"ALL THAT I CARED FOR IN CIVILIZATION HAS GONE FOREVER AND I AM TRYING TO LIVE WITHOUT EITHER HOPES OR FEARS - NOT AN EASY JOB."
E.M. Forster ; Author of A Room With A View (1908) and Howard's end (1910) and Passage to India (1924)
6/25/10
6/22/10
FEDS WANT TO "REINVENT" JOURNALISM
JOURNALISM is in trouble...
WOULD YOU LIKE TO WORK FOR THE FEDERAL GOVERNMENT TO STAY EMPLOYED?
Today I found this article about how the FEDS are looking at the way journalists can barely make a living, newspapers are having trouble making revenue; a long article but take a look because it's PROVOCATIVE.
WOULD YOU LIKE TO WORK FOR THE FEDERAL GOVERNMENT TO STAY EMPLOYED?
Today I found this article about how the FEDS are looking at the way journalists can barely make a living, newspapers are having trouble making revenue; a long article but take a look because it's PROVOCATIVE.
6/17/10
BOOK EXCERPT : CATCHING THE BIG FISH by DAVID LYNCH
From DAVID LYNCH
CATCHING THE BIG FISH
Meditation, Consciousness, and Creativity
Jeremy P. Tarcher/Pengiun Publisher
Chapter called SUFFERING page 93
"It's good for the artist to understand conflict and stress. Those things can give you ideas. But I guarantee you, if you have enough stress, you won't be able to create. And if you have enough conflict, it will just get in the way of your creativity. You can understand conflict, but you don't have to live in it...
In stories, in the worlds that we can go into, there's suffering, confusion, darkness, tension, and anger. There are murders; there's all kinds of stuff. But the filmmaker doesn't have to be suffering to show suffering. You can show it, show the human condition, show conflicts and contrasts, but you don't have to go through that yourself. You are the orchestrator of it, but you're not in it. Let your characters do the suffering...
It's common sense: The more the artist is suffering, the less creative he is going to be. It's less likely that he is going to enjoy his work and less likely that he will be able to do really good work..." DAVID LYNCH
CATCHING THE BIG FISH
Meditation, Consciousness, and Creativity
Jeremy P. Tarcher/Pengiun Publisher
Chapter called SUFFERING page 93
"It's good for the artist to understand conflict and stress. Those things can give you ideas. But I guarantee you, if you have enough stress, you won't be able to create. And if you have enough conflict, it will just get in the way of your creativity. You can understand conflict, but you don't have to live in it...
In stories, in the worlds that we can go into, there's suffering, confusion, darkness, tension, and anger. There are murders; there's all kinds of stuff. But the filmmaker doesn't have to be suffering to show suffering. You can show it, show the human condition, show conflicts and contrasts, but you don't have to go through that yourself. You are the orchestrator of it, but you're not in it. Let your characters do the suffering...
It's common sense: The more the artist is suffering, the less creative he is going to be. It's less likely that he is going to enjoy his work and less likely that he will be able to do really good work..." DAVID LYNCH
Labels:
book excerpt,
Christine Trzyna BlogSpot,
Creativity,
David Lynch,
film,
meditation
6/15/10
ANNE LAMOTT Quote
"I do not understand the mystery of grace - only that it meets us where we are, but does not leave us where it found us." -Anne Lamott
Labels:
Anne Lamott,
Christine Trzyna - Writerly Life,
quote
6/13/10
ANNE SEXTON FOR JOHN, WHO BEGS ME NOT TO ENQUIRE FURTHER
For John, Who Begs Me Not To Enquire Further
by Anne Sexton
Not that it was beautiful,
but that,
in the end,
there was
a certain sense of order there;
something worth learning
in that narrow diary of my mind,
in the common
places of the asylum
where the cracked mirror
or my own selfish death
outstared me.
And if I tried
to give you something else,
something outside of myself,
you would not know
that the worst of anyone
can be,
finally,
an accident of hope.
I tapped my own head;
it was a glass,
an inverted bowl.
It is a small thingto rage in your own bowl.
At first it was private.
Then it was more than myself;
it was you,
or your house
or your kitchen.
And if you turn awaybecause there is no lesson here
I will hold my awkward bowl,
with all its cracked stars shining
like a complicated lie,
and fasten a new skin around it
as if I were dressing an orange
or a strange sun.
Not that it was beautiful,
but that I found some order there.
There ought to be something special
for someone
in this kind of hope.
This is something I would never find
in a lovelier place,
my dear,
although your fear is anyone's fear,
like an invisible veil between us all...
and sometimes in private,
my kitchen,
your kitchen,
my face,
your face.
C Anne Sexton
by Anne Sexton
Not that it was beautiful,
but that,
in the end,
there was
a certain sense of order there;
something worth learning
in that narrow diary of my mind,
in the common
places of the asylum
where the cracked mirror
or my own selfish death
outstared me.
