A few months back when I discovered you (for myself), I thought your work to be intriguing. Since then I've done more research into minimalism–a direction I absolutely want to head in–and see how your work fits wonderfully into this genre. Are you familiar with it? It's uncanny how well you write "burnt tongue" passages and "on the body" metaphors. It would be stupefying to think you weren't at least aware of this style of writing. If not, I need to send you two links, one to an article by the author of Fight Club on the master(ette) of this art, and the other to a masterpiece by this masterette. Let me know. Great work, either way!
Never heard the term "burnt-tongue" before but would push a little farther and argue that you don't just want to slow someone down and prevent skimming but to cause the *want* not to skim. There's a tension because not skimming involves labor and labor the impulse to quit. Burn is injury. Whatever burns the tongue needs to taste better than pain.
If there's one thing I've taken from Hempel it's that: assume the reader will leave the second there's a reason to. Which is why (I'd argue) every sentence is "tortured over" as Palahniuk put it. The "c'mere-work-slow" is a single motion.
Has a lot to do with why what we're calling "minimalism" has value at all. A geek might think of it as lossless data compression -- doing the most work with the least number of bits while not sacrificing ... call it "quality of meaning."
The Harvest
is a super instructive short story. Especially (imo) because the come-clean at/after the end is also a construction.
If you haven't encountered what Gordon Lish is about,
Great insights, Jason. Right now I'm taking a deep dive into minimalism, and yes, every word is tortured over. It's definitely worth considering for every writer, whether or not they choose to enter the medium full on. As someone writing about the underworld, subterranean forces, and what's hiding behind all of our rent-a-facades like me, minimalism proves invaluable. I can talk all I want about whatever I want and, at the same time, make the reader aware that these hideous forces below and inside us are always at work.
As I said I'm doing a deep dive now, reading all about Amy Hempel, Mary Robison, Raymond Carver, etc., but Chuck often mentions Gordon Lish and I'd love to look at him closer. Really appreciate the link, now I just have to find the time to go there...
A few months back when I discovered you (for myself), I thought your work to be intriguing. Since then I've done more research into minimalism–a direction I absolutely want to head in–and see how your work fits wonderfully into this genre. Are you familiar with it? It's uncanny how well you write "burnt tongue" passages and "on the body" metaphors. It would be stupefying to think you weren't at least aware of this style of writing. If not, I need to send you two links, one to an article by the author of Fight Club on the master(ette) of this art, and the other to a masterpiece by this masterette. Let me know. Great work, either way!
Hi Jack. Pretty familiar. I know Palahniuk has been a vocal fan of Amy Hempel, so that would be my guess, but please send the links; I'm interested.
And thank you!
Bingpot! The first article (1 page) explains why we as writers should at least investigate this style, and Amy Hempel:
https://www.csub.edu/~mault/palahniuk.htm#:~:text=The%20next%20aspect%2C%20Spanbauer%20calls,%2Dcut%20adverbs%2C%20and%20clich%C3%A9s
The second is Amy's story that Chuck rightfully refers to in the article (about 7 pages):
https://ia803101.us.archive.org/17/items/theharvestamyhempel/The%20Harvest%20-%20Amy%20Hempel.pdf
It is mind-blowing and makes me wonder why I didn't file my minimalist pens (?) sooner. You'll see why I thought of her reading your piece. Enjoy!
Never heard the term "burnt-tongue" before but would push a little farther and argue that you don't just want to slow someone down and prevent skimming but to cause the *want* not to skim. There's a tension because not skimming involves labor and labor the impulse to quit. Burn is injury. Whatever burns the tongue needs to taste better than pain.
If there's one thing I've taken from Hempel it's that: assume the reader will leave the second there's a reason to. Which is why (I'd argue) every sentence is "tortured over" as Palahniuk put it. The "c'mere-work-slow" is a single motion.
Has a lot to do with why what we're calling "minimalism" has value at all. A geek might think of it as lossless data compression -- doing the most work with the least number of bits while not sacrificing ... call it "quality of meaning."
The Harvest
is a super instructive short story. Especially (imo) because the come-clean at/after the end is also a construction.
If you haven't encountered what Gordon Lish is about,
I think that would be a rabbithole you'd appreciate. He was a teacher/editor of Hempel's (and many others, e.g. Raymond Carver, Ben Marcus, etc.). Here's a decent starting point: http://numerocinqmagazine.com/2013/02/04/the-consecution-of-gordon-lish-an-essay-on-form-and-influence-jason-lucarelli/
Great insights, Jason. Right now I'm taking a deep dive into minimalism, and yes, every word is tortured over. It's definitely worth considering for every writer, whether or not they choose to enter the medium full on. As someone writing about the underworld, subterranean forces, and what's hiding behind all of our rent-a-facades like me, minimalism proves invaluable. I can talk all I want about whatever I want and, at the same time, make the reader aware that these hideous forces below and inside us are always at work.
As I said I'm doing a deep dive now, reading all about Amy Hempel, Mary Robison, Raymond Carver, etc., but Chuck often mentions Gordon Lish and I'd love to look at him closer. Really appreciate the link, now I just have to find the time to go there...
Jack, thank you. Will definitely drop any thoughts I have after reading.
These were really great reads. Thank you for sharing.
You're welcome. Thought so, too.
Phew. Intense narrative. So well done. Which are you here - or are you both - and more?
Wishing not to be any of these, but accepting how mechanically it all seems to go down.
How's your year so far?
Quiet, good. Hope yours is too - I’m wishing for no catastrophes this year. You? Your writing is stronger (it’s always strong).
I asked earlier because I thought I saw you at that concrete table.
Oh that's nice of you.
Yeah that was me. Next time throw a rock. A small, small rock.
You’ll have to take your chances on the rock
I particularly enjoyed this there’s a melancholy sweetness in repetition and in the last mama moments
I feel like the “object of meditation” part, was actually a really good lesson in how to meditate — even if it was unintentional. :)
Definitely unintentional.
Do you have a practice?
For roughly a year, I’ve been committing to 20 mins a day. I always do it, but results vary haha.
Do you?
Heheh, results definitely vary. But I guess that's ok.
I do and sometimes wonder if I'm better off for having ever started, but can't unring that bell can we :)
I agree, it’s hard to go back now.