Roberto Bolaño and I are one in the same in that the sifting through our second, third, and fourth drafts of scratched up manuscripts, mortally wounded by red ink, mismatched combinations of chicken-scratched and robotically processed words would be a quick descent into pure absurdity.
Naturally, I have some notebooks reserved exclusively for poems, for work scribbles, or for story ideas. But largely, I am a shockingly unorganized writer, and every few weeks, I’ll stumble across an orphaned piece of writing that I had entirely forgotten about, hidden in the dark crevices of a notebook shoved hastily under my bed.
The writing and I exchange words and tears; it mournfully wails that it has long been forgotten, and I get down on my knees to beg absolution. Like most things in life, organization is a game I am slowly learning to play.
*originally published September 2015
There are clear distinctions between being a news junkie and a political fiend, and I will wholeheartedly admit I am the former rather than the latter.
I have a bad habit of turning CNN on for background noise while gussying up in the morning or for background noise when I’m puttering around the house. To make matters worse, I’ll typically put the news back on after I return from work, keeping it on while I’m eating dinner. Usually, after an hour, I’ve had enough of death, decay, and destruction that spews out into the world around us (and I wonder why at times I am so melancholic, really!). But the news has become a bad habit for me.
At this stage of the game with the 2016 election approaching, my news junkie comrades and myself are constantly bombarded with political news all day, everyday. And even though I am a news junkie, I find politics so incredibly boring that I want to go to sleep before finishing this sentence. I keep up; I dip a toe in the giant pool that is the nonsense of Washington because it’s important to keep tabs on what’s happening, but Lord, I just find it so boring.
I’m not sure whether I should be more concerned about the American public who found it necessary to read Greg McKeown’s Essentialism: The Disciplined Pursuit of Less or the fact that Greg McKeown thought it was necessary to write about such common sense topics in the first place.
Essentialism is essentially nonessential. McKeown has spent the better part of 250+ pages writing about concepts of self and time management that are so routine to human existence that a kindergartner could have saved me time by telling me what McKeown has listed in this book.
Essentially (all right, I’ll stop), according to McKeown, we try to fit too much into our lives. We make ourselves unhappy by not accomplishing our goals and spending time with our families because we are absolutely dreadful at the work-personal life balance.
Everything in life can be separated into the realm of the essential, what is vital and absolutely necessary, and the nonessential, everything else, including dicking around on the internet. But because we humans have largely developed the psychological phenomenon known as learned helplessness, we struggle to be able to differentiate between to the essential and the nonessential, further complicating our lives. Ergo, we need Greg McKeown, a leadership researcher from England, to show us the light.
Full disclosure: I have never seen any of The Godfather movies.
I own nearly all of Béla Tarr and Rainer Werner Fassbinder’s filmographies. . . but I have never seen any of The Godfather films, at least not in their entirety. This is a problem, a problem I have set out to solve. But like any good former English major, I have to read the book first, even if it proves to be 400+ pages of nothing but very creative ways to die before I can watch the three movies, each which are about three hours long of even more creative ways to die.
Rainer Werner Fassbinder never ceases to amaze me not only as a brilliant film director for his masterful direction of some of the most challenging, most brutal screenplays in New German Wave cinema throughout the 1970s and 80s, but also as a precise craftsman of the most obscene theatrical plays, especially those of his controversial antiteater collection, six of which are published in 1986’s Rainer Werner Fassbinder: Plays, edited and translated by Denis Calandera.
Every time November rolls around, I can’t help but begin to sneer at a few things; the cooler weather’s inability to quit ushering in snow and wind and negative temperatures, my inability to physically stay warm for approximately four months despite mountains of blankets and sweaters, everyone else’s inability to stop uttering in their lowered voices the Game of Thrones quote, “Winter is coming,” and my email’s inability to filter out an onslaught of reminders of what is about to happen that month from the National Novel Writing Month squad.
That’s right, writers. You know what November means.
Let me preface this by noting that I am fairly torn about NaNoWriMo as a concept because I really want to love the idea of it. I see the benefit and how it can truly help writers… but we just don’t see eye-to-eye, NaNo and I.
Since the beginning of fall, I’ve had an unhealthy infatuation with silent films, particularly horror films since Halloween is nearly upon us. I’ve made it a habit of watching TCM at night when I’m trying to fall asleep. There’s something calming about the black-and-white screen and the lack of auditory dialogue, especially when your entire day was spent in some form of verbal or digital dialogue with someone, and the scary movies from back in the day aren’t exactly pieces that will keep me up all night in pure terror.
I was never much for silent movies when I was growing up; I don’t even recall ever watching many black-and-white films. Like most children from the 90s, I need constant stimulation to justify my existence, so slowing down and focusing entirely on the storyline without the glitz and glam of special effects, surround sounds, and hunky actors is challenging to say the least. The melodrama of Old Hollywood is comical, and even though sometimes it is nauseating to see the old stereotypes and ideologies that dictated the early days of film, I largely feel like these films are brief glances into our history; look how far we’ve come, baby, now.