In Alethian’s Wake
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Writing versus Story: The importance of plot in novels and longer stories.

May 24th 2009 in advice, writings

One of the most difficult things about writing, I believe, is the plot. Anyone, with some practice and a little work, can string together nice sentences, create imaginative metaphors, and write evocative descriptions. However, the real heart and soul of a story lies in the characters, and what happens to them. A mistake I see made a lot, and one that I’ve been guilty of many times, is writing without a plot.

Human beings think in ideas. Sometimes, an idea will come to you in a flash of inspiration, and start you writing. I’ll use the example of a story I started writing a few years ago and later abandoned: What if there were creatures who could only survive by keeping secrets? What if one of them decided to starve itself? After I had that idea, I immediately jumped into the writing. After a few thousand words, I hit a wall. I had no motivation, no character, and no story. That file is still sitting, abandoned somewhere on my hard-drive.

Gene Wolfe, a great fantasy/sci-fi writer, once wrote that an idea for a story is an idea for an ending. Maybe that’s a bit extreme, but he has a point: The plot of a story is, in the end, all that matters. Think about one of history’s most highly regarded novels. Anna Karenina isn’t high-concept, or about any groundbreaking new idea; it’s about love triangles and infidelity. It doesn’t have any fancy writing, or narrative tricks. There are no flashbacks (that I can remember), and it doesn’t have a twist ending. What it does have, is plot. The most famous image - Anna throwing herself under a train - is one of the final images, and everything else is leading up to that point. How then, does such a simple idea for a story work? It works because characters and plot drive it.

I’ll give you a quick example. Going back to my story about beings that survive off secrets, my original summary (if you’d asked me to write one) would have been along these lines:

“There are beings that need secrets to survive. One of the beings decides to be honest, and gives up secrets. She joins a group of pilgrims.”

That’s nothing. There’s no plot there, only an idea - an image. If I were a good enough writer, if my metaphors were nice enough, and if my descriptions were particularly inspiring, I could conceivably make it work as a shot story. As the beginning of a novel, however, it really stinks.

If I were to start writing this story again, maybe I’d write a summary like this:

“Alice is a gargoyle - a creature that needs secrets to survive, and guards secret places for sustenance. She falls in love with a young pilgrim call Joshua, who teaches her that honesty is the only way to be happy. Because she’s so in love with him, Alice vows to starve herself, and joins the pilgrims on their journey. As they travel, Alice finds that they keep so many secrets and lies that she cannot starve herself. She attempts to reveal all of the group’s secrets, so that they can all live honestly. She does this, and causes strife and discord, but eventually all their secrets are laid bare, for good and ill. However, Alice discovers that humans create new secrets as quickly as they free themselves of old ones, and comes to realise how complicated her race’s relationship is with humankind. Disillusioned, she leaves Joshua.”

That’s still not perfect (the ending is very weak), and there are plenty of B-plots I could expand it with (Murder? Infidelity? Highway robbery? War?), but it’s a lot better. I have an ending, I have at least two characters and ideas for more, and I have basic structure. Further ideas can be hung from that, and I can change it as my idea evolves and as I write.

A plot-focused story requires you to do a couple of very important things, however. First of all, you need to really get to know your characters. That doesn’t necessarily mean superficial stuff, like where they went to school, what they look like, etc. You need to know how they think, what their motivations are, and where you want their arcs to go. Take Joshua from my example: Is he deeply religious or is he a hypocrite? Is he the type of guy who tries to convert anyone he loves, or is Alice’s conversion driven by her? Are the two main characters really in love? Is he timid, and if he is, how did he meet and fall in love with a creature of another species? I might decide that I’m tired of the weakly, ineffectual boy-priest cliché in fantasy stories, and turn Joshua into a buffed, aggressive man who became a priest because he can’t control his anger. I might decide that I want Joshua to loose faith at the same time Alice gains it. As I think about these things, I can edit my original synopsis and expand my idea.

