The creative process is different for each one of us. I think of three different creative modes.
The Quarry and Treasure Trove – I write in my journal every day. I have done so for nearly forty years. For me, it is a treasure trove of creativity and I can return to it anytime I want to to revive old memories and to research old moods. I think of it as a quarry that contains valuable images and metaphors that can be used in different ways to create and recreate. I also find that, as I journal, I distinguish between that which is mere dust and ashes and can be abandoned, and that which is a genuine gemstone that can be polished and published. Writing regularly helps me to distinguish between the commonplace and that one piece of gold that emerges.
Impromptus – Some people, like the cat above, wait patiently for inspiration to come. Sometimes it does, sometimes it doesn’t. When it doesn’t, they blame Writer’s Block or something similar. While you can sit and wait for inspiration, using the methods outlined in The Quarry and Treasure Trove you can ‘go out and make things happen’. Seek and you will find. Knock and it will open. Now that’s inspiration for you!
Prompts – The creative writer can also use prompts. I have used those that appear in Word Press, but only in sporadic fashion. I do not use them everyday. In fact, I have been a bit down and otherwise engaged recently, and my visits to social media have been very limited. I apologize to my friends – we few, we happy few, we band of siblings.
One of my best friends has been helping me through this rough patch. She has been putting together a book of creative prompts. She converted that into a webpage called judyandco.comand I highly recommend her work to anyone who, like me, gives up the ghost for a little while, and then wishes to regain the creative spirit. As she wrote to me only this morning – “there’s a bunch of free stuff on there” -.
So, for those who need a kick start for their creativity, try clicking on judyandco.com– I am sure you will find inspiration there.
Creatives – because creative people need support in their creativity and need to believe in themselves and in their creations. I wrote two days ago about Rejections and Silence – while both are needed by creatives – rejections to help perfect and polish – and silence in which to create – too many rejections and too much silence can result in alienation, depression, and the suppression of creative acts.
“We few, we happy few, we band of siblings!” Not quite what Harry said before the Battle of Agincourt, yet can we, the readers, be absolutely certain that what Shakespeare said he said was actually what he said? But we share the spirit of creativity with creators big and small, famous, infamous, and struggling. That is why we need to band together, to support each other, and to ensure that creativity isn’t killed by the straitjacket of a nine to five job, or longer, or the multi-employment that has become so necessary just to survive in our diminished and diminishing world.
“What is this life if, full of care, we have no time to stand and stare?” wrote W. H. Davies, one of the great Welsh poets. And he concluded this poem with a parallel couplet: “A sad life this, if full of care, we have no time to stand and stare.”
I hope you like the painting that heads this prompt that is turning into a joyous rant. It is by one of my creative friends, the poet-painter Moo. He calls it Spotted Coppers and he painted it last night after watching the Midsomer Murders episode that dealt with the theft of valuable Spotted Copper Butterflies. Intertextuality – one text leads to another, and the butterfly becomes a TV episode becomes a painting by a friend becomes a rant prompted by my computer and written by me.
That is the circle of creativity and it blends into the circle of friendships, and creative artists are both competitors and friends, for “whether creativity survives or no, I’m sure is only touch and go.” Another line that another great Welsh poet, this time Dylan Thomas of Swansea, might almost have said.
So, who are my favorite people to be around? Creative people, of course, with all their passions, energy, warts, flaws, and their constant need of encouragement and support.
After a two-week lay-off, the Dance of Colors returns. What caused the lay-off? Absolutely nothing. I grew tired of posting, of writing, of throwing my paint on the waters of the web and waiting to see what, if anything, happened. Well – nothing happened.
Steven King, On Writing, says “Paper your walls with rejections.” And I have done, pages and pages of them. The secret is ‘never surrender’ – ‘never give up’ – or, in the language of the WWII Prisoner of War Camps – Nil carborundum illegitimi. You can Google the meaning, if you can’t read Latin. It is a euphemism for ‘never despair’.
