying to get the strap back on. It was an awkward moment, but somehow they graced through it.

After fast-forwarding innumerable boring routines by I-don't-care-who (including that guy who used to be the Karate Kid, who seems to be cleaning the floor with his feet), my admiration for the Big K just grows. We're coming up to the finals next week, and Kirstie's still in! It's obviously gruelling work for a 60-year-old of substantial build. The rehearsal scenes look painful: she always seems to be falling down. She looks blowsy and dishevelled, and you wonder how in the world she'll ever make it.

But every week it's the same: she somehow pulls herself together and, tossing back that caramel mane, struts out onto the dance floor with her Ukrainian (or whatever-he-is) paramour. She sells the dance through sheer acting talent and a kind of voluptuous joie de vivre. When she and Maks or Max or whatever-he's-called did their Argentine tango, he showed off her considerable weight loss by lifting her gracefully and effortlessly off the floor.

Kirstie Alley is more than twice the age of most of the other dancers and at least 50 pounds heavier, though every week more of it seems to melt away. In reality, she's rehearsing and rehearsing (and cursing) it off. She's in it to win it. It's not likely, but she'll give the others (and who cares what their names are anyway? That guy with the Chiclet teeth, that blonde, or those blondes - hey, are they really the same person?) a good run for their money.

Kirstie Alley is back, and we're glad to see her center-stage where she belongs. Cheers.

MR. ED - intro en español

Ola, Wil-burrrrr!

I Remember

There's a story behind this song. I posted the lyrics yesterday because I think they're stunning: Stephen Sondheim mixes cliches with simple yet startlingly original images ("and ice like vinyl on the streets, cold as silver, white as sheets/Rain like strings, and changing things/Like leaves.")

This wasn't written for one of his legendary musicals, but for a quirky little TV special from the mid-'60s called Evening Primrose. A disillusioned poet (played by that disillusioned poet of Hollywood, Anthony Perkins) breaks into a department store at night, hoping to find shelter from a cruel and uncaring world, and encounters a whole subculture living there (kind of a prequel to that cheesy '80s fantasy/drama Beauty and the Beast, which I used to slavishly watch every Friday night while putting away copious quantities of fizzy peach cider).

Anyway, since no one taped things in those days (it was deemed too expensive, which is why the networks erased most of Ernie Kovacs' programs and taped quiz shows over them), this 50-minute musical was long lost except to memory. But sometimes a kinescope (a crude sort of tape taken from the TV monitor) remained, and not long ago someone unearthed a "pristine" copy from a vault somewhere and reissued it on DVD. It's on its way to me from Amazon, and I'll be reviewing it in agonizing detail when it comes.

The reason I'll bother is that the song I Remember, now a classic, was written for this show. Unfortunately, Charmion Carr, fresh from her triumph as the eldest Von Trapp daughter in The Sound of Music, played the inevitable romantic interest, just so Tony Perkins could have his usual awkward, ambivalent love scenes with her.

Unfortunately, and in spite of TSOM, Carr couldn't sing. So she basically massacred this lovely, haunting song, this song which makes me cry every time even though I always swear I won't. When I hear it, it makes me wish Anthony Perkins had sung it: with his sweet lyric tenor and great care with lyrics, he would have given it its due. (And I think he knew what it was all about.)

Since recording artist were quick to issue covers for this gem (kind of like that hymn to dysfunctional relationships, Send in the Clowns), I encountered a few different versions on YouTube, but I remembered one from a CD called Cleo Sings Sondheim that never failed to stir me.

This video has its limitations. Every Cleo Laine video I've seen has silly special effects, and this one is no exception. Losing my Mind has the following choreography:

"The sun comes up, I think about you." (Cue the sun streaming in the window.)
"The coffee cup, I think about you." (Cleo sips from a Starbuck's cup.)
And so on, and so on (giving little "gee, what shall I do" headshakes that almost destroy the song's indescribable yearning). All that's missing is the Swiffer duster to illustrate "all afternoon, doing every little chore".

