The WordSpider

A blog about reading and writing
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Apologizing to Dogs

May 17th, 2012 by Alison Jean Ash

In a previous post on Joe Coomer’s work (http://pugetsoundblogs.com/wordspider/2011/10/10/book-review-beachcombing-for-a-shipwrecked-god/ ), I mentioned my desire to find his novel with the intriguing, irresistible title Apologizing to Dogs.  Unfortunately the Kitsap Regional Library does not possess a copy.  Last week my search ended, appropriately, in Serendipity, a used bookstore in Friday Harbor on San Juan Island, where I also obtained copies of The Loop and A Pocketful of Names, which I have read (from the KRL) but did not own.  What treasure!  

Somebody liked Coomer’s books enough to purchase several of them, but, to my good fortune, chose not to keep them.  I have two theories about how anyone could bear to give up such fine novels.   First, many of the San Juan Islands, including Waldron (where I recently spent several glorious days without internet access or indeed a computer—and without producing a blog post), have neither bookstores nor libraries.   On periodic shopping trips from such islands toFridayHarbor, dedicated or ravenous readers of limited means may trade in books they’ve read for credit toward purchasing books they haven’t.  Alternatively, as several of Coomer’s books, both fiction and non-fiction, feature boats and islands, a bibliophilic sailor might acquire a taste for his books and bring them onboard to the San Juans from elsewhere.  Storage aboard boats being sharply limited, such a sailor, no matter how wealthy, must occasionally unload some books to make room for more.

However this copy of Apologizing to Dogs arrived in Friday Harbor, I am now its happy owner and I read it immediately.  It’s a sweetly goofy thing, a frothy confection compared to the depth of Beachcombing for a Shipwrecked God or A Pocketful of Names (his most powerful and most painfully true work to date), but rich in Coomer’s trademark blend of insight, quirkiness and compassion.  

All the action takes place in a single day, but it’s a wild ride in and out of a dozen eccentric minds belonging to a group of antique dealers on a run-down but historic street inFort Worth,Texas.  All these folks are odd to some degree, a couple are flat out insane, and many are—perhaps unsurprisingly—living in the past.  For the elders, this is reasonable; for some younger characters, less so.  The revelations that take place during the course of the day, interspersed with childbirth, heart attacks and a tornado, kick the foundations out from under some cherished delusions, setting their holders free.  

As for the title, yes indeed, some human characters do apologize—in thought, if not aloud—to the canine characters, rendered genuinely as always by Coomer.


Open Book

April 23rd, 2012 by Alison Jean Ash

Reading aloud is the best way I know to find the clogged places in a story’s flow, or identify awkward bits of dialogue.  Writing teachers urge us to test our work thus, especially poetry, and I’ve always endorsed the idea.  I just never got around to doing it—until last fall.

 My favorite local café used to be Olympic Coffee.  It wasn’t the most comfortable of Bremerton’s cafes, nor did it have the best coffee, but it had a certain spirit, and it stayed open late.  It even hosted an open mic for a while.  Musicians dominated, but there were poets too, including my husband. 

The garage bands killed it.  Desperate for any venue, they packed the place with their friends, few of whom bought anything.  Their presence meant decreased, not increased, revenue for the struggling café, the mob in the doorway discouraging customers.  The owner sold up and moved away; subsequent owners cut back evening hours, and last year, to our sorrow, Olympic closed its doors forever.

By then we’d begun attending an open mic in Silverdale, where we heard virtuoso guitar, covers of Van Morrison and original work from the moody and poetic to earnest songs about Jesus.  There were no poets, but the audience seemed kindly, and my husband soon stepped up.  His Quark Sonnets were well received, as were readings from Poe, Yeats and Sylvia Plath.  Hearing him read every other week, I grew jealous.  Lately I’d been writing short stories, some within the ten-minute performance limit, and I too began to sign up and read.

Facing an audience presumably more critical than young children (my past auditors), and with my own work, was terrifying; at first I required a glass of wine to fortify me.  But I found my work improving, and in time performing became easier, and even fun.