Rejection is one thing. Silence is something else. When I check my notebooks I find submissions, some sent several years ago, that are still unanswered. There is simply no response. It is as if the writer – submitter – does not exist, is not even worthy of a form letter.
I ran into that wall of silence during this two week lay-off. Does it matter? Probably not. The creation of art is as much a monologue as it is a dialogue. Bakhtin calls it ‘a creative artist’s dialogue with his time and place.’ I think of it as ‘this creative artist’s monologue with his time and place.’
Footsteps – I leave them here, I leave them there, you can find those footsteps anywhere. But beware the footsteps left on the beach at low tide. You will not find them on the beach the day after you leave them. The tide will have risen and washed them all away. In spite of that, some footprints are here to stay.
What relationships have a positive impact on you? I think one of my poems answers this question best. I write “one of my poems” but it is really my ‘free’ translation of one of Francisco de Quevedo’s sonnets – Retirado en la paz de estos desiertos. I have changed the poem slightly, but I am sure Don Francisco (1580-1645) will excuse Don Roger’s impoverished effort (2023).
On Loneliness 29 December 2023
Resting in the peace of these small rooms, with few, but welcome books together, I live in conversation with my friends, and listen with my eyes to loving words.
Not always understood, but always there, they influence and question my affairs, and with contrasting points of view, they wake me up, and make me more aware.
The wisdom of these absent friends, some distant from me just because they’re dead, lives on and on, thanks to the printed word.
Life flits away, the past can’t be retained. each hour, once past, is lost and gone, but with such friends, I’m never left alone.
The painting, by my friend Moo, is called Fiat Lux – Let There Be Light. It is reminiscent of Dylan Thomas’s poem, Light breaks where no light shines. Intertextuality – Quevedo drew inspiration from the Stoics. I drew inspiration from Quevedo. Moo drew inspiration from Dylan Thomas. The nature of creativity and its continuing links throughout the ages shines clearly through these wonderful associations.
A long time ago, wrapped in the stifling chrysalis of academia, a friend of mine tried to flutter her wings by making a joke at a very serious conference. She was delivering a paper on one of my favorite Spanish poets, in which she examined the sundry variants of a sonnet that the poet first wrote in 1603, then re-wrote in 1613, revised again in 1627-28, and revised a couple more times before its final revision in 1643, about two years before his death (1645).
At the end of her paper, she was caught off-balance when faced by an apparently serious question from the audience “Did the poet make any more revisions after 1645?” In an effort at humor, she replied, “Well, actually, no. But when they were carrying his body to the church for the funeral, he popped his head out of the coffin and proclaimed in a loud voice ‘Hell, no, I won’t go. I haven’t finished revising the poem yet.’”
This off-hand academic pseudo-joke was greeted with a babble of excited voices and an elderly fellow scholar clapped his hands, exclaimed “Wonderful!” and, in the ensuing silence, asked her what documentary evidence she had for this astonishing revelation, hitherto unknown to the academic world. If she was off-balance before, she was clearly reeling at this stage: a punch-drunk amateur academic swaying before the hypnotic fists of Dr. Muhamad Ali. She smiled sweetly, said she would produce the proper evidence at the appropriate time, and left the podium.
Later, sharing drinky-poos with the some fellow scholars, I listened to her as she made excuses for her strange sense of humor and I smiled as she explained the situation to them. They were not amused. “You, madam, are an acknowledged expert in your field,” one of them told her. “Your fellow academics trust you and believe you when you make such statements. You must be very careful about what you say.”
Fake news, indeed!
