This finds me working
on the
book on Far West Texas, and about to resume the Marfa Mondays podcasts (20
podcasts posted so far, 4 more to go, listen in anytime). I just
posted a brief video of my visit last November to see, among other wonders and
curiosities, a most extraordinary and controversial statue at the El Paso
International Airport.
Because of the way it is placed, directly behind a grove of extra-fluffy trees,
and at the entrance where most drivers, speeding in, are on the lookout for
signs, such as rental car return, departures, arrivals or parking, I
daresay few passersby would even notice the statue. I myself drove by it more
times that I would like to admit before I realized it was there.
Here’s my 3 minute video:
My video mentions “The Last Conquistador,” a magnificent documentary about this statue and the controversy. Watch the trailer:
POV Interactive offers the first clip of “The Last Conquistador” documentary:
For “Behind the Lens POV PBS”
Cristina Ibarra and John Valadez Talk about the Juan de Oñate Sculpture:
I’ll give the sculptor, John Sherrill Houser, the last word, quoting him from the documentary:
“Here it is, look at this and think about it, good and bad, the whole thing. The history.”
I am the featured member interview this month in the Biographers International newsletter. Herewith:
BIOGRAPHERS INTERNATIONAL: What is your current project and at what stage is it?
C.M. MAYO: I’m at work on World Waiting for a Dream: A Turn in Far West Texas, not a biography properly so-called, but the narrative weaves in some history and so encompasses a number of biographical vignettes from Alvar Nuñez Cabeza de Vaca, the conquistador who got lost, to some of the contemporary artists working in Marfa. Stage: still banging out the first complete draft.
Madero was the leader of Mexico’s 1910 Revolution and President of Mexico from 1911-1913, so the fact that he was a Spiritist medium and, albeit under a pseudonym, author of a book of Spiritism published in—yes—1911, is a dramatic twist in the paradigm of how we understand the spark of the Mexican Revolution.
My book, which includes my translation of Madero’s book, was published in 2014, so I am well into the promotion stage. (I’m delighted to report that Metaphysical Odyssey into the Mexican Revolutionwon the National Indie Excellence Award for History, and to date, I’ve given talks about it at Mexico City’s Centro de Estudios de la Historia de México, Rice University, Stanford University, UCSD’s Center for US-Mexico Studies, and the University of Texas El Paso, among other venues.)
> Listen to and/or read some of my talks about this book here.
BI: What person would you most like to write about?
C.M. MAYO: At the moment, because I’m writing about Far West Texas, pioneer petroleum geologist Wallace E. Pratt. I am especially intrigued that he would choose to live for many years in a such an isolated place as McKittrick Canyon, deep in the Guadalupe Mountains. It is, in large part, thanks to Pratt’s visionary gift that we now have the Guadalupe Mountains National Park. I am very honored to say that I will be one of the artists-in-residence in the Guadalupe Mountains National Park this spring, so I will have the chance to retrace his steps and visit his house.
BI: Who is your favorite biographer or what is your favorite biography? C.M. MAYO: As far as my Far West Texas reading goes, I both admired and especially relished the biography of the 20th century bard of Texas, J. Frank Dobie: A Liberated Mind, by Stephen L. Davis. Many of the popular ideas we take for granted about Texas and Texans have their roots in Dobie’s works.
BI: What have been your most satisfying moments as a biographer?
C.M. MAYO: I’ll answer this for my book on Francisco I. Madero, Metaphysical Odyssey into the Mexican Revolution. After many years of reading and archival research, it was tremendously satisfying to be able to fit together the pieces of what had been a humdinger of a puzzle—how could Madero be rifle-toting revolutionary and a Spiritist, a savvy political organizer and victim of a coup d’etat?— into a narrative of high strangeness but relative sense. Suddenly Mexico itself looked very different.
BI: One research/marketing/attitudinal tip to share?
C.M. MAYO: As a biographer I have only published the one title, however, I have published several other works of fiction and nonfiction, so I do have more than a little experience about this perennially mystifying and consternating topic.
My short answer is three words: sports psychology helps.
My long answer is: take consistent resilient actions, answer the email that deserves an answer, write an op-ed if you can, and be generous (what goes around comes around, albeit willynilly). The true reward is in the writing itself. It is a wondrous privilege to be able to write at all. Don’t ignore the “publishing business,” but don’t take it too seriously, either. Books can have deeply strange destinies. After all, they are magical time travelers.
Thank you, Typewriter Techs!My refurbished 1961 Hermes 3000 typewriter has arrived in Mexico City. Typewriter Techs, the Riverside, Illinois company that refurbished it, shipped it to California in a box so well padded it could have survived a Mars landing; having discarded the packing materials and box, I then grew some new biceps carrying it on board my flight home. I’d say it weighs about the same as a wet brick. It was a loooooong way from the security screening area to the gate. Jack LaLanne, watch out.
The color is just as I had hoped, a foamy celadon (although it looks gray in this photo— too strong a flash).
LIKE TIME TRAVELING
I’m old enough to have had nearly two decades of experience with typewriters, both manual and electric, before I started using a computer in the late 1980s. It was an eerie experience to type on a typewriter again… like time traveling.
My first attempts at typing on this antique were clumsy, since I am, as are we all, so used to letting fingertips fly over a laptop’s keys and making scads of corrections en medias res and whatever whenever wherever and with the benefit of, after penicillin and sliced bread, the bestest thing ever invented: CNTRL Z!
“The 3000 model is a Swiss segment-shifted typewriter with excellent alignment, smooth carriage return, and quality manufacturing, introduced in the fifties. You’ll find it in a wonderfully bulbous body, painted in a color that some call “sea-foam green”… Not the very fastest or snappiest typewriter, but “buttery” in its smoothness, as fans like to say… Users include Larry McMurtry, Sam Shepard, Eugene Ionesco, and Stephen Fry.”
A tip of the Stetson to my fellow Texan Mr. McMurtry. As for Monsieur Ionesco, voila l’entrevue:
I WILL NOT PANIC ABOUT TYPEWRITER RIBBONS NO I WILL NOT PANIC
Although we now inhabit a consumersphere rife with such ecologically exploitative poppycock as single-serve Nespresso capsules… it is nonetheless easy-peasy to find typewriter ribbons that work for multitudinous models and makes of typewriters. I knew that from reading Polt’s The Typewriter Revolution, and a quick Google. Furthermore, Typewriter Techs included this with their shipment:
In case you cannot read the image and/or your
brain, like mine, goes into blur mode WITH ANYTHING WRITTEN PLEASEGODWHY
ALL IN CAPITAL LETTERS, it says:
“ALL ABOUT RIBBONS
“In the 1950s ribbon sales topped 50 million annually, they were the toner of their day. But unlike toner most typewriters will take the same ribbons. There are several direct replacement ribbons available for most machines. If you cannot find one, don’t panic. The ribbon itself is identical, only the spool changes. We recommend you purchase the genetic black., or black and red ribbon and rewind it onto your current spools. This is the least expensive and guarantees a correct fit. You can also contact us we stock a large variety if replacement ribbons.
“Cloth ribbons will hold more ink than nylon. Cotton will soak up the ink, nylon it just lays on top of it. A typical ribbon should last about 900,000 characters or about 180,000 words… That’s around 500 pages. A good quality ribbon will transfer the ink without leaving excessive ink on the type bars or pages. If the entire type slug is covered in blue, it’s probably not a good ribbon to use again. Black only ribbons can be turned upside down and doubled in life.”
YE PAD
A related and most felicitous purchase was the Jackalope typewriter pad. Definitely it cuts the noise.
LAST BUT NOT LEAST, YE LOVELY TYPEWRITER FABRIC
A most thoughtful holiday gift from my sister’s dog (yes, in our family the dogs give presents): this yardage of neat-o typewriter fabric and I do like it draped over the Hermes, just so. Nope, I am not going to attempt anything on a sewing machine, the typewriter is my own personal Mount Everest for the moment. Must get typing.
Strange, muscled, riven with grief, Blume Lempel’s short stories, many set in the U.S., are for the ages. Yet because Lempel wrote in Yiddish, few aficionados of the form have had the chance to read her— until now, with the translation by Ellen Cassedy and Yermiyahu Ahron Taub, Oedipus in Brooklyn and Other Stories.
“Lempel (1907–1999) was one of a small number of writers in the United States who wrote in Yiddish into the 1990s. Though many of her stories opened a window on the Old World and the Holocaust, she did not confine herself to these landscapes or themes. She often wrote about the margins of society, and about subjects considered untouchable. Her prize-winning fiction is remarkable for its psychological acuity, its unflinching examination of erotic themes and gender relations, and its technical virtuosity. Mirroring the dislocation of mostly women protagonists, her stories move between present and past, Old World and New, dream and reality…
“Immigrating to New York when Hitler rose to power, Blume Lempel began publishing her short stories in 1945. By the 1970s her work had become known throughout the Yiddish literary world. When she died in 1999, the Yiddish paper Forverts wrote: ‘Yiddish literature has lost one of its most remarkable women writers.'”
Ellen Cassedy, translator, is author of the award-winning study We Are Here, about the Lithuanian Holocaust. With her colleague Yermiyahu Ahron Taub, they received the Yiddish Book Center 2012 Translation Prize for translating Blume Lempel.
Yermiyahu Ahron Taub is the author of several books of poetry, including Prayers of a Heretic/Tfiles fun an apikoyres (2013), Uncle Feygele (2011), and What Stillness Illuminated/Vos shtilkayt hot baloykhtn (2008).
C.M. MAYO: Can you tell us more about Yiddish as a language, and specifically, its roots and connections with other languages, including German and Ladino?
ELLEN CASSEDY & YERMIYAHU AHRON TAUB: Yiddish is a Germanic language written in the Hebrew alphabet. For hundreds of years, it was the everyday vernacular spoken by Jews in Eastern Europe. While Ladino became the Spanish-inflected language of Jews in the Mediterranean region, Yiddish was the everyday language among Jews living farther north, in Germany, Russia, and Eastern Europe.
YERMIYAHU AHRON TAUB: There is an alternative theory that Yiddish is essentially a Slavic language, but most scholars believe it’s a Germanic language.
ELLEN CASSEDY: For me, Yiddish is a holy tongue. Translating Yiddish connects me to a history, an enduring cultural legacy. Yiddish is precious to me for its outsider point of view, its irony, its humor, its solidarity with the little guy, its honoring of the everyday.