The key thing to keep in mind when writing a plot-based story is that less is more. Don’t explain things to your readers: You have an awful lot of space to work in if you’re writing a novel - let your themes evolve, and let your readers work out things for themselves. For example, as opposed to having Joshua break into a speech about how he’s never quite been sure if there really is a god, gradually pepper clues throughout the text - maybe he won’t eat the communion wafer, or maybe he’ll never pray before he sleeps or exclaim “My god!” Big, dramatic scenes have to be earned. Look to real-life: A break-up between lovers isn’t about dramatic gestures, smashing crockery and tearful farewells - it’s about fights over stupid things, losing interest, and gradual falling apart. Make sure your characters drive your plot, make sure they’re true-to-life, sympathetic and relatable.

Finally, pacing can be a problem in plot-driven stories. In the example of a break-up above, a drawn-out, true-to-life break-up takes time, and can that cause pacing issues. If that’s the case, don’t be afraid to bring in B-plots to strengthen your main plot. Very few stories suffer from having too many compelling plots - but a word of warning; be careful to allow time for scenes to develop - sharp shifts in narrative can be disjointing and confusing. B-plots can also intertwine with your main storyline, strengthen, influence and enhance it. Going back to the example: Maybe a side-plot about infidelity in the group of pilgrims could provide me with the dramatic ending I need?

So, hopefully, the next time you get a great idea for a novel, hopefully you’ll remember to take a step back, and turn that idea into a plot.

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Tree

May 23rd 2009

Tree

The tree stands there,
Limbs forward, inviting,
Begging me to climb.
But I fell last time, so
Goodbye, tree!

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Is philosophy irrelevant?

May 13th 2009

This rant has been boiling quite a bit inside my mind for a while. I would not have mind keeping it inside a little longer, but after getting verbally attacked quite unexpectedly by some closed-minded people the other day, I feel it would be quite therapeutic to just blog about this.

“Is philosophy relevant?”

This is a common question I get form people after I tell them I am a philosophy major. Well… that is right after they ask me, “Can you make any money with that?” That seems pretty idiotic. Of course you can make money - you can make money just doing about anything actually. I think they meant to ask, but most of the time don’t, “Can you make enough money with that to support yourself?” Honestly, I have no idea. Being a philosophy major doesn’t imply that I’m going to graduate school and hope to lang a teaching job. I could do other things with a philosophy major. I could go into law, medicine, start my own business, the possibilities are endless. But that’s besides the point.

To me, it’s especially interesting how many people regard philosophy as being irrelevant in this so-called “modern” or “post-mderon” times. Apparently science answers all questions now. For example, take morality. Many people I’ve met tend to cite how they can explain, scientifically, why humans are moral and what evolutionary advantages that gives us as a species. But there isn’t much of an explanation why we are the only species with such a morality if it has such a strong survival value. To me, what is most interesting is the lack of inquiry into what exactly morality is. After all, it may be true that evolutionary forces intended for us to be moral because, according to scientific data, it’s survival value alone. But that still doesn’t answer what morality is. WHat is the good life? What ought I to do in a moral dilemma? Why should I be moral in my personal life?

Then there’s also the question concerning scientific methodology. How does one justify science? Does it not need justification? Science is just a tool we use to gain new knowledge about the physical universe. Science rests upon some very basic principles. How are we to justify them? This area of inquiry is in epistemology. How do I know scientific knowledge is valid? How do I know my senses are not deceiving me? Can I have non-scientific knowledge? Mathematics seems to be independent of science, why not another subject like philosophy? If one objects and argues that science and the empiricism it rests upon are certain, they need to go back and read Descartes and Hume.

So is philosophy still relevant? Philosophy is more relevant now then it has ever been. Scientism is a very popular view. Religious fundamentalism is on the rise. We have such destructive power - unprecedented in human history. Ignorance is everywhere.

How much more relevant could philosophy be?

If you’re going to question the relevance of philosophy; the more appropriate question to ask is “Do you think that philosophy is about anything that people cannot do without? Can’t people just live there lives without philosophy?”

I think it’s about asking questions about, mainly, the means and ends of life. This is a short way of putting it. Maybe better, do we rely on force or on words to attain our life’s goals? Most every other question follows from the choices one makes on this one.

As stated earlier, I believe the actions and events of the world answer some questions, but not all. For some people, particularly scientists and the like, this is enough for them to live there lives and attain the goals they set out for themselves. For me, it’s not. I just can’t adhere or support to the dogmatism of both science and religion without further justification.

I just wish people would stop verbally attacking me.

