Author Archives: the secret keeper

About the secret keeper

shy; not really talkative; listen; writing is my voice; love animals, films, books, television; have a great many stories to tell; bipolar; lesbian in spirit; some men are aesthetically quite beautiful like james dean;celibate but not abstinent; love stana katic; addicted to tv show castle; modern family my favorite all time sitcom; film trivia expert; collect quotations, poems, song lyrics, writing a poetry collection; writing an auto-biographical manuscript plus other writing projects; feel euphoric writing blog posts, writing screenplays, studying screenwritng and psychology.

Letters of Import: Miss You So Much More 14

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Letters of Import: Private Writings to a Psychoanalyst
Miss You So Much More 14
Written by Jennifer Kiley
Illustrated by j. kiley
First Published March 19th 2013
Published Early Tuesday AM
Fourteenth Posted June 18th 2013

anyone living or dead is purely coincidental

letters-missing you so much more 14

Tuesday, January 1st, 2008
New Year’s Day

Dear Annie,

I didn’t realize how much you effected me. Not seeing you now for over two weeks and still 7 days to go, feels unbearable, Missing you was not something I expected. Not this strong. I’ve gotten too attached. The way it feels, is awful. Please I can’t wait for you to be my private analyst. When will it happen? I have to stop feeling this way. I’m diving into a really deep depression. I’m not so sure I haven’t started to transcend into that dark hole. It’s always waiting for me. It teases me when I am totally alone. Scottie is away but will be back tonight. She has been working on her latest film. I should say our film. I wrote the original screenplay. It’s almost ready for release but needed some extra touches done on the editing. They needed the director to make some decisions on the final cut. I think it’s going to make a great film. Story is being kept hush-hush. I’ll tell you when I can.

I love writing screenplays. I just love writing. I keep my writing edge by occasionally writing short stories, even work on several novels which eventually end up as screenplays. Writing novels helps me develop the visual settings and characters and the story tends to grow around that. What I really love, as often as I am able, is to write poetry. That’s where I work out my feeling and thoughts the most. It keeps the divine madness and artistic temperament under a mostly manageable control. Maybe that is what I will do. I’ll write a poem for you. Someday, after we start meeting, I will show some of my poems and other writing to you. But first, I have to be sure you won’t misunderstand how I feel. Even I don’t know or understand that myself. It still makes me insecure about whatever I feel. Someday I will explain what I mean by that.

I am going to include a poem in this letter. I’ll try to express my feelings. My love has nowhere else to grow and nowhere else to be expressed. Love rises above the sordidness of anything Earthly. It transcends to something divine. Untouched, untainted by the baser senses. When I write a poem it releases the pain inside us. Reaching the pureness. How do I tell you that I have strong feelings for you, without scaring you away. My intensity has been with me since birth. If I am drawn to anything or anyone, it is in my nature to be taken over by an intense passion. My release is to express the overwhelming feelings into my art. It releases the stress, some anyway. But it continues to regenerate. I have feelings for you, maybe you’ve noticed. But I’m afraid you will misunderstand them. I had a therapist who made what I felt into something that was ugly. One of my alters now feels love is bad, which makes her feel innately bad. Her feelings have been corrupted. This fucking therapist totally fucked her up over this. Now we don’t trust anyone with how we feel. We don’t even trust ourselves.

We are hoping for more understanding from you. Nothing wrong with feeling love. Attraction toward another human is quite part of one’s nature. We love animals. They communicate realness. Humans don’t, not ever. What I feel is good. I want to share my feelings of joy and happiness and love. Why do people corrupt goodness by making it impure and perverse. The way the abusers destroyed those feelings in me. One would expect better to come from a healer. A psychotherapist is suppose to be understanding. Not another person to damage what you feel. Especially, when your feelings are natural. I’m talking about burning away fear and mistrust and converting it into trust and openness with a new person. If badness blocks you, what do you do. I feel I have found in you a truly gifted and trusting person. You show no fears when you open up and you don’t turn away from someone else’s nightmares. You are not afraid of love. Giving it or sharing it.

I have been working on a theory for quite some time now about the true nature of love and the multiple layers that love takes. First, love is eternal. It is the power that fills the soul and ignites the universe infinitely. Love gets confused with the energy found in the expressions of sex. I believe they are two separate sources of energy. Sex can be expressed separate from love. Love is expressed separate from sex. It doesn’t need sexual energy to exist. The two can be brought together but they don’t need the other. Love is a higher energy. Sex is a lower energy. Sex is a momentary release of a physical reaction. Love is all intensive and filled with the energy of the universe. Love is divine and fills you up continually.

When someone tells you they love you, if their words are truthful, they are feeling the energy of the universe within themselves and want to share those feelings by sharing the energy of love with you.

What I am trying to say is your absence makes me feel these feelings more intensely. I miss having contact with you. It feel agitated in your absence. My feelings overwhelm me and cause so much pain, physical and emotional. I just want to be near you. When I cannot be near you, I go mad. I’m becoming rather attached. I don’t know what to do when I feel this way. It is a real problem for me. It is difficult to think about you. The effect you have on me. I know I will feel better once you return. Seeing you again will make all the difference.

I don’t understand why I feel this way. Please explain to me why only certain people cause these feeling in me. It is rare I feel this intensity or pain for anyone. Mostly, I just see someone and when I am not with them, they are either forgotten or I just think I will see them again. That’s it. With you, my feelings are monumental in proportion. It is love. An intense form of love that drives me into a madness. I feel crazy. Is your love so pure? Or is my love so pure for you that it has no censorship that filters its’ intensity. My attachment to you is more than I can handle on my own but there isn’t anyone I can talk to. Not even you. I have to keep this locked up.

If we work together, maybe someday, then I will be able to tell you this in person. I am just overwhelmed. It’s like looking at the sun without a filter, it burns out your sight. Am I too sensitive or open and the feelings for you and myself crash together like magnets that have been turned up to full power? I just don’t understand.

I will have to write more about this in future letters. Maybe, I will find some answers.

Until I see you again SOON. I cannot write another thought. It is too confusing.

Happy New Year Annie.

