1. Editing. My editing project of a story that I wrote in December/January has become a massive rewriting project. Under circumstances like these, if left to my own devices, I would sooner begin writing something completely different than undertake rewriting something that isn’t quite the same. I can’t be left to my own devices, however, since I submitted the first draft of the story to my fiction workshop–and requirements of the class dictate that I edit one of the two stories per semester. And since the second story doesn’t exist yet, not even as a wisp of an idea, I’m left with sitting down, getting calm, starting again.
2. Weather. It’s a sunny 52 degrees, high of 62. I would like nothing more than to go for a casual walk, but of course I have to get a couple pages written first. Otherwise they’ll never get done, and I’ll be sitting outside with a book for several hours instead. It wouldn’t hurt me to get a bit of vitamin D, though. I’m an artist’s model for chalk white.
3. The Art of the Novel. I began this short book by Milan Kundera (none of whose novels I’ve read), with the thought that I might give a presentation on it for one of my theory classes. But after reading part one, I’ve definitely put that idea aside. He says so much in so little space, most of which I’m not sure I agree with, much less understand, that quantifying my opinion of it into a twenty-minute speech would be ridiculous. For instance:
To take, with Descartes, the thinking self as the basis of everything, and thus to face the universe alone, is to adopt an attitude that Hegel was right to call heroic.
To take, with Cervantes, the world as ambiguity, to be obliged to face not a single absolute truth but a welter of contradictory truths (truths embodied in imaginary selves called characters), to have as one’s only certainty the wisdom of uncertainty, requires no less courage.
That sounds quite nice, and you’ve dropped some significant names and italicized some key phrases, but what, precisely, does that mean for the novel? It sounds as if it’s brave not to have a center and laudable not to know what you might know, and while that’s an accurate description of literary modernism, it’s not what I myself believe. Ah well. I keep reading.
Eventually, when I finished reading Water Witch by Connie Willis and Cynthia Felice, I did not regret the time I spent asleep. It was… all right. [Warning: Spoilers.] Deza is a con artist, pretending to be a princess of the Red City who can detect water in pools underneath the dry planet of Mahali. After a con-gone-south, (during which her father dies and his spirit takes up residence in an mbuzi, which is a fancy word for goat,) she meets up with Radi, a prince whom she mistakes for a pirate, and they decide to go through with the con against the off-world Tycoon. But Deza learns that she doesn’t need to pretend to be a water witch because she is a water witch, spirited away from the Red City by her father at age three. And she and Radi fall in love. And sort of save everyone too. It was fun, but it wasn’t remotely a surprise.