And if I tried
to give you something else,
something outside of myself,
you would not know
that the worst of anyone
can be,
finally,
an accident of hope.
I tapped my own head;
it was a glass,
an inverted bowl.
It is a small thingto rage in your own bowl.
At first it was private.
Then it was more than myself;
it was you,
or your house
or your kitchen.
And if you turn awaybecause there is no lesson here
I will hold my awkward bowl,
with all its cracked stars shining
like a complicated lie,
and fasten a new skin around it
as if I were dressing an orange
or a strange sun.
Not that it was beautiful,
but that I found some order there.
There ought to be something special
for someone
in this kind of hope.
This is something I would never find
in a lovelier place,
my dear,
although your fear is anyone's fear,
like an invisible veil between us all...
and sometimes in private,
my kitchen,
your kitchen,
my face,
your face.
C Anne Sexton
6/10/10
QUOTE from KEN BRECHER, PRESIDENT OF LIBRARY FOUNDATION OF LOS ANGELES
From ALOUD Summer 2010 brochure.
Q: What is the future of libraries in such a technology driven world.
A: The internet and e-book are both additional resources for libraries, offering us another way to spread reading and knowledge. Reading is reading, whether it's done on a computer screen, a Kindle, on the pages of a coffee-stained paperback, or in the rare books room of the library. Books aren't going anywhere; the American appetite and curiosity for learning will ensure that we are adding new ways to access knowledge, not subtracting old ones."
Q: What is the future of libraries in such a technology driven world.
A: The internet and e-book are both additional resources for libraries, offering us another way to spread reading and knowledge. Reading is reading, whether it's done on a computer screen, a Kindle, on the pages of a coffee-stained paperback, or in the rare books room of the library. Books aren't going anywhere; the American appetite and curiosity for learning will ensure that we are adding new ways to access knowledge, not subtracting old ones."
6/6/10
PERSONAL DIARY : CHRISTINE TRZYNA : THE VERY WORST THING ANYONE EVER SAID TO ME TO DISCOURAGE ME FROM WRITING
THE VERY WORST THING ANYONE EVER SAID TO ME
TO DISCOURAGE ME FROM WRITING
by Christine Trzyna
For some time, I spent a large chunk of my day, sometimes every day, in a privately owned coffee house on a major boulevard in a ritzy shopping district. That it was a ritzy area is mentioned here, only to say that a lot of people who came into this place had a lot of money and time to burn. But not everyone. Not most of the writers who decorated the place. I was one of those writers who was tolerated for hours with my laptop taking a small table, though not without purchasing. I bought a lunch and nursed a few refills and once in a while one of those people with money to burn filled my cup for another 50 cents.
My purpose was to write in an environment that was somewhat stimulating so that when I needed to take a break and have a good, intelligent, conversation, I could. I wanted to write in a place where food and beverages were easily affordable and available and that wasn't too far from my place. (I did meet some interesting conversationalists there.)
I think a lot of writers do the same, escaping their environments not supportive of their writing by taking their laptops and heading out. There is even a kind of club for some that suddenly ups and goes to X, abandoning Y, making the owners who counted on them, for their bread if not their butter, wonder what they did wrong. Usually it's just the in-crowd as they think of themselves excluding someone they are tired of.
HERE IS THE VERY WORST THING ANYONE THERE EVER SAID TO ME ABOUT WRITING and PUBLISHING A BOOK:
"You go to the book sales at the libary or to garage sales, and you buy books for a dollar or a quarter, and after all the time and effort, that's where your book ends up."
The guy who said this to me was a rich bum, the equivalent of someone satisfied to live off a trust fund and not do much of anything, not even volunteer work.
Of course I think it's WONDERFUL that books get recycled and go from one reader to the next, that those books got cleared out of attics and bookshelves, so that SOMEONE ELSE could READ THEM! I know that the moment for the author themselves to profit from the sale of such a book is over, yet, this is how some people become familiar with a writer, through an old book. You can't put a dollar on that. And writers write for publication because they want to share with the world. When I get a book from the library that I love and want, I too look for it at library and garage sales. I THINK "GREAT! AT SOME POINT A WRITER GOT PAID FOR THIS WRITING!" That's better than being ripped off from the get go!
SO NO I AM NOT OK with someone stealing my intellectual property, which has happened. That's one of the reasons I don't send work out as I used to, having trust and faith because someone claims they have a great opportunity for me; it seems that promises made by certain chap book publishers (I should sue) and even people with Doctorates in Literature who put out anthologies (I should sue) turn into BS.
A steaming simmering pile of BS...
Hey, thanks for reading!
C Christine Trzyna All Rights Reserved including Internet and International Rights
6/1/10
Are YOU a CAT PERSON or a DOG PERSON ?
Used to be a lot of my friends had a thing for cats and a lot of my friends had a thing for horses. But when it comes right down to it, I'm a dog person and I was never "horse crazy."
Maybe it's time for me to make new friends who have dogs?
Maybe it's time for me to make new friends who have dogs?
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