"Suppose We See It Like This...."

One of the most useful tools in writing is constantly writing to the muse. I've always been one to write a journal -- strictly on the concepts of the writing and what is moving around in my head. And while that sometimes distracts the writing process, it is important to map out some of the flow to capture it and make it useful later. Snapshots of the mind can help shape and form longer projects and ideas. 

From my writing journal, I've been able to ask questions (existential and practical)  about writing, thoughts, and visions of long-term projects (typically novels).  This ability to speak on the page is a meandering that I find indispensable. It is a conversation with the writing, and it is there that I've established my personal ethics and values in writing and thinking. My journal isn't a treaty on thought - but a vault of my own creation. I use it to remember books, write reviews, try out poetry, and even explore my own dreams. But it is always with the value that it connects to another part of my thinking. That is why my journal exists and that is how I prefer to use it. I can always write in my journal. There is no writer's block because it is merely snapshots not meant for anything more than building ideas. 

When I was reading I Heard Voices in my Head by Helen Vender in the New York Review Of Books (2/23/17), I was slapped in the face with a reminder of why process thinking is important to me. She explains, 

"In truth, what a meditative poem contributes to the history of consciousness is a reenactment in real time of the volatile inner life of a human being. Such a poem [refering to The Preludes by Wordsworth] does not present itself as plot or character portrayal or argument, but rather (in I. A. Richard's theory) as a hypothesis: "Suppose we see it like this." The poet's proposed hypothesis change "minute by minute," and include waverings, self-contradictions, repudiations, aspirations, and doubts; they are not offered as a philosophical system." 

This awoke something in me. As I mentioned above, I don't write in my journal to create a treaty of thought - it really isn't that formal, but to record the visions I see now, to compare them to the visions in the future. Keeping this record is both validating and useful as it grows outside of your mind, freeing this space for other connections. It helps that I can also keyword search it on the computer if I need to find something from the past.   

The complexity of self-rumination is a gift unto itself and that journal has been fascinating to me in that I can release these ideas. If I come back to specific ideas - then perhaps they need to find a place in a story or become part of a character. That being said, Wordsworth's relationship with Coleridge was also something that has always been connective. Coleridge was one of the masters of documenting his creative vitality in his journal, letting small fragments and parts eventually turn into his famous poetry. It is this awesome creative power that inspires me to see the worth in this idea that Wordsworth (in The Preludes). Seeing Wordsworth as someone who is considering the very nature of who he is through query and poetry, it is very connective to the ideas that Coleridge put fourth. In fact, one of the most influential quotes that changed my understanding of literature was the inscription at the beginning of The Rhime of the Ancient Mariner by a philosopher named Thomas Burnet. It reads: 


"I readily believe that there are more invisible than visible Natures in the universe. But who will explain for us the family of all those beings, and the ranks and the relations and distinguishing features and functions of each? What do they do? What places do they inhabit? The human mind has always sought the knowledge of these things, but never attained it. Meanwhile I do not deny that it is helpful sometimes to contemplate in the mind, as on a tablet, the image of a greater and better world, lest the intellect. habituated to the pretty things of daily life, narrow itself and sinly wholly into trivial thoughts. But at the same time we must be watchful for the truth and keep a sense of proportion, so that we may distinguish the certain from the uncertain, day from night." Adapted from Coleridge from Thomas Burnet, Archaelogiae Philosohicae (1692).*

This becomes the vision of the writer, thinker, and the creative mind. Your job is to see the unseeable. And then admit that to paper at all costs. While that may seem heroic - perhaps that is exactly what it should be, a call to define truth as something more than just what you know as fact - but something we desire, something we hope for, something that only fiction and prose can create. We don't need fact to create truth. We need a vision of "a greater and better world" even at the cost of losing some of our current world. It is sacrifice, it is purposeful, and it is the life of a creative thinker. Poets, prose writers and even visual artists should understand this important connection, even if it is unattainable -- it is still vastly and completely worth the writing down the ideas and words that will change you. It will shine light on the darkness. And we can ask that question, "suppose we see it like this" with thrilling and beautiful hope that someone will be willing to "see it like this," and will carry it forward.  


