Rare Words

I received, among other things, a new book for Christmas titled Rare Words and wanted to share a few:
basial (BAY-zee-uhl)
adj. pertaining to kissing

indaba (in-DAH-bah)
n. 1. a conference or discussion. 2. a person's business, problem, or concern (originally a Zulu word for conference).

theophany (thee-AH-fuh-nee)
n. a visible manifestation of God; God in human form (from the Greek theo, "god," + phainein, "to show").

anlage (on-LOG-uh)
n. inherited disposition to certain traits or a particular character development.

This book makes me think of another I've always found interesting--my first masters is in Early American Lit, which features primarily non-fiction/public speeches/religious zealousness/autobiography, as the country was new, etc. The word "several" did not exist/work it's way into circulation until much later. Instead, the word was "divers" i.e. "We gathered divers people for the sermon." I wish I knew who coined "several" or the year it came about. Does any one else happen to know? Or want to share your own favorite rare word, or your favorite word that isn't rare?

Cindy '08

Don't forget!

Today is the postmark deadline for the Austin Chronicle's Short Story Contest. You don't need to be a resident to enter, and there are no entry fees.

Speaking of cool contests, Kelly Link is judging DIAGRAM's $5 Innovative Fiction Contest. Deadline is 3/15/08, prize is $1000 plus publication.

Pub News

So this job dilemma has been keeping me in a funk the last few weeks, but some good news today. I just found out my story, "The Rooftop" will appear in the August issue of The Southeast Review.

And it looks like Amelia and I are really going to New York for AWP. You guys should really come with us . . . .

A response about neutral vs. emotional lit

Here you will find a blog post about emotional vs. neutral lit. The actual post is less interesting than the discussion that follows, partly because the writer throws emotional lit into hyperbole - even calling it "emotional lit" kind of makes it sound like writers employing the use of emotions are trapped in some Victorian-era psych ward for hysteria cases. Also problematic is that the "neutral" writer is defined as one who "only expresses what actually happens, without including their own judgements," which is actually impossible unless you're some kind of New Critic who believes ultimately that a single interpretation is possible with the right order of words.

If emotional writing acts as "a sort of propaganda" by using emotions to manipulate the reader "into thinking in ways that are not rational," a "neutral" tone (I even have problems with using the word "neutral" here, since it's affected, neutrality is impossible - maybe one reason why the author switches to "dead-pan" to cover his tracks a bit) uses that same kind of propaganda, using emotions to manipulate the reader. The only difference, perhaps, is the goal of the "neutral" manipulation is to get the reader to think in ways that are rational.

In reading the comments on Tao Lin's stories, I see a lot of "I have always felt this way but was never able to express it so succinctly" kind of sentiment. That's the power of neutral writing - it enters your brain like a fact you always knew. On the other hand, "neutral" writing is just as affected as "emotional" writing and, if done poorly, the seams start to show. From one of the blog comments:

I guess I just feel like the overwrought detachment that I see in the work of people like Tao Lin, to me is an empty gimmick. I understand depression, have it myself, but am being finally, I think treated sucessfully. I understand that detachment is a function of the way the modern world with all its technology and distractions makes us and blah blah blah etc...; however, I don't want to read a writer who doesn't see the world as a dynamic, wonderous thing. [...]

Tao Lin responds to the criticism, suggesting that sarcasm or irony are involved and says "that is a kind of thinking that could lead to thinking that you are 'right' and other people are 'wrong' in terms of art," which I think is true and also pretty soundly refutes the blog post they are discussing.

This is all interesting to me because I think I've been pushing harder towards detachment in my own writing over the past few months. It hasn't been a conscious movement, but I read it as funnier, sharper, and ultimately more true when the world happens to a character who observes acutely but is largely unimpressed. In turn, that kind of fiction is most likely to grab me, particularly when it is flash fiction. (My own reasons for writing in terms of fact over emotion may have more to do with the goal of a story as a philosophical statement, but that's a topic for another day.)

Anyway, what do you guys think of this short-form literary nihilism?

Possible Lesson Plan or Class Discussion

This is the last week of classes here at CSU-MB. I haven't met with my students in the classroom in over a week because we were having individual conferences. I needed a writing activity to get them focused back on writing and our assignment this week, final portfolios. They have been asked to think about their growth these last few months, so when I came across this article about the "dumb-ification" of today's youth, the two kinda fit together.

I handed the article out and they responded to it. It was just explosive. A very good way to get the class to reflect on their past experiences, including my class.

It was surprising how many of them blamed themselves for this "laziness" problem and not their parents, teachers, schools. etc.

Just thought I would share. Sue would be so proud.

Love you guys.

Giving

I propose we all chip in 15-20 dollars to buy a painting of Nathan Altman, former MFA student, who died of cancer a couple of years ago. Matt Stuart painted them, and they are now available for 100 dollars. Half of the proceeds go to Lance Armstrong's Foundation, LiveStrong, and the other half go to the Nathan Altman Creative Writing Scholarship (in conjunction with the Fayetteville Public Education Foundation). Our fiction class might consider donating the painting itself to the department, to the KAP House, or to some other local literary space in need of good artwork.

From Matt's website (www.matthewdstuart.com):

"I am donating 100% of the money collected through the sale of these prints. 50% of the money goes to LiveStrong, the Lance Armstrong Foundation. The other 50% goes to the Nathan Altman Creative Writing Scholarship that Nate’s parents are establishing in conjunction with the Fayetteville Public Education Foundation. I’ll make the donations quarterly in Nate’s name. For more information about the Lance Armstrong Foundation, visit www.livestrong.com.

"To order the signed and numbered print, please email me (mds.art@gmail.com) and I’ll reserve one for you. The cost is $100. The painting is reproduced on high-quality, archival watercolor paper and measures 18 x 24 inches. Once you’ve ordered, please allow 2-3 weeks for delivery."


So, can we search the seat cracks and shake the piggies for a good cause?

Story up:

"This Quiet Complex" is up at Monkeybicycle. Representing the fabulous Summit Apartments in San Marcos, where they once found a dead guy in the dumpster.

R.I.P. Lady I've Never Heard of

Elizabeth Hardwick, co-founder of the NYT Review of Books, died. It's a good obit.

Sympathy

I need some.

CSUMB just told me they only have one class for me to teach next semester (even though they told me they'd have more when they interviewed me in August). I feel lied to and completely upset about the whole thing. Tell me you love me.

This is when I really wish that i was back in Austin (I wish that all the time) and we could all drink and lament our jobs (except Bearden--woot! for you). And you could buy me some bourbons and cokes and then we would jump in the River together (remember that?) You guys are such good friends. There's just nobody like you out here.

Now, the job hunt begins.

Announcing:

My story "Kids Say the Darndest Things" was nominated for a Pushcart Prize.