20 September, 2006

Potent Quotables

Trebek: “Welcome back to Jeopardy: Literal Edition with our contestants Pope Benedict XVI, President Bush, and a representative from the Militant Muslims Anti-Defamation League. Pope Benedict, since you are infallable, pick a category.”

Benedict: “I’ll take ‘Potent Quotables’ for ‘Jihad,’ Alex.”

Trebek: “Alright – and that’s our Daily Trouble, which today will focus on the Middle East. And everyone please remember to write down your answer in the form of a Medieval and religiously incendiary quote.

The answer is: A great thing to say when trying to open up peaceful interreligious discussion. You have 30 seconds.”

“Time’s up, let’s start with you, Mr. President. You wrote: What is ‘Get ‘r Done?’
I’m afraid that’s incorrect. We said a ‘Medieval and religiously incendiary quote,’ not a ‘Larry the Cable Guy quote.’”

Bush: “I didn’t write that.”

Trebek: “Um… with all due respect, yes you did. We saw you.”p>

Bush: “C’mon, fella: be a uniter, not a divider.”

Trebek: “Moving on: Pope Benedict, you wrote: What is: ‘Show me just what Mohammed brought that was new, and there you will find things only evil and inhuman, such as his command to spread by the sword the faith he preached?’

That is correct! MMADL representative, let’s see what you wrote: What is: 'I’m going to kill you.' That is not only incorrect, but amusingly ironic in light of the Pope’s quote – Pope Benedict you have won today’s Daily Trouble and the Jihad that goes along with it. We’ll be right back with more Jeopardy after this…”

New Name

Seeing as no one has said anything derogatory about the new name, I assume it is alright for us to go with. So, this is the last chance to say anything. I am going to change the url sometime tomorrow or whenever I get around to it to thepierianspring.blogspot.com. If you dont say anything I will assume you are just going to say something later and I will have to change it again.

18 September, 2006

Let Nietzsche tell you!

From Human, All-Too-Human:
92
How little the world would look moral without forgetfulness! A poet might say that God made forgetfulness the guard he placed at the threshhold of human dignity.

From Mixed Opinions and Maxims:
130
Readers' bad manners.-- A reader is doubly guilty of bad manners against the author when he praises his second book a the expense of the first (or vice versa) and then asks the author to be grateful for that.
137
The worst readers.-- The worst readers are those who proceed like plundering soldiers: they pick up a few things they can use, soil and confuse the rest, and blaspheme the whole.
145
Value of honest books.-- Honest books make the reader honest, at least by luring into the open his hatred and aversion which his sly prudence otherwise knows how to conceal best. But against a book one lets oneself go, even if one is very reserved toward people.
157
Sharpest criticism.-- One criticizes a person, a book, most sharply when one pictures their ideal.
168
Praise of aphorisms.-- A good aphorism is too hard for the tooth of time and is not consumed by all millennia, although it serves every time for nourishment: thus it is the great paradox of literature, the intransitory amid the changing, the food that always remains esteemed, like salt, and never loses its savor, as even that does.
200
Original.-- Not that one is the first to see something new, but that one sees as new what is old, long familiar, seen and overlooked by everybody, is what distinguishes truly original minds. The first discoverer is ordinarily that wholly common creature, devoid of spirit and addicted to fantasy--accident.
251
In parting.-- Not how one soul comes close to another but how it moves away shows me their kinship and how much they belong together.
404
How duty acquires splendor.-- The means for changing your iron duty to gold in everybody's eyes is this: always keep a little more than you promise.
From The Wanderer and His Shadow:
194
Dreams.-- On the rare occasions when our dreams succeed and achiever perfection--most dreams are bungled--they are symbolic chains of scenes and images in place of a narrative poetic language; they circumscribe our experiences or expectations or situations with such poetic boldness and decisiveness that in the morning we are always amazed at ourselves when we remember our dreams. We use up too much artistry in our dreams--and therefore often are impoverished during the day.
202
Tourists.-- They climb mountains like animals, stupid and sweating; one has forgotten to tell them that there are beautiful views on the way up.
203
End and goal.-- Not every end is the goal. The end of a melody is not its goal; and yet: as long as the melody has not reached its end, it also hasn't reached its goal. A parable.
249
Positive and negative.-- This thinker needs nobody to refute him: for that he suffices himself.
297
Not to wish to see too soon.-- As long as one lives through an experience, one must surrender to the experience and shut one's eyes instead of becoming an observer immediately. For that would disturb the good digestion of the experience: instead of wisdom one would acquire indigestion.
302
How one tries to improve bad arguments.-- Some people throw a bit of their personality after their bad arguments, as if that might straighten their paths and turn them into right and good arguments--just as a man in a bowling alley, after he has let go of the ball, still triest to direct it with gestures.
307
When taking leave is needed.-- From what you would know and measure, you must take leave, at least for a time. Only after having left town, you see how high its towers rise above the houses.
323
Remorse.-- Never give way to remorse, but immediately say to yourself: that would merely mean adding a second stupidityto the first.-- If you have done harm, see how you can do good.--If you are punished for your actions, bear the punishment with the feeling that you are doing good--by deterring others from falling prey to the same folly. Every evildoer who is punished may feel that he is a benefactor of humanity.
333
Dying for the "truth."- We should not let ourselves be burnt for our opinions: we are not that sure of them. But perhaps for this: that we may have and change our opinions.