*Abrams, M. H. The Norton Anthology of English Literature. New York, NY: Norton, 1993

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Poetry Review / Body Politic by Rich Murphy

Body Politic 
by Rich Murphy 
Prolific Press Inc. / 2016 
ISBN: 978-1632750846


Language and politics have a symbiotic relationship in strange and creative ways. George Orwell knew this when he wrote about the language of politics and what that language does for our society. In Orwell's Politics and the English Language, he spoke about dead metaphors, pretentious diction, and meaningless words. The obfuscation of the real meaning and intention of politic actions are deliberately intertwined in language meant to confuse or misdirect. There was a time when I thought George W. Bush had an issue with language, and then came the Trump leadership with Tweets and strange jargon that means nothing from the leadership. Orwell mentions in his treatise that meaningless words are confusing and dangerous and "words of this kind are often used in a consciously dishonest way. That is, the person who uses them has his own private definition, but allows the hearer to think it means something quite different." And he goes on to give the example of, "Marshal Petain was true patriot." Sounds like rhetoric I heard last month.
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Historical Vision Of Literature - Early Reviews

by Ron Samul 

Books have lives of their own. Sounds strange to think about it but books rise and fall depending on the very nature of their theme and the popularity of the author. I've been fascinated in reading book reviews of novels as they first arrive - first impressions. Part of my inquiry is to see if beloved books now were beloved when they arrived on the scene or if they have lived a sorted life among the shelves of the world. 

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Book Review / Kindred by Octavia Butler (Graphic Novel Edition)


by Ron Samul 
Creating a graphic novel experience is often a balance between images (graphic) and the novel (the story) and how they work together. Adapted to the graphic novel by John Jennings (illustrator) and Damien Duffy (editor), this complex piece of speculative history is constantly serving uncertainty and twists on every page. The story takes a writer from the 1970's who is inexplicably pulled back in time to save a child. The white child named Rufus is somehow connected to her. When she returns to the 1970's she realizes that she has only been gone a short time. As she continues to be pulled back to Rufus and his life, she realizes that she is being drawn back to a southern plantation where slaves are used to manage the house and tend the crops. Dana (and eventually her husband Kevin, a white man) must find their way in this oppressive and complicated past. 
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Tangible Text

Ron Samul 

A writer likes to tell stories, connect ideas, and bring about their vision of art. Writers like to use words to make something. And bound with that is the desire to have a tangibility to their texts. Books can have a physical sense to them, including their feel, the sound of the turning page, and the way they smell in different states of repose. Holding a text can be a preference. Some people just like to read physical books. But when an author holds a copy of their own book - does it suggest something more?

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Creative Visual Reference 2.0

Sitting through a workshop this winter, I was amazed that writers struggle to find information important to characters and other visual ideas. A student in the workshop mentioned that they were struggling to see their character specifically. I immediately thought of Robert Olen Butler and his book From Where You Dream. And in his book he mentioned that we shouldn't be stifled by the things we don't know - the small intangible things that we can't name. He suggests using a visual dictionary to help with some of these issues. These reference books help us name things that can help us be specific and clear in the writing. While I have one, I don't use it all that much. However, I had recently noticed a writer who was using Pinterest for references to her writing. And I was fascinated how this social media tool might reboot the idea that visual references can inspire us and make connections. 

Pinterest is a collection of images and other media organized through headings known as "boards" that help categorize how and why they are relevant to the collector. In terms of a writing tool, we have a wide range of purpose and focus. For example, writers might need to know "Civil War Uniforms" and collect pins to support the look and feel of both sides of the battle. The more specific a writer can be, the better suited they can make their finds on Pinterest. If you need shoreline cottages in Ireland, you can probably create a collection.  But there is more than just collecting things. Pins and boards can become relatable. 

When you see things (from different pins) that begin to relate to one another, you being to make connections. That can bring ideas together. From hairstyles, fabrics, wood joining, to dishes, Pinterest can help. And while we know excessive detail can be grueling, finding the right significant detail can carry a lot of weight in prose. This social media can help. 

If your purpose is to know the names of things, this won't be a good focus for you. But if you need to build visual relationships, to connect ideas, this might be the right space for you. What may be confusing is creating a visual for something you haven't actually touched or seen. For example, if you needed to know what an Egyptian bug swatter looked like, you will probably find it. Then you will have a sense of what these things looked like. It may also inspire you to look at why Egyptians had so many bugs around them to begin with. Hence, a new line of inquiry and perhaps focus could enter into your writing (dying of malaria is a significant plot point). 