Some audiences have small tolerance for readings, so we didn’t sign up in adjacent slots but sandwiched ourselves between musical acts.  The audience seemed to enjoy hearing us but, we gradually realized, one organizer-emcee did not.  It was little things at first: a word here, a grimace there, a suggestion that there wasn’t time for me to read, but still time for a singer—this when we’d rigorously kept our readings under ten minutes, often less than five.

One evening the emcees urged performers, rather pointedly, to “read the rules before you sign up,” and we discovered that while the musicians’ ten minute limit was unchanged, readers were now restricted to five minutes.  We got the message.

We’ve missed performing our work, and we’d like to hear other writers.  So we’re starting a new open mic—or, since there will be no sound system, “an open (no) mic” specifically for readings.  It begins May 16 and will run twice a month.  Please attend, whether to read or to listen, and please spread the word.

 

OPEN BOOK:  an open (no) mic for writers & readers

7:30 ~ 9:30 pm

 1st & 3rd Wednesday each month

 at the East Bremerton Starbucks

7034 Hway 303 & NE Bentley Road

Local writers of poetry and prose are invited to read aloud up to 10 minutes of their own and/or others’ work in an intimate & receptive setting.  We also welcome acoustic solo singer-songwriters.  No bands, please.  It’s a small space, with no sound system.

Please respect the mainstream family atmosphere of our host café by choosing works with an absence of:  strong profanity; explicit sexual content; sexism, racism or hate speech of any kind; religious or political proselytizing or attacks on other groups.


of Kindness and Cruelty

April 9th, 2012 by Alison Jean Ash

Confession:  I am a wimp when it comes to inflicting trouble and danger on the characters in my fiction.  I know well that I am far, far too gentle with them, and if my tales are to contain any tension, or any suspense—not to mention character arc—this really won’t do. 

 In spite of my fondness for a well-turned murder mystery, I usually avoid reading detailed accounts of acts of violence.  My visual imagination and, worse, my memory are too strong.  I got only a little way into Jeffrey Eugenides’ supposedly marvelous novel Middlesex before a graphic description of a family slaughtered by bayonet-wielding soldiers stopped me reading any further, and images from that passage still return, years later, to haunt me.  This is a testimony, perhaps, to the vividness of Eugenides’ writing, but I just can’t handle vivid writing on such topics. 

 Still, there’s a lot of territory between gruesome horrors and a tale so free of challenges to its protagonists that nothing whatsoever happens to them.  If I hope to attract any reader who prefers a seascape to a placid pond, this is a territory I must begin to explore, and to claim.

Somebody (possibly Theresa Meyers –  http://www.theresameyers.com/) once said in a presentation at a Peninsula Romance Writers meeting, “Think of the very worst thing that could happen to your heroine—and then make it three times worse!”  At the time I knew it was good advice, but I am still struggling to implement it.  I don’t want to be cruel to my characters; I’m too fond of them.

Luckily for me, my characters, like my children and grandchildren, seem to have strong wills of their own.  I might do my timid smother-mother best to keep them sheltered and safe, but wouldn’t you know, they still insist on wandering out into dangerous territory—of the heart as much as of the body—and they learn, and they grow, and they survive.


Write What You Know

March 25th, 2012 by Alison Jean Ash

There’s a famous old New Yorker cartoon of a writer surrounded by dogs eating, sleeping, scratching themselves, etc. while he types away in one corner.  In the doorway stands a woman—his wife? his slatternly muse?—saying forcefully, “Write about dogs!”

How does this apply to my current project, The Vanth?  Well, I know something about love and sex, about fantasy and yearning.  I know something about being a young woman (been there!), something about artists and professors.  I know a little about traveling in Italy, about buying and cooking the local food, about Tarquinia and its painted tombs …  About Etruscan warriors: not so much, but a little.

Thanks to my husband and his degrees in Classics, I know a bit about the art, culture and history of the Etruscans, the people who ruled much ofItalybefore the rise ofRome.  Unlike most of the audience I hope to find for this romance, I know what a Vanth is—but prior knowledge is not necessary, I hope, to enjoying the book.