Fondly & In PAIN,
Madison

letters poems for annie

Annie Haskell --- Madison Tayler's Psychoanalyst's Office

Madison Tayler’s Fantasy of Annie Haskell’s Office as her Psychoanalyst

Maksim — Somewhere In Time — Theme Song #1 For “Letters of Import”

rain in garden gif

play is not just play meryl streep

a flower of many colours-this is for you

a flower of many colours-this is for you

Thirst of the Soul
By Madison Taylor
December 27th 2007

Sorrow.
Broken hearts.
Rawness.
Burning tears.
Dark holes for escape.
Understanding.
Listener to listen.
Take the edge off without useless drugs.
Soothing sounds of trust
Comforting support.
Taking the burden away.

Relief.
Release.
Clearness of mind to hold onto.
Offering.
Will lift up spirit.
Always in the wings.
Great lift off.
Flying.
Soaring above the clouds.
Above the storm.

Love offered freely.
Never going away.
Vent the rage.
Explode.
Cry tears of pain.
No burning.
Tears of water
To feed the thirst of the soul.
Water the trees.
The flowers.
The love awaits.
Given freely.
Arms waiting to hold.
Embrace a heart so raw.
Love with softness and warmth.
Remember time does not count.
It is all relative.
Come when ready.
Arrival time open.
Love Always.

© madison taylor 2007

Cris Williamson — Song of the Soul — Theme Song #14 For “Letters of Import: Miss You So Much More 14

labyrinth of a wandering wonderland

the labyrinth called “wandering wonderland.” it is where madison, scottie and their cats mikey, toker and patrick love to escape to

madison's woods of imagination where she takes long walks to reflect

madison’s “woods of imagination” where she takes long walks to reflect. it starts just past the labyrinth

le chateau de rocher by j. kiley (c) jennifer kiley 2013   824x552

le chateau de rocher is the home of madison and scottie & their three cats sparky toker & patrick

glass enclosed pool le chateau de rocher

family gathering place and hangout

madison's study/library  640x480

madison’s study/library

scottie's study library

scottie’s study library

front foyer and staircase  812x612

front foyer and staircase

cinema & multi-media room 803x804

cinema & multi-media room

Maksim — Somewhere In Time (Quotations by Rumi-Theme Song #2 for “Letters of Import”

QUOTATIONS from: LETTERS of IMPORT: Private Writings to a Psychoanalyst

“A Dream

The beginning always starts out with a dream.
It is all a dream
And we are all players
In our own nightmares”
— Madison Taylor

“For that fine madness still he did retain,
Which rightly should possess a poet’s brain.”
~Michael Drayton~
(1563-1631)

“Who ever loved that loved not at first sight?”
Christopher Marlowe for “Hero and Leander”

“A therapeutic relationship is often more psycho-emotionally intimate than a marriage, or a romantic attachment. I know things about my patients that they would never dream of revealing to their spouses or families. Why is that? One word — trust. If you do not have a connection with a therapist, you cannot trust them. If you do not have trust, you will not expose yourself, and if you do not expose your innermost being, what good is the therapy?” — unknown but ask any great therapist

“Men have called me mad, but the question is not yet settled, whether madness is or is not the loftiest intelligence…whether much that is glorious–whether all that is profound–does not spring from disease of thought…” — Edgar Allan Poe

QUOTATIONS on MISS YOU SO MUCH MORE:

“If the portraits of our absent friends are pleasant to us, which renew our memory of them and relieve our regret for their absence by a false and empty consolation, how much more pleasant are letters which bring us the written characters of the absent friend.” ― Héloïse d’Argenteuil, The Letters of Abélard and Héloïse

“It was going to be a long, dark night but not quite as dark as it was in the abyss of his heart where there was nothing but hollowness, yet it felt heavy, almost as if someone still resided there.” ― Faraaz Kazi

“Do you know what the mathematical expression is for longing? … The negative numbers. The formalization of the feeling that you are missing something.” ― Peter Høeg, Smilla’s Sense of Snow

“Do you think everybody misses somebody? I believe, sometimes, that the whole world has an aching heart.” ― Kate DiCamillo, Because of Winn-Dixie

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Editor’s Corner: 101.3

Editor’s Corner: 101.3
Written by Shawn MacKenzie

You Gotta Have Style

“Fashion fades, but style endures.” …Coco Chanel

Scribe smallNow, I assume that everyone has done their homework and brushed up on their grammar, punctuation, and all the other pesky elements of our craft.

Which brings me to the second part of William Strunk’s treatise: style.

What is literary style and how does it play into a writer/editor’s labors? Can we even discuss style or is it like Potter Stewart’s obscenity, we simply know it when we see it? Perhaps it’s a bit of both.

Curiously, over this past week my thoughts veered away from the world of letters and into – for me – the unfamiliar world of haute couture, specifically the wit and wisdom of Ms. Coco Chanel. One does not usually put Strunk and Chanel in the same breath, and yet, when it comes to style, they actually have a great deal in common. Both emphasize simplicity and clean lines, a style which is natural to the wearer, not forced or laden with ornamentation.

In words or cloth, despite publishers’ fads or the vagaries of the marketplace, style is like a little black dress, well-made, beautifully tailored, and right for any occasion.

So, how do we get there? Are there rules to literary style? Nothing as specific or rigid as those of its elements. More aptly, I would say there are principles – some of which I will examine in detail in upcoming weeks. These principles vary slightly with region, culture, and, to a degree, time, but the underlying tenets remain the same. A few things – and only a few – to bear in mind are

• Write naturally. It is high artifice for a 21st century author to write like Brontë or Twain, and has a tendency to wear thin. That said, you also want your style to fit your genre. The language of sword-and-sorcery is not that of noir mystery or gritty YA.

• Fit form to project. For example, few people – Joyce is an exception who springs to mind – would, could, or should spend 500 pages on a tale as intimate and temporally restricted a single day in a man’s life. Most of us would see this as the stuff of a short story, play, or perhaps a narrative poem.

• Chanel said, “A woman is close to being naked when she is well dressed.” So dress your story well. Write with nouns and verbs. The rest is needed, of course; it is the flesh on the skeleton. But without the skeleton, you have only a blob of distracting words.

