I’ve been researching the history of my organization, CBMC (I’m a designer at the national service center). We put out a magazine for decades called CBMC Contact, and I found this poem on the back cover of a 1952 issue. It’s cute, and cute things should be blogged (within certain strict guidelines).
The Typographical Error
The typographical error is a slippery thing and sly;
You can hunt til you are dizzy, but it somehow will get by.
Til the forms are off the presses, it is strange how still it keeps;
It shrinks down in a corner and it never stirs or peeps.
That typographical error, too small for human eyes,
Til the ink is on the paper, when it grows to mountain size.
The boss, he stares with horror, then he grabs his hair and groans;
The copyreader drop his head upon his hands and moans–
The remainder of the issue may be clean as clean can be,
But the typographical error is the only thing you see.
Orange Jack on Don Quixote: “The ironic thing to me is that this book is about 1000 pages, and on the first page the author tells me the main character goes mad because he read too much!”
Laura Demanski on a book she’s read several times: “A friend recently told me that he’s reading Pride and Prejudice for the first time, and I realized that this is a condition I aspire to. In other words, I wanted for a second to claw his eyes out, but the second passed and I masked my jealous rage nicely, I thought. It used to be every Christmastime that I read P&P. Now my readings are further spaced out, every three or four years instead of every single one as I try (without hope) to regain a state of innocence vis-à-vis this particular book.”
Kevin Holtsberry quotes Athol Dickson on writing too fast: “I recently got into hot water with some writer friends by crying out for a slower, more thoughtful pace. Although I hate it when people are unhappy with me, I’m not backing down. Many popular Christian authors are in the habit of putting out three, four or even five or more novels every year. Such haste strikes me as a risky proposition.” I remember Mr. Dickson saying the same thing in his Novel Journey interview.
Well, blimey, Bert! Look what I’ve copped. The blog of the American Chesterton Society (ACS). They have a rare, autographed book of Chesterton poems for sale with a charity angle on it, and they point to a review of an interesting book I hadn’t seen before, The Flying Inn. The reviewer writes that the book “was condemned to many years of neglect, presumably because of what was then seen as the quaintness and irrelevance of its subject matter — an Islamic attack on and infiltration of England.” The ACS says, “This is a hilarious satirical romp in which Chesterton inveighs against the forces of dreary and oppressive modernity, in the form of Prohibition, vegetarianism, theosophy, and other movements.”
“Huck only mentions what strikes him as necessary, but the details are well-chosen and invariably come up in the course of action. If nothing else, this opening demonstrates how getting one thing very right — voice — can lead to everything else falling into place.” — J. Mark Bertrand at his “Notes on Craft” blog
My sister pointed out this sentence so I want to ask you what you think. How does sentence, published in a novel, strike you: “The beauty of [the town] was evident even in the autumn twilight.”
The paragraph goes on to describe the beauty of the town, especially in autumn with its tree lined streets . . .its hair with a luster as Fall hits the air. . . . I know you in Autumn, and I must be there. I’m sorry. I lost myself in another thought for a moment.
Anyway, what do you think of that sentence?
Mark Bertrand has continued his comments on judging the Christy Awards. Here he discusses the mystery/suspense category he was invited to judge. Here he talks about judging for a literary award. (links defunct)
Lovers and madmen have such seething brains,
Such shaping fantasies, that apprehend
More than cool reason ever comprehends.
The lunatic, the lover, and the poet,
Are of imagination all compact:
One sees more devils than vast hell can hold,
That is, the madman; the lover, all as frantic,
Sees Helen’s beauty in a brow of Egypt:
The poet’s eye, in a fine frenzy rolling,
Doth glance from heaven to earth, from earth to heaven;
And, as imagination bodies forth
The forms of things unknown, the poet’s pen
Turns them to shapes, and gives to airy nothing
A local habitation and a name.
Such tricks hath strong imagination,
That, if it would but apprehend some joy,
It comprehends some bringer of that joy;
Or in the night, imagining some fear,
How easy is a bush suppos’d a bear!
My wife and I drove down to Atlanta last night to see A Midsummer Night’s Dream in Atlanta’s New American Shakespeare Tavern. Almost too much fun. I was weary of laughing by the end.
The play seemed to end before it truly ended. In fact since Act V is mostly a poorly written tragedy performed by buffons who have “never labour’d in their minds till now,” it’s appropriate to have only a weak connection to the rest of the story. In that act, the silliness wore on me–well done and the crowd was roaring, but my laughter softened a bit. Maybe it was the lateness of the night.
