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Monday, December 24, 2012

An Attempt to List All Viewed Movies from 2012

Old and new, good and bad, all in theaters.  Roughly in chronological order by viewing date.  Here goes...

  1. A Separation
  2. This Means War
  3. Oscar Nominated Live Action Shorts
  4. Oscar Nominated Animated Shorts
  5. Titanic
  6. We Have a Pope
  7. The Dictator
  8. Moonrise Kingdom
  9. The Apartment
  10. To Rome with Love
  11. Beasts of the Southern Wild
  12. The Dark Knight Rises
  13. Sleepwalk with Me
  14. The Master
  15. The Perks of Being a Wallflower
  16. Diana Vreeland: The Eye Has to Travel
  17. The House I Live In
  18. Argo
  19. Lincoln
  20. Anna Karenina
  21. Sundance Shorts Program from 2012
  22. It's a Wonderful Life
  23. Les Miserables
Some Meaningless Awards
Surprisingly Good: Argo
Surprisingly Not Good: To Rome with Love

Good Acting, Awful Script: Lincoln
Warm, Fuzzy Feelings: Moonrise Kingdom
Simply Necessary: The House I Live In

Best of the Year: A Separation
Worst of the Year: This Means War



Sunday, August 19, 2012

Reading Old Essays, Part 2

Since I haven't had much time to Twitter to find cool stuff out there on the web to share, I decided I'd follow up with another sample of writing!

Tom Chiarella is one of the coolest people I've ever known.  DePauw is so lucky to have him, truly.  Tom is a part-time writing professor for the university, and also writes celebrity profiles for Esquire magazine.  His Jon Hamm profile is awesome, but two other non-profile articles hold a special place in my heart: "The $20 Theory of the Universe" was the first-ever Chiarella piece I read, assigned to my first-year seminar class by Chris White, his girlfriend and DePauw colleague; "Every Woman I Know" is a discovery that my friend Carol and I made our senior year and inspired us each to make our own "Every Man I Know" that we both update on a semi-regular basis (sorry, folks...that one's staying on my hard drive).

I had the pleasure of having Tom in class three times.  Yes, three.  First was Poker for Winter Term (I'm sure my parents were thrilled about that one).  Second was Invention of Place, a fiction writing class where we created the history of a fictional community through a series of writing exercises, sketches, maps, photographs, and family trees.  Finally, there was Magazine Writing, which was obviously Tom's forte.  Below is one of my short pieces from that course; Tom gave us a list of prompts all about listening to and experiencing music, and each person wrote on a different one.  We had a 300-word limit.  Though this isn't the best thing I've ever written, it's fun and certainly post-worthy, as my last several posts have been music related.

(For those of you who are familiar with the movie High Fidelity--I was going for a Rob Gordon kind of voice here.)


The Case for the CD Owner

Tangibility is the driving force behind the CD owner’s purchase of music. His purpose is to acquire, to collect, to exhibit. He may place his compilation alphabetically, chronologically, or perhaps by cover design. He is proud of his collection. Such possession of the physical gives him the authority to mark himself as the alpha male of music ownership.

This near-fetish is not the CD owner’s sole motive, however. The CD is a pledge of fidelity; a monetary exchange for the music is not enough. Care is needed, attention due to the material album. The CD, whose time capacity is limited, is a testament to an artist’s creative editing. Choices must be made, songs cut, tracks rearranged. Playlists and shuffles are simply heard—background music to working out and gardening. They appeal to certain moods, can be started and stopped at any particular time. CDs, though, are listened to. They tell a story from beginning to end—exposition in the opening songs, rising action, climax around tracks seven or eight, falling action, and resolution by the final number. One must not skip from song to song, enter here and leave there. Such play is for the hearers of MP3s.

Indeed the CD owner listens. He will not succumb to the ease of downloading music onto his computer. Instead, with honor he will browse, stumble upon, and buy the CD. He will play it from opening to close, read and sing the lyrics printed in the liner notes, study the cover’s artwork. He will slide his newly purchased jewel case into that long line of albums on the shelf underneath the stereo. And running his hand along the ribbed plastic spines, he will simmer with warm satisfaction.

Sunday, August 12, 2012

Reading Old Essays

I've been awful this summer with blogging.  No two ways about it.

