Showing posts with label prose. Show all posts
Showing posts with label prose. Show all posts

Sunday, February 3, 2019

The Process (Of Writing a Book)



For the first time in a long while I have nothing to do this weekend. My wife is currently looking at my second draft, while I am on child duty until she completes. While it would be nice to catch up on my personal reading, I’m not sure if that will happen or not. I seem to have less and less time for that these days, unless I’m on vacation. I mean, there’s certainly time to do all these things, but binge watching Star Trek: Enterprise has monopolized our evenings. Everyone likes to shit on that series, but it’s great. When I imagine a speculative fiction of the first years following warp space flight, Enterprise embodies what I would expect to occur: cultural tensions between alien races that are trying to be helpful, humanity’s own immaturity, and the collective mustering of human potential for the better of tomorrow. Ideally, a Star Trek property should encourage us to be explorers, to be understanding, to be open to learning new things, and more than any other, Enterprise exceeds that vision.
                So maybe when that is over I can start reading in the evenings again, especially while my kid is still content on going to bed at 7pm every night. She’s like her dad. She sleeps like a rock and we are very grateful.
                While I’ve written about this before, most of my older posts were archived permanently post-rebranding. I wanted to revisit and share again the process by which I write books. It’s probably my personality—well, definitely—but I never have issues getting ideas on paper. Many times I’ll read something that self-referentially talks about the writing process as this creative struggle. Personally, I don’t get what the big fucking deal is. But it only recently occurred to me that maybe my “system” has a lot to do with the way I lay out everything and then fill in the gaps
                Usually I’ll get an idea, a two sentence extract, and start with that. It’s concise and purposefully focuses on conceptual details rather than specific characters or settings. That’s “part one-and-a-half” of the recipe. The second part of this is really the expansion of the extract, which I call a “concept bible.” Any ideas relating to the story are put in this document, almost as if it was a wiki entry all spread out. See below for screen shots from the Concept bible for my third book:

Usually my wife writes a few notes on the first chapter so that I know I am going in the right direction. This is followed by a plot extract, detailing the full overview of the plot from start to finish.

Usually if my book has a central philosophical point that I want to explore or rediscover I have a section dedicated to this. My next book explores  the different facets of artificial intelligence, hence the above.
I like exploring different languages so usually I will create a fictional language and explain their rules so I can remember
them later. Also, main characters get a large paragraph with a full explanation of their visual appearance and motivations.

Any characters that appear in the book, even minor characters, I write bios for. This is helpful because, it helps me keep track of details like their visual descriptions and any characters I might forget about and never feature again. 

Every book will have minor subplots that affect the main plot. Sub-plots can get lost in the writing process and become non-sequitur, off-hand references, so I write them down to keep track of them. Some notes don't fit with other categories. World building details like population size, laws, cultural values, go here. As you can see above, I wanted to invent different types of drugs at one point. 
The above are only screenshots of a large document. By the time the book is finished, this document balloons in size. But I can’t even say how many times this document has saved my ass and helped Alyssa track all of my thoughts.

                What I started doing for this book—and I think I will continue doing so—is that I created a character mythology. Every main character follows a journey (ie. Heroes’ Journey) that demonstrates how they grow and change over the course of the narrative. Immaturity to maturity. Child to adult. Unknown to known. I wanted to start keeping track of these details because I felt like my books didn’t demonstrate enough internal character development. Similarly, I create artificial rules for the narrative before I begin writing, which I just call “Book Rules.” Whereas a character mythology is written after I receive feedback for the first draft, book rules serve to, from start to finish, ensure that certain technical practices are consistent throughout the story. For instance, if I create an artificial language for my story, I write down the proper syntax in this document so that both Alyssa and I adhere to these rules throughout the entire book.
                The first draft feedback, like my first novel Spirit of Orn, was provided by my best friend Desmond White. This document I rely on is invaluable. Good feedback is critical in tone, which helps in two ways. First, good feedback is humbling. I laughed so hard when I read the feedback for Spirit of Orn, that I was crying. Desmond lays into my books and points out all the inconsistencies where my ideas are pompous or overcooked. The second thing that’s valuable about feedback is the substantive additions that come from the reviewer. Desmond, for instance, suggested that I read Brave New World and Notes From Underground to supplement and further some of the compelling ideas I was exploring in Spirit of Orn.
                The last document that I keep around is the “cut” document. Most of draft one is rewritten for draft two, and sections that are conceptually valuable, but no longer suitable for the story, I cut and paste to a separate document. Draft two of my upcoming book has the same word count of my previous draft, but my cut document is 21 pages long. I’m never sure what I’ll need or return to, so this document is a backup of old (and mostly bad) ideas.
                The process that I use works for me. I like the structure. I’ve always been very good at visualizing the grand narrative, but the minutiae is so hard for me to keep track of. I’m always encouraged by hearing from others about their way of doing things, so I hope that this is just good perspective.

