Beginnings, Again

I’ve written what might be the beginning of the Western. If not the beginning, a starting point (and it’s true, you do have to start somewhere).  I have a long way to go with the research, and I’d rather be farther along with research before starting. Details are coalescing, year, setting, character…Texas Gulf Coast, 1888..but a lot to be determined. Like, most of it.

No title yet. Sometimes I have a title before I start, sometimes I can’t think of one at all. I might give this a one word, character’s last name title, like a Louis L’Amour Western. I just read his novel Matagorda, which was a lot like a lot of his books: Good Honest Man Gets The Job Done, with lots of repetition about how he came to Texas to be a partner on a cattle drive, not get involved in a feud, but, would you believe it—he got involved in the feud, and his fiancé came from Virginia to Indianola right before the hurricane destroyed the town, and somehow, she knew about the feud before she got there, but he hadn’t. Still, I’d love to be able to write about landscape the way he did.

First person or third? I started with third person, but I’ve been reading Dashiell Hammett’s Continental Op stories and like the style of having anonymous first person narrator (though that would interfere with the idea of a last-name title—or would it?).

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Another Take On Fiction For The Brain

Over at Book View Cafe, Nancy Jane Moore has an interesting post on Annie Murphy Paul’s article and other related research by Keith Oatley and Raymond Mar.

As a book designer, I would be curious to see a study that looks at good writing with a good page design vs. good writing with a poor design, and bad writing with a good design vs. bad writing with a poor design. Yes, good writing is subjective. I would have to be in charge of making that distinction.

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Reading Fiction Is Good For The Brain (and what’s good for the brain is good for the rest of your body)

MRI of the head, from http://commons.wikimedia.org/wiki/File:MRI_head_side.jpg

It turns out that reading fiction is actually good for you. Not that I didn’t already believe that, but I’ve met plenty of people who don’t read fiction, because they say they only want to read real things. This piece by Annie Murphy Paul in the New York Times discusses some recent research into the imagery of fiction and its effect on the brain.

Paul quotes Dr. Keith Oatley, professor of cognitive psychology at the University of Toronto and a novelist (including The Case of Emily V, a mystery that involves Sigmund Freud and Sherlock Holmes). According to Oatley, fiction “is a particularly useful simulation because negotiating the social world effectively is extremely tricky, requiring us to weigh up myriad interacting instances of cause and effect. Just as computer simulations can help us get to grips with complex problems such as flying a plane or forecasting the weather, so novels, stories and dramas can help us understand the complexities of social life.”

Paul mentions Oatley and other authors of various studies. When I looked up Oatley I discovered that he has a book from August 2011 on the same subject: Such Stuff as Dreams: The Psychology of Fiction, which is described as exploring “how fiction works in the brains and imagination of both readers and writers.”

I find it odd that Paul’s piece failed to mention Oatley’s book. I don’t know what that omission means (most likely nothing), but it bugs me. It distracted me from the making of a simple blog post on an interesting subject, sending me off into myriad speculations, none of which are worth noting in this post.

Here’s a group blog that Oatley participates in: OnFiction: An Online Magazine on the Psychology of Fiction, which I will look at more thoroughly when I get a chance, and I’m curious to read his book.

I hope the findings of Oatley and other researchers will encourage more people to attempt the reading of fiction. It will help your brain.

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Beginnings

Today I wrote some of the beginning of part two of the novel I’ve been working on (called New Springdale Novel or maybe Recollections of a Malleable Future). Part one is first person, part two is third person. Same character, but things are different. I needed to set up that difference, or begin to set it up. Without being too obvious, heavy-handed, etc. What I did today is probably mostly place-holder, but it’s a start.

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Western Novella

That’s what the contract says. I sold a surreal western novella to PS Publishing. Now all I have to do is write it. (Note: this is not how I normally do things; I usually crawl along, stapling words together, getting tangled, untangling, and on and on, until I reach the end, and rewrite and revise, and on and on. Then I look for a publisher.)

Langford Painting

Jon Langford painting from exhibit at the Garde Rail Gallery, 2007

I grew up in Texas, I watched a lot of westerns on TV, I read a lot of westerns, I roped cows, fought bandits, rescued children from mountain lions, etc. I’ve been wanting to write a western for a long time, thinking about bits here and there, settings, characters. But what brought the elements and the idea to the front was getting Jon Langford’s Nashville Radio. It’s a book of his artwork, along with his writings about his life, music, what inspires him in creating art. The book also includes a CD of his songs, acoustic re-recordings from solo work, Waco Brothers, and Mekons.

From the publisher’s website:

Langford’s “song-paintings” fuse publicity-shot portraiture with imagery derived from folk art, Dutch still life, classic Western wear, and the cold, cold war—all instilled with sharp, sardonic wit and a Constructivist sense of the power of language. He applies his completely distinctive style to the depiction of American music giants such as Bob Wills, Hank Williams, and Johnny Cash, and also to more ghostly, marginalized figures—blindfolded cowboys, astronauts, and dancers—jerked around by the forces of success and exploitation, fame and neglect.

Nashville Radio book coverThe book is available direct from the publisher, Verse/Chorus Press, or from Bloodshot Records, or the usual internet book sellers.