Today I stumbled upon another blog post I wrote for the tutoring company I work for, Nurturing Wisdom.  It's been a year since I wrote it, and pretty much a year since I read it last.  In light of my first teaching job beginning this week (students start on Wednesday, ah!), I felt it appropriate to repost the short essay on my own blog.  Enjoy!

See the original post here.

The night Crittenden County High School won the girls basketball regional championship, I had just arrived home for spring break. I walked through the back door to find my parents sitting at the kitchen table, intently listening to the announcer. His fervor was magnetic, and though I had been home but for a few minutes, I was already rapt in the game. A last second shot, and then—“Rockets win! Rockets win!” His voice was breaking, the crowd’s roar from the gym sounded through the fuzzy AM radio, and my parents and I looked to each other in silence, smiling and eyes welling with tears of pride for our tiny county school.

It was the first time my alma mater had ever sent any basketball team to the state tournament, and the excitement ignited the community like wildfire.The next morning, unadorned white banners with plain blue letters hung on the lampposts along Main Street. Despite their crude aesthetic, the banners spelled out a hopeful message: “The Little Town that Could.” Every business along Main Street embellished its windows with similar well-wishes: “Good Luck Lady Rockets!”; “All the Way to State!”; “The Triple Crown: All-A, District, and Region 2011!” Blue balloons, blue streamers, even blue flowers tossed in the March wind of Marion, Kentucky.

Though I live in Chicago now, one year out of college, I cannot ignore the Crittenden County part of myself. It is as if time stops while I’m away from my hometown, for anytime I return, things pick up right where I left them:

there are still just two stoplights;

there are still just three fast food restaurants;

the county newspaper is still published once a week;

the high school still graduates about 100 students each year;

the muddy pick-up trucks still dominate the roads;

the Amish still park their buggies in the grocery store parking lot;

the teens still hang out “up town” in the evenings and go “backroading” for fun;

and the adults still ask me how I’m doing away from home, no matter how many times they’ve asked before.

Crittenden County is a place where the people are “kin” to each other, where you’re “fixin’” to go to the store, and where pulling down someone’s pants by surprise is called “shucking,” like shucking corn. And, of course, the typical Crittenden Countian is connected to most other citizens by three or fewer degrees of separation: I went to prom with my dentist’s nephew; my best friend’s aunt was my swim team coach, her uncle my algebra teacher; and my older brother, Neil Guess, went to homecoming with a girl named Lisa, who ended up marrying Terry Guess (no relation) and subsequently became the stepmother of one of my classmates, T.K. Guess (wait—what?).

Perhaps these quaint simplicities of rural life seem irrelevant to foreigners, but they inevitably constitute my personal mantra as both a student and (future) teacher of writing: from simplicity comes inspiration.

In Shakespeare’s tragedy King Lear, Lear famously threatens his daughter Cordelia that “nothing will come of nothing”—she will receive nothing from him if she does nothing to win his love through flattery. Many may think this ideology applies to the simple “nothings” of Marion, Kentucky, but in the case of my hometown and, more importantly, writing overall, there always is something, no matter how seemingly insignificant. The most successful creative pieces I’ve ever written focus on the most ordinary subjects, namely a personal essay entitled “Teeth: A Journey” and “Ole Blue Guess,” the narrative of the 1976 blue Chevrolet I drove during my teenage years: neither grand nor emotionally riveting, these stories simply bring to life common slices of the past that earn recognition with lively storytelling.

Likewise, academic writing functions in a similar simple-to-inspired manner. When writing a research paper, I read all the material first without having any clue where it will lead, noting every regular moment, every tiny detail, every nothing that could be something. How does it all relate? How do these puzzle pieces connect? What trends, ideas, arguments can I make from these clues? These questions help me find the inspiration among the simplicities and lead me to my thesis.

This very philosophy manifested itself that day at the Kentucky Sweet Sixteen basketball tournament as I cheered on the Lady Rockets. Throughout the wide sea of blue I spotted moments of my past—old classmates and teachers, family friends and foes, and citizens with whom I simply had that three-degree connection. Just as the subtleties of life inspire creative writing, just as the most minor details enlighten scholarly theses, these individual threads of Crittenden County had joined as a woven tapestry of community pride, reaffirming my mantra: from the simplicities of a rural community came the motivation to support Our Little Town that Could to the very end—and the inspiration to tell the tale another day.

