Quote of the Day: Terry Southern on Hollywood, Writing, “Freakishness”

(Library of Congress)

Somewhere in Southern California (Library of Congress)

Today’s bit of perception about one of America’s most over-analyzed, unloved, and misunderstood “cities” comes courtesy of surrealist pie-thrower and comic raconteur Terry Southern (CandyDr. Strangelove). Interviewed at length for The Paris Review‘s occasional series on screenwriters (the interview took place in 1967 but wasn’t published until 2012) the Texas-born Southern expounded on that great Southern California sinkhole of creative energy and dashed dreams:

Hollywood, that is to say, Los Angeles, is not, of course, a city, and its sinister forces are very oblique. There’s no public transportation system whatever, so the people drive around as though they were living in Des Moines, and it has all the rest of the disadvantages of a small town, only filled with displaced persons. On the other hand, life there has an engaging surrealist quality, an almost exciting grotesqueness.

The cultural scene there in general is sped up, sort of concentrated. Southern California is a mecca for all manner of freakishness, beginning on the most middle-class level—hot-dog stands in the shape of a hot dog. If you go there, you’ll immediately see a carnival, Disneyland aspect that is different from any other place in America.

Southern also notes the differences between the ladies of Hollywood and those of the East Coast:

… girls who want to be ­writers come to the Village and girls who want to be actresses go to Hollywood.

Writer’s Corner: James Franco is a Poet Now, Too

At some point, you would think that the whirling creative polymath that is James Franco would settle down. Onetime heartthrob actor turned creator of curious art installment films (Interior. Leather Bar), star of trashy-smart comedies (This Is the End), director of small-scale literary adaptations (As I Lay Dying), author of novels and short stories, and now: poetry.

francobook1Instead of going with a big press for his collection, Directing Herbert White, Franco smartly went with one of the more respected small poetry outfits out there: the expert Minnesota-based indie Graywolf Press. You can read an excerpt from the collection here.

How is the poetry itself? Not that memorable, but not noticeably worse than much of what’s out there and not necessarily contingent on Franco’s name.

As David Orr puts it in last week’s Times‘ Sunday Book Review, it’s:

“Directing Herbert White” is the sort of collection written by reasonably talented M.F.A. students in hundreds of M.F.A. programs stretching from sea to shining sea. Which is perhaps not surprising, since Franco actually has an M.F.A. in poetry…

…uniformly written in the kind of flat, prosy free verse that has dominated American poetry for ages (typical line: “New Orleans Square is my favorite part of Disneyland”), with stanzas that aren’t so much stanzas as elongated paragraphs.

One could argue that it’s just that flat and unadorned poetic style which all too often reads as lazy and slashed-up prose than actual lyricism which has helped reduce poetry to its currently weakened state.

But Orr’s ultimate take on the book is probably the right one. In short, there’s a lot of bad poetry out there. Better that somebody with the name recognition of Franco is at least taking up the flag and giving it an honest go:

Poetry is the weak sister of its sibling arts, alternately ignored and swaddled like a 19th-century invalid, and that will change only by means of a long, tedious and possibly futile effort at persuasion. Perhaps it’s a blessing to have James Franco on one’s side in that struggle.

Writer’s Corner: Selling Your Book

(Library of Congress)

(Library of Congress)

Ted Thompson’s first novel, The Land of Steady Habits, will hit stores in January. In his funny, honest essay for Salon, “I Sold My Book for $25,000,” he talks (a little) about the process and (a lot) about what he learned. It should be required reading for anybody new to the publishing game who’s got a novel in their head or hard drive and wants to know what awaits them.

tedthompsoncover1Firstly, Thompson brings a well-needed slap of reality to new writers’ often starry-eyed wishes, particularly the notion among many writers and lovers of quality work that a book is only as good as its writing:

Subject matter matters … Once a manuscript leaves your desk, subject matter is the primary (and often only) way it is discussed. So if you haven’t figured out a quick way to answer that cringe-inducing question “What’s your book about?” in a way that interests other people, somebody else will.

