Submission: Flash Frontier

In my attempt to immerse myself in the writing culture of this fresh, charming country I find myself in, I stumbled across a little gem of a literary magazine called Flash Frontier.

It’s an online zine which publishes a monthly, theme-based collection of flash fiction and its morsels of stories are quite fetching.

Not only that, but the editors made suggestions to better my submission, which I did really appreciate.  You might find me in the November issue!

Creative Commons love to BabaSteve on flickr for the photo.  So New Zealand!

Inspiration: Creativity as Play

Amidst a series of “How many … does it take to screw in a light bulb?’ jokes John Cleese brings up particularly poignant points about creativity.  He gives an actual recipe for its formation and hope to those of us suffering from creative block.

He asserts that “Creativity is not a talent. It is a way of operating.”  People are not born creative.  It is not a high IQ or a muse on your shoulder.  Instead, it is finding a mode of working that allows for the creative which sits inside each artist to come out.

He cites studies and research which define creativity as “an ability to play.”  Creatives are childlike and have the ability to explore and frolic with ideas for no specific purpose other than play itself.

As I try to be more disciplined and determined in my writing practice, I find that this is something that I am missing lately.  If I’m not producing, I feel that I am not writing.  There isn’t room for play when deadlines and due dates are looming.  And yet, this is exactly what is needed for creativity: time and space.

“Creativity is not possible in the closed mode,” Cleese asserts.  But he also shows that working in both ‘open’ modes and ‘closed’ modes are necessary.  When we are working with a problem, we must examine it in the open mode.  However, once we find a solution, we must work in the closed mode to be effective at bringing it about.

For me, I have been getting better at the closed mode.  I have been developing my discipline and ability to sit down and write as if it is work, as if it is necessary.  But I have forgotten how to play with my writing.  I have forgotten to give myself the time and space to sit and play with my ideas, to let them be silly and run free.

The most useful part of Cleese’s speech comes in his practical advice for creating the ‘open’ mode necessary for creativity.

“You need five things:

1. Space (Away from the ‘real world’ so you can play!)

2. Time (Time blocked off especially for play!)

3. Time (The more time you spend playing, the more creative your solutions are!)

4. Confidence (Play means not being frightened of failure!)

5. A 22-inch waist.. Sorry, humour.”

He asserts that your creative play needs to be distinct from your everyday life in both the time and the space that you give it so that you can be free from the pressures (and ‘closed’ mode) that we usually operate under.  “Otherwise, it’s not play.”

“The most creative professionals always play with the problem for much longer before they try to resolve it.”

“While you’re being creative, nothing is wrong and any drivel might lead to the breakthrough.”

Of course, as he says in the beginning, “Telling people how to be creative is easy. Being creative is difficult.”

http://youtu.be/VShmtsLhkQg

Oh, and also…

How many psychiatrists does it take to change a light bulb?

Only one, but the light bulb has really got to want to change.

Inspiration: Look Up More: The Shared Experience of Absurdity

I’ll just come out and say it, I love the absurd.  There’s something magical and beautiful about frivolity that’s not tied down to reason and rationality.  Absurdity has this detachment from the material world which makes me remember that I am not only a physical body that needs to eat and shit, but also a mind that needs to be stimulated and awed.  There’s some sort of wizardry that the ludicrous possesses which can turn even the most mundane of situations and surroundings into a wonderland.

Take for instance Christo and Jean-Claude’s outdoor art, The Umbrellas.  It instantly turns a brown, barren California landscape into a fairyland. And that’s exactly what’s amazing about absurdity.  It’s play for adults.  It’s a time when we are pulled out of daily routine and everyday life and invited to immerse ourselves in imagination and wonder.  It invites us to see the world around us not as a hard, material setting but as a playground ripe with beauty and ready for exploration.

The magic and wonder of the ridiculous is never so powerful as when it is shared.  In the TED Talk below, Charlie Todd, founder of ImprovEverywhere, discusses the power of sharing absurd experiences.