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Aveilut

May 3rd 2009

Aveilut

Aveilut begins at the conclusion of the funeral and continues through the seven days of shiva.”

Bread goes in the breadbox, shoes
go in the shoebox, and you go
in the you-box, underground
to mellow like some fine wine.

On the first night, the elephant slumps
in the corner, stares, sometimes
waving his broad, shroud-like ears.
He brought his own bitter grapes

to crush, spraying the sour juice
on your sister, my best friend,
even your mother, her blond hair
and black veil. It becomes impossible

for me to tie my shoelaces, to keep
my teeth away from my fingernails,
to eat without immediately vomiting.
Wine cannot be poured back in the bottle

once it has mixed with water.
The elephant will not go away unless
I ask it politely. Which I won’t –
it is easier to leave and lock the door.

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The Birds of Floor Number Forty Seven

May 1st 2009

This is the second to final revision of one of two short stories for my Fiction and Poetry class. Any comments and critiques are much appreciated!

The Birds of Floor Number Forty Seven

Grandma and I lived on floor number forty seven. I know that because when I was littler than I am now, my dad took me to the middle of our floor where the two empty doorways opened onto the big black pit in the centre of the building, and showed me the metal numbers: a four and a seven. Dad taught me all the numbers - all ten - and showed me how when you put them together you can make bigger numbers. There are ten floors below us, and then ten floors below that, and then ten floors below that, all the way down to floor number one. Only Rufus, the man who runs the market on floor number forty two, goes down there now. No one else has been to floor number one in a long time. Rufus won’t let them.

“Rufus is a bad man,” Grandma said to me when I returned from the market upstairs. “You shouldn‘t spend so much time there.”

“I know,” I said. I sat on the hard cement floor and warmed my feet by the fire. The sun was out, but it was a cool day.

“What am I going to do with you,” she said.

Grandma was watching me from her bed across the empty room. Only Grandma’s bed remained from the furniture we once had. The rest, like the floor boards and the wallpaper, had gone to the fire. Now our room was concrete and gray.

I thought. I waited. I scratched a picture of a bird onto the floor with a loose nail. I had drawn thousands of them.

“Put granny’s ring in the window,” Grandma said suddenly. “I want my mourning doves to come back to me.”

“Donna and Charlie!” I said. I hopped to my feet and ran to the bed. Grandma smiled at me, and then she slid a gold ring from her finger and pressed it hard into my palm. There was something written in the ring, little letters on the inside, but I couldn’t read and neither could she. I took it and placed it on the concrete windowsill, where it glinted in the sun.

Outside the window, there were two other grey buildings, just like ours, making the walls of a square way at the bottom. On the fourth side, the square ended at the sea. Sometimes, when the storms came, the water would blow in, between the concrete circles that mom had told me once held trees, and then when the sun came back I could see the reflection of the buildings and the sky in the square, and it looked like we were floating through the clouds.

I waited for the birds.

Soon after, they came, swooping down at the sight of the ring, and landing next to it on the windowsill. Donna and Charlie, Grandma’s mourning doves.

“Hi Donna. Hi Charlie,” I said. I sat down and watched.

Charlie ruffled his brown feathers and spoke: “O Donna, your wings are the wings of angels, and your eyes are the light of the stars. I am just a poor dove. I have no possessions to offer you, no riches. I have only my heart to give.” Charlie had a deep, crackly voice, like the sound of distant thunder. Charlie didn’t speak to me. He had eyes only for Donna.

“Oh, Charlie, what good is your heart to me? Can it play me an aria, or write me a sonnet, or paint my portrait across the sky? No Charlie, I do not want your heart. Come back when you have something beautiful to offer me.”

“I will give you my feathers,” Charlie said.

“Then you esteem yourself too much.”

“But I love you. I cannot be without you. I am at my very wit’s end.”

Donna turned her head away from him. “Then your wit is much too short. And I cannot abide a bore.”

Charlie and Donna were funny. They sometimes used words I didn’t understand, but that was okay. Charlie never gave up on Donna, but Donna always turned him down. It was funny to watch Charlie keep trying.

When Grandma’s throat started to hurt, it was time for the birds to leave. I gave them each a few crumbs of bread, and then they said wooo wooo wooo in their bird voices and flew away.