• Don’t overstate. Few readers want to have everything spelled out, let alone be hit over the head again and again.

• Avoid qualifiers. “Rather,” “around,” “sort of,” et al., only make for fuzzy writing and make the reader wonder if you know what you’re talking about. You are the author. You know that you character is not “about twenty-five years old” but was born on May 20, 1987 and will be turning 26 in seven weeks.

• Don’t get cute or slangy or use fancy or foreign words when simple, native ones work just as well.

• Be clear. A reader will work with a book that deals with difficult subject matter or tells a tale in an unusual way, but don’t make them scratch their head because you didn’t take the time to be clear. Strip away the clutter so you can see your story from A to Z. With dialogue, make sure the reader knows who is speaking when and to whom. (This is not just a matter of dialogue tags, but we’ll get to that another time.)

• Don’t fall in love with the sound of your own voice. It’s something we all do. That exquisite phrase we labored over for hours, days, so hard to let go of it. But sometimes we must learn to say ‘No!’ (“Elegance is refusal,” Coco said.) If it puts you, the author, in the spotlight and your story in the shadows, then it has to be cut. What we do is ultimately not about us writers; we are simply servants to our stories, and serve them best in the background.

In the end, hard-edged as Raymond Chandler or lyrical as Alice Walker, regardless of tone, hue, or voice, style comes down to dressing your story in effortless elegance. Ms Chanel noted, “Dress shabbily and they remember the dress; dress impeccably and they remember the woman.” We want people to remember our storied women.

***

Simplicity is the keynote of true elegance. coco_chanel1

Luxury lies not in the richness of things, but in the absence of vulgarity.

If you were born without wings, do nothing to prevent them from growing.

Women think of all colors except the absence of color. I have said that black has it all. White too. Their beauty is absolute. It is the perfect harmony.

…Coco Chanel

Latest Edition Published at MacKenzie’s Dragon’s Nest Every Tuesday
Latest Edition Published at Plum Tree Books on Facebook Every Tuesday
Latest Edition Reblogged at On The Plum Tree The Same Week Posted

Every Monday Starting June 3nd 2013 “the secret keeper” Will Be Posting Sequential Archived Posts of the “Editor’s Corner” by Shawn MacKENZIE.

Now That The First Draft Is On The Page—Then What?

a divider for posts no 1Now That The First Draft Is On The Page—Then What?
Written by Jennifer Kiley
Written June 11th 2013
Illustrated by j. kiley
Post Created June 16th 2013
Posted June 16th 2013a divider for posts no 1

a flower of many colours-this is for you

a flower of many colours-this is for you

a divider for posts no 1now that the first draft is on the page then what by j. kiley (c) jennifer kiley 2013a divider for posts no 1

Maksim Mrvica — Wonderlanda divider for posts no 1QUOTATIONS on REMEMBERING:

“The time is ripe for looking back over the day, the week, the year, and trying to figure out where we have come from and where we are going to, for sifting through the things we have done and the things we have left undone for a clue to who we are and who, for better or worse, we are becoming. But again and again we avoid the long thoughts….We cling to the present out of wariness of the past. And why not, after all? We get confused. We need such escape as we can find. But there is a deeper need yet, I think, and that is the need—not all the time, surely, but from time to time—to enter that still room within us all where the past lives on as a part of the present, where the dead are alive again, where we are most alive ourselves to turnings and to where our journeys have brought us. The name of the room is Remember—the room where with patience, with charity, with quietness of heart, we remember consciously to remember the lives we have lived.” ― Frederick Buechner, A Room Called Remember: Uncollected Pieces

“Remember that you own what happened to you. If your childhood was less than ideal, you may have been raised thinking that if you told the truth about what really went on in your family, a long bony white finger would emerge from a cloud and point to you, while a chilling voice thundered, “We *told* you not to tell.” But that was then. Just put down on paper everything you can remember now about your parents and siblings and relatives and neighbors, and we will deal with libel later on.” ― Anne Lamott, Bird by Bird: Some Instructions on Writing and Life

“Read. As much as you can. As deeply and widely and nourishingly and ­irritatingly as you can. And the good things will make you remember them, so you won’t need to take notes.” ― A.L. Kennedy

“One couldn’t be selective when remembering the past. Ignore the turmoil, chaos and pain – and the truly great memories would not shine with such luster.” ― Karen Fowler, Memories For Sale

“I seemed to be upon the verge of comprehension, without the power to comprehend as men, at time, find themselves upon the brink of rememberance, without being able, in the end, to remember.” ― Edgar Allan Poe

kurt cobain wearines delirium ennui postera divider for posts no 1

We Steal Secrets: The Story of WikiLeaks

colours multi psychedelic divider for posts newWe Steal Secrets: The Story of Wikileaks
Post Created by Jk the secret keeper
Post Created June 14th 2013
Posted June 15th 2013colours multi psychedelic divider for posts new

assange-media news is an illusion  704x796

assange-media news is an illusion

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julian assange-he beleives we should know-what are his thoughts on wikileaks? he supplies a server for those who have a message or information they want to share with those who want to listen  662x378

julian assange-he beleives we should know-what are his thoughts on wikileaks? he supplies a server for those who have a message or information they want to share with those who want to listen

colours multi psychedelic divider for posts newVideo Published on Mar 21, 2013

The official trailer for We Steal Secrets. Julian Assange. Bradley Manning. Collateral murder. Cablegate. WikiLeaks. These people and terms have exploded into public consciousness by fundamentally changing the way democratic societies deal with privacy, secrecy, and the right to information, perhaps for generations to come. We Steal Secrets: The Story of WikiLeaks is an extensive examination of all things related to WikiLeaks and the larger global debate over access to information.colours multi psychedelic divider for posts new

We Steal Secrets – The Story of WikiLeaks Trailer (HD) Film Released June 7th 2013colours multi psychedelic divider for posts new

Collateral Murder in Iraq by WikiLeaks
WikiLeaks Decoded Footage Taken From Helicopter Where The Firing Came Down On Unarmed People-Two from Reuters with Cameras.
This Video Is Not Part of The Film “We Steal Secrets: The Story of WikiLeaks”colours multi psychedelic divider for posts newThe Following Explains The Above Video.
Published on Aug 16, 2012

Update: On July 6, 2010, Private Bradley Manning, a 22 year old intelligence analyst with the United States Army in Baghdad, was charged with disclosing this video (after allegedly speaking to an unfaithful journalist). The whistleblower behind the Pentagon Papers, Daniel Ellsberg, has called Mr. Manning a ‘hero’. He is currently imprisoned in Kuwait. The Apache crew and those behind the cover up depicted in the video have yet to be charged. To assist Private Manning, please see bradleymanning.org.

