Tag: writing

The effect

Kevin squinted. Darkness engulfed him, encroaching his personal space. Gulping whiffs of wintery air, he peered within. Breathless, he expected something to stir — or for any indication of life beyond the damp and desolate doorframe.

“Hello?” he called out to no response.

Feeling a prickle of cold sweat run down his spine, Kevin realised his blunder. His arm hairs stood up in the breeze and he thought he should’ve stayed on the warm couch, instead. He’d gotten too involved, and it scared him. If she knew, his sister would forever tease him for wetting his pants reading a thriller novel.

Shadows of the past

I’ve never cared much for translated novels. They never quite work for me, because I don’t know whom to credit when I want to quote from the novel. Should I appreciate the original author of the thought or the translator who managed to convey a foreign concept in a language I understood, and in a way I appreciated? Well, that’s why I often conclude it’s better to avoid translated pieces altogether. Although I know by doing so I’d let go of a vast pool of literature, I’d still choose an English novel over the English version of an unknown original. And I held fast to these beliefs until a few weeks ago.

A few weeks ago, I borrowed a hefty book from my friend. Slapped across the cover in bold words was the title of the book: The Shadow of the Wind.

Interesting, I thought as I flipped through the pages without reading any of it. I hadn’t read much in a while, and was desperate to take home the first book I saw. And this book, in fact, seemed like a promising one, too. It wasn’t until after I had got home and gulped down half of my coffee did I realise the book was a translation.

I groaned a little, but read on. The plot unravelled fast enough, and so I want to give up midway.

I’m thankful for that over-caffeinated decision.

Soon after I realised that the story was a translation, my keenness had dropped a few notches. Although the first few pages retained my attention, once I entered the seventh chapter or so, things slowed down a little. In hindsight, this change of pace isn’t out of the ordinary. Many books linger on a slower pace, and the slowest part of this book was still much faster compared to most others. As a reader, I soon left the lag behind and the story picked up its momentum. And from that point forward, until I turned to the last page, I remained hooked—for the lack of a better word.

Not only did the book turn out exciting, but the narrative flowed with such ease that I didn’t even feel like closing the book. It was the first time in a long time that I had wanted to keep on reading, inspite of my initial aversion.

Set in Barcelona, this is the story of a young boy, who finds a book, and finds that its author had a mysterious past. He sets out to solve the mystery, and along the way, discovers how his life entwines with the unknown author’s by total coincidence.

From the book—

“Julian had once told me that a story is a letter the author writes to himself, to tell himself things that he would be unable to discover otherwise.”

That was the most captivating part of this story. Halfway through the book, I could see the young boy walking the same steps as the person he’s trying to uncover. As a reader, I experienced history repeating itself, and watched in wonderment as two people unrelated and unknown to each other in every imaginable way converged in the same place for the same cause.

To make an otherwise serious narrative light-hearted, the author instigates humour through a vital character. In the way he’s portrayed, the character of Férmin breathes life into our dull protagonist. Every now and then, he amuses the reader with quirky love advice, strewing his speech with abundant wit and nerve. The pair undergoes many adventures, scanning the streets for clues, encountering blows from an evil policeman, and sometimes strolling through alleyways in disguise.

You can’t help but fall in love with the author’s attention to detail. Whether it’s Daniel’s (the hero) father saving up to buy a pen for his son, or a publisher’s employee spending her fortune on the same pen for the man she adored, every character is well-formed and deserving of awe. Each scene is meticulous, and each dialogue reveals the inner most emotions of the character.

In five-hundred pages, the author takes us round and round similar incidents and similar people, but each time, there’s something different and magnetic enough to pull the reader. That’s why I enjoyed every moment of this book, and so would you.

From the book —

“What the flower vendor interpreted as ‘pretty nasty’ was only the intensity that comes to those who, better late than never, have found a purpose in life and are pursuing it to make up for lost time.”

Having said all of that, though, I still don’t know if I like Carlos Ruiz Zofón’s writing or Lucia Graves’s translating. That’s an internal turmoil I’d never disentangle.

Even if you’re not a history buff, a fan of fantasy, or a thrill seeker, you’d still amaze with this book. The Shadow of the Wind is a tale of an avid reader, but it’s also a tale of a novelist, a tale of a book seller, and a tale of a publisher all mingled in one. If you’re a book lover in any form, this one should be on your list next.

Afterthought: This book has so much to talk about that it deserves a part two, too. Coming soon.

What a poet wants

Now that’s a question worth answering. That’s a question that keeps many a poetry fanatic up all night. I don’t mean to exaggerate, but nevertheless, a poet’s internal conflict gives birth to such pristine work that it’s well worth a trip down to a poet’s thought lane to figure that out.