Blog Name Change

What do people think about "The Pierian Spring"? as a new blog name. Straight out of Pope: "A little learning is a dangerous thing; / Drink deep, or taste not the Pierian spring: / There shallow draughts intoxicate the brain, / And drinking largely sobers us again."

17 September, 2006

Truth, Fiction, Whatever

The recurring scenario:
"So, you have a year left in college?"
"Yup."
"Do you know what you're majoring in yet?"
"Yes, I am an English major."
"Oh, so you're going to teach?"
"No."
"Well, what are you going to do then?"
"I want to be a writer."
"HAHAHAHAHAHAHAHAHAHAHAHAHA!"
silence
"You're serious?"
"Yes."
"Ok, then what are you going to write? Novels? Movie scripts?"
"Well, what I'm most interested in is Creative Nonfiction--"
"Oh so you mean lies? You're going to write lies?"
"No..."
"Well, then how is it creative if it's true?"

And such is the strife I endure whenever I try to explain to anyone what it is exactly that I believe Creative Nonfiction to be. I guess I have to be honest and admit that it is kind of a bullshit genre, consisting loosely of memoirs, travel essays, interviews, and feature pieces (which are usually analogized as glorified magazine articles), but it is still, arguably, the fastest growing and most publishable genre, as well as the most varied.

When I say "varied," what I really mean is that most of it is pure crap, but lots of it is really, really interesting. Some notable writers of Creative Nonfiction are David Sedaris, Annie Dillard, Paul Theraux, Bruce Chatwin, and Bill Bryson. Their published books cover topics such as home, childhood, travel and writing, and are all really good.

What sets Creative Nonfiction apart from Fiction is that, while it too is stylistically polished and actually enjoyable to read, it documents in truth actual events that actually happened to actual real people. Some may say that this is too confining of a limitation to give to Creative Nonfiction, but they are just lazy. Creative Nonfiction is such because it relies on fact, the author's interpretation of the facts, and the reader's interpretation of both the facts and they author's personal bias. Even though some leniency should be provided to the writer for their interpretation, there is a big difference between personal interpretation of real events and people, and total fabrication of events and people. "Art is a lie that tells the truth" because art, in itself, is not substantial, not because it deceives. In Creative Nonfiction, the art or artifice--the lie that tells the truth--is the committing of actual things to paper. The same goes for Fiction: meaning lies not in the fictional nature of the characters; meaning is in what they do and think and say and react.

I think that it is important to understand, then, that in all prose, fiction or non, it doesn't matter, when trying to find truth and meaning, whether the things that happened are real or not. So then why does it matter that Nonfiction be true, if truth is not reliant on factisimilitude? The reason why is matters, and the reason why I am so drawn to Creative Nonfiction, is that there is so much to learn from real people and their actual experiences. It is the artistic rendering of history and when it's done really well, it can pack a double punch, teaching in the way that fiction does as well as the way that a text book does. And yes, art should teach. Not necessarily teach lessons, but it should teach about the world and about the self in a way that causes everyone to look at things differently and more clearly. Otherwise, what's the point? Even abstract expressionism (and I don't mean that to say that it is a lesser art form, only that it is purely form, and therefore less likely to teach a lesson in the traditional sense than any other kind of art) evokes emotion that causes it's viewer to reevaluate they way he or she looks at life.

So, back to why Creative Nonfiction should be factual. All human experience is formative, and real (that is to say, factual) human experience is, in my experience, the most formative. Creative Nonfiction has become an important part of literary culture in it's ability to teach and inform without being didactic and tiresome (even though most of it is bad and therefore didactic and tiresome). Within my own ethical constructs, I believe that you should not teach by saying that things are true unless they really are. Call me old fashioned, but I think that telling the truth is very important. Part of the meaning that lies in all Creative Nonfiction is the fact that it is true, and I don't know why this is. On the one hand, it doesn't matter at all--the story could be totally made up and yet the meaning would remain--but at the same time, it is the entire meaning--that this real thing happened to this real person, "It could happen to you!" and this is how it really affected them.

I guess that this then begs the question of whether or not Creative Nonfiction is art or not, to which I would say that I don't have a clue, and I am haunted by the distinct possibility of my beloved literary genre being nothing more than glorified journalism. Could I be more self-contradictory, you ask? Probably, but it might be difficult. But I am not going for water-tight here, I am going for deeper understanding. So please, please shove your fists through the holes in my theory. What I am hoping is that by being shown how wrong I am about Creative Nonfiction, I will be able to figure out what it is and therefore be able to write it better. (First I may need to learn grammar, but no matter.)