Here are some of my favorite quotes from the video:

“I love this moment in the video, because before it became a share experience, it was maybe a little bit scary, or something that was at least confusing to her.  And then once it became a shared experience, it was something funny and something she could laugh at.”

“There is no point and there doesn’t have to be a point.  We don’t need a reason, as long as it’s fun.”

[ted id=1269]

This video really inspired me because it made me think about how something just a little bit absurd lends itself to an entire story.  The people who witnessed the no-pants subway ride (and all the previous ones that followed!) will forever have that story to tell — and to share.  It will be something to connect over and an experience that they can give to others through the telling of that story for the rest of their lives.

All storytelling should have an element of this.  Stories should leave you wanting to retell them, to share them.  Good stories are instant bridges between people.  They bring us together and link us in common experience.

And for me, I always want a little bit of the absurd.  I want a little bit of play, a little wink at my reader.  I want that moment when my reader and I are both frolicking in the playground of wonder and imagination and beauty that is the world we live in.

Because it’s really fun to play by yourself, but it’s even more fun to play with others.*

*Sexual innuendo absolutely intended.  I’m sorry.  I couldn’t resist.

Creative Commons love to Jon Delorey for the photo and, of course, to TED for the video!

Sharing: First Post After a Long Absence

I’ve been reprimanded quite a bit lately because I haven’t posted anything.  But I promise, dear reader, I have an excuse!  I’ve just moved from Bangkok to Wellington, New Zealand,* and I will admit that the energy of the move and house-hunting and job-hunting has kept me from blogging.  I will also admit that I’ve been too wrapped up in exploring this lovely little capital at the end of the world to think much about writing or grad school.  In my defence,** I am incredibly smitten with my surrounds and with people here and my mind has been elsewhere.

 

Part of why I am so smitten is that I didn’t properly anticipate how much I would love living in an English-speaking country again.  I am struck by how much it means to me to be able to have connective little conversations with the baristas at the coffee shops I frequent or to flirt with the guy who works at WelTec.  I really appreciated all the smiles I got in Thailand.  But if Thailand is the Land of Smiles, New Zealand feels to me like the Land of Small Talk.  And I am really loving it.  I’d forgotten how those little conversations with friends-you-haven’t-met-yet can really brighten your day.  Even if it is a wintry, drizzle-y day, as has often been the case.

In the spirit of appreciation for small connections with friends-you-haven’t-met-yet,  I’d like to give a special thanks to Daniela, a fellow Wellingtonian, who blogs over at Lantern Post, who nominated me for the Twin Awards.  These little moments of connection and recognition are just lovely and I really do appreciate them.  I’d also like to share a bit of Daniela’s poetry, which gives a little bit of insight into my new hometown:

Street Performer

On Saturdays street artists are out,

downtown on Cuba Street,

marking their patches of concrete,

between market stalls,

amongst passers-by,

bending around corners,

not on the way, just in the view,

singing for nickels,

dancing for laughs.

 

And there he was,

all young and bouncy inside his sneakers,

pants low on hips with blue hearts sewn on knees,

his mum did it for him he tells me.

 

Just setting his circle right now,

but show will start soon,

and he is really good, he says,

excellent in fact,

real juggling acts, like in circuses,

and fire eating, real fire mind you,

made with kerosene, a real poison.

 

Really, if I will stay he will show me,

usually lots of people come and watch,

he has a regular crowed now,

and does acrobatics, dangerous staff and for real,

no tricks, like some others do,

no, not him,

he is for real.

 

Just stay for a while, he will start soon,

mind if I have a spare smoke and a lighter,

it will be real good,

he does this for living,

his folks are still in shock,

but he does what he loves, and that’s all that matters to him,

to make people laugh.

 

Just stay till the end of the show,

it is going to be awesome,

at the end he will pass the hat around,

you know how it is,

has to pay rent, buy beer,

loving what you do does not,

pay bills,

you understand.

