I'm taking a creative writing class and something the instructor put in the syllabus really irked me. She included this disclaimer
"Warning: No fantasy, science fiction, fan fiction, romance, historical romance, pornography, or children's fiction, i.e. no formulaic or 'commercial' fiction. this class teaches literary fiction. avoid imitating the mundane, the mainstream, the mass-produced, the expected. Go for the literary, the original. Find your voice."
I found this confusing, appalling and restricting. So I emailed her an email riddled with me being kind of an asshole:
"Hello, my name is Victor from Creative Writing (ENGL 2307) class at 8:30-9:50 AM on Tuesday and Thursday and I had a question about the direction of the class. My question refers to the disclaimer stating, "No fantasy, science fiction, fan fiction, romance, historical romance, pornography, or children's fiction, i.e. no formulaic or 'commercial' fiction. this class teaches literary fiction. avoid imitating the mundane, the mainstream, the mass-produced, the expected. Go for the literary, the original. Find your voice." I had a bit of confusion. I don't want to seem assumptive, accusatory or aggressive, but it seems like a complete disregard for the genres... For example science fiction. The Hugo, Sidewise, and Nebular award-winning book Yiddish Policeman's Union takes place in alternate reality which falls under the blanket of "science fiction" and is written by 2001 Pulitzer Prize winning auther Michael Chabon, to me, holds high literary merit. And as far as fantasy goes, Neil Gaiman is one of my favorite authors. And for romance, I understand not wanting a teen-saturated, Twilight-esque romance, but when done tastefully it can create something wonderous and beautiful. Romeo and Juliet, one of the most notable tragedies history has to offer, for example, has come to define love, and even Shakespeare's sonnets referencing the "dark lady" and the mysterious young man. I even find myself confused about the pornographic option. Tropic of Cancer by Henry Miller, depicts sex graphically but TIME voted it one of the 100 best English-language novels between 1935 and 2005. Also I find sex a very interesting subject to write about, whether it be seriously or sarcastically, in flash and short fiction. Sex, to me, is a prominent force in literature, from the sex filled dystopia of Brave New World to the sexless year of 1984. Basically, in so many words crammed into fewer, are these genres going to be disregarded in our writings? As in are we completely barred from writing under the umbrella of the subjects and how much moderation should we use if we can touch base with them. Also I have a question about cursing in our writings. I know some teachers find it completely distasteful and untouchable territory, but i believe even the wrong can be done right, such as the 2008 Pulitzer Prize winning novel The Brief and Wondrous Life of Oscar Wao bu Junot Diaz. The novel is riddled with swears that only worked to enhance the piece rather than bring it down."
I am aware I was being a dick, but I don't know I think I proved a valid point. She then responds with this:
"Dear Victor,
You make sound points, but this is not a genre workshop or popular writing class. This class, as do most creative writing classes in colleges and universities around the country, focuses on contemporary literary writing.
I'm not saying that stories/poems/essays can't have a character who is in love or that is written in the voice of a child, but it must not be formulaic, 'mainstream,' or have improbable (i.e. aliens) circumstances or characters. Read through the Best American series and visit poets.org to get a clearer perspective on what types of writing this class is about.
I have no problem whatsoever about you writing about sex or using profanity as long as it is called for and have a distinct purpose and not written for shock value or to be "cool" or risque. The purpose of this class if for all students to find their own voice and their own method of craft, not to copy popular genre writing which is so prevalent today. Read widely and write often.
I hope this helps you. See you tomorrow!"
What? Huh? No "improbable circumstances or characters?" The improbability of something is what makes it wonderful. So anyway I just emailed her with this:
"I've read through some of the Best American series. That's how I found Michael Chabon back when he was acted as editor of the 2005 Best American Short Stories. I also own The Best American Nonrequired Reading 2008 and 2009. (Sorry I hit send to soon) And I feel like even some of these stories can fall under "formulaic" or "mainstream". I'm just trying to get a better understanding of the meaning of words like that. And also I feel that stories, for the most part, present improbable characters with improbable situations and that's what makes them interesting, noteworthy and award-winning"
The part of owning Nonrequired is BS, but I did read them when I worked at BAM. Except I read 2009 before 2008 but whatever that's beyond the point. Do I have a valid point here or am I just being a complete dickhead? I feel like limiting in a "creative" writing class is complete nonsense. I understand wanting quality, but simply because a piece falls under a certain genre does not mean originality or quality is detracted from the integrity of the piece as long as it is solid. then again I could be way off base here.