I gave Grandma her ring back. Her eyes were droopy. She looked tired. She looked tired a lot and she never left her bed anymore. She was dying, she would sometimes tell me.

“Would you go and get your poor Grandmother some juice from the market dear?” she asked me. “My throat feels awfully sore.”

I nodded and picked up a pigeon I had killed earlier and headed off to the staircase. The building had many stairwells, but only one of them still had stairs all the way down.

“Be careful,” Grandma said as I left.

Rufus traded us bread and apples and turnips and sometimes water when the rains didn’t come for a long time. In return, we gave him some of the birds we caught, the ones we didn’t eat ourselves.

Rufus was a big man. He had an angry face and was always frowning at a big black book he held in crooked little fingers. His legs were crooked too. He had got sick when he was a kid, he had told me. But Rufus was smart and he could read. Write too, as he sometimes did in that book. When he walked, his long black coat scraped the concrete floors, making a sound like rain.

His market was next to the big black pit in the centre of the building. Plastic boxes lay on the ground, filled with food and clothes. Tins of juice and water and beer stood against one blank wall. Against another there were little tanks of gas, for the cookers that some families had. A big mean looking man held a gun in the corner.

“Hi kid,” he said when he saw me. “Got a bird there?”

“Yes,” I said. I held out the pigeon by the legs. “Grandma wants some juice.”

Rufus picked the bird up and looked at it. “Scrawny,” he said. “But meat is meat. Feathered gold, these days.”

He scraped his way across to the wall and picked up a little tin of apple juice. “Here you go, kid. For granny.”

I took the juice and smelled it. It smelled a little like the beer. Rufus said that was because it took a long time to get to us.

I looked up at Rufus.

“What you want kid? Didn’t you get what you came for?”

I had, but I wanted to ask him something else.

“What’s it like down there, on floor number one?” I said.

Rufus pointed a finger and scrunched his face at me. “Don’t ever think about going down there. I won’t allow it. You know what’s down there? Murderers, bandits, cannibals. You’d die. You’ve got the only source of meat right here,” he said lifting the bird I had given him, “in the whole damn city. And you’re lucky to have it.”

“But I want to know what—”

“No, you don’t,” he said. “Go back to granny.”

When I got back to our room, Grandma was asleep. I put the juice next to her bed, and went to the window to set up the trap to catch a bird for dinner. Dad had taught me how to do it: how to coil the metal and thread it through the wood so that the long metal arm wanted to bash down against the block. He taught me how to rest the twig lightly against it, preventing the arm from snapping until a bird came through the open window, nibbling at the crumbs of bread sitting on top. Then the arm would go smash! and the bird’s neck would be stuck. Usually they died right then, but sometimes they squirmed and I had to hit them with a block of concrete. Then Grandma would rip out their feathers, one by one, humming in her bed. We never hurt Donna or Charlie though.

After that, I sat on the concrete floor and drew more pictures until I heard the metal arm snap.

I looked up at the bird. It was still alive, squawking and flapping its wings, and trying to drag the whole trap around. It was a hawk, a big one too. I hopped up and dragged the bird into the centre of the room. It ran in little circles, its neck held to the side by the trap, scraping the block of wood a few inches one way, then the other.

I picked up a chunk of concrete and killed it.

Hawks were valuable because they had more meat. Usually we would trade these to Rufus for credit at his store, but I was hungry.

I checked the bird for patches of missing feathers or swollen eyeballs. It looked okay, but you had to be careful. Birds could make you very sick. One time dad wasn’t careful. His eyes got all pink and puffy and his forehead got hot and he couldn’t stand up anymore. A few days later, he stopped breathing, and mom and I had to carry him up to the roof where all the dead people went, and we left him there next to piles of bright white bones. Sometimes birds would come to eat there, but it was bad luck to catch those birds.

Grandma woke up while I was plucking the feathers from the hawk.

She sighed. “I can’t seem to stay awake anymore,” she said.

“I got your juice,” I said. “It’s next to the bed.”

She picked it up and smelled it and made her own scrunchy face. “Thank you sweetheart. And you caught a hawk too!” I nodded. Grandma watched me pluck the feathers for a while. When I was about to start stripping off the meat, Grandma waved me over. “Come sit with me a moment,” she said.