Emotion recollected in tranquility

As a young woman I spent far too much of my life agonizing about whether I was loved; how much I was loved; how to make him (the “him” of the moment) love me, or love me more, or love me the way I wanted to be loved; and if or when I would ever be truly loved.  This is something I definitely know.  I know a lot about how people can make things difficult for themselves by compulsively second-guessing themselves and their lovers.  Luckily I am now very happily married, and so I can recollect all this seething emotion in the recommended tranquility.

Never mind the exotic locale, lovely as it may be; never mind time travel and all the paranormal elements; never mind even the sex scenes, both sweet and steamy:   in a romance, tension is what it’s all about.  Will the lovers find each other?  And then, having found each other, will they be able to get past all the static in their brains, all the fears and doubts, both real and manufactured, that keep them from trusting each other?  In a romance, no matter how steamy or dramatic, the answer is always finally YES.   Sometimes it happens that way in real life, too.


Of Word Processors Old and New

March 14th, 2012 by Alison Jean Ash

Two weeks ago I wrote here that my topics for upcoming posts would arise from my current project:  undertaking a major revision of my paranormal romance The Vanth.  This post has nothing to do with The Vanth itself (herself?) but much to do with the process of revision.  I doubt that I would have become a novelist without learning to use a computer, and thus acquiring the ability to move large blocks of text around without having to literally cut and paste and then retype it all. 

This is not to say that I don’t write by hand.  I do.  I filled a dozen or more blank books during my travel year, and I have stacks of labeled boxes of old journals in a funny little attic next to my office.  Some go back 50 years or more. 

Many writers, especially poets, prefer to write only by hand.   Some claim their creativity flows most directly that way to the paper, and this may be even more true of left-handed writers.  Lefties as a group may or may not be more creative or intuitive than the rest of us, but the left hand is linked to the non-linear, instinctive, not to say illogical right side of the brain.  Certainly some of the greatest poetry can be called illogical, and I think all poetry is, at some level, best processed in a non-linear way.  But I am not a poet.

Back in the days when people with cell phones were a minority, back when hardly anyone even took photos on their phones, let alone surfing the web, reading or even, by now, more than likely writing books on them, back when more and more people had personal computers while some still settled for modern technology in a simpler form, back in the 1980s, the poet Jesse Bernstein would sometimes ask guests, “Hey, wanna see my word processor?”  

When they said yes, he’d grin, dig into his pocket and produce a stub of pencil.  That was more joke than truth, though, because in fact Jesse did most of his work on typewriters.  He loved them with a passion that went far beyond his extraordinarily well-developed office supply fetish.  (I’ve never known anyone who owned more paper clips, more staples—or more staplers—than Jesse.)  Though he (unlike me) stopped short of naming his machines, they were individuals to him, with distinct personalities.

He generally had at least two, and often three typewriters, but his dearest possession was a sturdy pale green portable Hermes 3000.  That model, he used to say, was famed as a war correspondent’s typewriter—and Jesse did consider himself a war correspondent. 

Jesse also loved the narrow, spiral-bound notepads used by reporters—it was mostly on them that he wore his pencils down—and once persuaded Regina Hackett, arts reporter for the old Post-Intelligencer, to get him a stack of them imprinted with the P-I’s logo on the covers.

Why did Jesse call himself a war correspondent?  As a child and youth he had been forced to live in the filthy and dangerous underside of our society, its streets, its institutions.  The unimaginable abuse he suffered there had left a legacy of nightmares and PTSD that meant he never truly left that war zone; it was no wonder he identified withViet Nam vets and Holocaust survivors.  He often said it was his duty as a survivor to speak for those who had not survived or who had no voice.  So he spent hours in his office clacking away on his Hermes, sending out dispatches, in the form of poems, from the battlefront of despair and madness.

Me, I’ve never suffered that much.  I do entertainment, and sometimes a lighter form of journalism, telling small but true stories of writers I’ve known.