Now I must make an apology on my own behalf. Alas, if you read one of the blog items I posted recently, you might be puzzled by the Gazunda tree. I am forced to admit there is no such thing, to the best of my knowledge, as a Gazunda tree, not in the main square in Oaxaca, nor anywhere else in the world. Of course, when it rains people have been known to go under certain trees to use them as an umbrella and thus to take shelter from the rain, but this is the full extent of the origin of the name: the tourist or the golfer or the walker or whatever goes under (say it fast — Gazunda) the tree when it rains. There is nothing more to the Gazunda tree than that little joke.
And this brings us to a really serious series of questions: how do we know things are true? How do we establish the truth of a statement? Why do we believe some people and not others, some facts and not others? How do we choose between a series of alternate truths all of them presented as factual realities when, in actual fact, not all of them are true? This leads us on to the basic foundations on which our knowledge is built: how do we distinguish between scientifically established facts, and hearsay, and gossip if we are ignorant of basic scientific knowledge and principles?
To this we must add the triple increases that threaten us. These are (1) the increase in the availability of real scientific knowledge that bombards us every day with fresh facts and new information; (2) the increase in sources of information and the easy access to those sources; (3) the fact that many of these sources, far too many in my opinion, present us with a fictional or heavily biased version of a pseudo- or alternate truth. And yes, in light of telling the truth, the whole truth, and nothing but the truth, we are indeed entitled to question the existence and indeed the very meaning of these words: truth and alternate truths.
Such questioning is present in the writings of some of the early-modern philosophers. This is exemplified in the following passage that comes, I think, from René Descartes:
“There is no earth, no heaven, no extended body, no magnitude, no place and that nonetheless I perceive these things and they seem good to me. And this is the most harrowing possibility of all, that our world is commanded by a deity who deceives humanity and we cannot avoid being misled for there may be systematic deception and then all is lost. And even the most reliable information is dubious, for we may be faced with an evil genius who is deceiving us and then there can be no reassurance in the foundations of our knowledge.”
“There can be no reassurance in the foundations of our knowledge.” These are chilling words and present us with the unfortunate fact that unless we ourselves, each one of us, to the best of our abilities search out the absolute truth about all we hear, say, and do, we are indeed lost and we must wander in the dark with no light to guide us. ‘A sad life this, when beneath the axe, we have no time to check our facts.’
This is buy a book by a New Brunswick Author time, sponsored by the Writers’ Federation of New Brunswick (WFNB). Alas, so many New Brunswick authors are almost faceless to the wider world beyond the Province and the Maritimes. It gives me great pleasure, therefore, to highlight one of the books that I dearly love from a New Brunswick author, Jane Tims.
Here is my review of Jane’s book, first published (the review) on Brian Henry’s Quick Brown Fox (14 March 2021). Thank you, Brian, for the work you do in assisting and developing writers all across Canada – and beyond – and a special thank you for all you have done to help me over the years.
Niche, poems and drawing by Jane Spavold Tims, reviewed by Roger Moore
Independently published. Available from Amazon here.
Niche, the fourth poetry book published by Jane Tims, is a neat configuration of six segments that elaborate and illustrate the poet’s original definition of the multiple meanings of her title word niche.
It is difficult to separate the author from the act of narration as her keenly observed and skillfully executed drawings, together with their verbal representation on the page, are so autobiographical and so much an extension of her artistic and professional abilities that the objective separation of writer and text is scarcely possible. It is hard to forget that Jane Tims was, and to a great extent, still is, a highly competent professional botanist. The harnessing of the professional botanist, with her unique drawing skills and scientific knowledge, to the poet and auto-biographer is a key factor in the reading and interpretation of this text in which acute observation blends with an intimate knowledge of the observed botanical world, both flora and fauna, and this allows the poet, in her role of poetic narrator and lyrical voice, to weave a network of poems that are, at one and the same time, objective and intensely subjective.