I’ll be using the artwork in the book as a source of inspiration. Once I’ve made some progress I’ll post some writing here.

Posted in Art, Books, Music, Writing | 6 Comments

The Big Boys

I recently watched a documentary called American Hardcore: The History of American Punk Rock 1980-1986, directed by Paul Rachman and written by Steven Blush. It’s based on Blush’s book American Hardcore: A Tribal History.

ron and nacy

Please note that this photo displays on the Right.

The film details some of the bands and history of the music, tying the appearance and disintegration of the scene to Ronald Reagan’s first term. One of the musicians interviewed talked about the crazy-fake back-to-the-1950s look that came out after Reagan was elected, and how the bands were reacting to that, saying that’s not us. An idea that maybe works better in retrospect.

There are interviews with various musicians: Henry Rollins (of course), some good talks with Ian MacKaye, and lots of others. One oddity was the interview with Mike Watt of the Minutemen. The Minutemen’s music didn’t fit the hardcore image, and the filmmakers didn’t try to make it fit, but also didn’t explain why they interviewed him. The band was on the same label as Black Flag, played the same clubs and such, so inclusion makes sense as a way of discussing the origins of the scene. A little more of a connection would have been useful. The Watt interview scenes in fact felt like outtakes from the excellent Minuteman documentary (We Jam Econo: The Story of the Minutemen).

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Songs, Reviewers, Children, and The Ephemera on ebook

Lately, my four-year-old daughter has been wanting to listen to the title song of the Mekons Ancient and Modern album. Yes, I know that in some states it’s a crime to let a child listen to real music.

Ancient and Modern coverThe song (in case anyone out there doesn’t know) is an epic tale in four sections, with four different singers (technically, many more than four singers because the fourth section is sung by a choral group.  “Ancient and Modern” is a song that does what a good work of art is supposed to do, slide past the thinking-brain and into the subconscious.

It would be nice to know who the voices are (as a parent, I’m supposed to know everything, and having to tell a four-year-old “I think that’s X…” is most embarrassing. But the band’s liner notes aren’t very revealing. The first vocal is, I think, accordion player Rico Bell. I’m less sure of his voice because he doesn’t sing as much as the other members. Next is a spoken part by either violin player Susie Honeyman or bass player Sarah Corina—it’s definitely not Sally Timms. I’ve never heard either of them speak and can’t place the accent. Honeyman is from Glasgow, but the accent doesn’t sound like Glaswegians I know, mainly writer-friend Neil Williamson. The third part is easy, founding-member Tom Greenhalgh. The song ends with vocals by the Burlington Welsh Male Chorus—also obvious, because they’re credited [updated below].

A note on the arrogance of reviewers. Here someone says “The song begins with Jon Langford….” and here: “The three vocalists—Jon Langford, Tom Greenhalgh and Timms”. I also found a reviewer who said the song faltered toward the end, but at least he didn’t add to his lack of taste by attempting to identify the singers. Were these people really so certain? Or is it because they know that the main singers are two men and a woman, so any men and women have to be from among those three? They could spend a little more time listening before they begin the pontification process.

And in closing, having mentioned Glaswegian Neil Williamson, I’d like to tell people about the ebook version of his very fine but out of print debut short story collection, The Ephemera, now available in the various ebook formats from infinityplus.The ebook edition has four additional stories plus notes on all the stories. I recommend that those of you who posses the modern ink-substitute called an e-reader get yourselves a copy.

[Update]

From a source involved with the proceedings: Lu Edmonds starts, then Jon Langford and Rico Bell join in, Susie Honeyman talks, Tom Greenhalgh sings, Sarah Corina talks, Tom Greenhalgh sings again, then everyone and the choir finish. Reviewers: see, it’s not hard to find things out!

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Interview with Robert Keiper

And now, the long awaited interview with Robert Keiper, who voiced the majority of the iambik audiobooks production of The Painting and the City. (He handled the contemporary parts and Ulf Bjorklund read the Philip Schuyler journal sections. I’m hoping to interview Ulf later.)

To go with this interview, iambik will be offering a give-a-way. Please check their blog for details.

Keiper began his theater career in the fifth grade, singing in operetta and acting in child roles with the Cleveland Playhouse. He studied theater at Ohio State University, and has directed educational television, toured the country as a platform speaker, worked as an actor in New York, and directed and wrote shows for the stage, one of which has had 2500 performances.

photo of Robert KeiperHe took a 30-year break from theater to work in business, and returned to acting because of his daughter, Alex Keiper. Since getting back into acting, he has worked in stage plays and film, training people in businesses to improve their presentation skills, and, of course, as a voice artist, including commercials, audio plays, and audio books.

Keiper is appearing in a new movie, The Sophmore, with Amanda Plummer and Patrick Warburten, out in January 2012.

Laconic Central: Hi Bob, thanks for doing this interview.

In your bio, you say you got back into theater because of your daughter’s love for acting. I’m assuming that her interest was sparked originally by your past–or did you stop before she was born?

Robert Keiper: My daughter got the theater bug all on her own. Then, taking her to an audition landed roles for both of us, and I got bitten again. So she’s more responsible for my theatrical aspirations than I am for hers.

But some of my fondest memories—and hers—are her childhood hours we spent in the living room working on monologues.

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