 


Letting it Wait

February 27th, 2012 by Alison Jean Ash

A year and a half ago, I began attending the monthly meetings of the Kitsap Peninsula chapter of the Romance Writers of America ( http://penrwa.org/index.html)  at the suggestion of Jennifer Conner, a romance novelist and an e-book publisher (http://www.bookstogonow.com ).  She also runs an online column featuring more local writers.( http://www.examiner.com/writing-careers-in-seattle/jennifer-conner ) 

 The group was congenial and supportive, the meetings stimulating, and I soon found myself trying my hand at a steamy paranormal romance.  The Vanth—a tale of a young American tattoo artist, an Etruscan warrior hurled forward in time, and a lovely but implacable female demon who pursues him—seemed to write itself, so quickly did it progress, and I had a complete first draft in less than two months!  That was last February.

Although I made a few tentative approaches to agents, the instant rejections neither surprised nor dismayed me.  I knew the novel was not truly ready to be read by an agent or editor.  It had major weaknesses and I couldn’t figure out what to do about them.  I’d heard some great presentations in the PENRWA meetings, I’d been to workshops, I’d read books on how to structure a successful novel, and it wasn’t hard to come up with ideas about how to fix my story’s problems.  But all those possible solutions felt too contrived, gimmick-y.  The characters by then had become real people to me, and I just couldn’t move them around like puppets to suit the demands of a formulaic plot.  Then new projects arose, and my life distracted me from a tight focus on my writing, as life will sometimes do, and I forgot about the book.

Last week I picked it up and saw instantly how I could ratchet up both the suspense and the sexual tension, in ways that grow naturally out of the story and the characters, and are not the least bit gimmick-y. 

How can this be so easy now when it was so hard a year ago?

One reason, of course, is that my writing keeps improving as long as I keep writing (almost every day – let’s be real here).  I have a better eye for structure and balance and tension in the plot than I used to have, and I’m still learning new plotting techniques, as opposed to gimmicks: not the same thing at all!

But another reason, probably the most important, is that I let it wait.  In those two months when the story erupted from my brain, I stayed up too late writing, night after night, and rushed back to the computer as soon as I woke up, 500 words before breakfast.  Even when I was not writing, I lived in the middle of the story:  I walked again in memory in the Italian hill town ofTarquinia, where the action takes place; I saw, smelled and tasted the wonderful food; I dreamed of the characters; I was a shadow third in their lovemaking.  Getting some distance on all that was like trying to see the thematic patterns in my own life as an historian might:  an overview was simply not possible. 

Now it is.  And now making changes, large and small, to the plot does not feel like interfering with the characters’ lives: it feels like correcting the mistakes I made in my understanding of their story, first time around.

 This is certainly not new advice, to let a book wait and come back to it with fresh insights.  I always thought it made perfect sense; it was advice I had just never happened to take.  This is only my third novel, after all.  I spent seven long years working and reworking the second, the “serious” novel; then I wrote this one; and since then I’ve been writing and editing short stories.  Now I know it’s more than just good advice:  it’s a rush!  It’s a thrill.  It’s fun.

 So now I am revising The Vanth, probably not at the same feverish pace as the first draft, but still as an absorbing occupation.  For the next several months I will be posting every other week on this blog, rather than every week, and my posts may largely concern specific challenges I meet in the course of revision:  whatever I can learn from others about the process, and what I learn for myself by doing it.


The Xanax Club

February 19th, 2012 by Alison Jean Ash

My mother in her sixties took medications for high blood pressure and hormone replacement; she took anti-depressants, and for panic attacks she took alprazolam, better known by its brand name Xanax.  Two friends, Sylvia and Brett, also suffered from panic disorder and had prescriptions for Xanax, and of that bond was born an informal but staunch alliance, a mutual aid society I thought of as the Xanax Club.

Mom, Anne her name was, had battled chronic anxiety all her life.  One of her strategies for handling it was playing card games, the old fashioned way with actual cards:  bridge, casino, even Crazy Eights, depending on her company, or solitaire if no one would join her.  Rainy afternoons in her dining room; sunny mornings at her back yard picnic table; at a campsite in the mountains; in a cabin at the beach:  the steady slap-slap of the cards, punctuated by the whir of her flawless shuffle, held panic at bay.  I and my sibs started young; my little sister was forced to play whist at the age of seven—badly, but at least it wasn’t bridge, and Mom simply could not wait any longer for a fourth.