5th April 2010 10:44 EST WikiLeaks has released a classified US military video depicting the indiscriminate slaying of over a dozen people in the Iraqi suburb of New Baghdad — including two Reuters news staff.

Reuters has been trying to obtain the video through the Freedom of Information Act, without success since the time of the attack. The video, shot from an Apache helicopter gun-sight, clearly shows the unprovoked slaying of a wounded Reuters employee and his rescuers. Two young children involved in the rescue were also seriously wounded.

The military did not reveal how the Reuters staff were killed, and stated that they did not know how the children were injured.

After demands by Reuters, the incident was investigated and the U.S. military concluded that the actions of the soldiers were in accordance with the law of armed conflict and its own “Rules of Engagement”.

Consequently, WikiLeaks has released the classified Rules of Engagement for 2006, 2007 and 2008, revealing these rules before, during, and after the killings.

WikiLeaks has released both the original 38 minutes video and a shorter version with an initial analysis. Subtitles have been added to both versions from the radio transmissions.

WikiLeaks obtained this video as well as supporting documents from a number of military whistleblowers. WikiLeaks goes to great lengths to verify the authenticity of the information it receives. We have analyzed the information about this incident from a variety of source material. We have spoken to witnesses and journalists directly involved in the incident.

WikiLeaks wants to ensure that all the leaked information it receives gets the attention it deserves. In this particular case, some of the people killed were journalists that were simply doing their jobs: putting their lives at risk in order to report on war. Iraq is a very dangerous place for journalists: from 2003- 2009, 139 journalists were killed while doing their work.colours multi psychedelic divider for posts newPublished on June 5, 2013

Stephen Colbert interviews the director of We Steal Secrets: The Story of WikiLeaks,
Alex Gibney-a documentatarian.colours multi psychedelic divider for posts new

The Colbert Report 06/04/13 Alex Gibney Interview
The Director of the film “We Steal Secrets: The Story of WikiLeaks”
He has made a film that portrays Julian Assange as a villain. Simply by stating that WikiLeaks steals secrets is untrue. And Julian Assange is not a villain. Listen to the point made in the next video. It brings point by point why WikiLeaks and Julian Assange are not villains.colours multi psychedelic divider for posts new

‘We Steal Secrets: The Story Of Wikileaks’ trailer response.colours multi psychedelic divider for posts new

WikiLeaks Legal Advisor: “We Steal Secrets” Overlooks Key Facets of Julian Assange’s Persecutioncolours multi psychedelic divider for posts new Published on Jan 23, 2013

DemocracyNow.org – Alex Gibney’s new documentary, “We Steal Secrets” bills itself as “the Story of WikiLeaks,” but our guest Jennifer Robinson — a legal advisor to WikiLeaks founder Julian Assange — claims it misses key facts. “This is a film about WikiLeaks, about the largest leak in history,” Robinson says. “It touches on very important issues about journalism, whistleblowing. But unfortunately, I do not think this film does [those issues] justice … The film does not recognize threats WikiLeaks faces from potential U.S. prosecution.”colours multi psychedelic divider for posts newEVERY ONE HAS THEIR OWN OPINIONS ABOUT WHAT IS RIGHT OR WRONG REGARDING WIKILEAKS. I AM ONLY PROVIDING THIS PRESENTATION. MAKE UP YOUR OWN MINDS. I KNOW WHAT I FEEL ABOUT THIS AT THE PRESENT TIME. I LIVE WITH SOMEONE WHO IS DIAMETRICALLY OPPOSED TO MY FEELINGS ON THIS. THE DEBATE IS OPEN. WE DO LIVE IN A FREE SOCIETY. AT LEAST THAT IS WHAT OUR CONSTITUTION SAYS IN THE U.S. I WOULD LIKE TO SEE THE WORLD AS ONE-AT PEACE-AND FREE!colours multi psychedelic divider for posts newQUOTATIONS by JULIAN ASSANGE:

“…judgements which are not based upon the truth can only lead to outcomes which are themselves false.” — Julian Assange

“Every time we witness an injustice and do not act, we train our character to be passive in its presence and thereby eventually lose all ability to defend ourselves and those we love. In a modern economy it is impossible to seal oneself off from injustice.

If we have brains or courage, then we are blessed and called on not to frit these qualities away, standing agape at the ideas of others, winning pissing contests, improving the efficiencies of the neocorporate state, or immersing ourselves in obscuranta, but rather to prove the vigor of our talents against the strongest opponents of love we can find.

If we can only live once, then let it be a daring adventure that draws on all our powers. Let it be with similar types whos hearts and heads we may be proud of. Let our grandchildren delight to find the start of our stories in their ears but the endings all around in their wandering eyes.
The whole universe or the structure that perceives it is a worthy opponent, but try as I may I can not escape the sound of suffering.

Perhaps as an old man I will take great comfort in pottering around in a lab and gently talking to students in the summer evening and will accept suffering with insouciance. But not now; men in their prime, if they have convictions are tasked to act on them.” ― Julian Assange

“What we know is everything, it is our limit, of what we can be.” ― Julian Assange

“The sense of perspective that interaction with multiple cultures gives you I find to be extremely valuable, because it allows you to see the structure of a country with greater clarity, and gives you a sense of mental independence.” ― Julian Assange

“Non-conformity is the only real passion worth being ruled by.” ― Julian Assange

“You have to start with the truth. The truth is the only way that we can get anywhere. Because any decision-making that is based upon lies or ignorance can’t lead to a good conclusion.” ― Julian Assange colours multi psychedelic divider for posts new

so you want to be a writer?