 

*Why does WordPress not think that New Zealand is a word?  Really, WordPress, it’s a real place!  Not a fairy-Neverland.  But, honestly, you wouldn’t know by this picture:

I mean, look at this!  I live here!

**And now it seems I am spelling like them too….

 

 

 

Creative Commons love to mollyeh11 and PhillipC for the photos!

Inspiration:Cat exploded? Make good art.

Here is a really lovely commencement speech that Neil Gaiman recently gave.  It is quite thought-provoking, a little funny, and amazingly inspirational.  It got me writing for the first time in a month.  I hope it does the same for you!

[vimeo http://www.vimeo.com/42372767 w=400&h=300]

These are a few of my favorite one-liners.  They are all the more poignant in context.

If you don’t know it’s impossible, it’s easier to do.

I learned to write by writing.  

I tended to do anything that felt like an adventure, and stop when it felt like work, which meant life did not feel like work.

A life in the arts is like putting messages in bottles on a desert island and hoping that someone will find one of your bottles and open it and read it and put something in a bottle that will find its way back to you. 

The things I did because I was excited and wanted to see them exist in reality have never let me down.

Sometimes life is hard… when things get tough, this is what you should do: Make. Good. Art… Cat Exploded? Make good art.

The moment that you feel that just possibly you’re walking down the street naked… showing too much of yourself, that’s the moment you may be starting to get it right.

Make interesting mistakes. Make amazing mistakes. Make glorious and fantastic mistakes. Break rules. Leave the world more interesting for your being here.  Make good art.

Kanchanaburi

The river slithered out of the mountains with such speed that it seemed the forest must have been on fire. This should have been our first clue, but we pressed on, past rice paddies and the Death Railway, past water monitors and banana trees, past lotus fields and check points. We curved around roads unable to watch where we were going because we were mesmerized by the sun setting through the jagged dragon’s teeth jutting out of the landscape. Even as night began to fall, we did not stop, further into the heart of a jungle so dark that the moon and stars could not be seen, as if we were no longer in a world surrounded by other planets and galaxies. The fauna grew more massive and the flora grew more crowded until we were shouldering our way into a deafening density. Frogs croaked wood against wood, geckos sounded like birds, and cicadas imitated longtail boats.

Beetles and dragon flies landed on us as if we were sticks. Park rangers told us to turn back. Kitti bats stayed in their caves. Street signs shaped like royal crabs scuttled away from roads. And yet we persisted, driven on by an incurable bug for adventure, a sickness that pushed to see more and more unseen, a fever that made our hearts restless and drove us from our homes.

The mountains became billowy the higher we went, as if this far from the city even they were not fixed. Mist gathered round, blurring the edges. Bamboo plumed off cliffs, looking like giant feathery ferns from a distance. Animals jumped off limestone bluffs, floating into elephants and crocodiles and gibbons of cloud. Forests sank into reservoirs, as if the earth did not know where it stood. The road twisted, uncertain of the ground beneath it. On motorbikes and bicycles and boats, we pressed, closer toward forbidden lands where borders were blurry, into frontiers decorated with coconuts and cow skulls, where cowboys wore rice paddy hats. Into a west so wild that centuries and continents fell on top of each other. And we, naturally, lost our bearings, too.

Ficus roots floated in midair so that we wondered briefly if we were underground. Strangler figs wound around trees so tightly that the buttressed giants choked and fell, leaving exoskeleton trunks of vine, hollow ghost trees that still sprouted leaves and fruit. We climbed inside and nestled there, daring the vines to squeeze us, too. They were slow to respond to our taunts, as careful foliage often is. Hidden inside that creeping constrictor, we were not so cautious.

