I was thrilled to get this book and more than sated reading all 500-odd pages. The story is a romance of sorts, without the happy ending we expect from that word: romance.
The protagonist is a dreamy girl of 20, who makes wrong turns in the road, but recovers sufficiently to have a full life, first in New York for a short while, and then back to her Southern roots and a prosperous dairy farm she single handedly carves out of old tobacco earth.
What stands out about Glasgow's work is the writing itself. A more descriptive story will be hard to find. Each person, most incidents, the environment, the structures, the weather, are all richly stated, not intrusively, but purposefully clear and beautifully penned.
By the time you reach mid-point in the story, you could possibly draw the characters or paint a landscape of the town or region.
More than 70 years ago this was a contemporary story; today it languishes for a buck at bargain tables. It is a pity that the worth of each word is not retained and that fads are so plentiful that not all good writing is valued equally.
If you like stories of the South, with good words, some of which might send you to the dictionary, and a not story book ending, you might search out this book and read it yourself.
26.8.11
Dystopia and the Fountain Pen
I am reading Margaret Atwood's recent novel, "The Year of the Flood," perhaps a follow up her to earlier novel, "Oryx and Crake" or perhaps not. I haven't finished it yet.
And whilst reading "The Year of the Flood", slowly and betwist and between drawing, painting and listening, what should appear on NPR's Fresh Air and then the New York Times book review podcast but interviews with Tom Perrotta about his newest book, "Leftovers." Yes, another dystopic novel, this one about the rapture.
What have these books and fountain pens have in common?
Not much unless you are me.
This morning I bought another fountain pen. What? Yes, I bought another pen. This time a vintage Conklin. I hemmed and hawed. I asked the seller many questions. I questioned my sanity about buying another pen. Yet just three days ago I contemplated and almost bought another Pelikan to live with my flock. I resisted and then today saw the pen had sold. I sighed with relief.
But still I bought the Conklin.
It is something about getting old(er) and living to the max that perhaps is the connective tissue or the way my mind comingles the dystopic novels I read, and occasionally attempt to write and a fountain pen.
They, the pens, are often buried treasures in people's lives, occasionally rising to the surface from a drawer, or cupboard and presented to a younger generation with stories of "when I was young," or "back then," or any number of preambles to a fountain pen story.
Novels are also buried treasures from the author's imagination, either lifting us up, or drowning us in their fantasy of yesterdays and potential tomorrows. Novels came in all sorts of colours, shades, lengths, with few or many words and provide us with a literary framework of life--not necessarily our life, but life itself.
Atwood is a good writer. Non-readers may recognize her name if they saw the film, "The Handmaiden's Tale," based on her novel.
"The Year of the Flood" is very much about digging up the past and living in the future. Buying a vintage pen is not my oft decision. I am afeared of the levers on many oldies; cautious about their delicacy; hard on pens like I am on life. In fact, I sold about a dozen or more vintage pens just a few years ago--real collectibles, but unused, unloved.
But with the world spinning out of control, nearly as dangerously close to Atwood's vision in at least three of her books, I am feeling attached to the past and yearning for a revisionist version of Utopian dreams. Just days ago we had an earthquake; the New York subways and the bus lines will be closed tomorrow at noon; I was caught in an ice storm just a week ago, in summer; and my body is slowly falling into ruin.
One more pen, more or less, more to be accurate, in the wider scheme may add a momentary pleasure otherwise lost if I resisted. And as Whole Earth Catalogue said when they closed their doors, and Steve Jobs said at the Stanford commencement in 2005, "Stay hungry, stay foolish."
And I just had a flashback to Edith Wharton and the pen she used in Taos, a pen I coveted and now next week will own.
Although, I am unfamiliar with Perrotta's work, I am tempted to get his book and perhaps another fountain pen.
And whilst reading "The Year of the Flood", slowly and betwist and between drawing, painting and listening, what should appear on NPR's Fresh Air and then the New York Times book review podcast but interviews with Tom Perrotta about his newest book, "Leftovers." Yes, another dystopic novel, this one about the rapture.
What have these books and fountain pens have in common?
Not much unless you are me.
 |
| Conklin, F nib |
But still I bought the Conklin.
It is something about getting old(er) and living to the max that perhaps is the connective tissue or the way my mind comingles the dystopic novels I read, and occasionally attempt to write and a fountain pen.
They, the pens, are often buried treasures in people's lives, occasionally rising to the surface from a drawer, or cupboard and presented to a younger generation with stories of "when I was young," or "back then," or any number of preambles to a fountain pen story.
Novels are also buried treasures from the author's imagination, either lifting us up, or drowning us in their fantasy of yesterdays and potential tomorrows. Novels came in all sorts of colours, shades, lengths, with few or many words and provide us with a literary framework of life--not necessarily our life, but life itself.
Atwood is a good writer. Non-readers may recognize her name if they saw the film, "The Handmaiden's Tale," based on her novel.
"The Year of the Flood" is very much about digging up the past and living in the future. Buying a vintage pen is not my oft decision. I am afeared of the levers on many oldies; cautious about their delicacy; hard on pens like I am on life. In fact, I sold about a dozen or more vintage pens just a few years ago--real collectibles, but unused, unloved.
But with the world spinning out of control, nearly as dangerously close to Atwood's vision in at least three of her books, I am feeling attached to the past and yearning for a revisionist version of Utopian dreams. Just days ago we had an earthquake; the New York subways and the bus lines will be closed tomorrow at noon; I was caught in an ice storm just a week ago, in summer; and my body is slowly falling into ruin.