YERMIYAHU AHRON TAUB: The Yiddish language has been a crucial tool for my literary work. As a bridge to the past and an enhancement of my literary and social present, Yiddish opens a vibrant linguistic plane, full of texture, play, and reference. Yiddish is for me a place of primal connection and, for all its and my “baggage,” a source of strange comfort. Writing, reading, and translating Yiddish also allows me to learn new Yiddish words and re-learn forgotten ones.
C.M. MAYO: You write in the introduction that for Blume Lempel the “decision to write in Yiddish was a carefully considered choice.” What do you think motivated her to write for what was already a quickly shrinking readership?
ELLEN CASSEDY & YERMIYAHU AHRON TAUB: For Lempel, Yiddish was a portable homeland that served her well as she encountered new circumstances and new languages. Born in 1907 in a small town in Eastern Europe, she immigrated to Paris and then fled to New York with her family just before World War II. Until her death in 1999, writing in Yiddish enabled her to express her connection to those who had perished in the Holocaust – as she put it, to “speak for those who could no longer speak.”
Writing in Yiddish also afforded a kind of “privacy.” Lempel wrote about subjects considered taboo by other writers – abor—ion, rap—, erot— imaginings, even inc—st.* Would she have felt free to exercise the same artistic freedom in English? Perhaps not.
*[C.M.: Massive apologies for inserting these ridiculous dashes but if left in plain English, which I am sure that you, gentle reader, can figure out, the Google bot may, in the Byzantine wisdom of its algorithms, send this blog into SEO netherworlds.]
But if Lempel needed privacy for artistic freedom, she also wanted recognition and worked hard to get her work out to a wider audience. Her efforts paid off. Over the years, she won widespread admiration among Yiddish writers and readers and received numerous Yiddish literary prizes.
C.M. MAYO: What do you think would have been lost in these stories had Lempel written in English? This is another way of asking, what were the biggest challenges for you as translators?
ELLEN CASSEDY: I don’t put much stock in the idea that some literary qualities can be expressed only in their original language. For me, what’s important is the fluidity and freedom that Lempel herself experienced, which resulted in the extraordinary richness of her prose. I’m not sure she could have attained such heights in a language that was not part of her very being from girlhood on.
YERMIYAHU AHRON TAUB: As we translated, we encountered surprises at every turn—in virtually every paragraph, and on every page. Lempel’s prose is so poetic and rich that we had to exercise special care to capture her unique melody.
Sometimes we had to accept uncertainty, realizing we wouldn’t be completely certain of Lempel’s meaning even if her text had been written in English. It was immensely satisfying to work with a partner, to be able to bounce ideas off each other, and to know that our interchange would strengthen the final version.
ELLEN CASSEDY: Lempel’s narrations move between past and present, often several places on the same page, from Old World to New, from fantasy to reality. Imagine the conversational matter-of-factness of a Grace Paley combined with the surreal flights of a Gabriel Garcia Marquez.
C.M. MAYO: Can you also talk about how it was to work together as co-translators?
ELLEN CASSEDY: Working together was a joy. Once we’d selected the stories, each of us chose our favorites and produced first drafts. Then the other one carefully went over those drafts and made suggestions.
I was brought up to pay very close attention to the wonders of the English language. Every family dinner included at least one trip to the dictionary. I brought that intense involvement with English to the translation table.
YERMIYAHU AHRON TAUB: Working together has been joyful, yes… but also humbling. One had to be open to another’s suggestions and feedback throughout the process. There was a lot of give and take, back and forth about meaning, the best turn of phrase, etc. Of course, every book, even one by a single author (and no translators), is a collaboration of some kind—with the publisher, editor, cover artist, designer, etc. But collaboration on the text— of every word of it—is much more so. I’ve learned a great deal from this process—about translation, about myself … and about Ellen!
Of course, this collaboration is still an ongoing process, as we complete interviews and embark on speaking engagements on behalf of the book. I feel so fortunate to be working with Ellen.
ELLEN CASSEDY: Back at you, dear partner!
C.M. MAYO: Do you think Lempel’s visibility as a literary artist, and her life, might have been different had she written in English?
ELLEN CASSEDY & YERMIYAHU AHRON TAUB: Absolutely. The Yiddish literary circle after World War II was far-flung but cohesive, and she thrived within it. Yiddish publications all over the world carried her work. She received prizes in Israel, Canada, and the U.S. When she died, the Yiddish paper Forverts wrote: “Yiddish literature has lost one of its most remarkable women writers.”
Despite her success within the Yiddish literary sphere, though, she always dreamed of an English-language readership. Although a few individual stories of hers appeared in journals and anthologies, there has been no full-length collection in English until now. It’s a joy for us to help her unrealized dream come true.
C.M. MAYO: What inspired you to translate Yiddish?
ELLEN CASSEDY: Years ago, when my Jewish mother died, I decided to study Yiddish as a memorial to her and a way to sustain ties with my Jewish forebears on both sides of the Atlantic. I was also looking for a home within Jewish culture, and I hoped Yiddish language and literature would provide that home. And indeed it has!
YERMIYAHU AHRON TAUB: Yiddish was a part of the ultra-Orthodox yeshiva world in which I was raised. I studied it formally as an adult and have been engaged in Yiddish culture since the early 1990’s.
C.M. MAYO: What brought you to translate Blume Lempel?
ELLEN CASSEDY: Early on, when I told my Yiddish teacher I wanted to try my hand at translation, he went to his bookshelf and pulled out a little volume– Blume Lempel’s first collection, personally inscribed to him by the author. When I met Yermiyahu Ahron Taub in a Yiddish reading group, we decided to look into this volume. We were astounded to find truly unique writer with a dazzling lyrical style, an unparalleled compassion for her characters, a startling diversity of settings, and a daring range of subjects.
YERMIYAHU AHRON TAUB: It didn’t take long for us to decide we had to translate these splendid stories so that they could reach the wider audience they so richly deserve.
C.M. MAYO: If you could select one short story as the most representative of her work, which one would it be, and why?
ELLEN CASSEDY: It’s hard to choose, because Lempel’s range of settings and characters is huge. She tells truths about women’s inner lives that I’ve never encountered anywhere else.
“Waiting for the Ragman” is particularly rich in its description of life in a small Eastern European hometown, including a loving description of preparation for the Sabbath.
And I have to mention the title story, “Oedipus in Brooklyn.” Lempel masterfully draws you into the story of a contemporary Jewish mother and her blind son as they move inexorably toward their doom.
YERMIYAHU AHRON TAUB: “Her Last Dance” tells the story of a Jewish woman forced to rely on her wits and beauty to survive wartime Paris. Despite its small scale, it evokes for me the work of Irène Nemirovsky and Nella Larsen (Passing). In capturing the desperation of a woman on the edge, it reminds me of Edith Wharton’s The House of Mirth.
“The Invented Brother” captures the poignant emotions of a young girl whose beloved older brother is swept away into revolutionary activity.
C.M. MAYO: In one of the many blurbs for this collection, Cynthia Ozick calls Blume Lempel “a brilliantly robust Yiddish-American writer. Why should Isaac Bashevis Singer and Chaim Grade monopolize this rich literary genre?”
Can you tell us more about some of the writers Blume Lempel would have been reading and corresponding with in Yiddish? (Did she know Menke Katz?)
ELLEN CASSEDY & YERMIYAHU AHRON TAUB: Avrom Sutzkever, the “dean” of postwar Yiddish poetry, was an admirer, and a mentor. She was admired by other leading Yiddish writers as well, including Yonia Fain, Chaim Grade, Malka Heifetz-Tussman, Chava Rosenfarb, and Osher Jaime Schuchinski.
And yes, she did know the New York poet Menke Katz. We found several warm letters from him within her papers.
C.M. MAYO: Of those writers not writing in Yiddish, which were important influences for Lempel?
ELLEN CASSEDY & YERMIYAHU AHRON TAUB: She was one of a kind. When an interviewer asked which writers had influenced her, she mentioned Sigmund Freud, the father of psychoanalysis, and the philosophers Spinoza and Bergson, but only in passing. She didn’t feel part of any school or tendency.
The key to reading this amazing writer is to approach her work without preconceived expectations of what fiction should be. Open yourself up to the twists and turns, the possibilities. You’re in for a wild and wonderful ride.
C.M. MAYO: How do you see the future of Yiddish?
YERMIYAHU AHRON TAUB: That’s a big question. Yiddish is still the lingua franca of various Hasidic communities in Israel and the Diaspora. One can see Yiddish signs, for example, in Monroe, N.Y., Monsey, N.Y., and Williamsburg, Brooklyn, among numerous other places. Of course, Hebrew encroaches in Israel, and English encroaches in the United States. Still, I don’t foresee Yiddish fading away in those communities any time soon. Hasidic communities believe in Yiddish as a bulwark against the encroaching “dominant” culture.
In terms of secular Yiddish culture, a small number of families are committed to raising their children in Yiddish. And there is considerable artistic and intellectual activity in the realm of Yiddish culture – panels on Yiddish at Association for Jewish Studies conferences, concerts, gatherings, and festivals dedicated to Yiddish, and releases of books and compact discs.
Translation is a particularly rich area of contemporary Yiddish culture. A recent anthology called Have I Got a Story for You: More Than a Century of Fiction from the Forward (Norton, 2016), edited by Ezra Glinter, demonstrates the work of numerous Yiddish translators active today. Of course, some would argue that that itself is a sign of demise. I don’t see it that way. Translation requires knowledge of both linguistic contexts.
Do I think all of this qualifies as a rebirth? Not exactly, but nor do I see Yiddish as dead, dying, or even endangered really.
C.M. MAYO: Have Lempel’s stories had an influence on you as a writer, and if so, how?
YERMIYAHU AHRON TAUB: It’s hard to know if Lempel’s stories have influenced me as a writer or if I was drawn to her because of my pre-existing interests. Certainly, we both share an interest in the realms of the marginal and the “outsider,” although we might have differing perceptions of who is marginal or an outsider. We also share an interest in poetry and poetic language, and the blurring of the line between poetry and prose. I certainly consider Blume Lempel to be a kindred writerly spirit and an inspiration.
C.M. MAYO: What’s next for you as writers and translators?
