Workbook: Memos & Dispatches On Writing - Brossura

Heighton, Steven

Brossura

ISBN 10: 1550229370 ISBN 13: 9781550229370

Casa editrice: ECW Press, 2011

Riassunto

Since selections first appeared in the New Quarterly and the National Post as part of “The Afterword,” Steven Heighton’s memos and dispatches to himself — a writer’s pointed, cutting take on his own work and the work of writing — have been tweeted and retweeted, discussed and tacked to bulletin boards everywhere. Coalesced, completed, and collected here for the first time, a wholly new kind of book has emerged, one that’s as much about creative process as it is about created product, at once about living life and the writing life.

“I stick to a form that bluntly admits its own limitation and partiality and makes a virtue of both things,” Heighton writes in his foreword, “a form that lodges no claim to encyclopedic completeness, balance, or conclusive truth. At times, this form (I’m going to call it the memo) is a hybrid of the epigram and the précis, or of the aphorism and the abstract, the maxim and the debater’s initial be-it-resolved. At other times it’s a meditation in the Aurelian sense, a dispatch-to-self that aspires to address other selves — readers — as well.”

It’s in these very aspirations, reaching both back into and forward in time — and, ultimately, outside of the pages of the book itself — that Heighton offers perhaps the freshest, most provocative picture of what it means to create the literature of the modern world.

Su questo libro

Informazioni sull?autore

Steven Heighton's most recent books are the novel Every Lost Country (May 2010) and the poetry collection Patient Frame (April 2010). He is also the author of the novel Afterlands, which appeared in six countries, was a New York Times Book Review Editors' Choice, and was a “best of year” selection in ten publications in Canada, the USA, and the UK. The book has recently been optioned for film. He has also published The Shadow Boxer—a Canadian bestseller and a Publishers Weekly Book of the Year for 2002—which appeared in five countries. He lives with his family in Kingston, Ontario.

Estratto. © Ristampato con autorizzazione. Tutti i diritti riservati.

I am not bored at the moment, though it might be better if I were. Boredom might mean I was lagging and loafing my way slowly toward a fresh jag of creative work, creative excitement—a poem, a story, the opening lines of a novel, lines that might lead anywhere, into the expectant offing, off the edge of the storyboard into a sandbox as vast as the Sahara. (I chose writing because I saw no reason that adults should ever cease to play.) Instead I‘m expending another day as a compliant, efficient functionary—earnest secretary to my own little career. (If you’ll excuse me, another email just blipped into view. I’m going to have to click and skim over, so I can glean that small, fleeting fix of satisfaction that comes from purging the inbox. A sense of accomplishment!—the ensuing narcotic calm!—that deeply licit, Lutheran drug our time-ridden culture starts pushing on us in kindergarten, or even sooner.)

***

I’m afraid that boredom, at least of a certain kind, may be disappearing from the world. And this potential truancy has me worried, partly for the sake of my daughter and her generation, but also—how unsurprising—for myself. Myself and other writers. I mean, the minute I get bored now I check my email. There’s often something new there—maybe something rewarding, a note from a friend, some news from my publisher. And if there’s nothing there, there’s the internet. For almost all of my writer friends it’s the same: like me, they constantly, casually lateralize into the digital realm. Some of them also have cable TV (I don’t), so if email, YouTube and other web excursions fail to gratify, they can surf a tsunami of channels. Or else play video games. Whatever. The issue here is screen media. The issue is that staring into space—in that musing, semi-bored state that can precede or help produce creative activity—is impossible when you keep interposing a screen between your seeing mind and the space beyond. The idea is to stare at nothing—to let nothingness permeate your field of vision, so the externally unstimulated mind revs down, begins to brood and muse and dream.

What a live screen presents is the opposite of nothing. The info and interactivity it proffers can be vital, instructive, entertaining, usefully subversive and other good things, but they also keep the mind in a state of hyperstimulation. All the neurological and anecdotal evidence backs up this claim.

The twenty-first century brain may be verging on the neural equivalent of adrenal collapse.

***

Just as an hour of boredom—of being at loose ends and staring into space—can serve as precursor to a child’s next spate of creative work/play (“work, ” I write, because a young child’s profession is to play), so an adult’s month of brooding can open into a year of purposeful creativity.

***

Boredom is the laboratory where new enthusiasms ready themselves, beakers and test tubes bubbling quietly over Bunsen flames no larger than pilot lights, spectral figures in lab coats moving among them, speaking in hushed voices. Not one of these figures has the bored dreamer’s own face—the face the dreamer wears during the day.

Dettagli dell'edizione

• Editore: ECW Press
• Data di pubblicazione: 2011
• Lingua: Inglese
• ISBN 10: 1550229370
• ISBN 13: 9781550229370
• Rilegatura: Copertina flessibile
• Numero di pagine: 72
• Contatto del produttore: non disponibile
• Persona responsabile: non disponibile