Well, one poet made it so much easier by writing it down. I came across a poem titled Ars Poetica by Dorothea Lasky. When I saw the title, I rolled my eyes, skeptical. Great, another poet who uses fancy foreign language to convey her meaning. Although I appreciate quirkiness in poetry, I only do so for as long as I understand it. This one, I didn’t. When I searched online, however, I realised that the phrase refers to an ancient treatise on poetry written by Horace. The phrase itself means “The art of poetry” or “On the art of poetry”. That was more than enough to intrigue me. And so I set out to read the poem,

It bagan so,

“I wanted to tell the veterinary assistant about the cat video Jason sent me”

Ok, my mind paused, frowning. For a poem following the old tradition of using Latin terms, that was an unconventional opening line. But it is also an interesting line, because it introduces so many people in so few words. My mind landed on the veterinary assistant who seemed out of place in the world of the poet, Jason, and the cat video. A therapist would’ve been more appropriate, I observed lingering on that first line.

I read further.

“But I resisted for fear she’d think it strange”

Yeah! I raised my eyebrows in agreement.

“I am very lonely”

Oh. I saw now. That made sense to an extent. The cat, the vet, the fear of being ridiculed—they were all justified now.

The poem doesn’t end there, as Lasky goes on to explain more about her life. But those three lines had told me so much more than I had hoped to learn in the first few lines of a poem that stretched for 30 lines.

In the next few lines, the poet describes a telephone call she received from her boyfriend. Yet another character.

And told me that I was no good
Well maybe he didn’t mean that
But that is what I heard
When he told me my life was not worthwhile
And my life’s work the work of the elite.

Ouch. We’ve all been there. While we’re already basking in self-doubt and discomfort of ourselves, someone plucks up the courage to tell it to our face. I could now relate to this poet whose topic of conversation I still wasn’t sure about. But I read on, because from what I’ve read so far, she sounds a lot like me, and I wanted to know how she’d reply to her boyfriend and carry the poem to its conclusion.

Then she talks about what matters the most to her. She accepts to herself what she is, and what she wants from her life.

I say I want to save the world but really
I want to write poems all day

Aha, I thought smiling in victory. So, this is nothing but a poet who wants to write poetry for the rest of her life. Now that’s not much to ask.

Or so I miscalculated.

It’s a simple desire. It’s the basic right of any individual to spend their life doing what they yearn for. Regardless, it’s also the most unattainable thing in life: Doing what you love, and doing it long enough without hating yourself or dying of starvation.

This poem is a bundle of mixed emotions and harsh realities. For me, it portrayed the life of every artist who pines to create art. It reflects undeniable truth that makes you smile in sadness as you finish reading the poem.

Here it is in its entirety, if you’re interested:

Ars Poetica — by Dorothea Lasky

I wanted to tell the veterinary assistant about the cat video Jason sent me
But I resisted for fear she’d think it strange
I am very lonely
Yesterday my boyfriend called me, drunk again
And interspersed between ringing tears and clinginess
He screamed at me with a kind of bitterness
No other human had before to my ears
And told me that I was no good
Well maybe he didn’t mean that
But that is what I heard
When he told me my life was not worthwhile
And my life’s work the work of the elite.
I say I want to save the world but really
I want to write poems all day
I want to rise, write poems, go to sleep,
Write poems in my sleep
Make my dreams poems
Make my body a poem with beautiful clothes
I want my face to be a poem
I have just learned how to apply
Eyeliner to the corners of my eyes to make them appear wide
There is a romantic abandon in me always
I want to feel the dread for others
I can feel it through song
Only through song am I able to sum up so many words into a few
Like when he said I am no good
I am no good
Goodness is not the point anymore
Holding on to things
Now that’s the point

When copywriters code

I’m a hopeless romantic, if I have to say the least about myself. Robert M. Pirsig, in his Zen and the Art of Motorcycle Maintenance, classifies people into two types: romantics and classics. I’m the romantic. In the bluntest of terms, romantics are creative thinkers and classics are logical thinkers. Of course both types would have interchangeable qualities, but on a macro level, romantics dream up while classics drill down.

Now that I’ve established a basic, arguable nonetheless, definition of the term, let me emphasise. I’m a romantic, and I’m hopeless at that.

Romantics don’t think like machines. We learn to look at nature, to observe what’s around us, and interpret them in the most beautiful way, or in the most natural way. Classics, on the other hand, learn to look at something and analyse why something appears some way. We appreciate how a flower’s stem balances its five petals whereas classics calculate the stem’s ability to bear the petals. It’s a slight difference when you put it that way, but a much more alarming one when you look at it in a real workplace scenario.