ELLEN CASSEDY: I’m currently seeking a publisher for my translation of fiction by the Yiddish writer Yenta Mash, who grew up in Eastern Europe not far from Blume Lempel. I’m excited to have won a PEN/Heim translation grant – the first ever for a Yiddish book – to support this work.
YERMIYAHU AHRON TAUB: A new collection of my poems is currently in the publication process. Six of the poems also have a Yiddish version, which raises all sorts of translation and design challenges.
ELLEN CASSEDY & YERMIYAHU AHRON TAUB: And of course we’re getting the word out about the Blume Lempel collection. It’s exciting to introduce English-language readers to these stories with their dazzling prose and their bold approach to storytelling.
Visit Ellen Cassedy at her webpage here. Visit Yermiyahu Ahron Taub at his website here.
And if you’re in the Washington DC area, don’t miss the launch at Politics & Prose Bookstore:
Sunday, January 8, 1 pm Politics & Prose Bookstore 5015 Connecticut Ave NW Washington, DC 20008 The event is free with no reservation required. Oedipus in Brooklyn and Other Stories by Blume Lempel Translated by Ellen Cassedy & Yermiyahu Ahron Taub Mandel Vilar Press & Dryad Press, 2016
BIG FAT CAVEAT: If you have a job and/or family situation that oblige you to use your smartphone like a bodily appendage, dear reader, a shower of metaphorical lotus petals upon you, but this post is not for you. Perhaps you might enjoy reading this post from 2012 instead. See you next Monday.
The challenge in a pistachio shell: How to maximize the quality of one’s email, both incoming and outgoing, while minimizing the time and effort required to dispatch it— all the while maintaining the blocks of uninterrupted time necessary for one’s own writing?
What works for me may not work for you, dear reader, but I know that many of you are also writers, and a few of you are artists and/or scholars, so perhaps—and here’s hoping— my time-tested 10 point protocol for dealing with email will be of as much help to you as it has been to me.
A PRELIMINARY NOTE ON CONTEXT: EMAIL!!!!!!!!!!!!!!!!!!!!!!!!!!RRRRRRR
How is a writer to cope with this snake-headed conundrum-o-rama that just about everyone everywhere has been wrestling with since it first emerged out of the DARPA-depths of this rapacious fabulosity we call the Internet?
I’ve been slogging it out with email for more years than I care to count. It was sometime in the mid-1990s when I logged on to my first account; I but fuzzily recall the roboty-dialup-and-connection sounds and an inky screen with neon-green text. A few years after that, I was using this cutting-edge thing called an AOL account. (Whew, AOL, Paleolithic!) Now I use a nearly-as-ancient yahoo account plus a pair of gmail accounts all funneled into ye olde Outlook Express inbox, into which pour… pick your metaphor…
(a) Rains! (b) Niagaras! (c) Avalanches! (d) Gigazoodles of emails!
As anyone who remembers the late 1990s will attest, it seemed that overnight email blossomed into a hot-house monster—or, I should say, a Macy’s Parade of monsters— and for me, by 2009-2010, when I was on tour for my novel, The Last Prince of the Mexican Empire at the same time that my father was in his last days, trying to cope with email, both professional and personal, had become a nightmare.
In 2011-2012 I was tempted to follow the example of “Swiss Miss” blogger Tina Roth Eisenberg after her three months of maternity leave: Declare email bankruptcy. Many a time I was also tempted to remove my email address from my website. Neither of those strategies appealed to me, however; I appreciated so many of those messages, and I also appreciated that, apart from spam and the occasional bit of nonsense, behind those messages were relationships that I sincerely valued, even cherished.
I also realized—and this is something I am writing about in my book on Far West Texas— that hyper-connectivity along with endless carousels of hyper-palatable distractions are now woven into the very fabric of modern life. As long as the electric grid continues functioning, I doubt these forces impinging on one’s experience of work, family, social life, politics, and travel, will diminish; on the contrary.
“hyper-connectivity along with endless carousels of hyper-palatable distractions are now woven into the very fabric of modern life.”
Over the past several years, chip by chip, I managed to whittle down that ghastly backlog (not to zero, but on some days it gets razor-close). More importantly, by trial, error, research, and mental muscle, I formulated a more workable strategy for dispatching the ongoing flow.
Again, that caveat: this post is not for those who need to be continually available to a boss, colleagues, clients, friends, or family.
IT STARTED WITH SOME ILLUMINATING READING… THEN THE FLOODLIGHTS SWITCHED ON WITH “THE MACHINE STOPS”
I gleaned many an insight and tip for managing email from:
For me the most enlightening reading of all, however, and strange to say, was a work of fiction from 1909: E.M. Forster’s “The Machine Stops.”Astonishingly, that short story written more than a century ago by an Edwardian Englishman best known for his novel A Passage to India, envisions email, texting, Facetime, and the like. It also seems Forster anticipated the American diet built around corn-syrup heavy fast food. The main character, cocooned in technology, has turned into a heartless, incurious, yet hyper-connected blob.
On reading this sci-fi horror, I realized that one needs to evaluate a technology not by its gee-whiz-what-would-Steve-Jobs-say factor, but by how it affects the body. I mean, by how it affects one’s human body, brains to toenails, now, here, on Planet Earth.
THE BODY AND TECHNOLOGY IN THE THEATER OF SPACE-TIME
(1) Assuming one can afford it, does a given technology help one realize one’s conscious intentions born of free will?
(2) Does using said technology cause one to serve or to neglect the body?
(3) Is there a better available alternative?
These are the key questions to answer for a sense of the true and full (both monetary and nonmonetary) net cost / benefit of utilizing a given technology because if your body, which by the way, includes the brain, ends up not working the way it was meant to, well, in terms of going anywhere or doing anything or interacting with other people, that more than kind of sucks.
Some metaphysicians argue that we are not our bodies, but in essence,immortal pinpoints of consciousness. It seems to me that if they’re right, after we finish up here on Planet Earth, we have forever and eternity to do what immortal pinpoints of consciousness do; and if those metaphysicians are wrong, well, then they’re wrong, and we won’t be here anymore to argue with them about it anyway.
Either way, as I write this and you read this, we are conscious, each in our place in the Theater of Space-Time. We did not arrive here encased in technology, but in our human bodies, with all their pain and joy and bones and squishiness and awkwardness and grace. Why then would we want machines to do everything and our breathing for us— unless, of course one has the crap-awful luck to require an iron lung?
I want to utilize technology not to supplant but to enhance living this life— this human life on Planet Earth. Or, to use my new favorite metaphor, to enhance my experience of being here now in the Theater of Space-Time.
Technology is not bad per se, of course; it can help us survive and even thrive. But last I checked, a quality human life requires being able to breathe, walk, see, hear, exercise, sleep, eat nutritious food and drink adequate clean water, soak up some beauty, and interact in multitudinous ways with other people. What good is a technology that turns us into blobs staring at and fiddling with screens all day, even as we neglect our relationships? (Or walk into oncoming traffic?)
On the other hand, email, like pen-and-paper-correspondence of old, is one technology, a powerful one, that when properly employed can help us work with / get along with other people. And like pen-and-paper-correspondence of old, for a writer email can be a joy.
Dead-simple observations, I’ll grant you, gentle reader.
Another dead-simple observation: Email is like any other tool in that it can be used to good or bad purpose. For example, you could use a hammer to pound down a nail that might otherwise snag your sweater, or, say, pulp your neighbor’s pet goldfish (not recommended).
And on the scale of expertise, one can use email poorly, or with world-class finesse. Let’s say, my very Aristotelian aim has been to employ email reasonably well so that it may prove useful— and without the mental drag of noodathipious flooflemoofle!
DOWN WITH NOODATHIPIOUS FLOOFLEMOOFLE!
Finally, after years of frustration and experimentation… drum roll…. I am no longer overwhelmed by email. I have not arrived at “inbox zero” because….drum roll… I am not dead!
And knowing that I am not dead, other human beings in the Theater of Space-Time continually send me emails, and I, in turn, write them back. Ping, pong. And that Medusa’s hair of a conundrum-o-rama about pinging the pongs and pongings the pings, and which pings to pong, etc., is now wrestled down, at least in my own mind, to a pretty little pretzel.
YEAH, PUT SOME MUSTARD ON IT.
Now I can sincerely say that I welcome my correspondence (ahem, email). I love to hear from friends (lunch, yeah!), family (weddings, yay!), colleagues (congrats on your new book, lotus petals upon you!), and from readers, known to me or not, I always appreciate a kind and/or thoughtful word about my books / some subject of interest / relevant to my work. I even appreciate cat videos! (Just kidding about the cat videos. But cousin A., I don’t mind if you send me a cat video.)
Herewith:
1. SCHEDULED BATCHING
For me, of all the 10 points in my method, processing emails not one or two or three at a whim, but in scheduled batches was the game-changer.
I usually do 20 minutes of email processing with a stopwatch. It’s not that I am trying to hurry through my email, but rather, I am respecting the limits of my brain’s ability to effectively focus on it. I’m a speed-reader and I can type faster than lickety-split, but on most days I can deal with email for only about 20 minutes before my brain cells run low on glucose and I end up scrolling up and down the screen, dithering, feeling scattered— in short, procrastinating. (You might be able to do 10 minutes, or, say, an hour in one go— of course, not everyone’s energy to focus on their email is the same, or the same every day and in every circumstance. One can always set the stopwatch for a different amount of time.)
Don’t believe me about batching? Check out the extra-crunchy research at MIT (PDF).
By processing email in 20 minute batches, when the sessions all add up over the arc of the day, I find that I accomplish more in, say, one hour of three separate 20 minute sessions than I would have had I plowed on for an hour straight.
When the stopwatch dings, I do not expect to have finished— “inbox zero” is a fata morgana! And that’s OK, because I have another email batch session already scheduled (a few hours later, or five minutes later. It’s important to take a break, at the very least stand up and stretch.)
Above all, because I am focussing on email at my convenience, on my schedule, my attention is no longer so fractured. I need not attempt to wrestle with each and every email as it comes in; and of course, some emails cannot or should not be answered immediately. I aim to dispatch the average daily inflow. In other words, if, net of spam, I receive an average of 30 emails per day, then I should be averaging 30 emails dispatched per day— they need not be one and the same emails. One day I might dispatch 50, and another day, 10.