Deprived of the embraces of elkhorns and newts, we clasped each other. As tigers turned to clouds and mountains gaped into open dragon’s maws, we held hand to hip, mouth to mound, cheek to cheeks. Arms flattened into banana leaves. Hair transformed into mountain fog. Feet flew into branches. Eyes grew into papaya. Bellies became karst formations and breasts danced into spinning seed pods. Fingers split into ferns. Orchids turned and cooed at the rustling, lizards clucked, birds whistled, mangoes dropped like dumbfounded jaws, and gibbons whooped.

We were no longer sure if we were astronauts or crickets, dinosaurs or gods. But the knowledge no longer mattered. I did not return from that heart of darkness, and nor did you. But we came home, as frangipani and limestone, passion fruit and snakes, tree frogs and jasmine, the earth and the sky.

Creative Commons  love to purplekarmaaxelsaffron, and beakatude (in that order) for the photos! Thank you!

Making Love to Clouds

I did not flinch when I saw her, though I knew she expected it.  My face did not mirror hers, eyes pulled wide, lips forced apart by the sharp intake of breath she could not control,  brow clenched upwards by a mind which could not believe.

A small breath of air made its way from my lungs, but my lips could not form her name.

Her eyes moved away from mine to the ground.  She did not want me to see her this way, I knew, and she would rather have never seen me at all than to meet me like this.

Her hair, which I had never seen down in all our years together, even through sleep and childbirth, fell in front of her face, intentionally hiding it.  In the darkness, it was hard to tell the two apart, now that the night of her straight hair had spread down the length of her body.  It was the blackness of her face from which I could not take my eyes.  Not the decay of her skin, crawling into strange formations as it fell from her flesh, nor the worms escaping from within her and being more eager to return to her to feast, but the pure tar of her face.  It had been one of her more powerful features, lighting the sky with its whiteness, its power making men run for cover.

“Do not look on me,” her words were loud, quick.  I wondered if she knew I had been chasing the young nymph which had just passed her, giggling melodically, curls and young breasts bouncing teasingly around the corner.  I wondered if it had been long enough since her death, or if it ever would be.

“I miss looking on you,” I offered.

She scoffed under her breath.  I could hear the tightening of her hard face through the darkness.  It was a sound I had not forgotten.

She crossed her arms, jagged elbows sending small bolts of lightning at the ground.  In the light, I could see a cockroach on the ground, near her dirty, bare feet.  It was the first time I understood her shame in being seen in the underworld.  Her usually tidy, glowing dress looked like what a peasant mortal would wear.  Instead of her usual shining shoes, her small, sharp feet, were caked in dirt, and being eaten.  I wondered if it was difficult for her to walk with the same poise that she had always carried.

“Please,” I said, knowing she would notice that my voice was not that of a god, but of a mole.  It did not happen often, but I knew she always noticed when I lost my composure.   “We will never see each other again.  We are lucky for just this moment.  Please, just look at me.”

“I-”  It was not often that she stuttered.  Her uneasiness grew to fill the small confines of the underground cave in which we stood.

Maybe she also feels as if it were my fault.

Perhaps she did not recall her last days, after the birth of the fire.  The way she screamed as the flames came forth from her womb burned my insides also.  The tears that sparked her electric face for days afterwards as she whimpered in pain each stung me as well. And I could no longer live forever when her immortality was taken away.

“I am not the same,” she said, her voice beginning to crack.  I knew she would not cry.  I struggled in the darkness to see better the prickly lines of her long body and face, the points of her nose, chin, and hips.

“I know,” I said.  I still missed looking on her.

   He did not know. 

            I could see his misty face, churning with emotions — for me!  If he knew, he would not be taking the time to steal a few moments with me before his return home.

            He moved towards me and I was within his arm’s reach.  I moved away.

            “I know,” he repeated, taking a small, determined step forward. 

            That was the moment when the memories flew past me and I was forced to turn and look at the decaying wall.  This gave my unruly mind free reign in recalling my memories, but at least I did not look at his face. 

            The tree came back to me first, but I knew that did not mean I loved him more.  The nights I had stolen away with the tree in a forced, hushed passion were just easiest to remember — there had been so few.  Always after dark.  Embracing without kissing.  A dainty removal of his own splinters.  All so the clouds could detect no signs when I returned home.  The splinters were my favorite part, even then.

