I try and keep things literary on this blog, but I must post about Aiyana Jones. In Detroit, a 7-year little girl was killed, set on fire and shot, by the police who raided her home. The show was being filmed by “48-hours.” I can’t help but wonder if being on reality TV made the police more flamboyant, throwing a flash grenade into a home early on a Sunday morning.
The AP story is here, and here’s a blog from a community member.
I was struck by this quote by the Assistant Chief of police: “This is any parent’s worst nightmare. It also is any police officer’s worst nightmare,” Godbee said.
I understand the sentiment of the police’s remark, but I hate the way he implied family’s pain and the officer’s pain are equal. The officer’s worst nightmare is that his own family would be shot or burned.
I was also really struck by this photo of Aiyana Jones. (And let me add that I have a younger cousin with the name.) Look at her, surrounded by Disney Princesses, such a symbol of everything problematic about this culture– the way we think of girls and the way black girls are made to think of themselves.
I don’t have anything else to say. I want to help, but I don’t know how. I don’t know what this family needs that I can provide. None of the articles mentioned a fund to help the family. When I find word of a fund, I will contribute. But at the same time, I understand that my check ain’t nothing but a piece of paper, and paper cannot ease the pain of the loss of a child.
Here is the explanation for the pop quiz.
My mentor Ron Carlsonturned me on to this idea back in 1996 or so when I was working on Leaving Atlanta. I think I have blogged in the past about my two-steps-forward and one-step-back writing process: I can get a good 100 pages into a project and realize that I am going about it all wrong and I have to start over. (My second novel, The Untelling, underwent THREE do-overs!) These set-backs used to devastate me. I couldn’t understand why I couldn’t get it right the first time. That’s when Ron told me about the wallet.
Being a writer is about making mistakes. Big mistakes. Being bold it about trying new things that probably won’t work. The key to success is how you feel about these missteps.
The people (24% of us who took the poll) who get happy just because they realized that the wallet was missing are in the best position. These are folks who just love being on the road. These folks are really into the process for its own sake.
I am in the middle (along with another 24%) who feels disappointed but am able to regain my rhythm once I have corrected the mistake. I’m the driver who will curse all the way home, but pop in a new CD and set out singing.
The rest (52%) will be mad until they have written enough pages to make up for the “bad” pages. These folks will look at the page count on their computer and think “I would have been finished by now if I hadn’t spent all that time writing from the wrong point of view…”
The lesson, get happier earlier. We do this thing because we love it, right. Learn to love the whole thing. You’ll have more fun and do better work.
Between grading finals and working like crazy to meet my May 21 deadline, I am not posting any new content today. Instead, here is an oldie but goodie. (Part 2 will be posted Friday.)
This has to do with writing, take my word for it. Think of it like a Cosmo quiz– you know the ones that try to explain how the way you eat pizza determines who you’ll marrry. Answer the question below and I’ll get back with you to tell you what it all means.
Here’s the set up:
You are on a road trip, in a fabulous mood as you burn up the highway. About 100 miles down the road, you realize that you have forgotten your wallet! You make a u-turn, go back home, get the wallet, and then set out again.
The word is “freak.”
It’s funny how words that you think means one thing can mean something else to another person. I am going over the editorial notes on THE SILVER GIRL and for the most part, I agree with my editor. However, every now and again, I will be a comment that makes me scratch my head and say, Aroo? These moments usually are due to region and/or cultural understandings of language. Although the example here is pretty minor, it’s a serious issue worth talking about.
The sentence from my manuscript goes like this: It wouldn’t be fair to say that Marcus changed me, that he took a sweet innocent girl and turned her into a freak. My editor wrote in the margin, “How is she a freak? What is freakish about her?” I’d confused her with my sentence and she’d confused me with her answer. I stared for a while, drank some coffee, and then I got it. She understood the word “freak” as in “freak show”. I was using freak as in “The freaks come out at night” as in “she’s a very kinky girl/the kind you don’t take home to mother.”
What to do?
The use of freak in the Rick James sense of the word is perfectly in tune with the voice of my character—she’s a black girl growing up in Atlanta in the late-eighties. But at the same time, I don’t want to use a word in a context that will confuse a reader who isn’t from that place. If I change it, I will alter the voice, albeit in a minor way.