I Remember is almost as inane. When the lyrics mention snow, little bits of styrofoam begin to sift down on her. When it's "leaves", pieces of paper blow into a doorway. It's just too sad.

But the performance: no one else captures the delicacy and pathos of this song, especially those last lines, "I remember days, or at least I try. But as years go by, they're a sort of haze/And the bluest ink isn't really sky. And at times I think/I would gladly die/for a day of sky."

Close your eyes, and sink into it.

By Sondheim

I remember sky --
It was blue as ink.
Or at least I think
I remember sky
I remember snow --
Soft as feathers
Sharp as thumbtacks
Coming down like lint
And it made you squint
When the wind would blow
And ice, like vinyl on the streets,
Cold as silver, white as sheets,
Rain like strings
And changing things
Like leaves.
I remember leaves --
Green as spearmint, crisp as paper
I remember trees --
Bare as coat racks
Spread like broken umbrellas.
And parks and bridges, ponds and zoos,
Ruddy faces, muddy shoes.
Light and noise
And bees and boys
And days.
I remember days --
Or at least, I try.
But as years go by
They're a sort of haze.
And the bluest ink
Isn't really sky.
And at times, I think
I would gladly die
For a day
Of sky.

The man in the arena

"It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat."

I've long admired these words, even though they come from Teddy Roosevelt, not exactly an admirable figure in my books. But he's on to something here.

I don't know how many times I've met people who have told me, "I'd like to be a writer," or at least "I'd like to write". I've even met with people a few times, usually steered to me by someone else (we'll never know why) who want to know how to get started.

Usually I ask them, "What sort of writing are you interested in?" Nine times out of ten, they give me a blank look. They haven't stopped to think. Either that, or they push a mass of paper toward me, fully expecting that I will hand it directly to an editor at Random House and say, "Publish this. It's brilliant."

It doesn't occur to them we're all competing for the same few glittering prizes. Competitors should respect one another, but not score goals on their own net.

Attitudes toward my craft are funny. People are uncomfortable with it. One guy stood at a booth I was person-ing for a writer's group at Word on the Street in Vancouver and talked for fifteen minutes about how his "sister" was interested in writing, and his "sister" wanted some pamphlets, and his "sister" was. . .Finally I eyeballed him and said, "Your sister?" "Well. Uh. Yes, no, I mean. It's really me." I guess this is worse than admitting you have a bladder control problem.

Maybe after talking to me they walk away dejected, I don't know. But I want to try to warn them for their own protection. In general, the attitude towards writers/writing is very strange. It's something only a bloody fool would try to do for money.

It's all conjured out of the page in some sort of arcane way. It's magic, opaque, obscure. This is why it is so damned uncomfortable for me to answer the simple, common question "what do you do?" I have had a wide variety of responses to saying "I'm a writer" (and thus breaking some sort of mysterious taboo that no one ever told me about). These are actual quotes:

"Ohhhhhhhhhhhhhhhhhhhhhhhh!" (with the inflection rising, then falling.

"You're brave."

"Yeah, right."

(doubtfully) "Oh?"

Or confused silence, a look of misunderstanding or even slight aversion, as if you've just said, "I have psoriasis on my buttocks".

If I talk about my work at a gathering where other people are talking about nursing or teaching or tending bar, after a while people get that glazed-over look you see when someone is being extremely rude. Unless you're Stephen King or the 4 other writers who've really made it, writing isn't work, not proper work at all. It's not quite a hobby either, in fact we're not sure just what it is, but one thing it isn't is something you discuss in public.

I can't blame sane people for shying away from this field. Most aspiring writers aren't willing to go through what I have for the extremely modest level of success I've attained (and even that is debatable, if measured solely in book sales).

Oh, I guess my attitude might be a little skewed. Someone said to me recently, "Why is it, Margaret, that every time you accomplish anything you immediately raise the bar?" Because I can? Or because I think I must?