            But there were more nights — since the beginning of time, in fact — with the clouds.  After all, what is lightning without clouds, or clouds without lightning?  The best nights were always the ones spent over tropical islands — hurricanes and our children, the thunder, the rain, and the tornado, were all conceived from the swirls of our passion on nights like those.

            So, when I first realized that I was having the fire child, I stopped seeing the tree.  I had no doubts about who fathered it.  But, then again, neither did the clouds.  Perhaps that was the most painful part of the ordeal:  the clouds trusted me so much that he was sure the child was his.

            “I am sorry,” he tried.  I knew he was fumbling for words, and it made me want him to hold me.

            “I am as well.”  But I stayed cold.  Who would want to hold a sack of maggots?

            “If I had known what would happen –“

            “You should not apologize.”

            “It was my fault,” he said.

            “It was not your fault,” I insisted, my voice rising with tension.

            “I should not have–” he stopped.

            I could hear him turn, his arm brushing chunks of dirt off the crumbling wall, and return the way he had come.

 

 

 

 

 

Creative Commons Love to Liamfm on flickr.  Thank you!

Amenhothep IV

         Amenhothep. That was what he had been called. Named after his father. But even his father regretted that. He was clearly not his father’s son. He came out misshapen, with a head too big and the shoulders of a woman. Not fit to be a king. Not even fit to be a prince. He didn’t hope to be invited anymore. He didn’t ask to go to ceremonies or carvings. Family sculptures were for the princely children. Siblings who came out looking normal enough, generic enough that any sculptor could make them beautiful, could make them look like a pharaoh should. Broad shoulders. Small waists. Perfect faces just waiting to be framed by royal adornments. His was truly a face only a mother could love.

And love she did. Fiercely. With a strength and ferocity that scared him.

But Amenhothep (Amenhothep IV, to be precise, because Amenhothep III was every bit the ruler he should have been) was different. Too different. Not eccentric in the way that was permissible for pharaohs. Not egocentric in the right way. His mother Tiye insisted that this second son bore his father’s name. Amenhothep. Amun is satisfied. It felt like such a lie. Even to the boy himself. Just imagine how his  father felt. How could his seed produce something so perverse, so… otherworldly.

He spent his time alone. His mother called him special and he was sure that it was not a good thing.

Together, his family was set in stone. Older brother, two sisters, Mother, Father… without Amenhothep. Festivals, reliefs, religious ceremonies. Left alone, staring at the sky.

It was always Sopdet that caught his eye. The Dog Star. Sirius, Sothis, Sopdet. How could it not? The brightest star in the sky felt like home to him. It seemed to shine for him, to call his name in whispers in the night. The days when Sopdet disappeared were the worst. 70 days straight without that bit of comfort, that tiny speck of support from afar. Each year it brought a winter to his heart.

One night his mother even caught him.

“Your world is here, Amenhothep.” Tiye surprised him.

“I know,” he said, nearly disappointed.

“Are you watching Sopdet?”

“Yes,” he looked at the ground.

“It’s special to us. The birthplace of Isis.” He had heard the mythology. It was not new.

“And of your father,” she intimated. He turned to look at her. Was she being mythological? Spouting the stories that kept the pharoahs divine? That was unlike her, he knew. His mother was straightforward, powerful, and not prone to indulging folklore. And yet… His father was just a man normal and mortal, as much as he pretended otherwise, Amenhothep knew. He narrowed his eyes and Tiye sensed his suspicion.

“Not that father.” She walked away, ending the conversation.

Creative Commons love to Archer10 on flicker for the photo!  Thank you!