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so you want to be a writer?
Post Created by Jk the secret keeper
Created June 11th 2013
Posted June 14th 2017
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so you want to be a writer by j. kiley © jennifer kiley 2013
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Philip Glass – Aguas da Amazonia (HQ)
colours multi psychedelic divider for posts newQUOTATIONS of CHARLES BUKOWSKI:

“That’s the problem with drinking, I thought, as I poured myself a drink. If something bad happens you drink in an attempt to forget; if something good happens you drink in order to celebrate; and if nothing happens you drink to make something happen.” ― Charles Bukowski, Women

“being alone never felt right. sometimes it felt good, but it never felt right.” ― Charles Bukowski, Women

“Nothing was ever in tune. People just blindly grabbed at whatever there was: communism, health foods, zen, surfing, ballet, hypnotism, group encounters, orgies, biking, herbs, Catholicism, weight-lifting, travel, withdrawal, vegetarianism, India, painting, writing, sculpting, composing, conducting, backpacking, yoga, copulating, gambling, drinking, hanging around, frozen yogurt, Beethoven, Back, Buddha, Christ, TM, H, carrot juice, suicide, handmade suits, jet travel, New York City, and then it all evaporated and fell apart. People had to find things to do while waiting to die. I guess it was nice to have a choice.” ― Charles Bukowski, Women

“People with no morals often considered themselves more free, but mostly they lacked the ability to feel or love.” ― Charles Bukowski, Women

“You begin saving the world by saving one man at a time; all else is grandiose romanticism or politics.” ― Charles Bukowski, Women

“I was settled into nothingness; a kind of non-being, and I accepted it. It didn’t make for an interesting person. I didn’t want to be interesting, it was too hard. What I really wanted was only a soft, hazy space to live in, and to be left alone.” ― Charles Bukowski, Women

“When I was young I was depressed all the time. But suicide no longer seemed a possibility in my life. At my age there was very little left to kill. It was good to be old, no matter what they said. It was reasonable that a man had to be at least 50 years old before he could write with anything like clarity.” ― Charles Bukowski, Women

“There’s no way I can stop writing, it’s a form of insanity.” ― Charles Bukowski, Women
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O.J. Simpson’s Second Life Turns 19

colours multi psychedelic divider for posts newTrial and Error: O.J. Simpson’s Second Life Turns 19
Post Created by Jk the secret keeper
Created Post June 12th 2013
Posted June 13th 2013
NICOLE BROWN SIMPSON AND RON GOLDMAN WERE BRUTALLY MURDERED ON JUNE 12TH 1994—19 YEARS AGO WEDNESDAY—YESTERDAYcolours multi psychedelic divider for posts new

o.j. simpson mugshot-june 17th 1994 being arrested after the murder of nicole brown simpson-his ex-wife & ron goldman-who was returning glasses nicole's mother had dropped outside the restaurant earlier where ron worked

o.j. simpson mugshot-june 17th 1994 being arrested after the murder of nicole brown simpson-his ex-wife & ron goldman-who was returning glasses nicole’s mother had dropped outside the restaurant earlier where ron workedcolours multi psychedelic divider for posts new

The booking mugshot for O.J. Simpson, taken Friday, June 17, 1994, after he surrendered to authorities at his Brentwood estate in Los Angeles. Simpson is charged with two counts of murder in connection with the slayings of his ex-wife, Nicole, and acquaintance Ronald Goldman.colours multi psychedelic divider for posts newTrial and Error: O.J. Simpson’s Second Life Turns 19
By Seth Cline
Created Post June 12th 2013

Before this day 19 years ago, O.J. Simpson conjured up memories of “The Juice,” a Hall of Fame running back with a successful acting and broadcasting career. But on June 12, 1994, his ex-wife and her friend were found dead outside her Los Angeles home, and his name took on a life of its own.

Soon Simpson’s name would become synonymous with a white Ford Bronco and celebrity acquittals. The highly-publicized trial entertained America and, oddly enough, became the launching pad for reality television’s first family: the Kardashians, whose patriarch represented Simpson during the trial.

Though O.J. was found not guilty in that murder trial, the ensuing years would not be kind to him. Earlier this month, Simpson — older, greyer and larger — emerged from prison for a court appearance related to a conviction for armed robbery in 2007, for which he was sentenced for up to 33 years in prison.colours multi psychedelic divider for posts new

o.j. simpson in 2013

o.j. simpson in 2013

colours multi psychedelic divider for posts newO.J. Simpson appears at an evidentiary hearing May 14, 2013, in Las Vegas. Simpson is currently serving a nine-to-33-year sentence in state prison for armed robbery and kidnapping charges. (Ethan Miller/AP)colours multi psychedelic divider for posts newFollowing his original acquittal, Simpson’s legal troubles persisted. He was later found liable in a civil trial and ordered to pay $33.5 million in damages. Other unrelated charges have included unpaid taxes, pirating satellite television, and, most seriously, robbing at gun point a memorabilia dealer in Las Vegas. This last case has lingered, as Simpson is seeking a new trial claiming his representation in 2007 was deficient. Soon that effort too will be resolved, and Simpson the man will fade away. His name may not.colours multi psychedelic divider for posts newThis article originally ran in the June 27, 1994, issue of U.S. News & World Report.

Simpson and Sudden Death

Accused of the gruesome murder of his ex-wife and her friend, a sports legend crashes down

By Steven V. Roberts; Monika Guttman; Betsy Streisand; James Popkin

Everywhere, the reaction was the same: Say it ain’t so, Juice. Say you didn’t do it. Say you didn’t kill your ex-wife, with your two children asleep nearby. Say you didn’t kill a 25-year-old waiter who was returning the sunglasses she had left in a restaurant. Say all those years — all those dazzling runs and dazzling smiles — were not a fraud. Say we still have heroes.