Wednesday, December 19, 2018

The Truth About Writing Books

#TheStruggleIsReal


Work on my second full-length novel continues, slowly. With the holidays and my wife being sick, it’s been hard getting out to Starbucks and remaining there for my typical 6 hour writing sprints (6am-12noon). Yet, even if I did, I’m finding my chapter-per-weekend progress is slowing down as I begin to sort out the final plot details, make sure my climax doesn’t fall flat, and consolidate the denouement. Creating an enemy to hate, redeeming a flawed hero, and giving weight to a fictional world is a monumental task, and it’s always at the end that the gravity begins to pull you down like a rollercoaster bottoming out. That said, the second draft is always the hardest—I’m sure I’ve mentioned this before—but for some reasons you might not expect. For me, I call this stage I’m in the “Longhaul Blues.” That is, the period of disillusionment and creative depression. After looking at sprawling sections of old passages that are, at this point, almost 2-3 years, you want to give up sometimes. Note: the benefit of long term writing projects is personal growth. Then, you start looking at Chapter 1 and the writing is beyond shit and the reality settles that every moment forward will be a slog. To reform and refine what’s there, from coal to diamonds. In a way, it’s both a victory and defeat, seeing how much progress has been made.
The acts of reverse engineering that occur when implementing the notes from draft 1 constitute the bulk of the time; which, when handled by my friend Desmond, often play out like a friar’s club roast. Incidentally, the first notes I received from him for Spirit of Orn made me laugh so hard that I was crying. (That was back when I was washing dishes at Stone Brewing Company, and every lunch break was a release from the unrelenting torment of that place.) This is the best kind of feedback. Something that forces you to realize that you “ain’t shit” and that you ARE NOT the greatest writer of all time. Humility that knocks you on your ass, that grounding, helps embed you with your own characters even, drawing your perspective down to theirs. (Life isn’t fair, there is no rudder (narrator), the struggle is omnipresent, etc.)
There is a layer of fog between the work and yourself after a while. When becoming over-familiar with something, the side effect that comes is that suddenly everything looks overdone. Certain writing conventions and stylistic choices become wrote and it begins to drive you mad. In reality, readers will not catch these devices, most of the time. They key is variety. And you also underestimate the degree by which a reader will “fill in the blanks,” hold a picture in their head of how details transpire unique to themselves. The writer doesn’t see that step in the author-fan dichotomy.
But, I’m getting ahead of myself. Post-draft 1 research typically begins after reviewing the notes from draft 1. (Desmond initially asked me to read Notes on the Underground and Brave New World for more insight into my main character in Spirit of Orn. Another friend, Bern, told me that I should tune the narrative to fit with a specific audience, which at the time was split between a Christian and a Science Fiction/Fantasy crowd. I chose the latter.) The books that were recommended to you, the essays that corroborate the narrative, films with conceptual inspiration, all of this prepares me for the moment leading up to starting the second draft. It’s like clinging to a life raft in a storm. Oscillating unto cresting waves before crashing down into the foam. Over and over. Then you reach a point in a chapter only to find that about 45% of it will have to be rewritten? The struggle is real friends!
My process is very regimented. That’s intentional, to a degree. I think structure helps keep the momentum, to know what comes next. The Pre-Life crisis (as opposed to mid-life crisis) comes after college, not during freshman year of high school. Its easy proceeding forward knowing what comes next. Once you are done, then what? That where shit really gets tough.
But that’s a blog for another day.



  

Monday, November 12, 2018

The Funny Thing About Names


Today's blog be all like...


I will share a story that illuminates not one of my finest moments.

