Tag Archives: fiction

The Surface Tension between the Esoteric and the Exoteric

The esoteric is opaque by definition; yet the depths rarely mind it when the surfaces discount them.

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I subscribe to the notion that there are various levels to spiritual knowledge. As the alchemists put it: “as above, so below”— meaning, in a sense, that obvious facts correspond to inner truths.

For example: the leaves of a tree will brown with age and fall out. The same happens to the teeth of a man. These are, at a glance, entirely mundane facts. But on consideration (and with a pinch of poetic license) one could say that this speaks of how a person develops from a state of hunger and purity, and then moves to a state of decay and barrenness (the leaves being thought of as hungry for the sun, as teeth are for food). And in later life, a person returns to needing softer morsels, and all her showiness is stripped away, revealing the skeletal branches of her life’s choices.

In religion, too, there are levels of interpretation: the lowest being a blanket acceptance of the inherited laws. At a certain stage, the question arises: why? And what-for? There is a resistance to this leap from those who are content with the answer “because X said.” And here lies much of the “surface tension” between non-believers and believers—because experience of a self demands personal proof. Gurus and mystics arise to satisfy this demand, and due to the ambiguity of spiritual knowledge, many of the so-called wise are either willful charlatans, imbued with attractive charisma, or people who have received something personal, who try to communicate this to others. Some knowledge can be communicated in such a way that it is useful for others, and some knowledge can only be understood by personal revelation.

Esoteric knowledge (eso = inner), I believe, exists, but the exoteric (exo = outer) obscures it, and often corrupts, misinterprets, or outright discounts it.

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“Being known is like a crumbling of my jurisdiction.”

I’m experimenting with merging music and fiction. This is the first in a series:

 

And for blogging points, I will include a new meme:


Why is you so misunderstood?

Second person is like a second world country—overlooked and under-appreciated, and no one considers themselves to be one.

But what makes second person such a despised literary form? Well, in a story, this didn’t actually happen to you, and so you’re repeatedly reminded that it is a lie, a non-truth, a fiction.

Secondly, I believe there are difficulties with the rhythm of second person. “You” repeats too often, and there really isn’t a synonym for it. The “I” has me and mine, He/She has their names, but you will always have to be you. “You look about yourself, gauging the incline of the foredeck. Something is amiss, you think, but try not to dwell on your worries, turning about to find a lifeboat, then thinking about the others. You consider searching the hold for any stragglers, when a loud crack! shatters your concentration. Just then: the great white whale rises before you.”

The third drawback is when someone, in real life, begins talking to you in second person, they are basically upstaging your own interpretations and actions, and that’s patronizing and infuriating. And they deserve a kick in the shins until they return to speaking of themselves. Even the royal we is stronger than the you.

But—despite all this, I don’t think you should be dismissed out of hand. There’s something to be mined through the second person, especially if the you has a distinct personality, which becomes revealed through the trials and instances detailed in the stream of prose.


Believing is like Dreaming: a byproduct of intelligence

In which I urge a writer to explore his character’s doubts, rather than the deploring of others’ faith.

 

My personal take on religion is that it is a housing for experiences of an extremely personal and powerful effect, and over the centuries it has moved away from that, to a more or less impersonal aggregator of communal opinion, that seeks to mold the internal verity to an external denominator.

However (and this again is my personal take), both the disbelievers and believers base their beliefs on their own experiences. And when your character declares that he does not believe, that is not a lack of belief, but a (positive) belief in the lack of reality (negative value) of the religious experience, based on his dislike/mistrust/refutation of the religious doctrine.

Were he challenged by a [man] who uses religion not as a way to constellate the self in a cult of belonging — but rather as a way to communicate “deeper” or “uncommon” notions of connection, meaning, faith, and self — what would your character say to defend his belief that religious experience is a lie? How would your character hold up under a patient, reasonable examination of his certainty (absence of doubt) that there is no God? If he were to discuss his “un”belief with an intelligent inquisitor who insists on the psychological value, rather than the cultural influence, of spirituality — what experiences would he share? In his past, were there any moments [in his church] where the rituals fell away and he merged with something greater than him? What were the instances when his doubt emerged—the first cracks, leading up to the final shatter, which forced him to be honest with his own experience?

Believing is like dreaming: it’s a byproduct of our intelligence and imagination. We can’t not do it. And if some are convinced they don’t, it is more likely that they are not conscious of it.

(I in no way mean to say we all believe in a certain Something, but that belief itself is an attribute of human beings)

And a parting query: Can we doubt our dreams, while still allowing for their significance?


Re: 90% of Writerly Advice on the Interwebnet

It feels like most of the writing advice that gets bandied about the talkosphere, a la “Awesome Writer’s 9 tips of Howto” boils down to:

  • Be straightforward
  • Don’t not be straightforward
  • Various variations on straightforwardness
  • There’s no way I can tell you how to do what you want to do, so just ignore my advice and write harder

Straightforwardness is great and awesome and magnificent at getting points across and captivating the audience and building a readership and making a ‘sure thing’ — but why aren’t there any 9 tips from James Lookitmereinventinglit Joyce or David Footnotefootnotefootnoteaside-thatruns300pages Wallace? Where’s the bastions of ambition? Where’s the brave author who espouses cleverness and trickery and tells us: “Psst, kid. You wanna know what writing is? It’s the imagination, made tactile. And you know what that means? It means that writing is infinite, and in it, anything is quite literally possible. However, it’s gonna take you f’n years to pull off, but if you work your fingers to the bone, experimenting the hell out of plot and character and language, you are going to make something that quite possibly has never been before.”