Though you wouldn’t know it from hearing all the self-publishing fanatics (the Hugh Howey types who insist that self-publishing is the only way to go) foam at the mouth about elitist publishers, Thompson insists quite correctly that the average publisher wants to like your book:

Every book they publish, especially if it’s by a first-time writer, is a risk to them and their reputation, and it’s one they take because they personally responded to the book. This was a revelation to me, the fact that the grand faceless facade of New York publishing turned out to be a collection of surprisingly normal people, all of whom were looking to fall in love with a manuscript.

And lastly, a point that can’t be made enough: Don’t expect to strike it rich. Thompson signed with a major publisher and even sold some foreign rights. Still, he made about $75,000, and that’s before agent and other fees.

So, even if you’re one of the chosen few who actually gets published by one of the major houses, it’s probably wiser to splurge a little on a new laptop and a few weeks at a writer’s colony for the next book, and bank the rest. In other words: Don’t quit the day job.

Writer’s Corner: Dublin Writers Festival, From Festivals to The Troubles

K7524 - DWF_Generic Web Banner_v1

yearoffestivals1In the last bit of coverage from the Dublin Writers Festival, we have a story from Ireland’s fraught past and cautiously optimistic future.

First there was a marvelous spoken-word show from Mark Graham, who had decided not long before to buy a used camper and go attend three festivals a week around Ireland for an entire year. Apparently every town of more than two houses has a festival, so it worked.

Next up was “Where They Lie,” an investigation into the search for justice on the part of those who were “disappeared” by the IRA during The Troubles (that horrid euphemism) in the north for supposedly collaborating with the British or Unionists. It was a tough evening, with no easy answers for those in attendance.

“Where the Disappeared Lie” is here at PopMatters.

Writer’s Corner: Dublin Writers Festival, Crime Time

K7524 - DWF_Generic Web Banner_v1

littlegirllost1One of the more interesting panel discussions at the Dublin Writers Festival was titled “The State of Crime”. In it, crime novelists Arne Dahl, Sinead Crowley, and Brian McGilloway held forth on everything from the state of Swedish society to whether or not they did any research with the police before writing their first books.

My writeup is at PopMatters:

As with many events at the Festival, the talk turned to writing mechanics. Moderator [Declan] Burke suggested that aspiring writers not try to put everything into a first draft. He preferred just banging it all out once, messy or not, and then going back and fixing anything from plot to characterizations on multiple later passes. Dahl suggested writing one short story a year in addition to novels, since the compressed space “sharpens your pen”. He also thought it helpful, and possibly even necessary, for crime writers to read Macbeth once a year…

Writer’s Corner: Dublin Writers Festival, Day 1

K7524 - DWF_Generic Web Banner_v1

The annual Dublin Writers Festival, which just concluded this past Sunday, was an enjoyably low-key but nevertheless enthusiastic affair, mixing up writing workshops with talks and Q&As with authors and the occasional performance piece.

I covered a few days of it for PopMatters; here’s part:

This is Dublin, after all, which proudly carries its status as UNESCO City of Literature, and where the odd plaque on an undistinguished townhouse near St. Stephen’s Green reminds you that Bram Stoker lived there, and the Gate Theatre just happens to be staging An Ideal Husband by the Dublin-raised and -educated Oscar Wilde.
  
The event locations were mostly clustered within an easy walk of Temple Bar, making one conveniently never far from a restorative tipple. The offerings ran the gamut from workshop-like conversations with would-be writers to themed readings and music and poetry galas. By the end of even just one day, if you didn’t already have a novel or cycle of poems in the works, you would feel as though you were somehow missing out…

Other entries to follow soon.

Writer’s Corner: The Unbearable Whiteness of Creative Writing Programs

There has been a lot of talk over the past few years about the worth of creative writing programs. They’ve been long derided as factories for bloodless mediocrity, churning out legions of well-schooled kids told to write what they know, when often they just don’t know that much of anything yet.

In Chad Harback’s 2010 essay, “MFA vs. NYC“, he points out that much of the hand-wringing about the churning out of “cringing, cautious, post-Carverite automatons” is besides the point:

…even if the writer has somehow never heard of an MFA program or set foot on a college campus, it doesn’t matter, because if she’s read any American fiction of the past 60 years, or met someone who did, she’s imbibed the general idea and aesthetic. We are all MFAs now.