My wife was sharing with me one of her short stories she wrote in high school (as a part of a project or fun, I can’t quite remember). She told me that she picked out the names of the characters very purposefully throughout the creative process, cross-referencing names with meanings and origins that illuminated aspects of the plot. Truth be told, I did the same thing in high school, writing a many-part story called “Heavy Metal Dawn,” for which I labored months without any consideration for what I would do with the story at its conclusion. I think it is for this reason that I ultimately gave up on it. Anyways, I did the same thing as my wife. Taking Japanese words and appropriating them as “names” (ie. “Guita Watarimono,” or “Guitar Wanderer”), I achieved nigh epic heights of weeaboory (IPA - wiːəburē). And I think it is for this reason, now that I’m older, that I remember that moment, cringing. Names don’t mean anything. They are just things that we call ourselves, because our parents made the choice for us.

This is a postmodern idea, that meaning is fluid and ever changing. It is why gender, politics, race, and religion are all relative and mean nothing anymore. Naturally, then, I would scoff now at an idea like a name and a meaning behind it somehow appending certain virtues and traits. For instance, my name is “Stuart.” Stuart derives from an Old English portmanteau of stig ("house") and weard ("guard"). The later British equivalent is “Steward” and the Anglicized version is “Stuart.” My surname, “Warren,” is eponymous of (what according to Google Dictionary is) “an enclosed piece of land set aside for breeding game, especially rabbits.”

Right from the get-go I am at odds with this. Though I am trustworthy, capable of taking tasks and endeavor to please those I meet, I am not a leader. In fact, growing up I was an outcast. My name, for the most part, has hung around my neck as an albatross since my birth as a sign of my failure to live up to my name’s meaning and import. And while “Warren” maintains some regal quality to it, I hardly imagine myself to be equivalent to a labyrinthine network of burrows, or a hunting ground for rabbits in the middle ages. Patronyms also create names by just combining the name of your father and your sex (Angason for boy or Agnadóttir for girl, in Icelandic). But what if your father was an asshole? Your name is now anathema to any prospects going forward. In any case, I must hate first names because I’m salty as a motherfucker, I guess…

While a first name like “Agni” may confer the legacy of a legendary Swedish king or a Hindu fire deity, the surname was typically an embellishment of the first name. In English traditions, last names were conferred based on the profession of your father, like Smith (From Wikipedia: refers to a smith, originally deriving from smið or smiþ, the Old English term meaning one who works in metal related to the word smitan, the Old English form of smite, which also meant strike.) or Cooper (from Ancestry.com: “a repairer of wooden vessels such as barrels, tubs, buckets, casks, and vats, from Middle English couper, cowper.”). But does one want to be their father? Or take their father’s profession? That is more of a problem for today. Back then, there was no choice in the matter. A trade brought in money that paid feudal dues.

When it comes to writing, in light of the above, I take a different approach. Names aren’t as important to me as the experiential quality. Living with a character throughout a story, a name like “Roberto” will imbue whatever quality you desire. In Umberto Eco’s book The Island of the Day Before, Roberto’s character evolves over the course of the story, so any preconceptions about the name “Roberto” quickly fade away. Because of this experience I have with reading, I spend no time consulting with reference materials to find “appropriate” names for my characters. Instead, I choose names arbitrarily (most of the time). Because that is what life is like: random and chaotic. I know someone named “Tabitha,” which is a traditional name. But she exudes an eclectic style that seems in conflict with her name. Likewise, I have heard stories of POWs and veterans naming their children after their fallen brothers, as a way of immortalizing their memory, though their children will live their own lives, without the experiential import of their naming. So the use of naming, to me at least, isn’t very important.

Despite all that I’ve said, we did name our daughter “Eowyn,” which is a fictional name invented by J.R.R. Tolkien, invoking the Old English naming methodologies. Tolkien applied this name to a character in his Lord of the Rings trilogy, who stands down a demon king, fulfilling an ancient prophesy to smite evil. Do I necessarily want my daughter to challenge a demon to mortal combat? Not really. But we chose the name for her because it embodies what we wish her to be: strong, confident, and assertive. So, at the end of all this, I’m just a hypocrite. But who isn’t? The defining difference here is that the meaning of names in writing can be more effectively determined due to the innate determinism that defines writing, as opposed to real life, where meaning is in constant flux. And to reject that determinism, in my opinion, makes the work more true to life. 

Friday, December 30, 2016

Jared's Best Man Speech

In honor of my friend Jared getting married today, I wanted to say a few words on his behalf. The below is a transcript of what I will say at his reception: 

Thank you all for coming today. My name is Stuart, the Best Man, and I wanted to take some time to talk about Jared for a moment.