To be straightforward: An increase in complexity causes an exponential need for mastery. And what does mastery require? Not much. Just your life.

And there is an audience for hardmode literature. But they just happen to be hardmode themselves—they are not easily amused.

“The fool who persists in his folly shall become wise.” —Wm. Blake


How I have Failed as a Writer, Part I

Impressive stat number one: I estimate I have written close to 2 million unique words in the last sixteen years.

Realistic and contrary stat: I have had a total of 20 words published, and that was in an article on internet piracy, in which I was wrongly accused of copyright infringement, as well as misquoted.

Both of these stats will change in the next few months, because 1) I have decided to self publish and 2) I have figured out what my freaking problem is.

My problem, in a nutshell: I have been doing every possible thing with the written word except for doing the one thing people want to have done to them, through the written word—which is to be given a moment wherein they forget their own lives and the act of reading, and are “swept up” in a tale.

My problem, mashed into nutbutter(yum!):

There are two positive and two negative moments from my teen years that have effected me as an artist, and only last year, with the writing of The BBVv3, have I been able to pin-point and lay them to rest.

First the positives: at 14 I contracted mono and was blessed with being allowed to do independent study (I loathed my highschool, and the next year secured a transfer). In independent study I was given a book that I haven’t been able to find the name of. It was about right brain/left brain politics and brain storming and such, and it propelled me into written expression. Before then, I had written some stories here and there, but afterwards… Well, there was this girl, named Brittney. She was a year older than me and I knew her from youth group and because I was not so much a ladies man as a girl’s boy I hung out with her and her friends quite a bit. Then I started to have some feelings for her, and I put these feelings onto paper, and as soon as I did so, it was like I had dropped a match onto a in late summer Northern California prairie. I burned through page after page of… stupid stuff, but I noticed that my feelings actually became stronger and more distinct when I wrote them. And, presaging the addictions to come, I was hooked on the act of poetry—moreso than the girl it was nominally directed to.

The second positive, isn’t a specific incident, but I recall several moments in my teens and later where I would be consumed by a proto-physical creative urge. Almost sexual in its intensity, but rather than being focused in my loins, it seemed to radiate from the crown of my head, and I would end up climbing trees and onto roofs, or crawling under tables, brimming over with this almost nightmarish sensation of prescience-without-context. I can’t really describe it. But I knew it had to do with making art—or, making art was the only thing I knew that could act as a channel for this sensation.

So: the contraverse: this unfortunately has to do with my father, so I’m running a little too close to whining by bringing this up, but, in writing the previously linked autobiographical account of my early twenties, these two events really made some sense of the extremity and severity of my “rebellious” actions, post childhood.

At 15 my father found some poetry I had written to a girl—to the girl after Brittany, I think, for after she had convinced me I didn’t really like her, I found another object for my adoration to be ‘inspired’ by—and then another, and then another. But dad found one of these poems and he got quite angry at me for the language I was using. I wasn’t being sexual, but rather highly metaphorical, evoking grand natural imagery to evince the boundless charge of my feelings. He said that only God was to be spoken of in that manner. That only God can be loved like Mountains and Sunsets and great big old storms, and it was wrong of me—I’m not sure if he used the word blaspheme, but that was the connotation—to compare a mere girl to the grandeur of creation. Thereafter, I never showed him a thing I created, and if he came across any of my writings it seemed he would laugh when I was attempting to be serious, and become angry when I was attempting to be humorous. This caused me to have a very, very high standard, but also caused me 1) to hide myself, actually, scratch that, to obfuscate myself, and 2) to doubt the worth of everything I produced, to see its faults and to consider it ‘not good enough’.

The second incident is rather weird, and personal, but if we aren’t personal when we’re navel-gauzy [sic], then what’s the point?

So at 16 my parents took me aside and they told me that, after praying for me, they felt that I had “Something to SAY.” We were in a church and that church was on the boring side, and my parents were on the Pentecostal side, so there was a tension that somehow landed on my shoulders. After my siblings had gone to bed one night, we stayed up praying and they ‘anointed me’ with oil, saying, again, that I had some sort of God-delivered WORD to impart to our community.

This didn’t have an immediate effect on me. I had been graced with enough self-doubt to not feel myself the prophet all of the sudden, but the seed was planted: that whatever I ended up producing had to have a super-normal worth to it. Once I was out of their house and encountered the first wave of depression in my life, that weight sent me reeling into abuses of the heart and the nervous system and… not least of all… the English language.

(it’s dinner time now. part II forthcoming)


Going Pro (as an artist, as a critic)

There is a line between an amateur and a pro, and it isn’t making money, it’s realizing that one’s product is distinct from one’s person.

If a writer asks for your opinion, give it to him honestly. You do both your judgement and his work a disservice by pandering to the conceit of his “feelings.”

And beyond pointing out the wrongs and weaknesses, one might try to find what the other is attempting to do, and urge him to do it better; perhaps telling him to avoid X, Y and Z until he’s got A, B and C down.

But it is important, if one’s criticism is to be useful, to tailor it to the parameters of the work in question, and avoid the cliche’s of critique (i.e. “show not tell”) which, in a subtle way, exert a homogenizing influence on the creative process. Each work of art really only works well when it is in tune with itself. This is what makes writing so damn hard, and why critiques often miss the mark.

In the end, if his desire to be a good writer is stronger than his desire to be liked, he will buckle down and put in the time and effort required. And, should you strive to make your critique a work of art, then the art of writing itself will be enriched by your contribution.