writing

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Writing for life

Sometimes I wonder, as others have, whether we are reaching the end of the literary culture that begins at the renaissance. If we are, one reason is obvious: people write far less than they once did. This was brought home to me when I began reading around in the 18th century. At the moment I am knee-deep in James Boswell, so he is my case in point.

Those who know him only through the Life of Johnson may not appreciate that Boswell’s collected writings will run to maybe forty volumes when the mighty Yale edition is completed. True, Boswell was exceptional and would be exceptional in any period. I cite him because of the role writing played in his life. Read the rest of this entry »

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There is a link now available to download the 125-page transcript (in the form of a .pdf document) of the original 1978 story conference between Steven Spielberg, George Lucas, and Lawrence Kasdan for a little film called Raiders of the Lost Ark.

Mystery Man in Film provides a ten point summary of what screen writers can learn from the great men. Here’s my three point summary:

  • have a bunch of lurid ideas straight out of cheap fiction
  • take them seriously
  • add magic so that anyone of any age can enjoy the movie

Simple, huh? Now go make your fortune, little pig.

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American poet, August Kleinzahler, writes:

? I, for one, have never in my lifetime seen the situation of poetry in this country more dire or desperate. Nor is the future promising. Cultural and economic forces only suggest further devastation of any sort of vital literary culture, along with the prospects of the very, very few?it is always only a very few?poets who will matter down the road. What little of real originality is out there is drowning in the waste products spewing from graduate writing programs like the hog farm waste that recently overflowed its holding tanks in the wake of Hurricane Isabel, fouling the Carolina countryside and poisoning everything in its path.

Let me put it starkly: the better animals in the jungle aren?t drawn to poetry anymore ? Just as the new genre of the novel drew off most of the brilliant young writers of the nineteenth century, movies, television, MTV, advertising, rock ?n? roll, and the internet have taken the best among the recent crop of young talent. Do you suppose for a moment that a spirited youngster with a brilliant, original mind and gifted up the yin-yang is going to sit still for two years of creative writing poetry workshops presided over by a dispirited, compromised mediocrity, all the while critiquing and being critiqued by younger versions of the same?

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A last word about the growth of creative writing courses (previous entries here and here) before their demand for paper deforests the world.

Unless compelled, the students will not read. According to Michael Wilding, who introduced creative writing at Sydney University:

Most of the people studying it and teaching it are deeply committed to writing, but many have little or no interest in books by other people. They all want to write, but have little interest in reading.? ? _ [Weekend Australian, Feb 9-10, 13]

An honorable exception, Alan Wearne at Newcastle University, will have none of that: he makes them read and what’s more limits the intake to 35. To get in there you need demonstrated talent. Elsewhere, the enrolment figures are in the hundreds, and the reading requirements slight or non-existent.

A surefire way of reducing the anxiety of influence, of course. It seems the creative writing people are adopting the educational approach favoured by our art schools from about 1970 on, with results now familiar.

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For making detours and going by sideroads, nothing is more convenient than the essay form. One can take off in almost any direction, certain that if the thing does not work out one can turn back and start over in some other with only moderate cost in time and disappointment. Midcourse corrections are rather easy, for one does not have a hundred pages of previous argument to sustain, as one does in a monograph or treatise. Wanderings into yet smaller sideroads and wider detours do little harm, for progress is not expected to be relentlessly forward anyway, but winding and improvisational, coming out where it comes out. And when there is nothing more to say on the subject, or perhaps altogether, the matter can simply be dropped. “Works are not finished” as Val

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