Some of you might know Jared through Julie, or know him as a friend, co-worker, son, or colleague. I know Jared as a friend. We lived together in college for about a year and I had no idea that I would still know him almost ten years later. I have many stories about Jared, but one of them stands out. I had just moved in with him and was still feeling out my roommates for their quirks and oddities. Jared was the guy that came home late with other women, not to sleep with them mind you, but to do far less raucous things like cuddle and play boardgames. But I sat Jared down and talked to him explaining that what we did at the apartment, which was a complex in Isla Vista leased to exclusively members of Campus Crusade, was sacred. We were out on display for the world to see and I wanted to hold him accountable. To my incredible surprise, Jared listened. He heard me out. And we built on that moment a mutual, sacred trust that has sharped us together, perhaps like iron on iron, or something like that…


We are all told that we are special. That we can do anything. I don’t really believe that now that I’m older, but Jared is one of those people to watch because he is destined for great things. His career as a writer and teacher are already in their infancy and he has distinguished himself as top of his class, par excellence, with his colleagues and fellow members of the Academy. Why? Because Jared is a magnate for discussion, someone that people naturally gather to because they see in him something wonderful and special. He challenges us by his example to question our beliefs and follow in the footsteps of Socratic liberal education, that we may think critically about the information that vies for our affections in a world of increasing ambiguity and obfuscation. And incredibly, as much as Jared challenges us and helps to mold us, the teacher that he is, there is Julie that has drawn Jared to herself. You see, if you knew Jared, you would know his aloof spirit as well as me. “Bear-bear” is always on the run, unmoored by his years of growing up across the oceans in the jungles of Indonesia and urban China. But he has finally, at long last, found someone to tie him down in the boudoir and write a new story about a man and a woman finding each other, seemingly from opposite ends of the world, and starting another generation of rootin-tooting, suspiciously hairy, crawdad catching, Whites.     

  

