Archive | February, 2015

Grim Notes

28 Feb

By going to a “darker” place, for an author, much is made more visible.  And in this renewed sight there is self-education, and an instructional invite for readers…  The sharing of secrets, and pains, and burdening questions.  Like Kerouac in ‘Sur’, and with many of his poems.  Ms. Plath with poems like ‘Daddy’ and ‘Vertical’…

Good Afternnon.. Or isn’t still morning??

27 Feb

Sorry.. been up for a while, and yes I’ve had coffee.  I hope you all enjoy your respective readings as writings and develop some independent and beaming original ideas!  Make the topic your own, I can’t stress this enough!  Find your strengths and indulge!  Develop your Personhood on your terms, and to your Beat…

Cheers, and I’ll see you Tuesday!




25 Feb

Sometimes we’re not in the mood to write, I understand, but we have to find some way of finishing our pieces, to bring about some tier of peace. And my advice, as I said yesterday in class, don’t rush! It’s writing, not running. Now print-without-ink-6sometimes you will be ‘on a roll’ and won’t want to stop, and others will be more a trudge than a trek. So don’t worry and don’t be hard on yourself. Art is more about the process than the finished product. Life demands effort from us. Again, if we’re to experience Peace, find our own Roads. Just some thoughts I wanted to share…..
Enjoy your day!

Good Morning!!

23 Feb

Anybody writing?? Please bring something to read tomorrow morning! Poem, prose, story, sketch, journal entry, experimental prose.. Whatever!!

IMG_4650(Handwritten Page by Ernest Hemingway)

Gorgeous American Grim: A Literary Lens (first 500 words, draft)

21 Feb

As readers, especially modern readers of Literature, notably American Literature, we are compelled intrinsically to evaluate, and, dare, judge. So we do; we assign tags, and categories, and genres, and words. Words that define an author and everything they do, everything they have written and the encompassing current of their work. Everything they do is ‘this’. Everything they say is because they are’ this’. Sylvia Plath, oh, she’s the woman who killed herself, and before killing herself she tried to kill herself. And she always wrote about death, and entertained death from so many angles. Why was she so depressed, why was she so “dark”? Why was she so grim? This is natural that we as modern readers, surrounded by all we are in the way of media and popular culture, are so speedy in assigning a word or ideological geography, one quite confining, to an author like Plath, or Poe. In fact, it indicates liveliness in our reads, that we’re connected, that we’ve materialized a relationship with an author, authors like Plath and Poe, and others as I’ll in this paper excavate. This very much defines culminated American paginated tonality and transcendence. But, with this position, I urge we exercise caution and make ourselves inextricably privy to other intents of words, as these additional definitions and perspectives augment our appreciation of and relationships with these authors.
When we use the term ‘Grim’, we may see things, feel a certain ride of apprehension, or fear, or doom. But, if the etymological weavings of the word are for a few analytical breaths entertained, we see measures of strength, conviction, definition, individuality. Old English intentions of ‘grim’ bring with it feels of the fierce, savage, and painful (Online Etymology Dictionary). And this very well be part of the Author’s intended song, or feel, or tone. But in this honesty we must acknowledge the truth and admirable gall behind his or her pages. And as readers, we are taught through such “Grim” gallops. We find identification and a certain therapy, community in such encounters. We meet a new friend, if you will. And even if the reader isn’t concurrently battling strife, or some specific pain, they see the other side of the Grim, which is one of conviction and an unyielding thought momentum, a stern directive with the Author’s penning, one with more benefits and lesson for modern readers.
When Jack Kerouac fled to Big Sur, he was in what some would coin an emotional chasm, or a destitute spiritual maelstrom. And yes, there was pain, and he has moods with himself and his writing and what followed the publication of ‘Road’. But, and readers, especially modern manuscript explorers, or ‘excavators’, must see is that this built his character, gave us an additional lens through which to appreciate his individualized and collective story. Even if it’s to be dismissed as “grim”. It may be painful, or depressing as so many love to say, or even dire in nature and noted nuance. But it’s truthful, it’s helpful. It introduces a wholeness and homeostatic hue to the character and the author, and to us as modern readers that would otherwise never have surfaced; hence never being seen; hence never been survey. Hence, no reaction, no evidence of text. No impression.

Thoughts from Yesterday?

20 Feb

Please post them below, anything you’d like! This morning, reading over my notes on Hemingway and Plath.. I scribbled: “Turning pages in your story, no one else, writing the content, determine the steps.” Both these stories deal with destiny and capturing it on page. But what do you see?
Enjoy Your Weekend!


18 Feb

Hello everyone.. please feel free to share your observations and thoughts on the first three chapters of ‘Bell Jar’ when you’re ready. Again, please pay attention to the poetic language and descriptions along with narrative mood and characters. Is there any similarity between the poems you found and these first three chapters?sylvia-plath-1-208x300 When noting in your journal, just take notes, don’t worry about full, complete, orthodox sentences.. just jot your ideas below. If you want, you can even take a picture of your notebook and share it below.. whatever you like. Just give us a sense of your thoughts thus far. See you all Thursday… -Mike