One more pen, more or less, more to be accurate, in the wider scheme may add a momentary pleasure otherwise lost if I resisted. And as Whole Earth Catalogue said when they closed their doors, and Steve Jobs said at the Stanford commencement in 2005, "Stay hungry, stay foolish."
And I just had a flashback to Edith Wharton and the pen she used in Taos, a pen I coveted and now next week will own.
 |
| Edith Wharton's pen, Mabel Dodge House, Taos, New Mexico |
Although, I am unfamiliar with Perrotta's work, I am tempted to get his book and perhaps another fountain pen.
23.8.11
The Lost Art of Postcard Writing
The New York Review of Book has this to offer about the loss of postcard sending and receiving. The comments section is a must read.
I am amongst those with a guilty conscience.
I started out as a stalwart member of the postcard exchange at the Fountain Pen Network, but have not sent a single card in a year or more.
I am in possession of dozens of unscribed postcards.
And just today I was thinking about Lenore Tawney's wonderful book, Signs On the Wind, a collection of hand made postcards to friends.
Between the potential loss of the US Postal Service and the accumulation of cards I have scattered among various desks, I do believe I will actively renew my commitment to write more postcards and certainly return postcards to the few scribes who remain loyal and unflaggingly send me a beautiful card for absolutely no reason.
I am amongst those with a guilty conscience.
I started out as a stalwart member of the postcard exchange at the Fountain Pen Network, but have not sent a single card in a year or more.
I am in possession of dozens of unscribed postcards.
And just today I was thinking about Lenore Tawney's wonderful book, Signs On the Wind, a collection of hand made postcards to friends.
 | ||
| In Silence, Leonore Tawney, 1968, Smithsonian American Art Museum |
Between the potential loss of the US Postal Service and the accumulation of cards I have scattered among various desks, I do believe I will actively renew my commitment to write more postcards and certainly return postcards to the few scribes who remain loyal and unflaggingly send me a beautiful card for absolutely no reason.
Calligraphy, dipping or not
After messing around and messing is the operative word, with several of my dip pens and various nibs, I realized that these days I'd rather make my life easier, and sought out some alternatives.
I found that Hero has put out a new calligraphy pen, and ordered one from Todd Nussbaum at isellpens immediately and within less than 48 hours it arrived in my mailbox. (Isellpens is a match for Jet Pens for rapid responses to orders.)
I haven't had a chance to take any sample photos, but it is one smooth writer, not too easy to load, but it can be used with cartridges. It comes with 3 nibs, 1.1; 1.5 and 1.9. The converter is a little unusual, and with less than perfect vision it took a few tries to discover it has a slider at its upper edge. It is a light weight pen, and on the small size but has a nice feel in the hand. I loaded it with Noodlers Brown 41, a new favourite, and had a good time scribbling or is that calligraphy.
I've only tried the 1.1 but it appears to be smoother than my Lamy Safari 1.1 nibs and seems to have a tiny bit of flexibility. It comes in several colours and is very affordable.
I found that Hero has put out a new calligraphy pen, and ordered one from Todd Nussbaum at isellpens immediately and within less than 48 hours it arrived in my mailbox. (Isellpens is a match for Jet Pens for rapid responses to orders.)
 |
| Photo: Isellpens website |
I haven't had a chance to take any sample photos, but it is one smooth writer, not too easy to load, but it can be used with cartridges. It comes with 3 nibs, 1.1; 1.5 and 1.9. The converter is a little unusual, and with less than perfect vision it took a few tries to discover it has a slider at its upper edge. It is a light weight pen, and on the small size but has a nice feel in the hand. I loaded it with Noodlers Brown 41, a new favourite, and had a good time scribbling or is that calligraphy.
I've only tried the 1.1 but it appears to be smoother than my Lamy Safari 1.1 nibs and seems to have a tiny bit of flexibility. It comes in several colours and is very affordable.
22.8.11
Chinese Flower Painting
I never got past my first six lessons in Mandarin (1988) but watching this video does not require knowledge of the language. How Cui Gingguo uses the brush, and how he mixes the paint on various decorated plates is enough to understand the technique(s).
His use of watercolour and ink in the last demonstration is inspiring.
His use of watercolour and ink in the last demonstration is inspiring.
20.8.11
16.8.11
Two Point Perspective
Although demonstrated in Adobe, this illustration of two point perspective is very well done and points out some of the common pitfalls in drawing and painting architecture and how to overcome them.
11.8.11
9.8.11
Oxalis at Rileyville Cafe
Last month I mentioned seeing a beautiful Oxalis during a rain storm.
When the Wayne County Arts Alliance Studio Tour was over, I joined two artist members at the Cafe for a quick and simple dinner. We unfortunately came from three different directions and three automobiles (a waste). I arrived first, and immediately went to find the Oxalis. It is limping a little from the heat, but still rather glorious. Unfortunately, I was losing the light.
When the Wayne County Arts Alliance Studio Tour was over, I joined two artist members at the Cafe for a quick and simple dinner. We unfortunately came from three different directions and three automobiles (a waste). I arrived first, and immediately went to find the Oxalis. It is limping a little from the heat, but still rather glorious. Unfortunately, I was losing the light.
 |
| Oxalis at Rileyville Cafe The first time I saw this plant I asked if I could take a wee cutting. Although I thought I would only be able to see and draw it for a day or two, it has developed roots and I am going to pot it today. |
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