I am a copywriter surrounded by software engineers. I’m a romantic in the midst of classics. I write stories, and they write software. We co-exist to help customers do better business. Now that’s a nice picture. But the real problem arises during a conversation, when the programmers talk about parse and encryption and my mind’s thinking about prose and enchantment.

It didn’t take long for me to realise I was out of place, and I had to learn to code to feel in place. I didn’t have to become a developer—I knew I never could—but I had to develop basic knowledge of how programmers use language. And so I began. I sat with a developer while they wrote a piece of program, and I observed in their eyes the frantic whizzing in their mind. They spoke to the screen in front of them, reasoning out the flow of script. The first line of code would run once before moving on to the second. Swapping the order of the lines would disrupt the entire program. Replacing a semicolon, adding an extra colon or an extra space would topple things in the most inconvenient way. (“Yay!” I yelled. “It’s the same with writing,” though the developers weren’t as excited.)

After a few days under development, I concluded that we romantics don’t learn to think the way computers do. Regardless of all technology innovations, computers don’t and won’t think like humans. As a non-developer I could see how I had to alter my way of thinking and approaching a problem to explain it to a computer. For a logical flow that I take for granted, the computer needs a line of script. When I think I’d fetch water, my mind knows I’d drink it. But if I told a computer to fetch water, it’d fetch it and keep it aside until I tell it—again—that it should drink half of it and save the rest.

We romantics don’t condition our minds to think one step at a time. That’s why it’s hard for us to learn programming at a later age. We think in blocks of actions, in phrases, in groups of words, and instructions. We read poetry that distributes one meaning in five lines. We process a poem as a whole to understand its meaning. We’re clustered thinkers because it’s ingrained in our minds. Classics, however, think in a sequence. That’s what a degree in computer science gives them. They take actions one step at a time. They’re more organised thinkers because that’s what’s ingrained in their minds.

My eureka moment: With enough practice, I could start thinking like a programmer, too. It felt like I had opened the door to a whole new world. I could speak to any computer, and tell it what to and when to do. The thought awed me, and terrified me at the same time.

Perhaps classics would feel the same way if they spent a few days reading Shakespeare.

As Woolf said

Virginia Woolf said that a woman must have money and a room of her own if she’s to write fiction. Here’s how I take it: For a woman to succeed — or get any work done that’s worth talking about — she needs to have a room of her own.

When I first told my parents that I wanted to find a place of my own, they refused outright even before considering my concerns. I don’t blame them; they’ve become conditioned to believing that every girl moving into the city for work or going off to college needs a roommate who can watch out for her. And I don’t deny that’s every bit as true and that their worry is as every bit as valid.

Except that I wanted a room of my own.

Having lived all my life in a shared space, both with my parents and then with my brother, I craved something that I could call mine. It didn’t happen right away, and I ended up spending my first two years away from home in a shared home and hostel.

Now, at last, I have a room of my own. And I see what Woolf intended.

Every time I walk into my room, I walk into a space that looks and feels just the way I want it to. My clothes are right where I leave them — one day on the floor, another day on the shelf. My toothbrush nuzzles between my pyjamas so that I have to fish it out every evening, a small jar of ground coffee perches on the top shelf, pleading with me in silence for a coffee date. And the book I’m reading at the moment lies on top my favourite shirt, the sleeves clouding the title.

When I walk into such a sight after a long day at work, I have only thing in mind: there’s no place else I’d rather spend the rest of my evening.

When I first moved in, I didn’t know how having a room for myself would change me. I didn’t know that I would enjoy the sunlight streaming into my room through the thin yellow blinds, I didn’t know I’d wake up every morning feeling enthusiastic to face the world, and I didn’t know that I’d come to rely so much on the non-decorative, cream-coloured walls of my room to comfort and hold me whenever, regardless of my mood.

It’s been just over a year now, and even though I’m not the best tenant to the room, the room — my room — has been the perfect host.

There’s nothing special about my room. There’s no wallpaper, no posters of Hollywood actors eyeing me, no streamers or balloons to incite the neighbour’s kids.

My room is so plain that anyone but me wouldn’t want to live here. The mattress is my furniture, the floor my dining table, the shelf my pantry, and the doorknob my clothes hanger. In short, my room has become my abode, a place where I can think outside of my head, wake up at 2.50 am to write, and let my creativity run amok without a person to judge.

I enjoy going out, but at the end of it all, all I want is to come back to my room and stare at my walls. Or read a book with a coffee by my side. Nothing makes my day more complete.