Perhaps it's because I aspire to be that "man in the arena", the one who actually does the work, whether anyone else really understands it or not. Will they ever "get it"? Will I ever chuck this thankless game forever?

The answer to both questions is the same.

The Glass Character: in person!

Perhaps I should explain.

Almost every author wants their novel made into a movie. It stands to reason. That way, you might earn more than the $1200.00 the average writer makes for their first book.

My current book, The Glass Character, this magnificent horse I'm trotting out (ahem!), this-here project or product or whatever-it-is, is all about the life and times of silent screen comedian Harold Lloyd.

Harold Lloyd was a looker. If he hadn't been a legendary comedian, he might have been a leading man. He had that wonderful jaw, the nicely-shaped (and big) head, the fine eyes that telegraphed emotion, not to mention intelligence. And a direct line to your heart.

So, I've been looking around for actors to play him in "the movie". The movie that will inevitably be made once this thing hits the stands! The fact that this thing is nowhere near hitting anything like a stand does not deter me. (Well, actually, it does, but I've learned to proceed anyway: I'll have to re-run the e.e. cummings quote about that.)

First it was Zachary Quinto, who did a fine job playing Spock in a remake of Star Trek. He too has the handsome jaw, and beautiful eyes and a heart-melting smile.

But he's a little too - I don't know. Ethnic? He'd sure need an eyebrow-pluck. Then I got onto Jake Gyllenhaal.

He was a bit of a hard sell at first - to me, I mean. I saw him in Brokeback Mountain and thought, what a brat, he knows exactly how gorgeous he is. He also had a renegade quality about him, a wild card feeling, almost as if he's an undiagnosed bipolar (as is half of Hollywood, these days). And just a touch of androgyny: not as much as that wretched sooty-eyed Robert Pattinson, whom I don't like at all, but a touch - and a seductive way of eyeballing the camera.

So. . .

Then I started seeking out photos to see if I could get a match. It was fairly easy, and in some cases (those astonishing tux photos!) eerily close. They could be brothers. They both have that three-cornered vulpine smile, and eyes that you're never quite sure of - there's something behind them, but whatever it is, he ain't talking.

So could Jake play Harold? Call his agent, right now! The movie hasn't been cast yet -well, the screenplay, y'see there's a little problem there, too, in that it hasn't been written yet. And the novel, well. . .

It at least exists on paper. And it's burning a hole in my heart. I have huge dreams for this thing. It's called The Glass Character. Directed by Martin Scorsese. (Just because he's my favorite.) And starring. . . Jake Gyllenhaal, Harold Lloyd's mysterious twin.

Val, Maester, it ban op to yu

(Let's call this Edgar Guest in quasi-Norwegian. This is a sample of dialect poetry from The Norsk Nightingale by William F. Kirk. Wildly popular in its day, which was 100 years ago - no doubt read aloud from the podium - and now, merely weird).

"IT'S UP TO YOU"

Ay s'pose yu tenk life ban hard game.
Ay guess yu lak to qvit, perhaps.
Ay hear yu say, "It ban a shame
To see so many lucky chaps."
Yu say, "Dese guys ban mostly yaps:
Ay vish ay had some money, tu,
And not get all dese gude hard raps."
Val, Maester, it ban op to yu.
Sometimes ay s'pose yu vork long hours,
And ant get wery fancy pay;
Den yu can't buying stacks of flowers
And feed yure girl in gude café,
And drenk yin rickies and frappé.
Oh, yes! dis mak yu purty blue.
Yu lak to have more fun, yu say?
Val, Maester, it ban op to yu.
Dis vorld ant got much room to spare
For men vich make dis hard-luck cry,—
'Bout von square foot vile dey ban har,
And six feet after dey skol die.
Time "fugit,"—high-school vord for "fly";
And purty sune yure chance ban tru.
So, ef yu lak to stack chips high,
Val, Maester, it ban op to yu.