But by Friday, denial was harder to maintain. During a tense and tragic day of stunning surprises, Simpson fled from the house of a friend, minutes before the police arrived to arrest him on two counts of murder. For almost five hours he was missing, until police picked up the trail of a white Ford Bronco owned by his old friend Al Cowlings driving along the freeways of Orange County. Simpson was in the car, apparently threatening to shoot himself, as Cowlings drove slowly and carefully for 60 miles, trailed by police cruisers. The nation was mesmerized, united by sadness and fascination, as almost every TV station switched to live coverage of the unfolding drama. Eventually, Cowlings drove to Simpson’s luxurious house in Brentwood, where fans stood outside the gates, waving signs that said, “We love the Juice.” After another hour of uncertainty and negotiation, one of the most popular sports figures of his generation surrendered.colours multi psychedelic divider for posts new

colours multi psychedelic divider for posts newOJ on the Run: The Bronco Chase O.J. Simpson Running from the police-who want to arrest him-in White Bronco Chasecolours multi psychedelic divider for posts newFor a police department that has suffered a string of embarrassing incidents in recent years, from the beating of Rodney King to its mishandling of the 1992 riots, the episode raised disturbing questions. Authorities said Simpson was not arrested immediately because there was no eyewitness to the crime and it took time to gather the scientific evidence linking him to it. Others grumbled that police had miscalculated their suspect’s agitated state of mind.

Simpson’s return home came hours after his attorney, Robert Shapiro, held a news conference pleading with his client to surrender. The lawyer said Simpson seemed suicidal, and Juice’s friend, Robert Kardashian, read to the press conference a letter to the public from Simpson that had all the earmarks of a suicide note: a “last wish” that his children’s privacy be protected and a long list of thank-yous to his former teammates and golfing pals. Simpson denied in the note that he had killed his ex-wife, Nicole, and her waiter friend Ron Goldman. But he added: “I can’t go on. No matter what the outcome, people will look and point. I can’t take that.” The letter concluded: “Don’t feel sorry for me. I’ve had a great life, great friends. Please think of the real O.J. and not this lost person. Thanks for making my life special. I hope I helped yours. Peace and love. O.J.”

For days, his friends and his fans had grasped at the hope expressed by Budd Thalman, former press agent for Juice’s old team, the Buffalo Bills: “If he’s arrested for this, I’ll be stunned beyond belief.” Gradually, however, the trap of evidence tightened around Orenthal James Simpson. Police sources connected him to a glove, a ski mask, blood stains at the murder scene and elsewhere, skin samples, a knife-like tool that could be the murder weapon. His alibi — that he was at home, waiting for an airport limousine, at the time of the murders — began to spring leaks. The charge he faces, murder under special circumstances, carries with it no bail and a possible death penalty. But no matter how the bizarre story turns out — even if O.J. is ultimately cleared of the crime — the Juice’s life and legend have already been squeezed to pulp.colours multi psychedelic divider for posts new

o.j. simpson being a broadcaster after football career is over

o.j. simpson being a broadcaster after football career is over.

colours multi psychedelic divider for posts newO.J. Simpson reports for NBC during a playoff game between the Los Angeles Raiders and the Cincinnati Bengals at the Coliseum in Los Angeles, on Jan. 13, 1991. (Stephen Dunn /Allsport)colours multi psychedelic divider for posts newThe two faces of O.J. Simpson — the real person and the media image — are so intertwined that it is hard to tell them apart. Is the nation mourning a man or a myth? And does it really matter? “It’s so disheartening to have no heroes left,” says Celinda Lake, a pollster who analyzes social trends. “It’s bad for the culture, because it really feeds cynicism.”

A ghetto child. O.J. the man was shaped by Connecticut Street in Potrero Hill, a poor neighborhood in San Francisco he once described as “your average black ghetto.” His father Jimmy, a custodian and cook, left home when O.J. was 5; his mother, Eunice, worked long hours as a hospital orderly to support her four children. As a youth he joined gangs, stole hubcaps, picked fights, crashed dances, shot craps, snubbed school. The world of the streets was a world without a moral compass, without guidance or standards. “I was in a lot of street fights,” he recalled. “Maybe because I usually won. I was proud I was a tough scrapper. We had our gangs. They were full of guys who didn’t know right from wrong and couldn’t have cared less… We didn’t care about anything good. We didn’t know about anything good.”

Even then, though, Juice showed a flair for slipping tackles and ingratiating himself with others. Childhood friend Joe Bell was quoted in a 1984 book, The Heisman: “There were guys who could have taken O.J., but he had a way of manipulating people, of making them like him, of getting them to do what he wanted. He was a natural leader.” But Bell added an ominous postscript: “He’s a great guy but he wasn’t an angel. If circumstances had been slightly tilted, instead of a football star he could have been public enemy No. 1.”

“A lot of hatred.” His first wife, Marguerite, who knew him in high school, told Juice’s biographer Bill Libby: “He was a terrible person in those days. Just awful. I sensed something good in him, but I don’t think it really showed. He lived on the brink of disaster.” Simpson himself agreed with her account in Libby’s book, O.J., published in 1974: “I had a lot of hatred and defiance in me. I could easily have come to a bad end if I hadn’t gotten a break.”

Several breaks, actually. One was his mother, an indomitable woman who kept the family together. “There were always three meals on the table,” remembers boyhood friend Jon Greenberg. “The house was kept up, and he always had a mother at home he could go to.” When he was inducted into the Hall of Fame, Simpson singled her out: “You just don’t know what it is to be 8 years old and all your friends think you have the best mother in the world.”

The second break came in 1962, when he was 15. Lefty Gordon, the supervisor of the local recreational center, saw the same spark of goodness Marguerite noticed. After a gang fight landed O.J. briefly in jail, Gordon arranged for the local sports hero, Willie Mays, to take the young man in tow. It was an ordinary day, filled with errands like picking up the laundry, but it left a lasting impression on Simpson: “To have that hero pay attention to me, it made me feel that I must be special, too. He made me realize that we all have it in ourselves to be heroes.”