It was a great play, though. I’ll see it again sometime.
Mark Twain said a classic is “a book which people praise but don’t read.” How true is that for you?
Best Sex? Decadence and Debauchery? Adultery? Subversion and Rebellion? What is all this? Just a list of Sherry’s posts at Semicolon. I for one am shocked, shocked–a little interested, but mostly shocked!!
Frank Wilson points out a call for humor suggestions by Scott Stein. “What’s So Funny?” is the title of a course Mr. Stein will be teaching this fall at University of Pennsylvania. He says, “I would welcome suggestions about what to include on the reading list. . . . No choice is too obvious. After all, somehow I never got around to reading P.G. Wodehouse until this year.”
I don’t see James Thurber on the list yet. I think his grammar guide is hilarious, and I’ve been meaning to read Is Sex Necessary? or, Why You Feel The Way You Do for a while.
1. There are two types of people in the world: those who divide people into two types and those who don’t. (attributed to Robert Benchley)
2. “There are basically two types of people. People who accomplish things, and people who claim to have accomplished things. The first group is less crowded.” (Mark Twain)
3. There are two types of people in the world: those whom we are happy to see again and those whom we are happy to see go away.
4. There are three types of people in the world: those who can count and those who can’t.
The Jollyblogger points out advice from G.K. Chesterton to Christian journalists and applies it to Christian bloggers. It comes to use by way of Gilbert Magazine.
The “bad Christian journalist” seems to write from a worried, panicked, mindset. The sky seems to be falling to him. . . . There is no sense of “Christ the overcomer” in this, only “Christ-and-His-cause-are-about-to-be-defeated-and-we-better-do- something- now-or-we’re-all- gonna-die, . . . aaaaahhhh!!!!”
Brief Summary: Beth comes to St. Louis, Missouri, hoping to start a new chapter in her life. She doesn’t expect to have visions and get caught up in the drama of a New Age commune.
In New Light, Annette Gilson’s remarkable debut novel, her narrator, Beth, tells the curious story of her experience in St. Louis shortly after arriving from New York. It opens with what I consider the sticking point of drama, Beth’s intense visions. Without explanation or drug use, she feels her spirit burgeon, swelling into the night sky, pressing so close to stars as to feel their burn. Her vision gives her common ground with Houdini White, a scientist who has been studying vision phenomena and the New Age communities which claim to work with them. One of those communities, called New Light, is relatively close by, so Beth and Houdini visit it for several days.
It’s a quiet story, broken up by Beth’s short discussions of mystical science and conflict between the characters. Gilson’s writing carries the tension and mystery effectively throughout the book. (I love the conclusion.) At New Light, Beth and Houdini meet a leader named, The Mother, who cultivates a mystery for the dozens of people living with her. Everyone there is supposed to be a visionary, but each one comes at it differently and all interdependently. Because Beth has experienced vision outside the group, she could have remarkable gifts for their enrichment.
But do these supernatural visions tell them anything? Nothing that deep introspection wouldn’t. In this novel, supernature appears to exist as a nebulous expression of oneself. The message resolves to this: watch your world and those in it; be aware of yourself and your surroundings, then maybe you’ll have more peace than the people who strive and yearn too much.
Perhaps this is understandable peace, which is the reason the Lord God described his peace as beyond understanding. Like the poor community which doesn’t complain about filthy water, the understandably peaceful decide to be content with transcendence that doesn’t surpass their skin.
A couple language links:
- Today, I learned of the Big Bad Book Blog through Books, Inq. The most recent post addresses words and phrases with sound similar to the ones the speaker/writer intends, like “cut the muster” which is meant to be either “cut the mustard” or “pass muster.”
- Phil Schroeder of Thinklings wonders if the phrase “criss-cross applesauce” is a p.c. attempt to relabel “indian style” sitting.
Both of these posts get me thinking about the natural changes in language. “Cut the muster” could become the “right” phrase for describing something that meets our standards. I suppose it would be ignorance ushering in the change, but isn’t that part of a living language? I believe “criss-cross applesauce” is a mislabeling of cross-legged sitting, but give it several years and it may become correct.
I enjoy reading about English peculiarities, and I want to write and speak correctly, but I know that living languages don’t toe the line of the stickler, as it were. They change usually for bad reasons. Now, we no longer say “art,” “wert,” “gloam,” “eftsoons,” or “peradventure.”