Monday, November 7, 2016

Thoughts on Conservatism and Progressivism

I’ve been reading a new book called Does God Make a Difference? Taking Religion Seriously in our Schools and Universities. Though I’m only halfway through, the message is rather inspiring for the advancement of liberal free education. Initially when I started the book, I was confronted with reservations about Nord’s thesis that religion needs to be taught as live, viable options to cultivate a comprehensive understanding of worldviews around the world.  The book was spurred on by the secularization thesis, which was posited during the 60s, that eventually the idea of “God” would become marginalized to the point of irrelevance. Nord’s thesis contends that the secularization hypothesis has been thoroughly nullified due to the increase in spirituality around the world. You might have noticed my use of the word “liberal free” education. This is in reference to Nord’s distinguishing between two schools of thought that provide the backbone of western education: Liberal Arts education and Liberal Free education.  The two schools underscore the advancement of what we would recognize today as progressive and conservative arts education. Isocrates (I believe this is the man Nord references, though I have had some beers and the book is still at the office) understood the importance of classics and their value to education. This would be reflected in earlier schooling models when students would learn Greek and Latin, girding their education with the cornerstones of Western philosophy and epistemology.  (It would be akin to studying drama and emphasizing the importance of classical acting methodology, replete with Shakespeare and Greek classics over more modern, experimental acting models like method acting.) Liberal Free, the second of the two is emphasized by Socrates, who argued that uncertainty in self-knowledge compels the individual to continually learn and reform their education; hence the progressive tone.  
                All this talk in Nord’s book got me thinking about the difference in conservatism and progressivism.
                The US election this year is very chaotic. Much of the conflict has been poured out on the existential meaning of America. (As in the 50 territories that constitute the United States of America.) The two party system, a broken system in my opinion, has created a cultural divide across the US between two very unrealistic extremes: Conservatism and Progressivism. There are many touting the return to a greatness of America. This is vague and needs definition. What made America great exactly? America is the product of political experimentation. It is constantly changing, reforming to compliment the current state of affairs. The contrarian voice in this is that of Progressivism, which was the zeitgeist of the 1890’s to the 1910s. Teddy Roosevelt ran on a platform of social reform to improve the quality of American lives in the workplace and at home, and bolstered America’s presence on the world scale. (By invading Cuba and building the Panama Canal.) Progressivism works by momentum. (America was sick of the rampant political corruption of the post-Civil War period.) Consequently, it is paralyzed by inactivity and the quagmire of modern American politics. Progressivism only works so far as the freshness of its ideals. Progressivism and Conservatism both lack a full solution to social and political issues in the modern day.
                I covet my identity as a political moderate. I think that it helps me see with steady eyes. When the past is worshiped with such ferocity, impregnated with nostalgic pandering, we are waging a hopeless battle to live in the past and not be forward thinking and anticipatory. It is better to understand the past so that it will inform our future. There are great lessons to learn from classical literature. The foundation of Western Civilization is important and the specters of Classical Learning still haunt us. There is value in understanding where we come from. Humanity is static in its desires. We really haven’t changed much in the last 10,000 years. Men and Women to this day love and kill. They are proud and arrogant. They fight for what they love and appeal to others to join them on crusades against enemies real and ideological. There is still plenty to encounter there.
                My only issue with those that keep looking forward is that they unfairly caricature the past. Fresh ideas promise change but have no baseline to test against. There is also an assumption of positivism, that progressivism is fundamentally idealistic. Idealism lays the path for change, but it does not establish it. Establishing change requires brokering deals and compromise. Change also takes time and thoughtful execution. I am not surprised at all that Obama Care did not do what it intended. A government funded health plan works only so much as the people are willing to pay into it and our reticence to adopt a Northern European healthcare model underscores the painful reality that our economy thrives on selfishness. Consequently, we are also not Northern Europeans, or possess the requisite cultural beliefs that are unique to their Socialist States. Perhaps a slow, continual movement towards that ideology would bring more fruitful changes?
                I am not convinced that voting for Hilary Clinton will bring about the revolutionary Golden Age that we envision. Every hopeful presidency begins with the promise of some form of political activism or Executive strong-arming. But I am certain that voting for Trump will usher in a dangerous new era of politics that will not overthrow the free world, to the extent predicted by the Huffington Post-esque outlets, but initiate a steady erosion of our already waning power. The line between conservatism and progressivism is now thin and collapsing due to the decrease in election ethics of either side. That is what I’ve noticed. Now, each side is an extreme and their proponents, extremists. Our only hope is a return to the fold of reasonable discussion. I would encourage my readers to read the news of foreign nations to gain a holistic and outside perspective of our country’s shenanigans. Even if the news is churned out by propagandists, supposing that we as readers have the acumen for sorting out truth from fiction, it is all worthwhile to ingest, even if we have to hold our noses. Food for thought.  
                Now, if you’ll excuse me, I need to read up what I’m going to vote on tomorrow.