My mother was particular about her playing cards, preferring the sturdy plastic-coated kind that took years to wear out but only weeks to become freckled with dots of cigarette smoke and dust mixed with the oil from our hands.  Whenever I played with her I found myself compulsively scraping off bits of grime with a fingernail as I waited for my turn.

She read, of course, compulsively but with discrimination:  highbrow stuff, English and American literary novels, history, and the better-written detective stories.  She adored Nabokov, and Tony Hillerman, whom she often said she wished she could marry.  Another bulwark against the dark tide of worry was her legal-size pad of lined yellow paper.  On it she wrote letters, and the beginnings of dozens, maybe hundreds of short stories she never finished.  Above all she wrote lists:  lists of chores and errands for herself—and later, for me; lists of books she wanted from the library; lists of questions for her doctor; and on the day she was diagnosed with inoperable cancer, plans for her funeral:  lists of speakers, lists of hymns, lists of poems she wanted read.  (All was done as she desired, when the day came, to the last detail; we danced in a circle at the reception, singing the Shaker hymn Lord of the Dance.)

Tobacco was another line of defense, the one that killed her in the end—although, to be honest, I never thought she minded all that much.

Her lifelong panic had deep roots.  As a child, she once told me, she heard voices in her head.  I’ve read somewhere that neuroscientists believe that all humans once experienced their verbalized thoughts as coming from outside themselves, the utterances of ancestors, gods or demons.  But hearing voices is no longer normal, and as a child—a very odd and fey-looking child in her old photos—my mother lived in terror, convinced that she was crazy and that if anyone discovered her secret she would be locked away in an institution forever.  In time I believe that particular fear lost its force, but she never lost the habit of fear itself.

Panic disorder consists of sudden, unexpected attacks of extreme fear and also of worry about these attacks; the very fear of experiencing a panic attack can bring one on.  Xanax is effective against panic but also highly addictive, so it is mostly used as a back-up to anti-depressants or milder anti-anxiety drugs, to be taken only in emergencies.  Doctors usually prescribe only six doses at a time, and require their permission for each refill.  In these restrictions lay the genesis of the Xanax Club.

Brett when I knew him was forty-odd, tall, dark, suave and skeletally thin, with a clever mournful face.  Gay only in the sense of sexual orientation, he defended himself against unpleasant surprises by firmly expecting the worst at all times.  Whatever life dealt him of good or ill, he met with a raised eyebrow and a sardonic remark.

Twice-divorced Sylvia, a little younger than Brett, looked older.  She had dull eyes, a wry twist to her mouth, the prematurely lined face of a heavy-smoking blonde, and an air of having seen too much and been favorably impressed by very little of it.  Her dry subversive wit, though, could sneak up on you and ambush you, make you laugh before you even understood the joke.

Sylvia was witty and Brett was clever, but Mom was flat out funny, outrageous, a born entertainer who could make you double up in fits of helpless snorts and giggles just by crossing her eyes.  Who but my mother would derail a dull conversation by asking, “Want to see me look like a Boeing 707?”  No one could refuse her.  No one, no matter how familiar with her comic repertoire, could keep a straight face if she chose to make them laugh.  She was the Queen of the Xanax Club.

All three of them worked as craft sales agents at the Pike Place Market in Seattle, setting out their employers’ wares on tables in the open air daystalls and then, for six or eight hours a day, alternately breasting the recurrent waves of tourists or lying becalmed in boredom alleviated only by gossiping with their neighbors. 

The daystallers form a community of sorts, with all the factions and feuds of any village, and when my mother went to work there two or three days a week, she began immediately to make herself known, collecting friends with the speed we now see only on Facebook.  At the end of her first day she said she’d made six new friends; after a week it was twenty-two, and at the end of the first month she claimed seventy-nine.  She knew many more names and faces than that, of course; the seventy-nine were just the people she liked. 

She and Brett and Sylvia soon discovered their commonality of panic.  There was no subject she recognized as off limits, and by confessing her own weakness she elicited her friends’ confessions too.