Thursday, June 21, 2012

Summer Renaissance

A rebirth of A View from the Blue since I now have a life again!

And a rebirth of my listening to The Civil Wars (see my first post about them here) because I just saw them again in concert at Bonnaroo and they were fantastic!  The crowd was so energetic--Joy and John Paul had to cut off the applause between each song because everyone just kept cheering--yet so attentive during their acoustic sets.  I just don't know if I've ever been so hypnotized by a band before.

The song below, "Oh Henry," will more than likely make an appearance on their second album, which they will start working on in the fall after Joy's maternity leave.  It's been many years since I played piano or studied music, but there's got to be either a shift from minor to major between the verses and the chorus, or maybe it's just a key change.  Either way, I like it.

The video is from last year in Georgia, but I really liked the story Joy tells at the beginning about the making of the song.

Thursday, April 12, 2012

Cookie-Wise

My current "view from the blue" of the world...
"That's the way it crumbles, cookie-wise." 
                                                                                   --C.C. Baxter



Tuesday, March 20, 2012

Touchstones

The last time I posted, I had just begun student teaching.  Two months have passed.  I miss blogging.

In the spirit of Sununu's touchstones, for the past several years I have been keeping track of all the passages I come across in poems, novels, and the like that strike me in some way.  Often I record them because I find the language beautiful.  When I saw this blog post by the fantastic Jhumpa Lahiri, then, I was immediately drawn.

She says everything I wish I could say.  To quote one of my professors, "I love whenever great writing can describe how I feel better than I can."




from New York Times Opinionator

MARCH 17, 2012, 6:18 PM
My Life’s Sentences
By JHUMPA LAHIRI

Draft is a series about the art and craft of writing.

In college, I used to underline sentences that struck me, that made me look up from the page. They were not necessarily the same sentences the professors pointed out, which would turn up for further explication on an exam. I noted them for their clarity, their rhythm, their beauty and their enchantment. For surely it is a magical thing for a handful of words, artfully arranged, to stop time. To conjure a place, a person, a situation, in all its specificity and dimensions. To affect us and alter us, as profoundly as real people and things do.

I remember reading a sentence by Joyce, in the short story “Araby.” It appears toward the beginning. “The cold air stung us and we played till our bodies glowed.” I have never forgotten it. This seems to me as perfect as a sentence can be. It is measured, unguarded, direct and transcendent, all at once. It is full of movement, of imagery. It distills a precise mood. It radiates with meaning and yet its sensibility is discreet.

When I am experiencing a complex story or novel, the broader planes, and also details, tend to fall away. Rereading them, certain sentences are what greet me as familiars. You have visited before, they say when I recognize them. We encounter books at different times in life, often appreciating them, apprehending them, in different ways. But their language is constant. The best sentences orient us, like stars in the sky, like landmarks on a trail.

They remain the test, whether or not to read something. The most compelling narrative, expressed in sentences with which I have no chemical reaction, or an adverse one, leaves me cold. In fiction, plenty do the job of conveying information, rousing suspense, painting characters, enabling them to speak. But only certain sentences breathe and shift about, like live matter in soil. The first sentence of a book is a handshake, perhaps an embrace. Style and personality are irrelevant. They can be formal or casual. They can be tall or short or fat or thin. They can obey the rules or break them. But they need to contain a charge. A live current, which shocks and illuminates.

Knowing — and learning to read in — a foreign tongue heightens and complicates my relationship to sentences. For some time now, I have been reading predominantly in Italian. I experience these novels and stories differently. I take no sentence for granted. I am more conscious of them. I work harder to know them. I pause to look something up, I puzzle over syntax I am still assimilating. Each sentence yields a twin, translated version of itself. When the filter of a second language falls away, my connection to these sentences, though more basic, feels purer, at times more intimate, than when I read in English.