The point is, there’s no there there, as long as my email account is working, barring volcanic explosions of a geological nature, I’m probably never in this lifetime going to get to inbox zero. What matters is maintaining a consistently adequate dispatching process.
The easiest way to keep track of the process is to keep a running tally of all undispatched emails as of the close of the last session of the day. (In Outlook Express, for each folder of undispatched email, select all, go to the main menu, click edit, select “Mark all unread,” and it will automatically generate a tally for that folder.)
(And by the way, when the batching session is done, I close my Outlook Express. I never, ever leave it open. And would I never, ever, use any alarm for new email.)
I used to download email into an undifferentiated inbox at random moments and, oftentimes, even as email was still downloading, start answering willynilly. How about that for an attention-fracking technique!
Now I begin each email session as I would with a haul of paper mail: first,by taking it all in; second, deleting the junk; and third, organizing the correspondence I want to look at and/or answer into precisely labeled files.
Files are easy to create and, when emptied of their contents, to delete, or rename or whatever— a powerful tool within a tool. And I cannot overemphasize how effective a simple and flexible filing system has been for helping me focus and more quickly dispatch my email.
Of course, just like a paper filing system, too many files can be counterproductive. For me, the best filing system is one that holds 15 or fewer emails per file. So if I have a bunch of files with one or two emails, I might consolidate those; if I have, say, 50 emails in one, I might to break that up into, say, two to four more files.
My filing system changes depending on what I’m working on or dealing with in my life. This week, nearing the holidays, it looks like this:
INBOX (this has whatever I’m going to tackle now, preferably never more than 11 emails)
BACKLOG: TEXAS (anything to do with my book in-progress) BACKLOG: FAMILY BACKLOG: FRIENDS & COLLEAGUES BACKLOG: FINANCIAL BACKLOG: OTHER
I do not respond to rude or certifiably ultra-weird messages, and as with businesses that spew spam,* I add those email addresses to my “block sender” list. Happily, there are not many of those, and happily, once I’ve blocked them, with lightning ease, I never see their emails again!
Out of sight, out of mind.
*(Phishers tend to use one-time only emails; those I just delete.)
Many of my writer friends agonize over emails (as well as social media comments) from trolls and nuts and spammers. I tell them as I tell you, dear reader, it really is this simple to make them all go away. The challenge is, your ego, prompted by its its arch sense of justice, might jump-up-and-down-insist on responding to them, but your ego, if it’s like most people’s, including mine, should not be in driver’s seat here. Surely you have better things to do with your time and attention than engage with emotionally stunted, social-skill-challenged, and possibly dangerously disturbed individuals. (If you lived in a big city, would you leave your kitchen’s back door open to the alleyway 24/7?)
If you relish unnecessary fights and pointless thrills, well, as they say in Mexico, dios los hace y ellos se juntan (God makes them and they get together.) I prefer the Polish saying, Not my circus, not my monkeys.
[ VIDEO ]
Viva Moti Nativ! (Seriously, I took Moti Nativ’s Feldenkrais workshop, it was a blast.)
4. PRIORITIZE & TACKLE
Stopwatch ticking, after having done the DDO, then I prioritize emails (and other related tasks as noted below), and then I tackle them.
There’s no magic formula here: I might think about it for a moment or three, then decide what should come first.
(Once dealt with, I archive each email by year. Some people just delete them; in my repeated experience, however, that is not a good idea.)
5. SWEEP OUT THE SPAM FOLDER ONCE PER DAY
I check the spam folder once per day because that is precisely about how often I find an important email in there. These days floods of spam are coming from phishers (easy to spot for many reasons, also because they vary their email addresses); those I don’t touch, I just delete them.
(I remain perplexed by correspondents who do not check their spam folders. On the other hand, checking too often wastes time—small amounts, but they add up.)
.
6. APPLY & ADJUST “SENDER FILTERS” AS NEEDED
I’m not talking about an app or programming or anything complicated. By “sender filter,” a concept I grokked an eon ago but a term I first encountered in Cal Newport’s Deep Work, I mean some specific information on one’s contact page that, ideally in a kind and generous spirit, encourages potential senders to not send email— so that, for the few emails that do squeeze through, I am able to respond quickly, politely, and thoughtfully.
My contact page includes a long lineup of sender filters: First, a newsletter signup (mainly for those who want to know when I will be teaching a workshop or post a new podcast); then it answers FAQs, such as “where can I find your books?” (I am ever-amazed by that question in this day of amazon and Google, but I do get such emails fairly often); for book club inquiries; the best way to reach me for media and speaking inquiries; answers to writerly questions (“how to find a publisher,” etc.); rights inquiries; press kits including high res images; and finally…
… (few indeed seem to have the attentional snorkel gear to arrive there at the bottom)….
… if someone still wants to email me, he will find my email address.
Like many other writers, back in pioneer days, once I had a live website showing my email address, I found myself receiving so many messages from people seeking my advice about / feedback on / encouragement of their writing, it would have been impossible to answer them all individually. As a solution, many authors have opted for what I think of as “The Wall of Silence”— no email address at all—and/or what seems to me a snotty-sounding third-person notice along the lines of “Wiggy Blip is so famous and busy being fabulously famous, he cannot possibly deign to acknowledge your email.”
Cal Newport’s various sender filters conclude as follows— I quote from his book, Deep Work: “If you have an offer, opportunity, or introduction that might make my life more interesting, e-mail me at interesting (at) calnewport.com For the reasons stated above, I’ll only respond to those proposals that are a good match for my schedule and interests.”
Of course, some emails, even from perfectly civilized and well-meaning people, do not merit a response— they presume too much, they’re eye-crossingly vague or, as in a few cases, they clearly neither expect nor invite a response. But as for myself, because my own sender filters work beautifully, my stance is that I will do my darnedest, most reasonable best to answer everyone, whether family, friends, students, literary colleague, or mysterious Albanian, who takes the trouble to write to me a civilized email.
On occasion a sender blazes past or perhaps never saw the relevant sender filter, so I reply with the link or paste-copy the text of my long-ago posted answer to their question. (For example, I am often asked by students, friends, relatives, neighbors and utter strangers if I will read their manuscript. Here’s my answer to that one.)
If you want to comment on this blog, which I sincerely welcome, click hereand what you’ll see the simplest of sender filters, stating that I read but do not usually publish comments. It works blazingly well. Trolls and their ilk took a hike, never to return! (As for my fierce-looking writing assistant, I assure you, dear reader, Uliberto Quetzalpugtl only bites cheese.)
P.S. Cal Newport’s take on some industrial-strength sender filters. Personally I would not want to use such forbidding sender filters, but for some writers, and some people, that might be the right strategy. In any event, a sender filter beats the daisies out of the Wiggyesque Wall of Silence.
UPDATE: For a good example of a strong but both friendly and polite sender filter, see publishing consultant and blogger Jane Friedman’s contact page.
FURTHER UPDATE: For a Groucho Marx-esque example of sender filters by someone whose religious ideas seem to attract trolls like bananas do fruit flies, see John Michael Greer’s page for his Druidical Order of the Golden Dawn.
7. FUNNEL IT ALL INTO MOOOOOOOOOOOORE EMAIL!
Over the past year and some I have freed up chunkoids of time and energy for email by deactivating my Facebook account, minimizing Twitter and LinkedIn (including turning off email notifications), and closing this blog to published comments.
In other words, I have reduced the number of channels for people to communicate with me, funneling as many communications as possible into ye olde email.
I tell everyone who asks, the best way to find me is by email.
Yes, I receive more email as a result, but interestingly, many of my “friends” who were so chatty & likey on Facebook rarely if ever trouble to send me email. I have also found that many of the younger generation do not respond to email. Hmmm, also interesting! (Have a nice life, kiddos!)
Well, at least we still have telephones. But sorry, don’t count on me to retrieve my voicemail, I am too busy answering email!
(What about texting and Whatsapp? Ask me again after I’ve lugged home my taxidermied hippopotamus.)
8. BE QUICK & CLEAR, MY DEAR, BUT ADD DETAIL TO CUT THE CLUTTER
The emails I send myself have a clear subject line and the text clearly calls for or implies expected action or inaction. For example, some of the younger generation in my family prefer to text rather than use email, and getting them to answer an email, such has been my experience, requires laser-like focus in this regard. Hence, subject lines like this:
Re: Super Quick URRRRRgent Question about X—
or, say:
Re: Confirming dinner at at 9 PM this Saturday
What do I mean by “add detail to cut the clutter?” Minimize the number of emails needed to arrange things by politely making specific actionable proposals and provide websites, addresses, phone numbers and any other information that your correspondent might need, and hence avoid further emails. For example, instead of blah blah blahing about when and where to maybe kind of sort of meet for coffee, go ahead and make a specific proposal, e.g., “How about if we meet for coffee at 4:30 PM this Tuesday or, if you would prefer, 5:30 next Wednesday at Café Thus-and-Such, 123 Avenue ABC.”
Cal Newport offers more detailed advice about this brain power-saving email tactic on his blog, Study Hacks and his book, Deep Work.
9. WHEN CALLED FOR, FOR HEAVENSSAKES, JUST APOLOGIZE (BRIEFLY)
10. AT THE END OF THE LAST EMAIL SESSION FOR THE DAY, REPEAT AFTER SCARLET…
[ VIDEO ]
It is a fact that for me, as well as for everyone who uses email, night falls in this Theater of Space-Time… and falls again, and again…. Funny how that happens once every 24 hours… until it doesn’t. I guess. In the meantime, some emails fall through the cracks of all good intentions.
Anyway, as Cal Newport writes in Deep Work,
“[I]n general, those with a minor public presence, such as authors, overestimate how much people really care about their replies to their messages.”
Newport’s bluntness may sound cruel. I don’t think it is; rather, he points to a cruel fact: that even when surrounded by other people, in fundamental ways we are each of us in this Theater of Space-Time alone. Writing is a technology that permits us to send thoughts from one axis of space-time to multiple others. And this is precisely why I write books— and why I read books, and why I welcome correspondence, albeit in electronic form.
And no, I am not worried that one day, should my one of my books be made into a movie starring Brad Pitt, or something, I might need to raise the Wall of Silence, or else bring on a bucket brigade of secretaries to cope with cannon-hoses of incoming emails.
Why am I not worried, pray tell?
