Archive

WRITING PHILOSOPHY

Notes from an old college handout, 1960

By Abbé Ernest Dimnet [1866-1954]: “Dimnet invites the reader into a state of honesty, where he [or her] evaluates himself [or herself] as a thoughtful human being.” (Wikipedia)

“Whatever we read, we must first comprehend and, when we have comprehended, criticize.”

“Comprehension is the first and essential step in reading.”

“There is an abyss between people who want [literature] to be as accessible as the morning paper and people in possession of, or in search of, culture.”

“Criticizing is only another aspect of the effort to comprehend. The word in its etymology means ‘to judge,’ and, in fact, we think of a critic as a competent, not carping, judge.”

“Teachers should attach the greatest value to the school exercise called literary analysis.”

A student must acquire the habit…not to receive anything as true or beautiful, but to consider everything as a problem.”

“We should be given the habit of critical attention so that our first contact with anything worth the effort will give us as keen an impression as we are capable.”

“Comprehension is criticism, and criticism or judgment is a mere synonym for THOUGHT.”

“…many things have been omitted which should have been recorded. . . . It is not easy to write in a journal what interests us at any time, because to write it is not what interests us.”   –Henry David Thoreau

thoreauHenry David Thoreau

Through the writings of Thoreau–Walden and A Week on the Concord and Merrimack Rivers–a person interested in journaling can begin to make connections between writing, self, and life. Thoreau is the teacher.

walden pondA journal can help its writer make such connections, make her or him feel alive, discern life; journal writing can bring insight, can shape human identity, and give life meaning.

The journal will become a place to make progress in prose style, a method of/a place for self-understanding and self-revelation.

The journal-keeper will be able to make connections with the past and the present–and have a special vision: to see and to realize the value in making those connections–and writing about them.

week on the concordNOTE: A diary is a fact book: I saw a rainbow. A journal is a fact book with feeling–or with feelings about the facts: I saw a magnificent rainbow and was overwhelmed by the beauty of the colors of a prism. Simple, no?

composition book 1The Speckled Notebook for Journal Entries

Is there such a thing as a “right” way of literary criticism or critical theory?

Do you want/need a sound (old), “common sense” approach, among so many other “theories”?

David Daiches is (was) one of my critical heroes who told me “there is no single right method of handling literary problems. There is no single approach to works of literary art that will yield all the significant truths about them.” (This certainly goes for movies/film, too.)

I learned (and taught) these five: Historical, Formalist, Sociocultural, Psychological, and Mythopoeic (and maybe something like “Eclectic”).

But, since “art is greater than its interpreters…all criticism is tentative, partial, oblique.” (Studying the five MAY help us find our way.)

Criticism should be a MEANS to greater understanding and appreciation–not an end in itself.

“We turn to criticism [if we want] to develop and strengthen the ‘civilized’ approach to the arts: to enjoy with discrimination, to discern value, to recognize and reject the spurious, to respond maturely to the genuine, never to be fooled by the shabby and the second hand.”

“Every effective…critic sees some facet of…art and develops our awareness with respect to it; but the total vision, or something approximating it, comes only to those who learn how to blend the insights yielded by many critical approaches.”

Epilogue to Critical Approaches to Literature (1956; 1981) by David Daiches [1912-2005]

Question_mark_(black_on_white)

BY: JAMES F. O’NEIL

My brother Denis recently asked me for a copy of a handout I used in my writing classes: “The 3-8 Paragraph.”

In my memories of a time many years ago, my friend and colleague, Walt, gave me a handout called “The 3-8 Paragraph Method for Writing.” I was not as overly enthusiastic about using it as he was; he explained it was something he had used in teaching for some years. And he had gotten it from someone else during a long-time-ago workshop.

This method shows a simple way for writers to get started working on a topic, especially memories of a time–bringing about “the thrill of mining one’s own experiences,” as Jeff, a former student of mine, described it.