But though Harbach’s ultimate point (which he expanded into a book earlier this year) is a sound one: writing programs are here to stay, and the real question is whether or not one should take use of them or just up and move to New York to get a toehold in the publishing industry.

diaz1One point about creative writing programs that hasn’t been much explored, though, was just raised by Junot Diaz in a piece he wrote for the New Yorker: “MFA vs. POC” (“POC” for “people of color”). As usual, Diaz doesn’t mince words when talking about his experience, and that of his other “Calibans,” as a POC in almost entirely-white writing programs:

In my workshop the default subject position of reading and writing—of Literature with a capital L—was white, straight and male … Race was the unfortunate condition of nonwhite people that had nothing to do with white people and as such was not a natural part of the Universal of Literature, and anyone that tried to introduce racial consciousness to the Great (White) Universal of Literature would be seen as politicizing the Pure Art and betraying the (White) Universal (no race) ideal of True Literature.

Even more depressing:

I remember one young MFA’r describing how a fellow writer (white) went through his story and erased all the ‘big’ words because, said the peer, that’s not the way ‘Spanish’ people talk. This white peer, of course, had never lived in Latin America or Spain or in any US Latino community—he just knew. The workshop professor never corrected or even questioned said peer either. Just let the idiocy ride.

It’s worth thinking about Diaz’s critique the next time you see the piles of new fiction filling the stores. Consider those slim volumes of short stories from the well-connected, fully MFA’d writers published in all the right magazines. A rainbow of diversity, it’s not. As Diaz says to the “students of color” who asks his advice about whether or not to stay in these programs:

…please hang in there. We need your work. Desperately.

Readers’ Corner: Whiskey and the Dylan Thomas Centenary

whitehorsetavern1

Dylan Thomas drank here: The White Horse Tavern, circa 1961 (Library of Congress)

The thunderously great poet Dylan Thomas would have turned 100 years old yesterday. So of course the date was used as an excuse to announce that Rhys Ifans would be playing the writer of “Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light” in an upcoming film.

Whether Thomas was done in by poor medical attention or the demon drink back in 1953 is still a question for debate. But what’s unquestioned is the staggeringly large amounts of alcohol he consumed over his lifetime—and when other writers are shocked by how much somebody drinks, then you know they might have a problem.

And whether or not these actually were his last words, they need to be noted once more:

I have had 18 straight whiskies, I think that’s the record.

Writer’s Corner: Oates on Oates

In a mostly successful attempt to undermine and interrogate the whole concept of author publicity, the writer as an identity, the interview process itself, Joyce Carol Oates interviews herself for the Washington Post.

One key takeaway:

Is there something frankly embarrassing or shameful about being a “writer”?

The public identification does seem just a bit self-conscious, at times. Like identifying oneself as a “poet,” “artist,” “seer,” “visionary.”

Also, this:

Let’s get back to the crucial question: Are you, or are you not, the “writer”?

The point of James’s remark is that the “writer” is embodied in his — or her — writing. The place to look for James, for instance, is in his books.

Points to Oates as well for referencing both Henry James and Paula Deen in the same piece without straining.

In Memorium: Gabriel Garcia Marquez (1927-2014)

onehundredyearssolitudeThe Nobel Prize-winning novelist, journalist, fabulist, realist, radical, magical Gabriel Garcia Marquez passed away today at his home in Mexico City, at the age of 87.

You will read many books in your life without coming across one with a more perfect beginning than that of Marquez’s One Hundred Years of Solitude, fragrant as it was with the promise of the wild and ravishing pages to follow:

Many years later, as he faced the firing squad, Col. Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice. At that time Macondo was a village of 20 adobe houses built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs. The world was so recent that many things lacked names, and in order to indicate them it was necessary to point.

Many novelists from Isabel Allende to Mark Helprin worked from a similarly evocative template as Marquez’s, what became known as magic realism. But almost none were able to marry as Marquez did the ravishing heights of imaginative leaps with that bone-deep fatalism born out of his study of Latin American history and politics.

In other words, Marquez proved that in fiction sometimes a flight of fantasy tells the truth better than purported realism. The fact that he wrote like his life depended on it was just a bonus for us readers.