(1) Because my 10 point system works splendidly well.
(2) Furthermore, should the need arise, it would be a simple matter to add more sender filters / templates, and perhaps, now and then, an autoresponder.
(3) Moreover, I need only note the numbers of smombies I see on city streets to conclude that, alas, the world of those of us who still have the cognitive focus to actually read the sorts of literary books I write and to engage in thoughtful correspondence is, and seems destined to remain, a cozy one.
And if I turn out to be wrong, so what? Then I will get a secretary! In the meantime, I shall make do with my writing assistants (although, alas, with emails, those two are all paws).
Perhaps, dear writerly reader, you have heard of Freedom, the app that blocks the Internet so you can focus on your writing (or whatever offline task). It is not cheap; prices have gone up more than a smidge (ayyyy!) since I purchased it some years ago for a mere USD 10. Nope, I don’t use it. End of review.
[UPDATE: As of March 2019 I use the latest version of the Freedom app and can recommend it. I plan to post about my experience with the Freedom app on one of the second Monday of the month workshop posts in 2021.]
Of course, a more economical alternative for
those who work at home would be to simply switch off the wi-fi signal.
But never mind, there you are, glued to your
computer, same screen, same keyboard, same desk, same chair, and whether
you’re using the Freedom app or you’ve turned off the wi-fi signal, either can
be reversed (that is, the Freedom app turned off, or the wi-fi switched back
on) in a matter of the slight inconvenience of a moment. Staying off-line when
you’re working on a computer is akin to trying to diet with an open box of
chocolates within reach! As they say, Don’t think about the pink
elephant. Or, elephant-shaped chocolates with a cherry in the
middle! Or, for a more au courant Internetesque analogy, Don’t think about
cats! And certainly not cats wearing hats!
YE OLDE NONELECTRIC TYPEWRITER
Yet another strategy for diminishing the pull of
the Internet, at least for some writers some of the time, would be to get up
from the computer, aka the distraction machine, and hie thee over to ye
olde typewriter.
My typewriter went to Goodwill years ago. But
now, with a book to complete, I am seriously considering going back to using a
typewriter. I am old enough to remember typing up my papers for school and
college, that satisfying clackety-clack and the little ding at the end
of the right margin… The calm. The focus.
Speaking of analogerie, I am also, as those of you who follow this blog well know, massively, as in an-entire-parade-ground-filled-with-dancing-pink-elephants-and-cats-in-hats-all- under-a-rain-of-chocolates, massively, relieved to have deactivated my Facebook account. That was back in August of 2015. Yes indeed, having eliminated that particular bungee-pull to the Internet, I have gotten a lot more writing done, and I am answering my email in a more consistently timely manner.
So, typewriters. I spent an afternoon of the
Thanksgiving weekend doing some Internet research. Herewith:
WHERE TO FIND A GOOD OLD (AND MAYBE REALLY OLD)
NONELECTRIC TYPEWRITER
Why nonelectric? It might be nice to type in the
tipi! But also, it seems that some of the best workhorse typewriters are
nonelectrics made back in the mid-20th century. The only nonelectric
typewriters currently being manufactured are from China and although cheap,
they’re crap, so if a nonelectric typewriter is what you want, think
vintage.
For a rundown on vintage brands and models, both
nonelectric and electric, Polt’s The Typewriter Revolution is an
excellent resource. On his website Polt also maintains a list of
typewriter repair shops.
You could start combing through the cheapie
listings on EBay
and Goodwill,
and if you have the time and can stand the skanky vibes, peruse the stalls in
your local flea market. You might even grab a typewriter for free– perhaps the
one gathering cobwebs in your parents’ garage…
But it seems to me that, if you want to start
typing ASAP on a good vintage machine, the best strategy would be to shell out
the clams to a dealer who specializes in refurbishing or
“reconditioning” quality typewriters, and who offers his or her
customers a guarantee. I should think you would also want to confirm that it
will be possible to source ribbons.
A few US dealers who look like promising
possibilities:
Olivers By Bee Oliver Typewriters Manufactured from 1890-1930s. An Etsy shop for antique typewriters.
In recent days, I am delighted to report, more than one American has asked me for a list of recommended reading on Mexico for their book clubs. Before I present my correspondents, and you, dear reader, with my list, herewith a big fat flashing neon-lime caveat:
This list is unlikely to coincide with most English language writers’ and readers’ ideas of what might be most appropriate. Nope, no Graham Greene. No D.H. Lawrence, no Malcolm Lowry, nor John Steinbeck. Most of the usual suspects have gone missing from my list. I packed the bunch of them off, as it were, to Puerto Vallarta for margaritas (a drink invented by a Texan, by the way) and a purgatory of reading juicy crime-novels. About crime novels, I am not your go-to gal.
For those of you new to this blog, let me introduce myself. I am a US citizen who has been living in Mexico City on and off for over three decades, and not in an expat community, but as a part of a Mexican family. Over these many years I have written several books about Mexico, most recently, the novel based on the true story of Mexico’s Second Empire, The Last Prince of the Mexican Empire, and Metaphysical Odyssey into the Mexican Revolution: Francisco I. Madero and His Secret Book, Spiritist Manual. I have also translated a long list of Mexican writers and poets, and am the editor of an anthology, Mexico: A Traveler’s Literary Companion, which is not a guidebook but a selection of 24 Mexican writers on Mexico, many in translation for the first time. All of which is to say that although I have not read each and every last thing ever published on Mexico (a feat for a bot!), I am indeed familiar with both the Spanish and the English language literature on Mexico, fiction and nonfiction.
TWO CHALLENGES: SAD! VERY SAD!
But to make a list of recommendations for an English-language book club there are challenges. First, a number of Mexican works have been translated into English, but this amounts to only a tiny percentage of what has been published in Mexico over the centuries. To quote DJT completely out of context, “Sad!”
Second, also sadly, many of the best-known and easily available originally-in-English works on Mexico strike me as superb examples of a south-of-the-border species of what Edward W. Said termed “orientalism.” Translation: toe-curling. Steinbeck’s The Log from the Sea of Cortez, to take but one example, while a deserved classic for its lyric beauty (count me a fan), will tell you little about Mexico, never mind the Baja California peninsula that stretches for nearly a thousand miles along the Sea of Cortez; much of what Steinbeck says about it is either flat wrong or rendered through a filter of commonplace prejudice and presumption.
Much of the best of contemporary English language literature on Mexico covers the border, mainly focusing on illegal immigration, drug trafficking, and violence. There are several excellent works under that voluminous tent, but I’d like to get to those last. I submit that for a deeper sense of Mexico, one has to dig past the sorts of stories one can easily encounter in the mainstream news, television, and cinema, to go both deeper into the country and deeper into its past.
For a deeper sense of Mexico, one has to dig past the sorts of stories one can easily encounter in the mainstream news, television, and cinema, to go both deeper into the country and deeper into its past.
Nope, that sad little shelf in the back room of your local big box bookstore is not the place to look. Unfortunately, and head-scratchingly—for the United States shares a nearly 2,000 mile border with Mexico, and all the cultural, economic, ecological, historical, and political intertwinings that would suggest— the selection of such works in English, enticing a “box of chocolates” as it may be, is limited. Moreover, whether because of their scarcity, high prices, length, and/or academic prose-style replete with reams of footnotes, few English language works on Mexico lend themselves to a felicitous selection for a book club.
A NOTE ON (MORE THAN) A FEW TITLES NOT ON MY LIST FOR BOOK CLUBS
Historian John Tutino’s Making a New World, for example, is a scholarly doorstopper of a tome, so I wouldn’t recommend it for a book club; however, I do believe it is one of the most important books yet published about Mexico. Read my review of Tutino’s Making a New Worldhere and listen in anytime to my extra crunchy podcast interview with Tutino here.
Seriously, if you want to start getting an idea of Mexico beyond the clichés, stop reading this right now and listen to what Tutino has to say.
… RESUME HERE
Also, I would have recommended the magnificent The Mexican Treasury: The Writings of Dr. Francisco Hernández, edited by Simon Varey, but (sigh), Stanford University Press has priced it at USD 72 a copy. You might ask your university or local public library to order a copy, if they do not already have one.
Another wonder not on my list for book clubs— but do have a look at the digital edition free online— is Franciscan missionary Bernardino de Sahagún’s Historia general de las cosas de Nueva España, or General History of the Things of New Spain. The original 16th century manuscript, which contains 2,468 colorful illustrations and text in both Spanish and Nahuatl (the language spoken by the Aztecs phonetically transcribed using Latin), is also known as the Florentine Codex because it is in the Medicea Laurencziana Library in Florence, Italy.
Then there is Daniela Rossell’s hilariously outré take on Mexico City’s, as the title says, Rich and Famous, but at over USD 100 for a used paperback copy, that title did not make it to my list, either. (But if you and your book club have wheelbarrows of cash to spare for no better purpose than to rain down upon amazon.com for some dozen copies of Rich and Famous, well, pourquoi pas? Read it while eating your cake, too!)
My list, therefore, focuses on works in a variety of genres, from biography to history to poetry, that are not only illuminating but could be enjoyable reading for avid and thoughtful readers, and lend themselves to a spirited book club discussion. And, crucially for most book clubs, these are titles currently available at more-or-less-reasonable prices from major online booksellers and/or, as in the few instances when a work has lapsed into the public domain, as free downloads from www.archive.org.
Toss a tomato if you like, but I also recommend my own works, else I would not have troubled to write them.
> For those looking for more complete and scholarly lists of recommended reading on Mexico, as well as several more fine anthologies, click here.
PREHISPANIC, CONQUEST, COLONY (IN ALPHABETICAL ORDER BY AUTHOR)
Coe, Sophie D., and Michael D. Coe. The True History of Chocolate A scrumptuously sweeping history of Mexico’s most delicious bean by a noted food historian and anthropologist. This one should be an especially popular pick for any book club.
Paz, Octavio. Sor Juana or, The Traps of Faith Translated by the exceptional Margaret Sayers Peden. Catalog copy: “Mexico’s leading poet, essayist, and cultural critic writes of a Mexican poet of another time and another world, the world of seventeenth-century New Spain. His subject is Sor Juana Inés de la Cruz, the most striking figure in all of Spanish-American colonial literature and one of the great poets of her age.”