I left the hawk and sat next to Grandma. The bed shrieked like a crow. Grandma lifted her hand and put it on top of mine.

“It’s just the two of us now, you know,” she said. “And I’ve tried. God, I hope you know that I’ve tried.” She squeezed my hand. “I’m dying,” she said. “You know that. Everyday it’s more obvious than the last. I can’t be here for you much longer.”

I didn’t like it when Grandma spoke like this.

“But you’re going to be okay,” she said. “I want you to know that you’ll be alright. I’m going to have Donna and Charlie look after you when I’m gone. I promise. One way or the other, they’ll look after you.”

I nodded. I liked Donna and Charlie.

“I want you to go to floor forty nine,” Grandma said. “Get Mrs. Asni to come speak to me.”

“Alright, Grandma,” I said. I thought it was a strange thing to ask. We rarely spoke to the other families. Most of them had stolen from us in the past.

I went and fetched Mrs. Asni. She didn’t want to come at first, so I offered her some bird meat, and she came. Grandma told me to go get some turnips from the market while they spoke.

When I got back, Mrs. Asni was leaving. She didn’t look at me as she passed. She just said “I’m sorry,” and walked away.

I asked Grandma what she meant, but Grandma’s throat was too tired to talk.

The next day, Donna and Charlie came back again.

“For your love, I offer you my eyes,” Charlie said, “so that you might see twice as far and twice as well, and so that you might see my love for you.”

“What would I use another two eyes for?” Donna said. “I might see backwards, but then all I would ever see is you.”

“Then I will give you my voice, so that you might sing a duet on your own, and make even the songbirds jealous.”

“The songbirds may become jealous of a mute husband, Charlie, but not of your voice.”

“But what else can I offer you, my dear? I have so little.”

“Something beautiful, Charlie. Anything.”

Then Grandma’s throat was tired. I gave the birds some crumbs and gave Grandma her ring back.

“Come back to us,” she said to them before they left.

“Woo oo oo,” Donna said. Then they flew back out into the blue sky.

“What did she say?” I asked.

Grandma peered out the window towards the grey buildings and the blue sky. “Always and forever,” Grandma said.

Over the next few weeks, Grandma asked me to go to more families and ask the adults to come and speak to her. When they did, Grandma always had something she wanted from the market, and sent me to get it. I never got to hear what they were talking about, but I did get to spend a lot of time at the market, watching Rufus.

“What the hell are you doing loitering here all the time?” he said. “Does this look like a fucking train station?”

“I don’t know what that is,” I said.

“Just get lost. This is a place of business. That means it’s for people with business. Go back to granny.”

“I can’t,” I said. I looked at Rufus’ black book. “Can you teach me how to read?”

“No, I cannot teach you how to read.” Rufus picked up a pigeon. “That would be like teaching this dead bird how to read. Don’t go back to granny, I don’t give a shit, but get the hell out of here!”

He nodded to the mean looking man with the gun, but I ran away before he could do anything.

Rufus was mean. I understood why Grandma didn’t like him. She had worked for him once, she had told me, a long time ago.

I climbed back up the same stairs mom had tried to run down after we put dad on the roof. She had tried to run all the way down to floor number one, but Rufus’ men caught her and dragged her back. Grandma tried to cheer her up with her mourning doves, but when Donna and Charlie flew back out the window, mom went with them. Things had got harder after that.

When I got back to our room after being in the market this time, Grandma looked sad. She always looked sad after she sent me away. I tried to cheer her up with whatever I had got from the market, and Grandma would smile, but her eyes were like the square outside after a storm.

Donna and Charlie came back a few more times, but they didn’t stay around as long as they used to. Charlie’s voice began to weaken until it was no longer deep like thunder, and Donna’s voice would squeak as she mocked him.

“Donna, I offer you my very gift of flight. Without it, I will be trapped here forever. But I would die happy knowing that you could soar even higher.”

“I fly high enough already,” Donna said. “And it would make such a sad sight of you. A flightless bird! Why, you would be a chicken then. And I cannot abide cowards.”

Now, before Donna and Charlie left, Grandma would look at them and ask “you will look after my young one when I’m gone, won’t you?”

“Of course,” Donna would say.