XOX

Monday, October 31, 2016

Tales of Horror: The Dark Man


When I was a boy there was a black man that I would see. Out of the corner of my mind, hidden behind trees and corners. He was there in my house, in my life. I would hear him walking up the steps of my father’s house in the dead of night. And I would hide under the covers. I would see him in my dreams. The choker, one that would suffocate me with a stare.
                This man was not black, as in African American, or even a man at all. I should actually refer to him as The Dark Man, because his purposes for me were never clear, but always hidden. I would lie awake at night. I would pray that he would go away. But I would feel my body run cold, even if the blankets were warm. Even now as a man I wrap my arms around me, as if by instinct, grounded by the child-like belief that mere covers could save me from a being dark, ancient, and powerful. How would you know this, some have asked me. I know because it told me so. This dark man was a demon. One that haunted me in the night, a taunting dream that would lie in bed with me, whisper threatening lies in my ears. Words without a voice, ones that echoed in my empty unoccupied mind.  Many of you don’t believe in demons, or manifestations of evil. They are the guilty conscience that hangs over us like dark clouds in the sky, most say. Until this night, I’ve never written about the dark man. I was always afraid of him coming back. I have a family now. Lord forgive me if I were to invite such a thing back into my life. But now that the light is with me, the dark man comes back less and less. The dreams are less real now. If he ever came back, it would never be the same.
                There was a night in July, when I was 10 years old. I had recently come home from an informal reunion in Sonoma County, north of San Francisco, where the hills are made of gold and from the earth pours wine. The specters of long dead miners and Chinese rail workers haunted the hills, their legacy paved over with boutiques and high class restaurants. I was lying in my bed at home, my brother sleeping soundly next to me. The Dark Man was there. The night light did not flicker. The air was not frosty or cold. There was no ghostly herald or cultic preamble in cartoonish languages. He was there, lying next to me, heaving rattling, emphysemic  breaths. And what I remember, so clearly, so unequivocally, its words. “Ahh… don’t be like that.”
                I froze. I wanted to cry.
                It rolled over me, on top on me. Every muscle tensed on my body.
                My eyes closed tight, he told me a little about himself.     
                “I’ve been alone, so alone. Sentenced to the depths of Hell, without respite and closure, a soul that asks on those passing through what came of their legacy of my life. I owned a house at once, hidden away in the forests of Bavaria. I had a cart and some sheep, my small cottage. I lived alone, skinning and tanning pelts under a cold distant sun that would pierce the canopies of my grove with shafts of goodness finding me in the depths of my loneliness.
                “A woman, young with fair skin and supple breasts, with fiery red hair and green eyes would come to me, and only me, to sell milk and bread once a month. We would talk for a few hours. I would pay her a little extra for her services and she would go her way. With longing eyes she would look back, but they hid her pity well. Pity for an old man of the forest that knew no one, and none knew him.
                “The clearings would keep the time of year, shading the earth with autumnal foliage or the colorful levity of spring. I would watch through my window built of fine glass that I found on a wrecked carriage near the road overlooking Berchtesgaden. The grass would bend under the weight of the snow, and every morning I would see the tracks of lesser creatures foraging in the night. A fire lit in the corner I made to remind me of older days, when I knew my son, and when he knew me.”
                The creature reached out to me, forcing me to see through its eyes. I shook my head but I was still. I cried out to shout but I was made silent… 
                I saw the old man walking through the clearing, looking with tired lonely eyes at the rabbits. He would lift his hunting bow, aim, and collect his kill. Rabbit stew every night, always. Stringy morsels seasoned with crushed black pepper and salt from the mines near town.
                Again the woman would come on the months end. He would sleep with her, collect her salt, and she would leave without tasting the rabbit he caught.
                “I was unremarkable in death as I was in life, a simple soul with simple needs. When you see me in your dreams, I will suffocate you! Look into my eyes.” I didn’t need to see them again, because I had seen them many times before in my restless nights. Dreaming of dark rings housing sinister, cruel eyes.
“I was not always like this. All souls fall from paradise to the crags of perdition, marred by the tumultuous journey down, striking the rocks of the interior creation, the space between worlds where those long created before man dare to walk. One day, while seeing to my sheep, I looked up from my toil and, across the clearing, a young man with calloused hands and wiry beard watched me. The face so familiar, so precious, masked by the pain of a life bereft of paternal care, I beheld my lost son.
                “That is how all good things start, with such energy that prolongs the period of good feelings. Together we built another room on the cottage. We cut lumber together, sawing with dull tools and fastening with rusty nails. Many times I fell to my knees in exhaustion, no longer young, but my son continued. I saw to it that he was well fed, and inside a feeling, a forgotten sensation of affection warmed me better than my cottage fire. My son, he should stay longer he said, as the snow will fall again and the leaves are withered and falling once more. And with bitter tears I cried aloud ‘I’m sorry, Hanz! I’m sorry for your mother, for everything.’”
                The Dark Man forced its hand across my face. I felt nothing but its emptiness. I squinted under what felt like a hundred pounds of pressure. And it showed me more…              
The woman returned after the snow melted, late but she came eventually in the summer months, driving a cart up the shadowed trail to the cottage. She was weak also, and when he saw her, he saw the rotund belly swathed in red cloth, a leather corset crudely cut in half with a cutlass holding up her bountiful breasts. He knew what it meant and said nothing. In her hands she took his, holding them up to her face. She smiled and told him that she would need another room to stay. He laughed, uncertain of what to say or do. And what was there to say? Long ago, as a young man he remembered the feelings, the prelude to excitement and fear, of anticipation and anxiousness. He thought shallowly then, considering that he would have to go into town to buy milk and bread from then on. Utility possessed him, purpose filled his lungs with the damp air of the forest floor. Across the field, the son came out of the forest carrying over his shoulders pails of water to run the new forge. The father, he looked at his son befuddled and the son nervously beheld the woman.
                “The cottage grew over the winter. That was an early snow. Father and son digging in the ice while she waits inside; we prepared for the long season. I knew that soon the child would come. I did not see her watching through the window. Sweat in the cold winter air steaming off both our backs. We gripped our shovels tightly, revealing our strong rope-like arms. Both tawny, but strong. She coveted him, watching me in my old age, finding me… wanting. It was not long until I found her one night with him in our room, stroking his erection as they lay together in secret. And my fullness, the spirit that lifted me so high, higher than the birds of the sky, poured out of me, into my hands, and gave me strength to kill the boy, with tears in mine own eyes as she watched.
                “She did not get far, so close to the fruit of our labors. She died in the snow as she fled.
                “I could only imagine then how the questions slowly came to be asked, how the forge burned brightly, deep within the trees without orders for steel, how the milk grew sour and the bread stale in wait at the market, how the people came to confront me, how they found me wearing her bones around my neck, and how they came to strike me down. And so my soul was torn down through oblivion to the depths of Hell, to the Second Circle, let to roam the dreams of those that seek light beyond the forest depths.”
                The Dark Man snarled, but I screamed. He floated away, seeping into the ceiling above. My brother awoke next to me in a start and made a face in disgust. “God! Shut up! Mom, what’s wrong with him?”
                That was the first and only time the Dark Man spoke. It would come here and there throughout the years, with diminishing passion at each turn. How he would rake my body with his claws, stop my blood still with spiritual malaise. Taunt me in the morning, terrify me in my youth. I would not lie if I said that I remember hearing the sounds of his steps through my mother’s home. The creaks in the night. The sensation that he was behind me. And yet, in all this, I sensed that its menace had climaxed at the moment of personal disclosure. As I became a man, as I chose my path to go to the university, the Dark Man became less real, and merely a bad dream. But I still remember the first days, before I accepted God’s protection, when I would hide in the fluorescent fountains all around me. Its memory surpassed its presence, which was, in many ways, more terrifying that the genuine reality of the creature.