I don’t think the other two had been more than barely acquainted before the advent of Mom, but they soon became inseparable as a trio.  They were all night-owls, and exchanged phone numbers so they could chat with each other at one or two or four in the morning.  One Friday night my mother told Sylvia she was terrified:  she had just two tablets of Xanax left, and was afraid she might have a panic attack that night and need to take one.  That would leave her only one tablet to get through the weekend until she could get hold of her doctor, and the state of possessing only one Xanax was enough in itself to bring on the panic.

Sylvia rose gallantly to the occasion, responding that she had five doses left of her new refill, and if necessary she would loan one to Mom that weekend.  Mom, of course, declared that she would do the same for Sylvia when she was down to two tablets, and the next day at the Market they invited Brett to join their pact.  The odds were excellent that at any given time at least one of them would have four or five doses on hand.

In fact none of them ever did  need to borrow a Xanax; it was enough to know that they could.

Several years later Mom was diagnosed with lung cancer, to the surprise of no one, least of all herself.  By then she hadn’t been at the Market for three years but she still talked to Sylvia and Brett on the phone from time to time.

When she died, Brett and Sylvia among many others were invited to her funeral, but neither of them came.  Brett had fallen in love with a young Russian man of such reckless volatility that his wealthy father was willing to pay the impecunious Brett to travel with him and keep him out of mischief.  Sylvia stayed away, I believe, because she couldn’t bear to say goodbye.  The fountains of her tears had dried up long ago.

Do Sylvia and Brett still work at the Market?  I don’t know; I almost never go there myself these days.  But if I strolled through the half-empty daystalls on a bleak day in February, and I heard gales of laughter off to one side and I turned to look and saw no one there…  Some people say that what we call ghosts are really long-lasting imprints of memorable events or personalities that once occupied the place.  Brett and Sylvia are probably still alive, both being younger than me, but if I ever heard disembodied laughter in the daystalls I’d be pretty sure I was hearing the collective ghost of the Xanax Club.


Trash

February 6th, 2012 by Alison Jean Ash

Today’s topic was suggested by the day of the week and by my last post:  my garbage is collected on Monday mornings, and “trash” is a term I often hear used to describe any book despised by the speaker.  Many readers naturally would so describe the ill-written pornography I mentioned last week, with justice.  This label is often, however, applied most unfairly, or with too little knowledge to provide any reasonable basis for judgment, simply because one doesn’t read a certain genre.

Long ago I tried to interest my mother in the novels of Georgette Heyer.  I knew she would love them for their intelligence, their historical accuracy, their shrewd depiction of human nature and their delicious, deliriously funny comedy.  She flatly refused to even try one, saying, “Romance?  I don’t read that trash.”  My reply, “But you read Jane Austen,” almost got me thrown out of the house.

Still, I had to laugh, because Mom’s comment reminded me irresistibly of one of the regular customers at the bookstore where I worked at the time.  It was a neighborhood buy-sell-trade establishment, with a large clientele of elderly women.  This particular old woman had a gravelly voice, a thick German accent, dyed orange hair and heavy makeup in the color scheme of Snow White—lips as red as blood, etc.  One day as she plunked down the books she’d brought to trade, her usual pile of nicotine-imbued true crime paperbacks, she glanced disparagingly at a stack of romances on the desk and sneered, “I don’t read dat love schtuff.”

That was in the 1990s, when romantic fiction was in a state of transition.  Explicit sex was making its way out of the frankly pornographic into new territory, the mainstream New-York-Times-bestseller romance novel.  A crop of curious names for body parts arose, as apparently descriptions of sex in women’s fiction, however graphic, still required coy euphemisms.  One of these especially I cannot recall to this day without laughter:  “her woman’s nubbin.”  There was such a huge demand for racy scenes that even established authors felt obliged to include them, to the dismay of some loyal readers who preferred implied sex acts to graphic description.  “I used to love Danielle Steele,” mourned one old dear, “until she started writing this smutty trash.”  Now some readers would call all of Steele’s work trash, whether smutty or not, but that’s beside the point.