And then Charlie would add, “It would be our great honor.”

Grandma would thank them, and then they’d fly away again.

“See?” Grandma would say to me. “They’re going to look after you. Everything is going to be alright.”

She still had me go get adults from the other families, and she would still send me away while they spoke. Mostly, I would just sit in the stairwell and wait until I thought I had been gone long enough. I didn’t want to go back to the market. Sometimes, I would go to the roof and watch the birds that circled overhead, the ones we didn’t eat.

Eventually, all the families had visited Grandma.

The next time she sent me to get someone, it was Rufus. I had to give him two birds just to speak with her. “Alright,” he said. “Only for a minute.”

I waited on the floor below while they talked, scratching two birds into the concrete. Donna and Charlie, I named them. They were going to look after me. I didn’t know how, but they were. Grandma had promised me.

I saw Rufus coming down the stairs. He was moving slowly, one stair at a time. His twisty legs jerked beneath him.

“Shit,” he said when he saw me. But he didn’t stop walking.

“What did you and Grandma talk about?” I asked.

He looked at me for a moment, and then he looked away. “Not one family.” He shook his head as he passed me. “Not one damn family. What the hell could I do?”

“What do you mean?” I asked. But Rufus didn’t say anything else, and he disappeared down the next flight of stairs.

When I got back to our room, Grandma was crying.

“It’s okay,” she said. Her voice was as cracked as the concrete walls. “Donna and Charlie are going to look after you. I promise. Donna and Charlie will be there when I’m not.”

“I know,” I said. “I’ll be okay.”

The next time I put Grandma’s ring in the window, it took a long time for the mourning doves to come. They stood on either side of the ring like they always did, rustling brown and black feathers. When they spoke, it was like the wind blowing past the window.

“Donna,” Charlie said, “I have one last thing to offer you. I give you this ring. Will you accept it?”

“Yes,” she said. “The ring is beautiful. I accept it, and you.”

That was all. They ate their bread crumbs, made their ‘woo woo’ noises, and then they flew away.

I picked up Grandma’s ring and brought it back to her.

“No, dearest,” she said. “You hold on to it. I need you to do something for me. I need you to promise me you’ll do it.”

“I promise,” I said.

“When I die, go get Rufus. Get him to take my body to the roof. Then you give him that ring. Can you do that?”

“Yes,” I said.

“Promise me again.”

“I promise.”

Grandma died on a sunny morning. When I woke up and said good morning to her, she didn’t respond. I tried to nudge her shoulder but her eyes wouldn’t open. I put my hand over her mouth to feel her breath, but there wasn’t any. I knew from dad that meant she was dead.

My eyes felt like puddles again as I went down to get Rufus like I had promised.

“Already?” he asked.

I nodded.

“Alright, let’s go.”

We went back to floor number forty seven, where Grandma was still laying in her bed, and Rufus pulled her out from under the covers and threw her onto his big shoulder. He had a hard time getting her to the roof. His coat scraped every step on the way.

I got Rufus to put Grandma next to where we had put dad. He let her down with a thud that cracked the arm bone of another skeleton. “Phew,” he said.

Grandma looked peaceful. Her eyes were closed. She had died in her sleep.

I pulled Grandma’s ring from my pocket and held it out to Rufus. “Here,” I said. “She told me to give it to you.”

“You’re damn right,” he said. He reached out and took the ring from my hand and looked at it in the sun. I could see the carving on the inside of the band.

“There are words inside,” I said. “Can you tell me what they say?”

“So there are.” Rufus held the ring up to his eye and squinted at it. “To Donna. I love you forever – Charlie.”

“Oh,” I said. I wondered why Donna hadn’t taken the ring with her. Rufus put the ring on his pinkie and I walked out to the edge of the roof, looking out over the ocean. A bunch of birds were flying back and forth above the waves. I tried to find Grandma’s mourning doves, but I couldn’t see them.

Rufus came up behind me and put his hand on my shoulder. Grandma’s ring shone on his hand and pressed into my skin. “You’re healthy?” he asked.

“Yes,” I said.

“And you have some endurance? You can climb stairs?”

I nodded.

“Well, why don’t you get some rest. Tomorrow, I’ll take you down to floor one and we’ll pick up the bread together. How’s that sound?”