Prompt: Myths in New Places

“Mythology is not a lie, mythology is poetry, it is metaphorical. It has been well said that mythology is the penultimate truth–penultimate because the ultimate cannot be put into words. It is beyond words… Mythology pitches the mind beyond that rim, to what can be known but not told.” ” – Joseph Campbell

It never fails when I need something to write about to read folklore or mythology.  It’s like instant inspiration for me.  So many of the stories are so rich and yet so bare.  They feel like playgrounds to me.  They beg to be told from different perspectives.  They seem to yearn to have details filled in.  They taunt me with the questions, ‘But what happened after that?’

But this prompt is not about retelling.  This is an exercise in setting.  I will admit that I often do not give the setting of a story enough thought.  Setting changes everything.

Pick a random myth or folktale from the (amazing!) collection at the University of Pittsburgh’s website here.  Some fun things I’ve tried: tales starting with the same letter as my name, a character’s name —   you get the point.  Then spin a globe and pick a random place to set your story.  Or, better yet, use the antipodes map to set your story on the exact opposite side of the globe.  Set the story in modern day to change the setting even more.

I would be super interested in seeing what other people come up with, so if you do this, please share!

 

Creative Commons love to Tina Bell Vance, from flickr for the photo.  Please check out her work.  It is amazing!

Akhenaten (Winter 2012.)

Even when history is written in stone, it is re-written.  This is the nature of the story.  Suns and hawks and buffaloes are erased, scratched over to be reused in the temples of the future.  Reunderstood.  Re-envisaged.  Repostulated.  This is how Akhenaten was lost, struck from the roll of the pharaohs, a distant memory of a monotheistic heretic, a madman with only one god.  He built cities and temples and sculptures of stone and gold and they were quietly erased in the span of a generation.  Father of history’s most famous pharaoh, the first individual, founder of world religions and yet … forgotten.

Even when etchings are deep, the vengeance of history is deeper.

His lips were full, and so was his stomach, as if he were the bearer of life:  Mother and Father in one.  Son of the sun, he named himself.  Descendant of the stars. Yet “He is the sun, as compared to the stars,” the people wrote.   He shone and spun with energy and life.   He was daytime and dawn and we were drawn to him.  The pull of his large middle seemed to keep earth in orbit and suggested that he was … different.

His head was large, too.  And not just metaphorically.  His skull was not round, not adorned with the dress of kings.  Instead it jutted, backwards.  As if his brain were trying to leap out of his head.   As if he came born with too many thoughts for a human skull to hold.  Or too many questions.

His face was not manly and beautiful.  It was strange and androgynous.  His lips pouted, asking to be kissed.  His nose barely fit on his face.  And his chin, his chin was so pointy.  It turned his giant skull into the shape of an upside-down tear drop: a large, rounded cranium that ended in a small, pointy face.  And then there was the matter of his eyes.  They were big, but not round, enormous almonds that seemed to fill his brow.  With his mouth and eyes and nose, there was very little room for a face, to speak of.  Instead he was an immense head, full of features.   It wasn’t normal.  It wasn’t human.  It was almost alien – as if he did come from the stars.

He did not recline the way other pharaohs did.  He was not somehow both always at rest and gifted with an athletic, sculpted body.  His shoulders were small and his hips were large.  His arms and calves were so spindly that some likened him to a spider.  His thighs were so large that there were whispers amongst the people “Is he Oedipus, swollen foot?”  His mother was, after all, beloved.

Instead, he was lively, as if stone carvers always caught him in the act.  Each carving seemed to be a live-action photograph of a son of god engaged with his surroundings.  The cartoon pharaoh, always animated, surrounded by loved ones, animals, and the outdoors.  Not only acting as a ruler, but acting as a father, a man, a lover.  He was a king of movement: orbiting and revolving through the universe.  His pull and the pull of the world around him spun together, and inspired each other to dance faster and further.

You can see how the present had fallen in love, and how history was not amused.

Response to a previous prompt: http://lightningdroplets.wordpress.com/2012/02/10/prompt-rasputin/

Thanks to http://www.flickr.com/photos/zinetv/ for the photo of Nefertiti (?).