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The Lumberyack (as recited by the Shmenge Brothers)

THE "LUMBERYACK"

"Roll out!" yell cookee
"It ban morning," say he,
"It ban daylight in svamps, all yu guys!"
So out of varm bunk
Ve skol falling kerplunk,
And rubbing lak blazes our eyes.
Breakfast, den hustle; dinner, den yump!
Lumberyack faller ban yolly big chump.
"Eat qvick!" say the cook.
"Oder fallers skol look
For chance to get grub yust lak yu!"
So under our yeans
Ve pack planty beans,
And Yim dandy buckvheat cakes, tu.
Den out on the skidvay, vorking lak mule.
Lumberyack faller ban yolly big fule.
"Vatch out!" foreman say.
Den tree fall yure vay,
And missing yure head 'bout an inch.
Ef timber ban green,
Ve skol rub kerosene
On places var coss cut skol pinch.
Sawing and chopping, freeze and den sveat.
Lumberyack faller ban yackass, yu bet.
Ven long com the spring,
Ve drenk and we sing;
And calling town faller gude frend,
He help us to blow
Our whole venter's dough,
But ant got no panga to lend.
Drenk and headache, headache and drenk.
Lumberyack faller ban sucker, ay tenk.

Sprinkle my head

The other day a line from a poem came into my head, something about "peanut shells". It rattled around in there until I realized it came from some sort of sonnet. Something about - prunes?

I was sure I must have imagined it, but finally thought of an old (old) book of mine called An Almanac of Words at Play by Willard R. Espy. And there it was, the Sonnet on Stewed Prunes, (14 November), written in some sort of Scandinavian dialect.

The chances of finding it on the 'net were nil, so I was astonished when I found not only the sonnet, but about a thousand other dialect verses in a collection called The Norsk Nightingale by William F. Kirk. (This was one of those books from the Gutenberg Project, a great site which offers thousands of downloadable/public-domain books for free. Take one, please.)

I promise I'll get to the prune sonnet! I know you are in an agony of waiting (prunes will do that to you). But one other entry (The Russian-English Phrasebook, 10 December) caught my memory. You won't find this on the net anywhere, but it's classic and reminds me of the twisted phrasebook, English as She is Spoke.

This is one thing I can't cut 'n' paste, so I'll just have to get busy and transcribe it the old-fashioned way. By hand.

"Time has described The Russian-English Phrasebook as a vade mecum for Soviet visitors to the United States. Time adds that the respect in which it is held does not say much for the level of communication between one country and the other.

At a restaurant, the Russian tourist is instructed to say, 'Please give me curds, sower cream, fried chicks, pulled bread and one jellyfish.' At the doctor's, he complains of 'a poisoning, a noseache, an eyepain or quinsy'. He asks, one assumes with trepidation, 'Must I undress?'

At Saks Fifth Avenue he looks for a 'ladies' worsted-nylon swimming pants'. If he is a she, she asks the stylist at a beauty salon to 'make me a hair-dress', 'sprinkle my head,' or 'frizzle my hair'. If he is a businessman, he demands sternly, 'Whose invention is this? When was this invention patented? This is a Soviet invention.'

The lost chord

SONNET ON STEWED PRUNES

Ay ant lak pie-plant pie so wery vell;
Ven ay skol eat ice-cream my yaws du ache;
Ay ant much stuck on dis har yohnnie-cake
Or crackers yust so dry sum peanut shell.
And ven ay eat dried apples ay skol svell
Until ay tenk my belt skol nearly break;
And dis har breakfast food ay tenk ban fake:
Yim Dumps ban boosting it so it skol sell.
But ay tal yu ef yu vant someteng fine
Someteng so sveet lak wery sveetest honey
Vith yuice dat taste about lak nice port vine
Only it ant cost hardly any money--
Ef yu vant someteng yust lak anyel fude
Yu try stewed prunes. By yiminy! dey ban gude.


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