“Okay,” I said.

And then he left me, and I stayed on the roof by Grandma until the sun went away and there were no more shadows. And then I left too, and climbed back down the stairs, back to floor number forty seven, to catch a bird for dinner.

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7:51am, before putting on my glasses.

April 15th 2009

7:51am, before
Putting on my glasses.

Remember how we used to make love
At dawn, with scarlet sky above?
We’d wake, and find each other there
Exploring crumpled sheets and hair
To land a languid hand with care
On Soul or Shoulder, laid out bare.

And in your Barcelona flat
We’d toss and roll this way and that:
Sweet rhapsody, a symphony
Of movement, love our melody
That we our lips and voices bore
To birth, and life, and joy, and awe.

And I remember early morn,
The light that spilled across you, warm
And undilute, the afternoons
Where too often you left too soon,
And - I remember - dusky walks
And fights, and cold protracted talks,
And I remember on the pier
The way you turned away in tears
And told the sand it couldn’t last,
For too much love was in the past.

Some silent aftermath induced,
One couplet from another loosed,
One chord, one harmony dispelled -
In ending, break another cell.

A fractured fragment of that time
Has taken root within my mind,
And though it waxes and it wanes
Resurgent love’s the greater gain.

The wind is blowing up the street.
I’ll follow it with hopeful feet.

Writing in iambic tetrameter seemed appropriate at the time.

And yes, I’m aware there is a spondee in the first line. This was intentional. (:

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Affirmation

April 8th 2009

I refuse to apologize for not updating oh-dear-blog-of-mine. I’ve simply been busy with life. To tide away the lack of posts, here’s a simple poem in blank verse I wrote for my fiction and poetry class. Enjoy.

Affirmation

And now I have completed all my thought.
A rocky journey, true enough to tell
Of all the sorrow heads can hold inside;
Bespoken peaks and gullies trussed withal,
The dappled scree, a hundred thousand stars
Of memory lain strewed across the floor.

The quartz and orange chintz of one-night stands,
And constellations forming inside hands;
To grip and to congratulate, or vow -
The arbor over, clover underfoot,
Sidereal voices stamped onto a wall
Below the starlight covering my mind.

The vertebrae of individual forms
And faces, faces, many many faces…
The knuckles and noises now are near enough
To call my own - and in some ways, they are.
The continental streets. The arching iron.
The outline of a muslin sheet. The grave.

The pathways and the canyons of the mind,
The crevices within the deepest thoughts -
To wander sometime in the veldt or dale,
Appreciate the landscape, carved of age.
To navigate and not to find, to search,
To be at peace with knowing nothing sure,
To stumble here upon some long forgotten
Experience. To find yourself in you.

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We Salute You, Space-Bat.

March 23rd 2009

goodbyespacebat

spacebat

On the cool spring eve of March 15, 2009, a bat, crippled and wistful, clung to the Space Shuttle Discovery as it was thrust toward the great beyond. Goodbye and god-speed, my magnificent Space-bat.

At some point during the countdown, Space-bat - a Free-Tailed Chiroptera - was spotted latched to the foam of the external fuel tank, occasionally moving but never letting go. Wildlife experts deduced that he had injured his wing and shoulder leaving him with little chance of survival.

He remained on the tank until launch. NASA’s cold report?

“The animal likely perished quickly during Discovery’s climb into orbit.”

But here’s how it should have read:

“Bereft of his ability to fly and with nowhere to go, a courageous bat climbed aboard our Discovery with stars in his weak little eyes. The launch commenced, and Spacebat trembled as his frail mammalian body was gently pushed skyward. For the last time, he felt the primal joy of flight; for the first, the indescribable feeling of ascending toward his dream - a place far away from piercing screeches and crowded caves, stretching forever into fathomless blackness.

Whether he was consumed in the exhaust flames or frozen solid in the stratosphere is of no concern. We know that Space-bat died, but his dream will live on in all of us.”

Godspeed, little bat. Godspeed.

spacebat-1

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Romantic comedies are bullshit.

March 16th 2009

In my relatively short life, I’ve seen a LOT of chick flicks. It’s a natural byproduct being the little brother of two much-older sisters. And I don’t mind them at all… really.