I found it to be a gem in my writing programs, after using it for a while. Since that time ago, I had been using this handout as one of the best pass‑and‑share/show‑and‑tell items I have ever received. I have given workshops describing how to use it, taught it, and shared it with colleagues. (Some might know it now as a method to help develop the so-called “essay map.”)

And so much for that.

However, my remembering now the times I have used the method makes me want to share the most essential element in the process, the keystone: having the concept of “three” or “3” or “threesies.”

This might seem too easy. And it is. And that is all I am going to say about that. Well, not really.

How much does “three” play in a life? What should I know about “3,” other than it comes after 2 and before 4? But wasn’t that a difficult thing to do, counting as a very young child, as you think back on it?

This is not about numerology–but it could be: the study of the use and power of numbers. Though I want it not to be “occult” or “cult-ish.” But think and remember what you might know about this number and its effect upon your life–or what memories you have about something “three.”

Maybe, “Once upon a time, there were three bears….” Why three?

“And now, Earth, Wind & Fire!” (though the classical elements add the 4th, water)

1st, 2nd, and 3rd place… (blue, red, and yellow [white for 4th place])

“Three men on a match”: That is “bad luck.”

Picture this: In the wind, a soldier during World War I lights a match, at night or in the dark, cupping his hand to prevent the wind from putting out the match. Then the cigarette is lighted. He shares the flame with a 2nd soldier. Then a 3rd soldier attempts to use the fading fire. He is the dead man, shot by an enemy sniper who has been alerted by the first light, takes aim on the 2nd, and knows there will be a 3rd.  Bad luck.

That is how I learned it.

In the novel As Time Goes By (by Michael Walsh, 1998), Rick Blaine shares a light with a friend. Reading that, I at once thought of the three-men-on-a-match anecdote. It happens that way with me.

Between 1490 and 1510, Hieronymus Bosch painted Garden of Earthly Delights, the modern title given to a triptych.

The Garden of Earthly Delights by Bosch

The Bosch Garden

What is a “triptych painting”? It is a work of art divided into three sections, or three carved panels that are hinged together and can be folded shut or displayed open. A trifold, three-sectioned something. Like a trifold wallet, or greeting card.

And then, remember “Two’s company, three’s a crowd”? Not as dramatic as the match story, but it could be, for some, a serious “threesome” relationship–or a stage of growing up. Just think of how many times you were the “odd man out,” the “third wheel.” Growing up, did you have fun as a “trio”? Or was it ever a “love triangle” (in French, ménage à trois).

Triangle: “… and the hypotenuse of a right triangle is….” Let’s think about that baseball field and see, not three bases but two triangles abutting one another across the mound in the middle. And see the 127 feet from first to third. Hypotenuse. Geometry. Tenth (10th) grade for some. Oh, that throw from third to second to first? That’s known as a “triple play.” That’s a baseball rarity.

Triple, as in “triple-crown winner.” Or the “trifecta.”

What gives me pleasure? “A loaf of bread, a jug of wine, thou.” Yup, another “threesie,”

In The Little Mermaid look carefully at the “trident” that King Triton (“tri-”) carries.

King Triton wiki

King Triton (Credit: Wikipedia)

 Or remember the Times Table of Three: that “three times three equals __.”

Finally (though this is by no means the last word on threesies), the poet John Milton wrote Paradise Lost, the massive poem about the massive battle about good angels, bad angels, and man. And God. The places were Milton’s poetic descriptions of mythic threesies: heaven, earth, hell.

Milton’s Universe

Though his poem was written “way back when” (1674?), even today writers ask (and answer in science fiction, fantasy, or pop literature), “What is the tripartite cosmology common to many foundation myths?” Outer darkness, earth, and some sort of heaven.

You will not look at three (3) the same way again…

 © James F. O’Neil 2014

The Three Stooges (as found in Wikipedia)

The Three Stooges (as found in Wikipedia)