Of course, if I were to change it, what would I change it to? There is no real equivalent. A “freak” is not the same as a “slut”—although there is some overlap. Sluttiness is about lack of exclusivity, but freakiness involves a sort of adventurousness. It’s as much about depth of experience as breadth. (Sidebar: There are a lot of casual words that sort of defy translation. I will send a signed copy one of my books to someone who can give me a clear definition of “trifling.” And if you can give me a synonym, I’ll send copies of both.)
It’s sort of the issue that Latino authors deal with about the use of Spanish in a story—to translate or not to translate. But the matter of regional or cultural English vernacular is that the reader sees my words and assumes that she knows what it is supposed to mean. If I see a Spanish word, I know it’s in another language, I either use context or I’ll google it. If it’s an English word, the reader may just be confused.
For now, I am leaving the word “freak”, where it is. For me, it’s worth potentially confusing some readers for the sake of preserving the voice, and meaning.
The great Ms. Lena Horne has passed away at the age of 92. The NYT has done right by her, ending her obituary with this wonderful quote.
“My identity is very clear to me now. I am a black woman. I’m free. I no longer have to be a ‘credit.’ I don’t have to be a symbol to anybody; I don’t have to be a first to anybody. I don’t have to be an imitation of a white woman that Hollywood sort of hoped I’d become. I’m me, and I’m like nobody else.”
I reviewed The Long Song by Andrea Levy for The Washington Post.
Levy’s previous novel, “Small Island,” is rightly regarded as a masterpiece, and with “The Long Song” she has returned to the level of storytelling that earned her the Orange Prize in 2004. Her heroine narrates the beginning of the end of slavery in Jamaica, coming to a climax with the 1831 Baptist War, when enslaved men and women fought their enslavers for 10 days. It’s clear that Levy has done her research, but this work never intrudes upon the narrative, which travels at a jaunty pace. Levy’s sly humor swims just under the surface of the most treacherous waters. (For example, a shocking suicide is preceded by a delightful farce.) Her refusal to reduce her characters to merely their suffering does not trivialize the experience of enslavement, but underscores the humanity of all involved.
Self-censorship is not always a bad thing. I think we all have things that we would like to write about, but don’t think it would be worth the fall out. The question of what’s worth it is entirely up to you. That said, never censor yourself while you are still writing the story. Save the censoring for the final draft.
Self-censorshipisn’t an exact science. While you’re making sure not to write anything that will offend your parents, you may also be holding back some important emotional truth that will make your story rich and insightful. Don’t block the creative flow. Write it all. Every detail that occurs to you. Until it’s published, it’s private, so be honest, frank, and free.
Side Note: Sometimes I meet young writers who are living in a special sort of artist-hell. On the one hand, they are anxious and are convinced that they will NEVER publish. But these same writers totally freak out and become blocked because they self-censor for fear of what people are going to say about their work. This is the worst of both worlds. Learn to let your insecurity work for you: If you really feel you will never publish, let that free you up. Cut loose! Who’s going to see it anyway.
But seriously, “What should I write about” and “What should I publish” are two really different questions. You should write whatever comes to your mind. Writing is personal, it is art. It’s between you and the page.
When it comes to publishing, I recommend letting the story sit a while and then read it over carefully. If there is someone who knows your situation– be it family or whatever– ask that person to read it too. Consider your loved ones’ feelings. Don’t let them steal the show, but consider. (Also consider if they are ever even going to read your book in the first place.) If there is something that may be ouchy, but isn’t that crucial to the story, take it out or tone it down. On the flip side there may be something that’s freaking you out, but your reader may convince you that it’s not nearly as out there as you thought.
There are folks out there who disagree, who believe art is the only obligation of the writer. And I must admit that I have been very enriched by the work of the take-no-prisoners writers. I’m just not one of them.
This Thursday there will be a sneak-peek at my new novel, The Silver Girl, at SWEET: Actors Reading Writers. SWEET is a really cool series where the writers turn over five or so pages of material and actors interpret. My work will be read by Heather Alicia Simms, whom I met yesterday at a cafe in Brooklyn. She’s a terrific actor with gorgeous credentials– August Wilson on Broadway, y’all! (Right: Please note that in this cast photo from The Brother/Sister Plays, she is wearing a silver dress!) Also featured will be the work of Matthew Aaron Goodman, one of the Amazing Eight.
If you’re in NYC on Thursday, Come on out. Here are the deets.
Date: Thursday, May 6, 2010
Time: 7:30pm – 8:45pm
Location: Three of Cups, 83 First Ave @ 5th St.