But if there’s one type of chick flick I utterly despise though, it is the infamous romantic comedy.

All romantic comedies spew out the same message. “You need someone in your life.” The very thought of happiness and satisfaction in life, no matter how accomplished and successful you are in life, is to share your life with another person.

Let me tell you though, that’s complete and utter bullshit.

A romantic relationship is not a requirement to a meaningful life. It’s a bonus. Why can’t people just be happy with themselves, and make their lives just for them? Maybe it just seems more prevalent to me these days, but people seem to worry too much about being “desirable” to other people and compare themselves to others all the time. The matter of the fact is that these are empty ended traits. There’s nothing to look forward in the end. What you are doing is twisting your fragile mind to accept any person who seems to wander your way. But, in time, you’ll eventually untwist and realize you don’t find that person is desirable anymore.

Some people are just putting a show to people to hook them in. They’re playing a Mary Sue when, of course, they aren’t one. And when they get tired of raising that curtain and performing, the whole relationship and the couple involved will hurl themselves into an endless abyss of disaster.

Romantic comedies of today and, hell, mass media as whole, are a bane to the well-being of our fragile society. They tell us that we have to change and manipulate ourselves to better than we are now. Often times, we are told time and time again that there are “tricks” or shortcuts that catalyses us to surpass ourselves so we can finally get what we desire.

But the happy truth is that there are no short cuts or silver bullets. Much as you can’t kill a werewolf with a silver bullet, there is only you and you are who you are, will all the experiences and tools you have, trying your hardest to be the best with what’s given to you. That’s all anybody has and could want. The way I see it, people develop their own tools, means, and experiences to become the person they want to be and not the situation as the mass media and romantic comedies depict it.

Situations change. In fact, every situation is constantly changing for each person. Thus, seeking out or investing in a circumstance will always come up short. Even if you succeed, it is only there for an instant before it’s gone. Invest in yourself, in your body, mind and personality, and those are assets that you carry with you to any circumstance and situation - even as those things change around you.

Don’t worry about being the “right person” at some magical moment when you supposedly meet your fate and it smiles back at you. You, no matter what, are always going to be the right person, the only person you can be in the course of your life. Opportunities will show themselves no matter what you make of yourself as long as you are moving forward in your life. Those relationships, those chances for growth, will take the shape of what you need, of whom you are, and where you are going in your life.

When a person decides to grow, they can move in any direction. The pressure they put on the world, the people and institutions they interact with to achieve their goals, creates a sort of social slipstream effect. It’s easier to move in that direction if someone is going the same way, even easier if someone has been that way before and can show you how to get there.

What happens in life is that people who interact with others constantly notice this effect either directly or indirectly, and begin to put in their own effort in that direction. It’s a natural thing to do, maximizing ones gains for that amount of work. Over time, people come to realize that the way is easier with specific people, and that over the long run, with many of the same ideologies towards progression and long-term goals in common, it’s a good thing to join forces on more than just a temporary level. Communication is set up to ensure that both gains and goals remain in common, and a committed team effort begins to form.

This is the foundation for pretty much any healthy relationship, and it’s the reason why you don’t need to worry about where you are going. So much as to make sure that you are going somewhere. No matter how you choose to grow this slipstream effect is created, and other people will naturally be drawn into your world and center of influence. This is why growing “for others” is a complete waste of time and effort. Put all that energy, that focus into going where you want to go, to where you need to be, and others are going to come along naturally.

This is what I mean by saying that solid romantic relationships are a bonus. It’s a side effect of having a meaningful life. If you try and manufacture the effect, it’s shallow, often directionless and dissipates the very second you stop pouring your effort into it. The real deal is a natural byproduct of the forward momentum one obtains through the development of themselves as a person, and is naturally sustained by that energy.

Movie and media culture, storytelling, marketing, and other mass media stuff all work by manipulating the perception of cause and effect. This happens so this happens. That’s what drives arbitrary interest forward. It’s universal because these things are produced to be observed. What often lie unnoticed by this method are the real life social synergies that are created through daily experiences and contact with others. It’s a very “un-visual” thing.

You’ve started to notice how “what can be shown” falls flat in reality because there is simply more to the experience than what can be explicitly observed. And good job, because there is.

So go out and live your life - you’re the only one who can.

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