Beginning's end

nanowrimo deadline

Pine Nuts to Ash Canyon

Here are a few photos from our drive in the Pine Nuts the other day. Naturally the Swami wanted to come. None of us have been out for a long time so it was a big deal. We only took trailer as far as Crow Stone Road. The hitch currently has an extender to clear the spare which makes the connection a bit vulnerable. The road gets pretty rough past that point and we didn't want to loosen anything. In case you're wondering, that white rack on the top of the trailer is the Maggiolina, our crank up tent.



We went as far as this collapsed cabin. The stone work was nothing like we've seen in the old miner cabins further out in the Great Basin. Those places were built by Europeans who knew how to work with stone. The walls and foundations they did are still standing, well into their second century. Whoever built this place didn't know what they were doing. The stones are small, unmatched, and unworked. The only thing that held them together at all was great gobs of mortar. I doubt it lasted more than 50 years. They used a few nice stones in the hearth but most of the hearth stones were also small and glued together.




I took the stone to return to the crows but came home with it instead. Mr. Lee reminded me that they only loaned it for a year. I'll get around to it one of these days, maybe.





I went to Ash Canyon after we got back. I believe it's been nearly a year since I went last. I'm glad I did. It was nice seeing the group again, plus it was Susan's birthday (R). She was co-editor on the first issue of Driftwork (submissions are open for the next issue, btw). I didn't have anything new to read. I've been working on one poem for months and it's still no closer to being done. If I stick with NaNoWriMo for even a week it will a colossal kick in the ass. Those are witches fingers on the plate.

Saturday at the Roxy - 10.

Welcome to the matinee.

As this is Halloween weekend, today's videos tend towards the macabre, nothing heart stopping but in the spirit. This may be it for the Roxy for a while. I decided to give NaNoWriMo a shot which, if I stick with it, will severly limit my time. At any rate enjoy the show.

Happy Halloween!

Dylan Moran's

TELL IT TO THE FISHES

00:41

CAT WITH HANDS

03:33

Be careful.
Be very, very careful. The mind is
a very powerful thing. Ask
VINCENT

05:52

Watch out!
Shaye St. John
wants to wish you a
TRASHY HALLOWEEN

02:33

NaNoWriMo again?

As we're on the subject of no fee writing contests (this one accepts donations) it's worth mentioning that NaNoWriMo is upon us once again. It starts November 1st. Write 50,000 words next month and ... well ... you'll have a 175-page novel in your hands on midnight, November 30. Your own. I'm actually thinking about it myself this year. I'm in a rut. How about you?


The Basics
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Monday Blue Plate Poetry Special #2

Rilke by Balladine Aquarelle

The other day, Mr. Lee reminded me that it's almost Nanowrimo time again. I immediately purged myself of the idea and wouldn't have thought of it until next year (when he will tell me again). But then someone else had to mention it. ARG! But don't get me wrong. I think Nanowrimo is a great idea. Get over yourself! Have fun! Kick out the stops! Be bold! Blast your ass out of the mud! Just write, damn it! Leap before you look! Of course, I'm not going to enter Nanowrimo. I'd have to write 1666.6666666666666666666666666667 words a day for thirty days. I'm sticking to poetry. There I can get by with writing 2 words a day. Less. I don't remember who it was but I completely relate to the poet who said of their day's work, "This morning I changed a comma to a semi-colon and in the afternoon, I changed it back again."

Which brings me to my point, Rilke's "For The Sake Of A Single Poem" which I include here for no particular reason other than it's the Monday Blue Plate Poetry Special.

from The Notebooks of Malte Laurids Brigge
...Ah, poems amount to so little when you write them too early in your life. You ought to wait and gather sense and sweetness for a whole lifetime and a long one if possible, and then, at the very end, you might perhaps be able to write ten good lines. For poems are not, as people think, simply emotions (one has emotions early enough) – they are experiences. For the sake of a single poem, you must see many cities, many people and Things, you must understand animals, must feel how birds fly, and know the gesture which small flowers make when they open in the morning. You must be able to think back to streets in unknown neighborhoods, to unexpected encounters, and to partings you had long seen coming; to days of childhood whose mystery is still unexplained, to parents whom you had to hurt when they brought in a joy and you didn’t pick it up (it was a joy meant for somebody else – ); to childhood illnesses that began so strangely with so many profound and difficult transformations, to days in quiet, restrained rooms and to mornings by the sea, to the sea itself, to seas, to nights of travel that rushed along high overhead and went flying with all the stars, - and it is still not enough to be able to think of all that. You must have memories of many nights of love, each one different from all the others, memories of women screaming in labor, and of light, pale, sleeping girls who have just given birth and are closing again. But you must also have been beside the dying, must have sat beside the dead in the room with the open window and the scattered noises. And it is not yet enough to have memories. You must be able to forget them when they are many, and you must have the immense patience to wait until they return. For the memories themselves are not important. Only when they have changed into our very blood, into glance and gesture, and are nameless, no longer to be distinguished from ourselves – only then can it happen that in some very rare hour the first word of a poem arises in their midst and goes forth from them.”
– Rainer Maria Rilke