Nowadays there are almost always explicit romances on the best seller lists, and there’s not a whole lot of distinction between some of the novels considered “literary”—or at least published in trade paperback—and their mass market sisters.  Is this good?  Is this bad?  Who knows?  Many prognosticators are claiming that print media, especially novels, are hurtling toward obsolescence, but the fact is, people are still buying and reading books, all kinds of books.  One reader’s trash is another reader’s literature, and so, I suspect, it will always be.

 

 


A Book by its Cover

February 2nd, 2012 by Alison Jean Ash

When I was twelve, I found a paperback book jammed into a clump of chicory in a vacant lot.  The cover was gone and the front page soiled, so I had no clue to the contents, but as an omnivorous reader who devoured everything from Dickens to Shakespeare to the backs of cereal boxes, I naturally opened it and began to read.  I soon discovered that it was a pornographic novel, apparently intended for men. 

This was in 1960; porn of that quaint variety, consisting entirely of text, must surely be unavailable now except as collectables.  Later I learned that a friend of my mother’s, a professor and a science fiction novelist, had once survived a lean spell by writing some of it.  He said he was set to typing in a room full of other hacks, with a certain amount of freedom as to the characters’ names, occupations and personalities (or lack thereof) but required to adhere absolutely to a list of the frequency with which various sex acts should recur.

That vacant lot was a long meadow overgrown with flowering weeds, bordered on one side by an extremely noisy and busy street; my brother and sister and I found it pleasanter to walk through it than beside it.  lf my sibs accompanied me to the store, we were all children together, running and shouting, wishing on dandelions, pressing the rust red beads of pigweed flowers to our skin and exclaiming, “Look!  I have measles!”  But if I was alone, I allowed myself a quarter-hour with the book, tucking it back into the chicory when I was done.   Heaven knows my mother was used to me dilly-dallying; if I hadn’t had that book stashed in the weeds, I would have taken one from home to read as I walked, and so been even slower in completing my errands.

Every time I returned expected to find the book  gone, but it was always still there, and in the Midwest midsummer there was no rain to dissolve this pulp fiction into literal pulp, so nothing interfered with these sessions. Frankly, though, I was bored by much of it, and took to skipping long passages.  It was badly written, whch mattered to me already, and the sexual incidents struck me as both ludicrous and grotesque.  I do, however, still remember the conclusion.  After the hard-drinking protagonist had enjoyed various encounters to console himself while trying to win back his estranged wife, the wife arrived on his doorstep one rainy night in a dripping trenchcoat, high heels, fishnet stockings and—as she soon revealed to him—nothing else.  “Now, darling!” she cried.  “Darling, now!”

As I said, the book’s cover was gone.  I can only speculate as to what sort of illustration it might have had—and whether it would have drawn me in or repelled me:  probably the former.  I was a late bloomer, who didn’t hit puberty until the following year.  Had I been older. . . well, it might have attracted me—as long as I was alone.

The degree of sexual arousal in response to visual stimuli is subject to  gender differences and cultural factors—but not as much as the degree to which that response is acknowledged.

It has long been accepted that response to visual sex-related stimuli is strong in men and weak in women.  This belief, supported by scientific studies, informs the design of advertising campaigns and has far too often been employed to justify male rapists and blame their victims. 

But women increasingly refuse to buy the idea that rape is caused by  provocative clothing.  Some have organized “slutwalks” in which women parade holding signs reading “It’s a dress, not a yes.” and “This is what I was wearing when I was raped.”  In fact, psychology now recognizes that rape often has little if anything to do with sexual desire, and everything to do with the will to dominate, humiliate or terrorize the victim.  The view of men as the helpless playthings of their lustful urges has lost credence. 

At the same time, studies show that women respond far more strongly to sexual imagery than is generally known.  Though women’s self-reported interest in sexual images is much lower than men’s, women’s brains actually respond faster and more strongly to images of sexual poses and activities than to images portraying immediate danger, long before they have consciously processed what they are seeing.  This suggests that women are self-censoring in response to cultural standards–and those standards are changing.