                In these times, I am not afraid of the Dark Man any more. But I know he is still there, somewhere, praying for death. Should I feel sorry for him? No. What good is the Dark Man to me, but the memories of youthful trepidation? Yet I am thankful. I’m my studies on theology and the demonic I have reasoned that such soul would be allowed to hate me because the Dark Man’s presence teaches me what it means to languish unchallenged in loneliness. For so long I had wrapped melancholy around me like a blanket, to shiver bitterly, to deny the charity of friendship to others and myself. The Dark Man cursed me when I was young with its sadness. I could never curse another to bear mine. And now, in my office, on this word processor, I want you to know what happened to me. Melancholy like a good book, or an engrossing film can be so gratifying. Some revel in it, crushing themselves in a vise. But like a monkey on my back I have worn the Dark Man and put him off, never to wear him again. One day I will forget him, and then he will finally be just another shade in the pit.    

Saturday, May 28, 2016

The Big M Question

I hear people use the word "millennial" to describe an individual every day now it seems. The expression is one of many, demonstrating the increased granularity of our society.

That's what we see more these days: an emphasis of quality, denominations of  culture, gradations that have tremendous weight. I think of, say, the Transgender community, a fraction of a fraction of the wider populous, that leverages so much power through appealing to hardened concepts like Justice, despite the depreciation such weighty concepts endure now that God is dead. 

Millennials have been described in a variety of ways. That demonstrates the wider problem of what to call a millennial definitively. We as a people are pulled in two different directions. On one hand labels are viewed as micro-transgressions. On the other, they are coveted and disseminated. When I listened to Metal I found it very interesting that the anarchist mobs, my brothers and sisters, coveted their genre particulars like they were species. More interesting is the renewed interest is ethnic studies of religion, dying languages, and anthropology. Our world has changed so much in the last two thousand years; our cosmology has changed. What does it mean to be human in the context of the great heat death of the universe? To those that still believe, is God entropy? Our epistemology has changed. at one time knowledge was knowable, then unknowable, now quantifiable, soon to be quantum. Information is volatile, ultimately. To know what a Millennial is, we must trace how we came to this road. A truly postmodern generation, Millennials are burdened with a duplicitous relationship with their world. They both aspire to find meaning in it and grapple with the futility of existence. 