She just responded to me with this:
"Michael Chabon is excellent -- I own several of his books. I wouldn't consider him formulaic or fantastical as seen in many "pop" books out there. His work, it should be noted, is not genre fiction. It is considered literary fiction because it does not adhere to formulas seen in many mainstream works and is narrative-based and not gimmicky. I hope this makes sense."
And it still did not make sense so I went ahead with:
"But that is what I find confusing. For example in his first book, The Mysteries of Pittsburgh, he even stated that as his thesis he wanted to created a story that fell in the three months of summer to follow "an inherent dramatic structure in three acts" as he said in the interview at the end of the Harper Perennial edition. This is the formula he worked with. He even goes as far as to say "The Great Gatsby did what every necessary piece of fiction does as you pass through the fruitful phase of your writing life: it made me want to do something just like it." He even cites that his inspiration to revolve his story around the summer months came from Fitzgerald and Phillip Roth, who used the exact same structure. And though I don't mean in anyway that all three of the works were anything less than wonderful, the summer shtick is sort of a gimmick. In Chabon's novel The Yiddish Policeman's Union it follows a very traditional sense of the mystery genre. The novel also plays highly on the fantastic and supernatural and is tucked neatly under the blanket of science fiction and has even won many science fiction awards. That also brings me to the confusion of science fiction. It is so mutli-encompassing with so many subgenres it's to pindown, like trying to define what makes something an obsenity. Which is why I find it confusing to bar students from writing under such a broad genre. I'm also not very familiar with the difference between fiction and literary fiction."
And her response?
"Victor,
Popular fiction (Clancy, Grisham, King, et. al.) is overtly and intentionally generic. These genre works share similarities of character, theme, and setting that have been proven to appeal to particular groups of readers: a mass audience. Literary fiction is fiction that examines the character of the people involved in the story, and popular fiction is driven by plot.
Literary fiction, by contrast, appeals to a smaller, traditionally more intellectual audience. What sets it apart are such things as excellent writing and originality of thought and style that raise it above ordinary writing.
I hope this clarifies things a little better for you. See you in class."
Nothing she ever says clarifies anything she said before it. She is dodging everything I say and not really providing me with much of an explanation. She just gets more vague and ridiculous.
I had nothing else to say but one two things:
"
'I would rather have as my patron a host of anonymous citizens digging into their own pockets for the price of a book or a magazine than a small body of enlightened and responsible men administering public funds. I would rather chance my personal vision of truth striking home here and there in the chaos of publication that exists than attempt to filter it through a few sets of official, honorably public-spirited scruples.'
-John Updike"
The quote was included. For those of you who do not know John Updike is double Pulitzer Prize winner who won the award for the final two books in his Rabbit series, and I believe such a literary marksman would know far more than she would ever know as far as "literary fiction" is concerned. His quote illustrates exactly the opposite of what she tried to say. True writers do not care for the "small intellectual groups" Mrs. Amanda Aucther, my creative writing teacher, claims to be a part of. True writers only want to convey their idea and stories to the masses in themost pristine and personable way possible. It isn't the "small intellectual groups" that read from greats such as Shakespeare or Homer, it is the masses hungry for knowledge who feed from their cups. If you think I'm wrong, fine, but I know with my writings, I want to speak to the world.
Do something about the fact that the most I've ever weighed in my life was 115 lbs.
Be more proactive about getting the fuck out of katy
Write more
Read more
Draw more
Spend less
Despite what
( fanservice )
But thanks for the new layout.