The best evidence for changing standards may be found in steamy romances’ cover art.   These books want to be judged by their covers.  Explicit sex inside is promised not just by half-clad couples embracing passionately but increasingly by photos of bare male torsos, often without any faces to distract the eye from the gleaming musculature.  Romance novels are by far the fastest growing genre in e-publishing, and it’s been suggested that this is because an e-book reader does not expose women’s choice of reading matter as steamy paperback cover art does.  But those steamy covers are still getting printed too, and sold, and even on the e-book sites, those cover images are still the guide to what lies within.

Some links of interest: 

http://www.livescience.com/799-women-brains-react-surprisingly-fast-erotic-images.html

en.wikipedia.org/wiki/SlutWalk

www.thenation.com/article/163679/what-wear-slutwalk

http://msmagazine.com/blog/blog/2011/11/04/its-a-dress-not-a-yes/

http://slutwalkseattle.com/


Adventures in Writing

January 24th, 2012 by Alison Jean Ash

Two days ago I finished the first draft of my story Joy, which makes me happy because now I get to know how it ends.  Believe me, I was wondering.  When I first started writing it, I had no idea.  As I went on working, I gradually had some idea, but as it turned out, there was something else, something more going on that I hadn’t seen—any more than Nadine herself saw it until it jumped up and stared her in the face.  “If it was a bear,” my mother would have said, “it would have bit you.”

Nadine used to be Theresa, or Teresa, by the way, as you may remember if you read the earlier very partial draft I posted here a few weeks back.

 This was and is the beginning of the story:

             Do what gives you joy.

            Some lady what called herself a motivational speaker said that, at this hippie-dippie spiritual workshop Marnie  dragged me to one Monday. It was all about how to find the right work for yourself, and I thought, what a load of crap, because, come on now, how many people do you know who find joy in their jobs? 

The first, most important thing about this story, to me as a writer, is that it came to me as a gift.  I never planned to write it, never plotted it out.  For a long time I didn’t know the name of the narrator-protagonist, let alone where her story was going; I just heard her ungrammatical but utterly sincere voice in my head, telling her story, demanding that I let her story come through me.

Now, from this beginning you would expect, as I myself expected, that the story would be about Nadine finding the kind of work that suits her, that does at some level bring her joy.  And she does find her right work, but it turned out that was nowhere near the whole story.  I wrote on Facebook, the day I finally got it:

“”I was writing this story about a woman trying to find the kind of work that suited her – or any work at all! and go figure, it just turned into a love story.  Not a romance (sorry, my PENRWA colleagues) but a love story. It’s funny how sometimes fiction, like life, laughs at what you think you’re doing and informs you that you’re doing something else entirely.”

Fellow author Marcus Smith (http://www.mleonsmith.com/) responded:  “I get this all the time when I write. There are aspects to the main character in the piece I am writing that I didn’t plan or expect…”

One thing that excites me about the story—I’m talking now about the work of fiction I’ve written, which is not quite the same thing as Nadine’s personal history—is that I was true to her voice and I used my craft, the techniques I’ve been learning.  In fact using my craft helped me be true to my character’s voice.  I said as much as needed to be said about the backstory, and I fed it in a little bit at a time, as it naturally came up.  I even managed to wind up knowing more of it than I needed to put into the story, and for me that is a huge victory.

Another exciting thing is that I wrote it because it wanted to be written, not because I saw a way to sell it.  I still don’t see a way to sell it, and I still like it a lot.

Now don’t get me wrong.  It’s not that I despise salable art.  I made my living for many years selling “wearable art” which is a fancy way of saying I made one-of-a-kind patchwork purses and occasionally vests or tunics.

My purses were useful and well-constructed, and every piece of the patchwork was unique.  At the same time, while I never mass-produced, it’s fair to say that some pieces were less strikingly original than others.  I’d put together a satisfying combination of fabrics, different colors and prints and textures complementing each other, and one or two pieces of patchwork out of that combination might have something extra that made them art.  I kept working steadily, and I made a living, and sometimes I got the special pieces.

Now that’s what I’m trying to do as a writer.  If I’m going to start bringing in money, I have to keep working steadily at my craft, and I have to find the format for my work that makes it salable:  the shapes of story, the right genres.  But what keeps me going is the special pieces, the ones I never could have planned, the adventures, the gifts.  That’s why I write.