Roberts, David. The Pueblo Revolt: The Secret Rebellion that Drove the Spanish Out of the Southwest The Pueblo Revolt of 1680 took place in what was then the Kingdom of New Mexico and is now within the United States; nevertheless, this is an crucial episode for understanding the history of the North American continent, including, of course, Mexico.
NINETEENTH CENTURY (IN ALPHABETICAL ORDER BY AUTHOR)
Calderón de la Barca, Madame (Frances Erskine Inglis). Life in Mexico This delightfully vivid memoir of 1842 by the Scottish-born wife of Spain’s first ambassador to Mexico should go at the top of the list for any Mexicophile. > Also available on archive.org > Read my review for Tin House
Fowler, Will. Santa Anna of Mexico A new and revisionist history of that tremendous and mercurial personality who dominated the first half of 19th century Mexico, the “Napoleon of the West.” Hämäläinen, Pekka. The Comanche Empire A mite heavy-going for a book club, but essential for understanding the historical relationship between the U.S. and Mexico and the US-Mexican War. > Read my review of this book. > For a less rigorous but more entertaining and elegantly-written work on the Comanches, see S.C. Gwynne’s Empire of the Summer Moon.
Hogan, Michael. Abraham Lincoln and Mexico: A History of Courage, Intrigue, and Unlikely Friendships In this shining contribution to the literature on Abraham Lincoln and that of the US-Mexican War, Michael Hogan illuminates the stance of a young politician against that terrible war, telling a story that is both urgently necessary and well more than a century overdue.
Magoffin, Susan Shelby. Down the Santa Fe Trail and into Mexico Now considered a classic of mid-19th century Americana, as a work of literature, this book has its limits and faults, for it was written as a private diary by a Missouri trader’s bride who was only 19 years old. I warmly recommend it for US book clubs because it is easy to find an inexpensive copy, and if it has faults, it also has many charms; and moreover, it provides an unforgettable glimpse of historical context for US-Mexico trade. Y’all, US-Mexico trade did not start with NAFTA. > See my blog post of notes about this book.
Mayo, C.M. The Last Prince of the Mexican Empire A novel based on extensive archival research into the strange but true story of the half-American grandson of Agustin de Iturbide, Agustin de Iturbide y Green, in the court of Maximilian von Habsburg. A Library Journal Best Book of 2009. > Visit this book’s website for excerpts, reviews, photos and more > Related: From Mexico to Miramar or, Across the Lake of Oblivion A nonfiction novela about a fairytale: a visit to the Emperor of Mexico’s Italian castle. An award-winning long-form essay now available in Kindle.
McAllen, M.M. Maximilian and Carlota: Europe’s Last Empire in Mexico A deeply researched book about a period of Mexican history that, while vital for understanding modern Mexico and its relations with the United States and Europe, is of perhaps unparalleled cultural, political, and military complexity for such a short period. > Listen in anytime to my extra-extra crunchy conversation with M.M.McAllen about her splendid book, the first new major narrative history of this period in English in nearly forty years.
Solares, Ignacio. Yankee Invasion: A Novel of Mexico City Translated by Timothy G. Compton In 1848 a young man named Abelardo witnesses the Yankee Invasion of Mexico City. When it came out I gave this one a blurb: “Bienvenido to this translation of a searing work by an outstanding Mexican writer.”
LATE 19th CENTURY, REVOLUTION, EARLY 20th CENTURY (IN ALPHABETICAL ORDER BY AUTHOR)
Azuela, Mariano. The Underdogs: A Novel of the Revolution This is the first and classic Mexican novel of the Revolution, translated by Sergio Waisman and with a foreword by Carlos Fuentes. The original title in Spanish is Los de abajo. Not everyone’s slug of mescal, but a century on, it remains a cult fave, especially around the border.
Cooke, Catherine Nixon. The Thistle and the Rose: Romance, Railroads, and Big Oil in Revolutionary Mexico This family history of Scotsman John George McNab and Oaxacan Guadalupe Fuentes Nivon McNab not only gives an overview of the transformation of the Mexican economy in the late 19th and early 20th centuries, but some of Mexico’s ethnic, social, and regional diversity, both of which are far greater than U.S. media and Mexican tourist industry narratives would suggest.
Reed, Alma. Peregrina: Love and Death in Mexico Edited by Michael K. Schuessler with a foreword by Mexican writer Elena Poniatowska, who knew Alma Reed back in the 1960s. Reed was a journalist from San Francisco who came to Yucatan on assignment and ended up engaged to marry the governor, Felipe Carrillo Puerto. Just before the wedding Carrillo Puerto was assassinated. > Listen in to my podcast interview with Michael K. Schuessler.
Tenorio-Trillo, Mauricio, I Speak of the City: Mexico City at the Turn of the Twentieth Century A leading scholar of Mexico takes on Mexico City from 1880 to 1940 in this beautifully written work. If you have ever visited or ever plan to visit Mexico City, this rich-as-a-truffle read is a must.
Traven, B. The Treasure of the Sierra Madre Although it seems he may have been born in Germany, one must count the mysterious B. Traven, who escaped a death sentence in Germany in the 1920s, as a Mexican writer. Little is known about his early life. According to his Mexican stepdaughter, the “B.” stands not for Bruno as some biographers have asserted, but for “Plan B.” Mexico City’s Museo de Arte Moderno recently closed its B. Traven show which featured clips from the movie “The Treasure of the Sierra Madre” directed by John Huston and starring Humphrey Bogart, as well as clips from several other major movies inspired by Traven’s novels, and displays of his papers, photographs, guns, and typewriters.
Urrea, Luis Alberto. The Hummingbird’s Daughter The novel based on the true story of his great aunt, the folk saint and mediumnistic healer Teresita Urrea, la Santa de Cabora (Cabora is in Chihuahua).
MID TO LATE TWENTIETH CENTURY (IN ALPHABETICAL ORDER BY AUTHOR)
Fuentes, Carlos. The Death of Artemio Cruz New translation by Alfred MacAdam. The famous novel by the famous author. Muy macho. Dark. Bitter. Ayyy a real jaw-cruncher.
Herrera, Heyden. Frida: A Biography of Frida Kahlo The best introduction to Mexico’s most famous and uniquely flamboyant artist of the 20th century.
Isaac, Claudio. Midday with Buñuel: Memories and Sketches, 1973 – 1983 Mexican filmmaker Claudio Isaac’s very personal and poetic recollection of his friendship with his mentor, the Spanish surrealist Luis Buñuel, a major influence on Mexican (and world) cinema, who died in Mexico City in 1983. I do not have the original Spanish for a comparison, but the English is so vivid and smoothly elegant, I am sure that Brian T. Scoular’s must be a superb translation. Mastretta, Angeles. Women with Big Eyes Short stories about “aunts” translated by Amy Schildhouse Greenberg. A best-seller in Mexico and widely read in Spanish in the United States as well. (A story from this book is in my anthology, Mexico: A Traveler’s Literary Companion.)
Mayo, C.M., ed. Mexico: A Traveler’s Literary Companion A portrait of Mexico in the work of 24 contemporary Mexican writers, many translated for the first time. Among them: Agustín Cadena, Rosario Castellanos, Fernando Del Paso, Ricardo Elizondo Elizondo, Laura Esquivel, Carlos Fuentes, Mónica Lavín, Angeles Mastretta, Carlos Monsiváis, Juan Villoro. > Visit this book’s website for excerpts, podcasts, and more. > NPR interview about this book.
Monsiváis, Carlos. Mexican Postcards Edited, Introduced and Translated by John Kraniauskas. A collection of essays by Mexico City’s most beloved social commentator. (His essay “Identity Hour or, What Photos Would You Take of the Endless City?” is included in my anthology, Mexico: A Traveler’s Literary Companion.)
Novo, Salvador. Pillar of Salt: An Autobiography, with 19 Erotic Sonnets Introduced by Carlos Monsiváis; Translated by Marguerite Feitlowitz. The memoir of a major and controversial figure in 20th century Mexican letters. Never a dull moment with Sr. Novo.
Poniatowska, Elena. The Skin of the Sky. Poniatowska is one of Mexico’s most respected journalists and literary writers. Her better-known works include Massacre in Mexico, and Here’s to You, Jesusa. For a book club seeking a fresh and unexpected look at Mexico, however, I would recommend first reading The Skin of the Sky.
Rulfo, Juan. Pedro Paramo The surrealist novel of the 1950s now translated by Margaret Sayers Peden.
MEXICO POST-2000 & THE BORDER(IN ALPHABETICAL ORDER BY AUTHOR)
Burton, Tony. Western Mexico: A Traveler’s Treasury A unique guidebook by an English geographer that is chock full of surprises, plus illustrations and many maps. Yes, I am recommending a guidebook for a book club; it is that special.
Call, Wendy. No Word for Welcome: The Mexican Village Faces the Global Economy A passionate look at Mexico’s Isthmus of Tehuantepec, a little known and yet culturally, economically, historically, and politically vital part of Mexico. Winner of the Grub Street National Book Prize for Nonfiction.
PLUS! PLUS! PLUS! PLUS! PLUS! FIVE BOOKS ON MEXICO THAT I HAVE NOT YET READ, BUT IF I WERE IN A BOOK CLUB I WOULD VOTE TO READ THEM
Boullosa, Carmen. Texas: The Great Theft Translated by Samantha Schnee. Why I would vote to read this book: Boullosa is one of Mexico’s best-known literary writers; Schnee is a respected literary translator, and the flip-side of the story of Texas is one Americans rarely if ever hear.
Gamboa, Federico. Santa Translated and edited by John Charles Chasteen. Why I would vote to read this book: It was a racy best-seller of its day in Mexico and its author, Federico Gamboa, was a noted literary figure and politician.
Prieto, Carlos. Adventures of a Cello It is a Stradivarius and Prieto is one of the best cellists in the world. From the catalog: “To make the story of his cello complete, Mr. Prieto also provides a brief history of violin making and a succinct review of cello music from Stradivari to the present. He highlights the work of composers from Latin America, Spain, and Portugal, for whose music he has long been an advocate and principal performer.”
Valenzuela-Zapata, Ana G. and Gary Paul Nabhan. Tequila: A Natural and Cultural History From the catalog: “Ana G. Valenzuela-Zapata, the leading agronomist in Mexico’s tequila industry, and Gary Paul Nabhan, one of America’s most respected ethnobotanists, plumb the myth of tequila as they introduce the natural history, economics, and cultural significance of the plants cultivated for its production.”
