08 May 2013

Derrick Jensen, A Language Older Than Words


Derrick Jensen, Endgame
Derrick Jensen continues to inform my thoughts and internal process on a near-daily basis.  Recently I've begun rereading his wonderful book A Language Older Than Words (2004). In case you are not yet familiar with Derrick's work, he is an environmentalist, activist, writer, philosopher, and scholar who looks very deeply into the world that we have set up and how it has perpetuated various forms of abuse and enslavement, which have become so internalized in many of us that they seem right, natural, even God-approved.

Derrick's thinking has influenced the overall matrix of the book I'm writing, which is based on a model that stems from the patriarchy and the Industrial Age, into how we as humans have lost touch with ourselves and touch with nature, leading to a culture that sanctions abuse and is inthrall to violence. Each of my stories is a stop along this route.

In A Language Older Than Words, Derrick correlates the abuse he suffered at the hands of his father and correlates it with our culture's overall acceptance of violence. He looks very deeply at our relationship with animals and how it serves as a revealing example of our seemingly boundless desire to control and dominate all life forms (especially our own).  The book is not an environmentalist screed but a very personal look at the topic framed predominantly from Jensen's own experience and consciousness.

In one of my favorite passages, Jensen is attending a debate of two people running for Manager of the WA State Dept. of Natural Resources. Both are equally matched in their oblivion, treating nature as a big-business portfolio to be managed and controlled in the best interests of only the bottom line. Their blatantly profit-centric positions greatly frustrate Jensen.

When the moderator opened the evening to the public, I raised my hand. I said, '...I have to say that if bobcats, wolves, trees, and salmon could vote, they wouldn't vote for either one of you.' Everyone gasped, as though I had pulled a gun. 'Now a question: Pretend we're children two generations hence, and defend your actions to us. Tell us why we shouldn't hate you for destroying our world.' Another gasp, as though I had fired it through their hearts....

Notwithstanding the knowledge that every creature--except for the more wounded among us--tries to move in the direction of life; and not withstanding the white-haired and wizened woman who approached me--after the politicians addressed neither comment nor question--to thank me and say she wished she would have said the same; and notwithstanding the knowledge that there can be no more important comment to make nor question to ask, I felt intensely alone. I had broken the most basic commandment of our culture: Thou shalt pretend there is nothing wrong. I had rolled a grenade across the dance floor.

I drove home alone, crying. When I got there, I walked into the frosty October night and found my feet carrying me to the coyote tree. Wrapping my arms around it, I sobbed into its cobblestone bark, feeling the grooves and rough corners with my outstretched fingers. Soon I stopped holding it, and it held me. I walked home; no longer crying yet chest heaving still. I needed more. I stepped to the huge ponderosa that stands outside this window, the ponderosa where each spring magpies add to their tumbled nest, and removed my clothes. I folded myself into the arms of this grandfather tree, this fatherly tree, and it held me as my own father never had. I cried again, into its bark, and never felt the cold. Comforted and safe now, I put on my clothes, and went inside; strengthened and emboldened by the huge beating hearts of these trees, I was ready to continue the fight, to nevermore accept only the two proffered choices, but to seek out a third, and follow it to the end.


Here's to grenades rolling across the dance floor...


29 April 2013

The Gospel According to Klinkenborg

Verlyn Klinkenborg, Several short sentences about writing, writing books
I've been intently focused on writing tight sentences, the kind that bounce quarters straight into your shot glass. This micro level of writing often gets sacrificed in the effort to construct plot, put forth sweeping themes, bring characters to life, and convey opinion, philosophy, and mood. In this effort, my go-to guy has been Verlyn Klinkenborg and his remarkably deep and mildly acidic little book, Several short sentences about writing.

This weekend I flipped between Klinkenborg and Annie Proulx, whom I return to repeatedly because her prose makes me drool. The single act of reading 4 paragraphs from "Brokeback Mountain" can fuel me for days.

The pair have inspired me to take a cross-examiner's position with my sentences. Scrutinize each word like a potential juror. What is your role? Are you deletable? As Dr. K puts it, "Every word is optional until it proves to be essential." This is the kind of hard-core look at your prose that you can only take if you're willing to sacrifice any or all of the words you've just lovingly placed on the page. Fortunately I don't get attached.

Klinkenborg, who's taught writing at Sarah Lawrence, Columbia, and Harvard, also promotes the art of implication.

Know what each sentence says
What it doesn't say.
And what it implies.

He suggests writing short sentences with enough space between them "for the things words can't really say."

He adores short sentences. ("They may sound strange for a while until you can hear what they're capable of.") And sentences so strong they don't rely on surrounding sentences to give them meaning. This is true: when you've written a sentence strong enough to stand on its own two feet, you've written a good sentence.

While I've written my share of Henry Jamesian sentences, I'm becoming a convert to the art of diminution. (Which does not equal attenuation.) When I write shorter sentences,  my verbs must do more heavy lifting. And so they need to be real verbs, strong verbs, even athletic verbs. This means a vast reduction in any form of the verb "to be," which creates passivity. It also means fun trips to the thesaurus, to explore the thousands of verbs writers generally use too infrequently. And to have hushed, late-night conversations with Monsieur Roget about what exactly I'm trying to say.

"To make short sentences," Klinkenborg suggests, "you need to remove every unnecessary word." This fun exercise tends to make rambling, 35-page stories, such as the one on my desktop, considerably shorter. It's also the very fine-toothed comb that allows you to sit in front of your manuscript from 4 to 11 pm and not realize that it's gotten dark, the moon has risen, and you haven't eaten dinner.

I'm only 30 pages into this 204-page book. But every time I go back and review those pages, I see something fascinating in this densely packed volume, written in something like blank verse.

A few more quotes:

The purpose of a sentence is to say what it has to say, 
but also to be itself, 
Not merely a substrate for the extraction of meaning.

What if you value every one of a sentence's attributes and not merely its meaning?




The longer the sentence, the less it's able to imply,

And writing by implication should be one of your goals.


A single crowded sentence means giving up all the
possible relations
Among shorter sentences--the friction, the tension,
The static electricity that builds up between them.
A single crowded sentence has only itself to relate to,
Only an enervated communion among its parts.

Oh how I love the thought of those enervated sentences communing, like tired refugees at Ellis Island.

Nine out of ten people polled hated diagramming sentences in grade school. So to make a topic like sentence construction this palatable, you must be mad-skilled. I'm happy to have found a guide who encourages me to think freshly about something I've been doing for 40 years.

Verlyn Klinkenborg, writing books



31 March 2013


Ralph J. Cook
August 21, 1920-March 31, 2013
May you rest in peace, my wonderful, beloved uncle.
You will be so very missed by all of us.

07 March 2013

IOWA!!!!!!


Below is confirmation of your attendance at the following conference:

Conference:
Iowa Summer Writing Festival
Location:
Iowa City, IA
Date:
6/9/2013 to 6/14/2013

Registration Type : Week Long Installment Plan

Session
Date/Time
Quantity
Advanced Craft Workshop for Creative Nonfiction
-
1



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