The urge to convert experience into a group of words that are in a grammatical relation to one another is the most basic, ongoing impulse of my life. It is a habit of antiphony: of call and response. Most days begin with sentences that are typed into a journal no one has ever seen. There is a freedom to this; freedom to write what I will not proceed to wrestle with. The entries are mostly quotidian, a warming up of the fingers and brain. On days when I am troubled, when I am grieved, when I am at a loss for words, the mechanics of formulating sentences, and of stockpiling them in a vault, is the only thing that centers me again.

Constructing a sentence is the equivalent of taking a Polaroid snapshot: pressing the button, and watching something emerge. To write one is to document and to develop at the same time. Not all sentences end up in novels or stories. But novels and stories consist of nothing but. Sentences are the bricks as well as the mortar, the motor as well as the fuel. They are the cells, the individual stitches. Their nature is at once solitary and social. Sentences establish tone, and set the pace. One in front of the other marks the way.

My work accrues sentence by sentence. After an initial phase of sitting patiently, not so patiently, struggling to locate them, to pin them down, they begin arriving, fully formed in my brain. I tend to hear them as I am drifting off to sleep. They are spoken to me, I’m not sure by whom. By myself, I know, though the source feels independent, recondite, especially at the start. The light will be turned on, a sentence or two will be hastily scribbled on a scrap of paper, carried upstairs to the manuscript in the morning. I hear sentences as I’m staring out the window, or chopping vegetables, or waiting on a subway platform alone. They are pieces of a jigsaw puzzle, handed to me in no particular order, with no discernible logic. I only sense that they are part of the thing.

Over time, virtually each sentence I receive and record in this haphazard manner will be sorted, picked over, organized, changed. Most will be dispensed with. All the revision I do — and this process begins immediately, accompanying the gestation — occurs on a sentence level. It is by fussing with sentences that a character becomes clear to me, that a plot unfolds. To work on them so compulsively, perhaps prematurely, is to see the trees before the forest. And yet I am incapable of conceiving the forest any other way.

As a book or story nears completion, I grow acutely, obsessively conscious of each sentence in the text. They enter into the blood. They seem to replace it, for a while. When something is in proofs I sit in solitary confinement with them. Each is confronted, inspected, turned inside out. Each is sentenced, literally, to be part of the text, or not. Such close scrutiny can lead to blindness. At times — and these times terrify — they cease to make sense. When a book is finally out of my hands I feel bereft. It is the absence of all those sentences that had circulated through me for a period of my life. A complex root system, extracted.

Even printed, on pages that are bound, sentences remain unsettled organisms. Years later, I can always reach out to smooth a stray hair. And yet, at a certain point, I must walk away, trusting them to do their work. I am left looking over my shoulder, wondering if I might have structured one more effectively. This is why I avoid reading the books I’ve written. Why, when I must, I approach the book as a stranger, and pretend the sentences were written by someone else.

Jhumpa Lahiri is the author of “Unaccustomed Earth,” “The Namesake” and “Interpreter of Maladies.”

This is the first article in Draft, a new series about the art and craft of writing.

Tuesday, January 31, 2012

Good Poems for Hard Times

A while back I tried to read a poem every day from Garrison Keillor's Good Poems for Hard Times, a hand-me-down from Kathleen.  On my second day of teaching last week, though, the chaplain at my school gave me my very own good-poem-for-hard-times: "Read it on the bad days," he advised.  Thought it was too good of a poem to pass up posting.

To be of use
by Marge Piercy


The people I love the best
jump into work head first
without dallying in the shallows
and swim off with sure strokes almost out of sight.
They seem to become natives of that element,
the black sleek heads of seals
bouncing like half submerged balls.

I love people who harness themselves, an ox to a heavy cart,
who pull like water buffalo, with massive patience,
who strain in the mud and the muck to move things forward,
who do what has to be done, again and again.

I want to be with people who submerge
in the task, who go into the fields to harvest
and work in a row and pass the bags along,
who stand in the line and haul in their places,
who are not parlor generals and field deserters
but move in a common rhythm
when the food must come in or the fire be put out.

The work of the world is common as mud.
Botched, it smears the hands, crumbles to dust.
But the thing worth doing well done
has a shape that satisfies, clean and evident.
Greek amphoras for wine or oil,
Hopi vases that held corn, are put in museums
but you know they were made to be used.
The pitcher cries for water to carry
and a person for work that is real.