Wulf, Andrea. The Invention of Nature: Alexander von Humboldt’s New World German naturalist Alexander von Humboldt wrote about his research and explorations in Mexico; it would be difficult to overestimate his influence on how Mexican scientists saw their own country, and how Europeans saw Mexico in the 19th century. Friends have raved about Wulf’s book, so it would get my vote for a read.
Edited transcript of remarks by C.M. Mayo for the Panel on “Writing Across Borders and Cultures,” Women Writing the West Conference, Santa Fe, New Mexico, October 15, 2016
How many of you have been to Mexico? Well, viva México! Here we are in New Mexico, Nuevo México. On this panel, with Dawn Wink and Kathryn Ferguson, it seems we are all about Mexico. I write both fiction and nonfiction, most of it about Mexico because that is where I have been living for most of my adult life— that is, the past 30 years— married to a Mexican and living in Mexico City.
But in this talk I would like to put on my sombrero, as it were, as an historical novelist, and although my novel, The Last Prince of the Mexican Empire, is about Mexico, I don’t want to talk so much about Mexico as I do five simple, powerful techniques that have helped me, and that I hope will help you to see as an artist and write across borders.
I start with the premise that truth is beauty and beauty is truth, and that seeing clearly, seeing as an artist, is what brings us towards truth.
My second premise is that through narrative we become more human—and that sure beats the alternative.
My third premise is that writing about anyone else, anywhere, is to some degree writing across a border. The past is a border. Religion is a border. Gender is a border. Social class is a border. Language. Physical conditions— people who have peanut allergies are different than people who do not have peanut allergies.
“writing about anyone else, anywhere, is to some degree writing across a border”
THE CHALLENGE
The challenge is this: As Walter Lippman put it, “For the most part we do not first see and then define, we define first and then see.” And I would agree with Lippman that in our culture, for the most part, and of course, with oodles of exceptions, we are not educated to see, then define. Ironically, the more educated we are, the more we as literary artists may have something to overcome in this respect.
The poet e.e. cummings put it this way: “An artist is no other than he who unlearns what he has learned, in order to know himself.”
Betty Edwards, the artist who wrote Drawing on the Right Side of the Brain, calls seeing as an artist “a different, more direct kind of seeing. The brain’s editing is somehow put on hold, thereby permitting one to see more fully and perhaps more realistically.”
How many of you are familar with Drawing on the Right Side of the Brain?
How many of you have tried that exercise where you take a black and white photograph of a face, turn it upside down, and copy it?
Turning the picture upside down tricks your brain to get past the labels of that is a nose, or, say, that is an eyelid, a wrinkle, a cheek… You are just drawing what you actually see, this weird jumble of shapes and shadows.
You turn it right side side up and, wow… it’s Albert Einstein!
And why is seeing this way, seeing as an artist so important? Because if we as writers cannot see as artists, with that wide open, innocent sense of attention and wonder that would see first, and then, maybe, define, whether we are writing about a Mexican or a Korean ballet dancer or a Texas cowboy or the old lady who died in the house next door one hundred years ago— whomever we are writing about, if we cannot see that human being with the eyes of an artist, our writing about them will not be fresh, it will be fuzzy, blunt, stale, peculiarly distorted. In a word: stereotypical.
It will be distorted in the same way that people who do not know how to draw will make the eyes too big, the foreheads too small, and ignore most of the shadows—the face they draw looks like a cartoon, not the way the face actually looks, because the left side of their brain was busy labeling things.
Seeing as an artist, on the other hand, is seeing without filters. Radical seeing. For us as writers this means seeing without prejudice, without bias, without the… shall we say, enduring presumptions.
It is, to quote the artist Betty Edwards again, “an altered state of awareness.” And “This shift to an altered state enables you to see well.”
So how do we get to that altered state? And then see?
FIVE TECHNIQUES FOR RADICAL SEEING
Technique #1 It starts with slowing down, being here now, in your body. Breathe in and breathe out, slowly, keeping your attention on following each breath, in and out. In and out. Five to 10 of these usually works just fine. If you’re really stressed out and distracted, maybe more. Whatever works for you.
Technique #2 This quiets the so-called “monkey mind.” Using a pen and paper, and using the present tense—using the present tense is key—simply writing down what you want to set aside for the duration of your writing session.
I write:
For now I’m not going to worry that The phone might ring. I am concerned that the front tire of my car looks low. I am worried that so and so will say thus and such…
Whatever. You just write them down and set them aside. And because you are writing them down, no worries, they will be there for you when you need to pick them up again.
Really, it is that simple. And incredibly powerful.
Now to actually seeing as an artist. I think of it as adopting the mindset of a four year old child. A four year old is old enough to speak and maybe even read and write a little bit, but young enough to have no presumption, no bias, no definitions, no worry about time, no social status to defend. No need to be “cool.” It’s just, you’re four and you’re noticing things, playfully. Innocently. Dangerously. Like that little boy who asked, Why isn’t the emperor wearing any clothes?
So we can start noticing things. Like, ooooh, the person sitting next to us.
What is the shape of her hair?
What’s on her left hand?
If you could touch her sleeve what would it probably feel like?
Other people may inform us that a wall is, say, pink. But if we can see as an artist, get past all the filters, we will see that the wall is cotton candy pink, over there. Down in the corner, away from the window, it might be more of an ash rose. Over there, where it catches the glow from the reflection, it’s a salmon pink. Up near the ceiling light, almost white. It’s gray, it’s lavender. That wall might have hundreds of different colors.
“The uniformity of the wall’s color is a social fact, and what I perceive, in every day life, seems to be such social facts, rather than the facts of optics… To perceive the wall as variously colored, I have to suspend my normal socially informed mode of perception. This is what an artist does.”
Other people may inform us about other people, such as, say, Mexicans. Mexicans are like this or, Mexicans are like that. But if we can see as an artist, we may see something, someone who does not fit into, shall we say, the enduring presumptions.
Such as Maximilian von Habsburg.
Speaking of emperors, Maximilian wore some very nice clothes. Beautifully tailored suits and uniforms.
Who has heard of Maximilian?
Most Mexicans will tell you that Maximilian was not Mexican, that he was Austrian, he was the Archduke of Austria, he was a puppet monarch imposed by the French Imperial Army. But at the time Maximilian died, executed in Mexico by firing squad in 1867, there were many Mexican monarchists, a minority of Mexicans certainly, but many, who considered Maximilian Mexican, as he did himself—he considered himself the mystical embodiment of his people, his subjects, the Mexicans.
His skin was very pale and he had this down-to-here red beard. As you might recall, the Habsburgs had once ruled Spain. So to Louis Napoleon and the Mexican monarchists, for the throne of Mexico, Maximilian seemed a logical and very apt choice. And the Pope thought so, too, by the way.
Technique #3 Do your reading and research, and I could talk for an hour or more just about reading and research…archives and handwriting and photographs and newspaper clippings… but the clock is ticking.
One thing I would urge you to consider is to read for perspectives outside your comfort zone. For example, I am the last person who would pick up the memoir of Princess Di’s butler. But in fact, that memoir, Paul Burrell’s A Royal Duty, as well as many other dishy English and European palace memoirs that have oozed out over the past couple of centuries, helped me see palace life in ways I might not have been able to otherwise—to crack its brittle surface of glamour and glimpse some of those oh-so-very human beings.
Technique #4 Always, always question the source. You might be surprised— I certainly was— by how many “facts” rendered in standard histories turn out to have originated in wartime propaganda or were complete fictions tossed off by political enemies. Whenever someone says something about someone, ask, what was their aim? What was the information they had at the time? Their biases? And what were their incentives?
Finally:
Technique #5 Visit relevant places, if you can, always trying to see them from the point of view of your characters. When you’re there, put yourself in their shoes. You may or may not have sympathy for them, but your artist’s imagination, your artist’s eye, must.
MAXIMILIAN’S POV
I’d like to end with a brief reading from the novel, The Last Prince of the Mexican Empire, from a flashback in Maximilian’s point of view.
When he was a twelve year-old boy, there was a distinct moment of a gray winter’s day in the Hofburg when he looked up from his schoolwork, the endless hieroglyphics of trigonometry, and caught sight of his reflection in the window. Four o’clock and it was nearly dark outside. He had been horrified: how old he looked. The life drained out of him! In a whisper that neither his older brother Franz Joseph nor their tutor could hear, he solemnly swore: I shall not forget who I truly am.
Adults, it seemed to Max, were as butterflies in reverse: they too, had been beautiful and free, but they had folded in their wings, cocooned themselves, and let their appendages dissolve until what they became was hard, ridged, little worms. One’s tutor, for example, reminded one of a nematode.
Twiddling concern with numbers, “practicality” in all its Philistine guises makes Maximilian stupendously bored. He needs vistas of sky, mountains, swift-running, sun-sparkled water; he needs— as a normal man must eat— to explore this world, to see, to touch its sibylline treasures: hummingbirds. The red-as-blood breast of a macaw. The furred and light-as-a-feather legs of a tarantula. God in all His guises: mushrooms, lichens, all creatures. As a boy, Max had delighted in his menagerie: a marmoset, a toucan, a lemur. The lemur had escaped, and left outside overnight, it had died of the cold. A footman had opened the door in the morning, and there the thing was, dusted with snow and stiff as cardboard.
“I detest winter,” Max had declared. Franz Joseph, Charlie, and the little brothers, bundled in woollens and furs, they could go ice-skating or build fortresses for snow-ball fights; Max preferred to stay inside with his pets, his books, and the stoves roaring. The one thing he relished about winter, for it was a most elegant way of thumbing his nose at it, was to go into the Bergl Zimmer and shut the door behind him. Its walls and its doors were painted with murals, trompe l’oeil of the most luxuriant flora and fauna: watermelons, papayas, cockatoos, coconut trees, hibiscus. Where was this, Ceylon? Java? Yucatan? Sleet could be falling on the other side of the Hofburg’s windows, but this treasure of the Bergl Zimmer, painted in the year 1760 for his great-great-grandmother the Empress Maria Theresa, never failed to transport one into an ecstasy of enchantment.
Mexicans, walls, in the news. Couldn’t resist.