( The Day Before: Intervention )
( Day 1: Realization )
( Day 2: Optimism )
( Day 3: Indignation )
( Days After: Pessimism )
( Epilogue )
What you said wasn’t what you wanted to say; but it has already been heard, and what has already been heard cannot be unheard. You can look at an old photograph and say, “Why did I ever think that those clothes looked good?” but it doesn’t change the fact that you thought it looked good. It doesn’t change the fact that you were once wrong. And once again you find yourself staring into a wrong, a much more harsh wrong that does not fade with time. Once again, however, you deter blame. It was an Emotionally Transmitted Disease we have been unable to rid ourselves of since we first set foot in its holy filth, so how were you expected to? Much stronger humans have tried. Even so you keep every memory close; recalling them with excruciating detail—every tear and chuckle, every smile and sorrow—because what are we if we are not our memories set in stone? Either way, you start to keep count and you wonder how many lies you have to tell yourself before you finally believe it. Blood and contradiction flow through those veins. “It’s no Big deal,” you scoff. In the end, they are holding hands, and you are holding hands, and we are holding our breath. It’s no mystery.
VICTOR once traveled to a land unknown to him. In this place of uncertainty, Victor met a creature which spoke all of the words of the world in one single breath. This creature was GOD, and this God was a God in all stretches of every definition of the word “God”. The miasma emitted by God was stifling and Victor’s eyes unfocused with the sharp clarity of the reality presented before him. Victor turned to leave this space; Victor turned his back to the one and only MEANING. Victor felt an unbearable pierce behind his left knee and screamed. Before him stood the entirety of the world and her people and her histories. Words were marked and Victor touched his fingertips to the source of pain, but felt no blood. Suddenly it was Christmas Eve 2043 and Victor lay sprawled across the wood floor from the blow of a right fist which connected with Victor’s left cheek. The man who owned the offending right fist was never given a name, and thus, did not have one to be called by. “Screw you,” said the man without a name, and walked away. VICTOR did not get back up and never would again.
Yellow Dog by Martin Amis
The Handmaid's Tale by Margaret Atwood
The Mysteries of Pittsburgh by Michael Chabon
The Alchemist by Paulo Coelho
House of Leaves by Mark Z. Danielewski
The Brief Wondrous Life of Oscar Wao by Junot Díaz
As I Lay Dying by William Faulkner
Water for Elephants by Sara Gruen
A Moveable Feast by Ernest Hemingway
Island by Aldous Huxley
Ulysses by James Joyce
No One Belongs Here More Than You by Miranda July
Downtown Owl by by Chuck Klosterman
Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto by Chuck Klosterman
The Unbearable Lightness of Being by Milan Kundra
The Devil in the White City by Erik Larson
The Girl with the Dragon Tattoo by Stieg Larsson
Wicked: The Life and Times of the Wicked Witch of the West by Gregory MacGuire
One Hundred Years of Solitude by Gabriel García Márquez
Innocent Eréndira & Other Stories by Gabriel García Márquez
Dance Dance Dance by Haruki Murakami
Bend Sinister by Vladmir Nabokov
The Fuck Up by Arthur Nersesian
The Time Traveler's Wife by Audrey Niffenegger
A Prayer for the Dying by Stewart O'Nan
The Acts of King Arthur and His Noble Knights by John Steinbeck
Me Talk Pretty One Day by David Sedaris
Cat's Cradle by Kurt Vonnegut
Mr Sebastian and the Negro Magician by Daniel Wallace (Currently Reading)
The Invisble Man by H.G. Wells
The Picture of Dorian Gray by Oscar Wilde
Video Game playing list at this current moment in time:
Devil Survivor
Kingdom Hearts Re: Chain of Memories Reverse/Rebirth
The Legendary Starfy
Persona 3
Pokémon Platinum
Rhythm Heaven
Good night sweet prince.
The creature laughed, scornfully. "I," it said, "am frightened of nothing."I just finishing reading "Anansi Boys" by Neil Gaiman and what a wondrous book it was. Read it. That is my only command.
"Nothing?"
"Nothing," it said.
Charlie said, "Are you extremely terrified of nothing?"