The author emphasizes this when she writes in the Preface that “In biological terms, the niche is the quality of a space occupied by a living thing, the sum total of physical, nutritional, biological, psychological and emotional needs gathered together in one place.” She also reminds us that in human terms “niche can be a metaphor for home, community or personal space” and it is within these metaphoric spaces that the poetry text is elaborated. The text becomes a linked mixture of visual drawings, iterative thematic imagery and associative fields, all centred on the multiple meanings of niche. These terms are both biological and human in nature and the poet’s named world meets at this juncture between the human and the natural.
The section occupying space (1-19) bears the subtitle satisfying need and begins with a setting out of what this means in the following 12 poems and 4 accompanying drawings. The poem ‘apples in the snow’ with its companion drawing stands out for me.
The section strategy, subtitled solidifying position (21-43) outlines in poetic terms, how plants, animals, and humans ensure their own survival.
The section praying for rain, subtitled, avoiding danger and discomfort (45-68), offers views on discomforts and dangers. It also opens the discussion—relocate or stay where we are?
The section mapping the labyrinth or places I have occupied (69-83), which contains the wonderful sentence “When I get lost on the road ahead, I look to the road behind me,” throws open the multiple meanings of home.
The section new ways for water, subtitled coping with change (85-98), offers a double landscape, first, external, the things seen, touched, examined, remembered and described, and then the internal landscape that reflects upon them and is reflected in them.
Finally, forgetting to move, with its subtitle getting comfortable (99-111), presents an autobiography that links observer (the twin personage of author and narrator) to observed (nature, both flora and fauna, and the added element of autobiography and self) via the symbiotic relationship of botanist to botany.
Two moments stand out for me. (1) Sadness is in seeking the space that is never found. (2) Loneliness is in trying to return to a space once occupied but no longer available. The whole concept of the Welsh word hiraeth is summed up in these two lines. Carpe diem, Jane Tims’ poetry indeed seizes the day and, with its minute, intense observation, it preserves so many precious moments. It also pays attention to that which has been lost, those moments that are irretrievable. They will vary for each reader, but hopefully, like me, you will take great pleasure in discovering them for yourself.
Jane’s interview with Allan Hudson, another excellent NB author, can be found by clicking this link – South Branch Scribbler. The work of all NB authors should be celebrated over the first weeks of this month. Allan, thank you for supporting us – and you, too, Brian Henry. Living in NB, we need all the enthusiastic support we can get.
The fairground’s distorting mirrors distort. I change as I walk past one and then another.
Rage, rage against that hump-backed shape that looks back at me from the bottle-glass.
Magic: eye of a newt, eye of a toad, cat’s eyes at night lighting the road to bed.
Bedlam all around me. Absurd this world, gone carnival mad in the blink of an eye.
I need a white stick to walk through this fog that clings to my clay-bound soul.
This wine I drink, these thoughts I think, life’s fountain pen soon runs out of ink.
Watch the tides as they ebb and they flow. When your time runs out, pack up, and go.
Comment: My friend Moo did himself proud with the above painting. What is it? I asked him. Dunno was his reply. I have shown it to several friends and speculation is rife: the dancer and the dance, dancer and diver, a blur of three figures, headless mermaid (I love that one). And yes, life is absurd (Albert Camus), a carnival (Bakhtin) in which knowledge is power and civilization is mad (Foucault).
Originality and imitation – how many genuinely original ideas are there? Very few. And the same goes for poetry – original poems are very rare. Most of our ideas come from elsewhere, even if we do not know it. The title of the above poem comes from Petrarch. It’s structure is traditional – a sonnet. Its ideas are borrowed from Camus, Bakhtin, Foucault. And yet, shuffle the cards (Cervantes) throw the dice (Mallarme’) and this poem and this post have both achieved a kind of originality and uniqueness by linking disparate ideas in a new unity.
When I cannot write, I take a paint brush, and start to paint.
When I paint, I listen to the brush as it moves itself over the canvas. I listen to the colors as they demand attention and tell me where to place them.
I listen to the paint as it says ‘just here, not too thick, not too thin, a swirl please, gently now.”