The third break came when the coaches at Galileo High realized that they had an exceptional sports talent on their hands — with an exceptionally bad attitude. Coach Jack McBride remembers O.J. as “a very lazy student” but worth redeeming. When Simpson and two friends were caught shooting dice before a big game, McBride delivered a tongue lashing that O.J. never forgot: “Even though I felt bad about it at the time, and I was a little mad at him, he told me that no one was going to give me anything in the world. He said, ‘If you want something, you’ll have to work for it and act like you deserve it. You know, if you want respect you’re going to have to act respectable.’”

O.J. went to work on football. After Galileo, he didn’t have the grades for a four-year school, but after two record-setting years at City College of San Francisco he was wooed by the University of Southern California. As a player and as a person he was still raw. He once said that he went to USC so he could learn which fork to use at dinner. But he had one overwhelming advantage: He could run with a football better than just about anybody. O.J. led USC to two Rose Bowls and in his senior year won the Heisman trophy, given annually to the best player in college football.colours multi psychedelic divider for posts new

o.j. simpson receiving an award when young

O.J. Simpson receiving an award when young.

colours multi psychedelic divider for posts newSouthern California’s O.J. Simpson displays an engraved silver case, the Maxwell Award, presented to him in Philadelphia, Jan. 20, 1969, when he was honored as college football’s outstanding player of 1968. (Bill Ingraham/AP)colours multi psychedelic divider for posts new“My image.” Even then, Simpson was worrying about, and working on, his public image. The natural runner was also a natural politician. “I became very aware of my image,” O.J. recalled in a book of his own, O.J.: The Education of a Rich Rookie. “After taking so long to find out who I was, I didn’t want anyone else to misunderstand me. I didn’t want to be O.J. Simpson, running back. I wanted to be O.J. Simpson, a good guy. I’m happy to admit it: I really enjoyed being liked. I loved it when kids stopped me for autographs, I loved it when people recognized me on the street. I loved it, I think, because I could at last recognize myself.”

There is a poignancy to those words now. Despite his enormous success, Simpson always needed the constant reassurance of others, the validation of cheering crowds and fawning fans. He could recognize himself only in the mirror held up by others. He once told the late writer Pete Axthelm about a vacation trip to France: “Over there I was just another tourist who didn’t speak the language. Nobody knew me and I felt alone and lost.”

After the triumphs of USC, he moved into the pro ranks, and in 1973 broke the single-season rushing record held by Jim Brown. Soon, he was far more than just a professional football player. He became a professional “good guy,” an actor always playing a character: the warmhearted, ever-smiling Juice.

O.J. the myth was shaped not by Connecticut Street in Potrero Hill, but by Madison Avenue in Manhattan. He came along at just the right time, when the civil rights battles of the ’60s had created a new level of racial tolerance. He had the right look, the right smile, the right nickname — all benign and nonthreatening. Says sports columnist Ron Rapoport of the Los Angeles Daily News: “Madison Avenue was looking for a breakthrough black man and he was it.”

Before Michael, before Shaq, before Magic, there was Juice, selling athletic shoes and orange drinks and, above all, Hertz. Today, almost 20 years later, the image of O.J. sprinting from an airplane to his Hertz rental car is still embedded in the popular culture. Simpson was chosen for the role because he embodied two ideas Hertz wanted to identify with, speed and believability. But he had something else, says Mark Morris, who helped create the Hertz ads: “He has a certain magnetic quality as an individual that I think enriched the advertising to make it go beyond the celebrity endorsement.”

For all the “hatred and defiance” suppressed inside him, Simpson’s warmth came naturally. Both sides of his contradictory personality were true at the same time: the affable and the angry, the decent and the deceptive. “O.J. is the quintessential good guy,” insists Thalman. “Everything about him was positive, exciting, inspirational. When he came into a room, it’s like you plugged in an electric socket.” The result, says Los Angeles Times columnist Peter King, was that TV viewers came to think of him as “Uncle Juice — likeable, honest and, more than anything, familiar.” That helps explain why this case is so shocking to so many. It’s as if a member of the family has been charged with murder.

Leaving football was hard for O.J., who never masked his vast appetite for money and glory. Even before his retirement, he started acting in movies and on TV, and when he finally called it quits after 11 seasons, he admitted to tormenting fears: “What would I do with my time? What was I going to do to feed my ego now?” He might well have added: Who will I be without the crowds? The cheers? How will I know the score, how will I know who’s winning, in a game with no rules? “Football is such an absolute,” he said at the time. “The clarity of the whole thing — it’s something I’ll miss quite a bit.”

His dream was clear: to be the same kind of star on the movie screen he had been on the football field. He dreamed of emulating Dustin Hoffman, playing rich roles and winning Oscars. But as Tom Callahan, a U.S. News contributing editor who interviewed him regularly, recalls, O.J.’s Hollywood fantasies revealed how “naive and sheltered” he really was. He was always a limited actor, able to play only one part: himself. “The 30-second commercial format was perfect to capture O.J.Simpson,” points out Mark Morris, the ad executive. In longer formats, he lacked the necessary depth. He still did some movies — mainly the Naked Gun series in recent years — but his acting career had clearly stalled. He still did some broadcasting, primarily the NFL pre-game show on NBC, but he had lost his cherished berth on the game’s top showcase, ABC’s “Monday Night Football.” He still made personal appearances, mainly for Hertz, and still made a lot of money. He was still phenomenally recognizable and well liked. But he was no longer a superstar and no longer young.

Stormy side with women. The hatred he tried so hard to overcome as a youth seemed to seep back into his life, mainly in his relations with women. While still in college, he had married Marguerite and fathered three children, but his family stayed behind in Los Angeles while he spent the football season in Buffalo. In an interview with People magazine, he talked about being “lonely and bored” without his family and falling into depression: “I often wondered why so many rich people commit suicide. Money sure isn’t a cure-all.” But when he sought out other companionship, his marriage collapsed. “We have practically lost our private life,” Marguerite complained. “I have been shoved out of the way, pushed and stepped on by more than one beautiful woman.” A few months after the divorce, their youngest child, 23-month-old Aaren, accidentally drowned.colours multi psychedelic divider for posts new

Nicole Brown Simpson & Ron Goldman-Friend in 1994 before they were brutally murdered.