Social media is typically a writer's worst distraction, but in this place, we should be considering different application, creations, and, connections to our craft. Sometimes, we find connection in the most unlikely things and places, and with a powerful search engine, this digital tool could change a phrase, a sentence, a page, or a story. It can also change the way we find inspirations and interconnections. 

What this social media platform creates is some foundational visuals that are important for writers, but not realized by the reader. This is a writers tool that is folded into the craft and transmitted through the story and words. You shouldn't notice specific pins or websites on the page, but the story is more informed, concrete, and subtle because of access to these ideas and visuals. 


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They're Only Words - Yes and No


Sometimes books find a way into your life and you wonder how they synched into your life so well. We picked Citizen by Claudia Rankine as our common read on campus. It was the right book at the right time. Not only did the students have an open dialogue about race and social issues, we also spoke about the importance and relevance of language in the way we speak, socialize, and even protest. It was very powerful. And then the election happened. And strangely - it was the students who were well prepared. While there was shock and despair - Citizen as a book helped us have a very difficult conversation. We had talked about racism, inequality, society, power, protest, and hate. And then we had to talk about how all those ideas culminated into how we were feeling after the election. And it got me thinking about this. 

One of the things I hate about myself is the part of me that just accept things because there is nothing I can do about it. On election day night, I went to bed shocked and sad. But I also was saying - there is nothing you can do about it. I didn't want to tell my kids. I didn't want to talk about it. I didn't want to talk to my students about it. And I sat and simmered. 

Slowly, I woke up, along with other people and realized how absurd this all seems. But there is a part of me that just says - okay accept things. I hate that part of me. I wish I would just flip out and say something I will regret. I wish I could pull out the plug that stops me. I never speak out when it is the right time. I always speak out after, or save it up and dump it on someone who can't effect change.

This election has might have pulled the plug for me. If this president, this election, this future is where we are going -- why hold back and sit passively for something to happen? 

What is that? Professionalism? Fear of being rude? Do I lack some kind of courage or morality? I feel like I am shedding this acceptance. But I need to define it and find out what it is that keeps me quiet or accepting of these things. 

In an article A Pedagogy of Refusal: Re-Essentializing the Word "No" in the Trump Era linked here, sharpened the point clearly for me. It was acceptance in the form of "yes, I will accept this."  


"We must instead, he said, distance oursleves from our propensity to say "yes" and re-essentialize refusal into our social systems to affect change. When I said, "yes," even passievely, to Trump's presidency that day with my pricipal, I had denied the humanity of all of the people whose maringalization Trump will perpetuate. I am complicit in their oppresion.
We live in a society where saying "yes" is more important than saying "let's think this through." A society where "I agree" is more acceptable than "I challenege you to think differently." Our operation under a pedagogy of acceptance has brought us to where we are today; our constant "yes"ing has left us with a president who has never been told "no."

I suppose I've woken up quite a bit from it all. I don't want to watch it. I want to do something about it, and it feels like there is nothing to be done. I suspect that things are going to be difficult for the incoming president. But I also think that we have to continue to not accept where we are going and make every single step like walking on glass. 

But it has also snapped me out of a malaise that things are fine, even when they don't work in my favor. I don't accept things for what they are. 


"We must bring refusal back into the American dialogue. We must make statements like "I cannot accept that" as powerful as "I agree with you." We must re-essentialize the word "no" into the American vocabulary and psyche, and say it fiercely to all of the forces who have brought about the election of Trump." 

It will take me some time, but I will have to practice and be diligent in my use of the word "no". I know it is difficult. But I will gladly shed the part of me that I hate the most -- the part that nods my head and waits for someone else to say something. 

One of the things I spoke to students about all semester in discussing race, social issues and Citizen by Claudia Rankine, was that language is nothing but symbols and sounds. But they can change us. They can spur protests, movements, solve problems, and bring on chaos. Words start wars. Words bring about the birth of a country. We all saw this semester that it will take courage to say the things we believe, and for that will be better people, in a better community. 

I still continue to listen to Trump and realize that there isn't anything there - no sincerity, no reality, no truth. Words are don't matter - until they cut, push, and move people to action. 
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