I also listen to flowers, trees, the wind in the willows, the songs of falling leaves, and the voices of birds that mourn their empty nests, abandoned on the branches.
Comment:
This poem also came from yesterday’s prompt – what do you listen to? The act of ranting, based on a prompt, usually generates imagery and ideas that can then be used in either poetry or prose. For me, the secret is to cut away the dross and to search for the gems that are often hidden within verbal outpour. This leads, in my opinion, to enhanced creativity.
While I was actually working, although I never called it work, because I thought of it as a vocation, I listened to the complaints of the administration (often about my way of work). I also listened to my students (all too often their complaints about the system and the way they were being taught and treated). And then I listened to the problems that were daily laid before me in my office by these same students. These, problems and students, were many and varied. One day, I designed a label for my door that announced: Office of Creative Solutions. And yes, I provided many innovative and creative solutions to problems that, to young people, especially my students, seemed almost impossible to resolve.
Then I retired. At least, like an ageing horse, or an unwanted donkey, I was put out to grass. And in that clover-filled meadow, I grazed at leisure and worked no more. But I did have time to write and so I became a creative writer. At first, when I started creative writing, I forced my characters into the roles that I had chosen for them. Sometimes they complained. Then, one day, or maybe it was one night when I was dreaming, a host of my characters, minor and major, came knocking on my door. They carried a big arrow that had, written upon it, Office of Creative Solutions. They pointed it at me and began to complain about how I was treating them. I remembered the poem I had memorized as a child – The owl, he was a wise old bird, the more he spoke, the less he heard. The less he spoke, the more he heard. There never was such a wise old bird.
I remembered how I had listened to my students and how, by listening, I managed to find creative solutions to their problems. So, I listened to those characters as they yammered away. One by one, they told me their woes, and their problems. Then, the following day, I rewrote everything I had written previously and wrote the stories down in their own words, instead of mine. When I listened to them, I allowed my characters to tell their own stories, and to speak for me and through me.
Sometimes, when I run out of voices that come in the night and tell me what to say, I cannot write. Then I take a paint brush, and I start to paint. What do I listen to when I paint? I listen to the brush as it moves itself over the canvas. I listen to the colors as they demand attention and tell me where to place them. I listen to the paint as it says ‘just here, not too thick, not too thin, a swirl please, gently now.”
Now, when I am not working, I listen to flowers, trees, the wind in the willows, the songs of the falling leaves, and the voices of birds.
What do authors do when they send manuscripts to agents or presses? They have several choices. For example, they can listen to the sound of silence. Listen carefully to the paining above. What does it say to you? Absolutely nothing. Quite. It doesn’t communicate. It’s the sound of silence.
Another choice, they can read and re-read Beckett’s Waiting for Godot. Alas, in this case there are many Godots out there and all of them are super-busy gazing at their navels – and I don’t mean oranges. Some indulge in the wonderful world of “Mirror, mirror, on the wall…” and we all know what the answer is to that question. And we know what happened to Narcissus when he saw himself in the river water. Or have we forgotten? Our failure to share cultures is also a sound of silence – two solitudes, gazing at each other, neither one having anything in common with the other one, except maybe the weather. And we can’t always agree on that.
A third choice, they can climb into their dustbins, Queen’s English for garbage cans, and stand there waiting for someone to put the lid on so they can go back to sleep. Allusion / elusion – you don’t know what I am talking about? Well, maybe we are living in two separate solitudes. It wouldn’t surprise me in the least.
A fourth choice, they can take up painting, and scribbling, and drawing, and doing all sorts of things. But, if the phone rings and you don’t recognize the number – don’t pick up the phone. It’s probably a fraudulent scam call. And if you don’t know the e-mail address, put it in Spam and then block it. It’s probably some bot from another country trying to trap you into giving them your bank account details and signing your savings away. Whoever it is or they are , I doubt if it’s an agent or an editor!
rogermoorepoet 