"Absolutely terrified of it," admitted the Dragon.
"You know," said Charlie. "I have nothing in my pockets. Would you like to see it?"
"No," said the Dragon, uncomfortably, "I most definitely would not."
There was a flapping of wings like sails, and Charlie was alone on the beach. "That," he said, "was much too easy."
Well not my only.
So I recently got in trouble, of course, and so Jack, my step-father, took it upon himself to lecture me. Some where in his long-winded bullshit, he revealed his reason into rush purchasing this house. I believe it was an attempt to prove that he does whatever he can for this "family" (I almost typed "shit family" when I realized "this" and "shit" have the same letters). Apparently he bought this house because he did not feel comfortable with me living with my dad because the children typically stay with the mother. Really? I just thought the children typically stay with the parent most capable. But Jack felt that the children should be with a mother and a man they had barely met. And I wonder, who the hell is he to make this kind of decision for people he does not know and for a situation he does not even comprehend?! Jack claims that the children should stay with the mother especially since has new "marriage" and didn't want his family to say anything about the "unusual" situation. The only thing I find unusually is a man making a life altering decision for three people he barely knows. I do not understand this concept of family these people try to portray? How is "family" defined? My mother says that I will not always have my friends but family will always be there. See I am left with discrepancy. What exactly makes Jack "family"? Because my mother chose him out of the however many billion men there are on Earth makes him "family"? Does a vow made in Las Vegas make him "family"? And if family can reach beyond the blood boundary lines, then what makes my friends any less of a "family" than Jack? I chose my friends on my own accord. I enjoy their presence. I do not detest their existence. They do not take it upon themselves to make decisions that take a major affect upon other's lives and come with lame excuses such as not wanting his family to talk about him. If they are your "family" than you should not fear any whispers. And this man is so sexist. "The children should be with their mother." "It's the woman's job to cooks." "I'm the man of the house." "Powerpuff Girls is for little girls." Hah surely you jest! The poor man is blinded by his chauvinism. I doubt he has ever even watched such a fine animation as "The Powerpuff Girls." But I digress back to seriousness, I hate these people. I hate them. Yes I do appreciate that I have a roof over my head and such commodities as the internet, but nevertheless I truly hate who these people are to the very core.
On a lighter note: New Fullmetal Alchemist update. Ended with a major cliffhanger and I can't wait for the next update (a month away D:) but the more they update the closer to the end it gets. Ah oh well all good things must come to an end.
It was kind of meh. Not really too exciting, but oh well. Some how I've gotten behind sixty chapters on D.Gray-Man? That's kind of annoying. I guess I'll start Soul Eater another day.
Everyone is leaving Books-A-Million. So far it's been decided that if Bobby, the general manager, quits then Amanda is going to quit, and then basically everyone else including myself will quit. Exa And Jennifer, two other managerial peoples, are already quitting for sure, I think. Basically the store will be purged of everyone cool. It has something to do with the new lame ass rules coming from corporate or I think something about the new District Manager. I'm not sure. But I'm pretty annoyed by these rules. There are so many fucking rules it's really annoying. For example, the old stated that if you work a six hour shift or more than you had to take a thirty minute break and if you worked four hours you could take a ten-fifteen minute. But now if you work just a four hour shift then you have to take a thirty minute break meaning your shift will actually only be three and a half hours, which is really annoying. Also I requested off this Saturday but the scheduled me, just like they tried to do for prom. Luckily someone is covering for me, I just don't like owing somebody one especially since I requested this Saturday off back in April. Sigh.
Also it's really annoying that everyone complains about the small amount of hours, yet they keep interviewing and hiring people. There is this one really super old guy that works there, Kenneth, and Matt G. calls him Benjamin Button, and he is sooooo fucking slow. He moves at a turtle's pace and is can hear about as well as a tree. Then they hired someone else. Ugh.
I think I might get a job at Kumon alike the Calds suggested and then quit Books-A-Million and then maybe work at the new Forever XXI. Do they hire males? I don't think I've seen any there. Oh well.
