Where Writers Write - Poet, Wendy Cope, Writes Here
Bloody Men by Wendy Cope
Bloody men are like bloody buses —
You wait for about a year
And as soon as one approaches your stop
Two or three others appear.
You look at them flashing their indicators,
Offering you a ride.
You’re trying to read the destinations,
You haven’t much time to decide.
If you make a mistake, there is no turning back.
Jump off, and you’ll stand there and gaze
While the cars and the taxis and lorries go by
And the minutes, the hours, the days
Source for Image
Happy Birthday, Charles Bukowski, born 16 August 1920, died 9 March 1994. Bukowski was a poet, novelist and short story writer.
My Top 10 Bukowski Quotes
1. Some people never go crazy. What truly horrible lives they must lead.
2. Sometimes you climb out of bed in the morning and you think, I’m not going to make it, but you laugh inside — remembering all the times you’ve felt that way.
3. there is a loneliness in this world so great
that you can see it in the slow movement of
the hands of a clock.
4. I remember awakening one morning and finding everything smeared with the colour of forgotten love.
5. An intellectual says a simple thing in a hard way. An artist says a hard thing in a simple way.
6. those who escape hell
however
never talk about
it
and nothing much
bothers them
after
that.
7. The problem with the world is that the intelligent people are full of doubts, while the stupid ones are full of confidence.
8. Without literature, life is hell.
9. It’s better to do a dull thing with style than a dangerous thing without it.
10. If you are going to try, go all the way or don’t even start.
Block That Adjective!
by Alexander McCall Smith
My bête noire—and there is nothing wrong with using the occasional French expression, although one does not want to sound too much like a menu—is overwriting. Something is overwritten when there is just too much of it. This may be because the writer has laboured the point and made a mountain out of a molehill, or because too many words are used. As a result, descriptions are cluttered and the prose quickly becomes unreadable. There is a lot of it about.
The problem is that we speak English. Some languages, such as English or Spanish, have immensely rich vocabularies: If we want to describe something in English, we have a wide choice of words at our disposal and can say what we want to say in many different ways. The problem does not occur if one is writing in, say, Melanesian Pidgin, where rather few words are at your disposal and most of them are pithy in the extreme.
For some people, being able to use all these words is rather like being faced with a chocolate box with multiple layers; the temptation to overindulge is just too great. The result is the use of too many adjectives, adverbs and subsidiary clauses. Such writing then begins to sound contrived. Nobody uses large numbers of adjectives when they think, and I believe that writing which one cannot actually think can very easily look wrong on the page.
The real aim, of course, is conciseness. Concise prose knows what it wants to say, and says it. It does not embellish, except occasionally, and then for dramatic effect. It is sparing in its use of metaphor. And it is certainly careful in its use of adjectives. Look at the King James Bible, that magnificent repository of English at the height of its beauty. The language used to describe the creation of the world is so simple, so direct. “Let there be light, and there was light.” That sentence has immense power precisely because there are no adjectives. If we fiddle about with it, we lose that. “Let there be light, and there was a sort of matutinal,* glowing phenomenon that slowly transfused, etc.” No, that doesn’t work.
There is a place for the adjective and for the descriptive passage, but these must be carefully handled. A piece of prose that had no adjectives would very quickly become sterile; so it really is a question of restraint. There is a psychological reason for this: If somebody sets out in great detail what is before us, we very quickly become bored. That is not the way we see the world; we look for salience, we look for the feature that will engage our interest. Think about how we describe a cityscape. We do not list and describe every building, we refer to one or two. Manhattan, for instance, can be conjured up with a description of the spire of the Chrysler building; the reader’s imagination can do the rest.
And therein lies the problem. The trouble with overwritten prose is that it takes away from the reader the opportunity to imagine a scene. We do not want to be told everything; we want a few brushstrokes, a few carefully chosen adjectives, and then we can do the rest ourselves. It’s Roget’s fault, of course. I blame him and his wretched thesaurus. Put it away.
* of or pertaining to morning; don’t use this word.
—Alexander McCall Smith is the author of more than 60 books, including the “No. 1 Ladies’ Detective Agency” series.
Source wsjonline
Image guardianuk
Image: Street Art Utopia
The Name of the Rose by Umberto Eco
“A terrific postmodern Sherlock Holmesian intrigue set in a Benedictine monastery involving serial crime, the Inquisition, the power of knowledge and the written word, those who conspire to control what others think and read, and those who fight to preserve the light and beauty of creation, independent thinking, and reading. Make sure to make it through the slightly harder-to-navigate initial section, and you’ll find plenty of rewards once you plunge into the story proper. This is probably one of the best novels of its kind, and [it] offers a lot beyond the purely detectivesque story.”
The Neverending Story by Michael Ende
“Allegedly a children’s book, but actually a fable for all ages in which the magic of books and reading is illustrated through the wondrous journey of a kid who enters the world of the fabulous book he is reading. Has the scent and the flavor of old-school adventure stories, old bookstores, and a world that today may seem vanished. Delightful, sweet, and wise.”
The Club Dumas by Arturo Pérez-Reverte
“This deliciously dark and witty novel by my compatriot, the very talented Arturo Pérez-Reverte, is one of the greatest bibliophile mysteries ever. The old book lore is so well built into the plot that you’ll find yourself salivating at all the stuff you learn about how books were made. An intrigue with supernatural overtones, haunting chateaus, old cities in Europe riddled with mystery, and a cursed book that may or may not invoke the presence of the Prince of Darkness himself. This is a terrific book and a perfect point of entry into Pérez-Reverte’s world.”
Fahrenheit 451 by Ray Bradbury
“A fable for our times, a pitch-perfect tale of a future that looks too much like aspects of the present that invites us to think twice or thrice about it. There’s an element of elegy for literature, books, for the beauty and importance of the world of the mind that, I believe, could only have been written from the perspective of a very perceptive author born and raised in the U.S. Years ago I used to see the great, late Ray Bradbury around Los Angeles a lot. He did not drive, and you could see him wearing shorts and a kind of safari-like attire at bus stops, in bookstores… A year before his passing I went to a birthday bash a great bookstore in Glendale, Bookfellows, was throwing for him. He was already very old and not in good health, but he had plenty of wit, good humor, and a humanity that, to me, looked like the antidote to half of the world’s ills. Take this, and then explore the rest of his oeuvre.”
On Writing by Stephen King
“Most readers know the King through his many novels and stories. What not so many know is that he also wrote this little book about the craft of writing and the life of the writer. I believe this is the best book about the subject ever written, not to mention the most entertaining and probably useful. Totally devoid of pretension or snobbery and packed with intelligence, humor, and down-to-earth wisdom, any aspiring, or working, writer should read this and get invaluable lessons from the King. Don’t miss.”
Atonement by Ian McEwan
“A powerful and beautifully built tale of loss, guilt, and potentially dangerous powers of storytelling. The shaping of reality as a story, the moral dimension of interpreting reality through fiction, and the responsibility of the teller of tales are just a few of the themes explored in this brief and very well-made book, among the best in this author’s long career. Typewriters can kill. Find [out] all about it.”
Via: Goodreads
10. Darth Vader/Anakin Skywalker, Star Wars
9. The Doctor, Doctor Who
8. Arthur Dent, Mostly Harmless
7. Wayne Szalinski, Honey, I Shrunk The Kids
6. Kevin Flynn, Tron: Legacy
5. George McFly, Back to the Future
4. Dr. Benton Quest, Johnny Quest
3. Caractacus Potts, Chitty Chitty Bang Bang
2. Gomez Addams, The Addams Family
1. Richard Castle, Castle