I found it interesting, personally, that I contemplate who I am on a regular basis. I am a Nihilist, a Christian, a Socialist, and an Author. Capitals to emphasize the essence of each, their properties and true form. This makes me very much a Millennial in that regard. Labels, as used by Millennials, connote variety and innovation. Labels in reality imply qualities superficially. When someone who is black says, "I am Black," it could mean much different that when a person, who is white, says, "He is Black." This is why when I say I am a socialist, there are three meanings to the word: what the "world" believes a socialist to be, what a socialist believes a socialist to be, and what I believe a socialist to be. This doesn't even account for nationalism. Obviously, the Dutch may believe different things about socialism than say, an american, or a Brit. In the end each member of the three yearns for a kind of cohesiveness that negates the originating intention of a label, and at worst reintroduces the racism-like equivalent of category, the very state the Millennial was intending to avoid by expressing their uniqueness in the first place.

We live in a mad, rudderless world, that compels me to embrace forms of nihilism that thread through popular culture. On Facebook, there are meme communities that generate more meaningless content than a Dadaist monastery. I'm familiar with a few of them. Popular entertainment, though not as cutting edge, perpetuates what these internet communities call "shit posting" on television. I think its because we crave order that we cannot acquire, and we want the world to be okay with ourselves giving up, and feeling crazy with us. I ask myself, "why is Nihilism so funny?" everyday, and I can't produce a worthy answer. This morning while I was walking my dogs it occurred to me that #YOLO is less of a modern interpretation of the Latin "Carpe Diem," and more an expression of futility. 

"I just had sex with three different partners withing 48 hours. #YOLO" a Twitter feed iterates. Translated from the common vernacular: "Smashed all night. Smashed All day. Sick beats at the club. #fuckyeah #YOLO"

Might as well right? We are all going to die.

I don't mind this world as much as it may seem because it drives people to accept Christ. To defy convention by undertaking one. Nothing is certain anymore, so people yearn for certainty. Half of me writing this is an attempt to talk myself down the ledge, to turn away from the bleak world that was provided me by moderns and post-moderns alike. The other half is just procrastinating from starting my work on the novel.


XOX        

Sunday, April 10, 2016

An Open Letter to My Children

Dear Future Son/Daughter,

Myself, and many others, grow up thinking that moms and dads know what’s best. And the more I grow, the more I realize that parents are people like you and me. They’ve had thrust into their lives this wailing, screaming human that doesn’t know how to eat or sleep. And even though you’ve never done this before in your life, it is your responsibility to care and provide for this little person. Along the way you learn things, likely out of just experiencing the day-to-day, and become familiar with your child and their quirks. And I’m sure that even these words that I write to you today will become obsolete in the coming years. But I wanted to say the following because I love you and feel called to.

I grew up in a tough spot. I didn’t have much to go on living in a home that was unstable and often times changing. Even though I didn’t have it nearly as bad as other kids there were still hard days. Usually I would go to school and come home to play with my toys. Other times I would go over to other kid’s houses and play video games, even the ones my mom told me not to play. All these days I would learn new things. Sometimes what I learned was difficult and it hurt. But each time I learned from my mistakes and from good times I became stronger. And I want you to be strong like I was.

I realize now that what we see, what we hear, challenges us. Some things are too much. (I wouldn’t let you play an M-Rated video game when you turned 6!) But when we face the world and try to understand it, with all its complexity, we become like a stone on the beach: well-rounded. Some people my age think differently. They think that if you hide the badness of the world away that you will be preserved from it. I think people think this way because they remember what it was like growing up. They remember seeing things they shouldn’t have seen or listening to people that they shouldn’t have. Out of love, when they become moms and dads, they want to spare you the trouble they went through themselves by hiding you away.

I grew up watching things that I shouldn’t have. I grew up listening to people I shouldn’t have. But, here I am: the finished person I am today. There are bad things in the world. Evil things. Sooner or later we will have to face them, and be strong. We have Jesus to show us the way. All of us were made by him, including the bad people. Even in the darkest places, his light shines. So when you see something bad, or listen to something that doesn’t sound right, remember that all things have a root in what has been created by Jesus. The world out there is worth it. And when you meet people, watch something on TV, or have a bad day, see the big picture: where things are at and where they will eventually be. The world isn’t perfect, but it still bears the image of God, and all over underneath everything he is there ready to redeem it.

So if you want to watch something on TV, watch it with me. If you want to play a video game, let’s take turns. If someone tells you something at school, let’s talk about it. We can face this world together, and with Jesus we are a threefold cord that can never be broken.

Love,

Daddy