So in this excerpt I am writing across multitudinous borders and cultures: about a man, when I am a woman; about an Austrian turned Mexican, when I was born in Texas and grew up in the suburbs of California, then moved to Mexico, remaining a legal resident, not a Mexican citizen; someone whose native language was German, when mine is English; one of Europe’s highest ranking aristocrats, when I have no title nor did any ancestor I know of; someone who was born more than a century before myself; furthermore, someone whose personality, religious beliefs, political values, pastimes, intellectual interests and aesthetics were all dramatically different than my own.
Did I get Maximilian “right”? I don’t know. There is no triple-certified committee of quadruple-authorized red-bearded blue-blooded Austrian-Mexican monarchist-Catholic-sailing-and-botany-enthusiasts to tell us. And even if Maximilian himself were available to provide feedback by means of time travel or, say, a credible séance, would that Maximilian, plucked out of 1866 or disembodied orb of some 150 years of floating about the astral, have the self-awareness, confidence, and good will to communicate to us a valid yea or nay?
What I do know is that what I wrote, that bit I just read to you, is the product of my applying these five techniques, including heaps of reading, archival research, and a visit to Vienna’s Hofburg Palace, and however good it may or may not be— let the gods and the reader decide— it is a mammoth stretch beyond what I could come up with in my first drafts.
EMPATHY
The stretch is towards empathy. But be careful: Empathy is not the same as sympathy. I do not have sympathy for Maximilian von Habsburg, Archduke of Austria and so-called Emperor of Mexico and all that he represented and fought for; but for Maximilian the human being, I do have empathy. That empathy was something I achieved because I wanted to see him.
“Recognizing the reality of another’s existence is the imaginative leap that is the birth of empathy, a word invented by a psychologist interested in visual art. The word is only slightly more than a century old, though the words sympathy, kindness, pity, compassion, fellow-feeling, and others covered the same general ground before Edward Titchener coined it in 1909. It was a translation of the German word Einfühlung, or feeling into, as though the feeling itself reached out… Empathy is a journey you travel, if you pay attention, if you care, if you desire to do so.”
In other words, such seeing takes heart and the writing that results is a journey of the heart, both for the writer and for the reader— although the latter may not choose, or perhaps may not be able to take such a journey. One can proffer “the pearls of the Virgin,” as they say in Mexico, and there will always be unhappy souls who loudly proclaim that they do not like hard little white things.
In the spirit of seeing past stereotypes, I would like to leave you with a quote not from an artist nor a beloved poet nor an esteemed literary writer but a Harvard Business School Professor of Marketing. In her wise and provocative Different: Escaping the Competitive Herd, Professor Youngme Moon writes, “Wherever you go, what matters less is what you are looking at, but how you have committed to see.”
This blog posts on Mondays. As of 2019 the second Monday of the month is devoted to myworkshop students and anyone else interested in creative writing. (You can find my workshop schedule and many more resources for writers on my workshop page.)
Wherever there be a parade of people, there’s an opportunity for a writerly exercise. This is a quick and easy one, or rather, five. The idea is to look– using your artist’s eye, really look at individuals and come up with two words (or 3 or 4 or 7) to describe them.
Yep, it is that easy.
It helps to write the words down, but just saying them silently to yourself is fine, too. The point is to train your brain to pay attention to detail and generate original descriptions. This helps your writing reach beyond stereotypes (e.g., she was a short Asian woman or, he was a tall black man, or she was a blonde— and other such staples of workshop manuscripts) and so offer your reader something more original, more memorable, and definitively more vivid. “The vivid dream,” that’s what it’s all about.
So, there you are in the airport and, as some random person walks by:
1. Come up with one word to describe the shape of this person’s hair; a second word (or two) for the color of his or her shoes, naming a food item of that same color. For example:
knife-like; chocolate pudding
Now I have the raw material to string together a brief but extra-vivid description, for example:
She wore a knife-like bob and slippers the color of chocolate pudding
Again, find one word for the shape of the hair, and one word for the color of the shoes, referring to a food item.
curve; pork sausages
His head was a curve of curls and he wore pinkish clogs, a pink that made me think of pork sausages
sumptuous; cinnamon candy
She had a sumptuous Afro and sandals the red of cinnamon candy
stubbly; skinned trout
He had stubbly hair and tennis shoes the beige-white of skinned trout.
(Is “stubbly” a shape? Oh well! Don’t tell anybody.)
By the way, it doesn’t matter if the words you come up with are any good or even apt; the point is to practice coming up with them. (Why the color of a food item for the color of the shoes? Welllll, why not? Make it the color of some sand or rock, whydoncha.)
2. Is this person carrying anything? If so, describe it with one adjective plus one noun, e.g.:
fat purse
She carried a fat purse
lumpy briefcase
He leaned slightly to the left from the weight of a lumpy briefcase
crumpled bag
She clutched a crumpled bag
Dixie cup
On his palm he balanced a Dixie cup
3. Gait and gaze
loping; fixed to the ground
He had a loping gait, eyes fixed to the ground
shuffling; bright
She had a shuffling gait but bright eyes
brisk; dreamy
Her walk was brisk, her gaze dreamy.
tiptoe; squinting
She seemed to tiptoe, she was squinting at the monitor
4. Age range
older than 10, younger than 14
perhaps older than 20
I would believe 112
obviously in her seventies, never mind the taut smile
5. Jewelry?Tattoos?
a gold watch; a silver skull ring
feather earrings; a toe ring
eyebrow stud; hoop earrings
a wedding band on the wrong finger; an elephant hair bracelet
So with the benefit of this wild mélange, here’s what I came up with for a fictional character:
She wore a knife-like bob and slippers the color of chocolate pudding. She carried a fat purse. Her walk was brisk, her gaze dreamy. Perhaps she was older than twenty. She had a wedding band on the wrong finger and an elephant hair bracelet.
Hmmm, maybe that’s the opening for a story. Or something.
By the way, if you’re stuck standing around in an airport, or some such place / situation, these little exercises, silly as they may seem, are better for your writing game than ye olde pulling out the smartphone. The former trains your brain to do what a writer naturally does. The latter gives you the shallows, and so makes the former even more difficult.
Find out about a must-read book, a must-read blog, and a must-watch TED Talk by Georgetown University Associate Professor of Computer Science Cal Newport, all in one handy post at his Study Hacks Blog, “Quit Social Media.”
What Newport says in that post is provocative– undoubtedly just the title will rub many people’s fur the wrong way, and no surprise, it already has many commenters a-huffing & puffing.
Here is my comment on Cal Newport’s post:
Thank you for this blog, for your TED Talk, and for your books, especially Deep Work. I am a writer with 2 finance books published under another name, plus 4 literary books, plus an anthology– all of which is to say, I understand the nature and immense benefits of deep work.
But dealing with the Internet… that has been a challenge for me over the past several years, and especially when all these shiny new social media toys seemed to be so necessary and (apparently) effective for promoting one’s books. Every publicist, marketing staff, my fellow writers, all seem slaves now to social media. I can assure you, every writers conference has a panel on book PR and social media.
For a while, at the enthusiastic urging of one of my writer-friends (by the way, a best-selling and very fine historical novelist), I maintained a Facebook page, but when I realized what a time-suck it was, and how FB made it intentionally and so deviously addictive, I deactivated my account. I had also come to recognize that people addicted to FB, as seemed to be not all but most of my “FB friends,” often as they might “like” and comment on my posts there, are probably not my readers. (My books require sustained focus; I admit, they can be challenging.) I deactivated my FB more than a year ago, and I breathe a sigh of relief about it every blessed day.
As for your book, Deep Work, much of what you say was already familiar to me from my own experience as a writer, but I appreciated the reminders, especially in light of these contemporary challenges to sustaining focus. What was especially interesting and intriguing to me was the new cognitive research you mention. Next time I teach a writing workshop you can be sure that Deep Work will be on the syllabus.
Do I miss interacting with friends and family on FB? Yes, but now I have more time for higher quality interpersonal interactions, such as, say, emails, telephone conversations, and–Land o’ Goshen!!– actually getting together in person.
However, for the record, I’m not (yet) giving up the three social media tools I still use, LinkedIn, Twitter and YouTube, because:
(1) With LinkedIn and Twitter I appreciate having a way to contact certain individuals when email is not a workable option (nieces and nephews, you know who you are!);
(2) I appreciate the broadcast opportunity, modest as it is. Check out my YouTube channel here. As for Linked In and Twitter, usually I just zip in to tweet a blog post or a podcast, then out, and not every day;
UPDATE: Twitter, meh. Now, with the rarest of exceptions, I tweet once a month, as a courtesy to the authors who do a Q & A for Madam Mayo blog.
UPDATE Sept 2021: The world would be a better place without Twitter. As for YouTube, it has a lot to answer for its ham-handed censorship in 2020-2021. My channel is still there only because it hasn’t been a priority for me at this time to move the content to another platform.
(3) I turned off their notifications;
(4) I do not find these services addictive, as I did Facebook, hence, I am not tempted to constantly check them.
In sum, for me– and of course, this might be different for you– at this time– and no guarantees for the future– the benefits of maintaining my LinkedIn, Twitter, and YouTube accounts outweigh the costs.
SPEAKING OF COSTS
Speaking of costs, one of the vital arguments Cal Newport makes in Deep Work is that pointing out the benefits of utilizing any given social media tool is not enough; one must also take into full account its opportunity costs in your actual practice. Oftentimes these costs are devastating. But fear of “missing out,” fear of admitting that one could have done so much better than to have spent weeks, months, even years of precious hours agog at mindless trivia– in short, the fear and pride behind cognitive dissonance– make many otherwise highly intelligent people blind to this simplest of common-sense arguments.
One question that popped up in the comments there at Study Hacks blog was about the definition of “social media”: Does it include blogs? Ironically, since he publishes comments and on occasion responds to them, I consider Cal Newport’s “Study Hacks Blog” to be social media. I do not consider this blog, “Madam Mayo,” to be “social media,” however, because an eon ago I closed the comments section.
That said, dear thoughtful and civilized reader, your comments via email are always welcome. I invite you to write to me here.
P.S. My recommended reading lists for my writing workshops are here. You will find Cal Newport’s excellent Deep Work on my list of works on Creative Process. And you can read my review of Cal Newport’s earlier book, So Good They Can’t Ignore You, here.