Nicole Brown Simpson & Ron Goldman-Friend in 1994 before they were brutally murdered.

colours multi psychedelic divider for posts newO.J. Simpson’s ex-wife Nicole Brown Simpson, left, and her friend Ron Goldman, both of whom were murdered and found dead in Los Angeles on June 12, 1994. (AP)colours multi psychedelic divider for posts newOne of Juice’s loveliest young companions was Nicole Brown, a teenage beauty from suburban L.A. By the time she was 19, they were “living together most of the time,” she recalled years later in court documents. Eventually they married, had two children and lived a glamorous life in their West Los Angeles mansion, entertaining often and filling their house with friends and games.

But there was a hole at the center of their lives. At least eight times, police were called to their home to settle domestic fights. In 1989, after one particularly brutal fight, witnesses said O.J. had screamed repeatedly: “I’ll kill you.” The Los Angeles city attorney filed charges against Simpson for wife beating and he pleaded no contest. Alana Bowman, the head of the city’s domestic violence unit, says now he was let off too easily.

In 1992, the year Nicole and O.J. were finally divorced, she consulted a therapist named Susan Forward, who has written about obsessive love. Forward now says: “He beat her all through their marriage, and after they were separated, he would stalk her.” To Forward, Nicole was a classic battered wife: blaming herself, overly dependent, unable to break away. Even after the divorce was final, they continued to see each other. The last time was at a dance recital with their children on the day Nicole was killed.

Only a month ago, Simpson was telling friends that he still hoped to reconcile with Nicole, that they might even get married again. He dated many other women, some as young as his daughter from his first marriage. But he still seemed to crave Nicole’s affection. Just recently, friends say, she had shattered him with the decision that there would be no reconciliation. Police now think that he finally made good on the threat he had voiced so many times. That he killed her, and Ron Goldman, as their children slept nearby. That sadly, so sadly, it is so.colours multi psychedelic divider for posts new

BBC – OJ Simpson the Untold Storycolours multi psychedelic divider for posts new

“Stories We Tell”

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“Stories We Tell”
New Documentary by Sarah Polley
Post Created by Jk the secret keeper
Created June 9th 2013
Posted June 12th 2013
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sarah polley actor writer director shooting new documentary : stories we tell"  680x478

sarah polley actor writer director shooting new documentary: stories we tell”


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Stories We Tell: A post by Sarah Polley
August 29th, 2012
Documentary
Filmmaker Sarah Polley about her new film, Stories We Tell.

Today in Venice my latest film, Stories We Tell, will be screening for the first time. Until now, thanks to the extraordinary decency of many people – including some journalists who have known the story for years and kept it secret – I have been able to keep its contents under wraps.

Knowing that people will now write about the film itself as well as the story it is based on, I’d like to explain a bit of the process that lead to the making of the film and why I’d like the film to speak for itself. I realize that I’m not nearly accomplished enough to write this kind of blog without apology. The world is not waiting for my next film! But because I am hoping to not do any press or interviews about the film for its festival life, I do feel I owe an explanation to the journalists who have helped me keep this secret and been respectful of my process for some time.

Here is the story of how this film came to be, and why I hope people will write about the film itself and not only the story it is based on.

In 2007 I was on set in Montreal, shooting a scene for the film Mr. Nobody. I received a phone call from a friend warning me that a journalist had found out a piece of information about my life that I had kept a secret for a year. I got in touch with the journalist and begged him not to print the story. It was a story that I had kept secret from many people in my life including my father. It took some time and many tears to convince the journalist not to print the story within the week, but I left that conversation convinced that it was not a secret I could keep for long, and that if I wanted the people in my life and outside my life to know the story in my own words, I would have to take action.

I flew to Toronto that night to tell my father the news. He was not my biological father. This had been confirmed by a DNA test with a man I had met a year earlier. I had met my biological father almost by accident, though I had long suspected based on family jokes and rumours that my mother may have had an affair that led to my conception.

My father’s response to this staggering piece of news was extraordinary. He has always been a man who responds to things in unusual ways, for better or for worse. He was shocked, but not angry. His chief concern, almost immediately, was that my siblings and I not put any blame on my mother for her straying outside of their marriage. He was candid about his own lack of responsiveness towards her and how that may have led her to the point where she sought out the affection of another person. And then he began to write. And write and write and write.

He wrote the story of their marriage, her affair (which he put together from other people’s memories), and his relationship with me. He wrote about our need to tell stories.

My biological father, at my behest, had also begun writing the story of his relationship with my mother. He is a fine storyteller too and one of the most interesting people I’ve ever met. Each of us had a deep and growing need to tell the story, different parts of it, in different ways, with emphasis on different details, in a way that reflected our own experience and what was most important to us as we are now.

My siblings began telling the story to their friends. Journalists who heard the story from various sources began calling me and asking me to be interviewed about this discovery. Everyone who heard the story seemed to want to own it. Up until then many people had mused aloud to me that the story would make a great film. I disagreed. While it had huge relevance and emotional impact for the people close to it, I felt that this story was in fact quite common. I felt I had seen this film before. However, the process of watching a story take on a life of its own, mutate, and change in so many other people’s words fascinated me. And as the story was told, or perhaps because the story was told – it changed. So I decided to make a film about our need to tell stories, to own our stories, to understand them, and to have them heard.

Personal documentaries have always made me a bit squeamish. I’ve seen some brilliant ones, but they often push the boundaries of narcissism and can feel more like a form of therapy than actual filmmaking. (Though I could listen to anyone’s therapy session and be entertained, I think.)

I’m not claiming that my film lacks self involvement but what I wanted most was to examine the many versions of this story, how people held onto them, how they agreed and disagreed with each other, and how powerful and necessary creating narrative is for us to make sense of our bewildering lives. I wanted the story told in the words of everyone I could find who could speak about it. Whatever my own feelings are about the events that are outlined, about the many dynamic and complicated players or the stunning, vibrant woman my mother was, they are ephemeral, constantly out of my grasp, they change as the years pass. (I declined to use a “voice of God” first person voice over narration because it felt false, self involved, and besides the point.) But I found I could lose myself in the words of the people closest to me. I can feel and hear and see their histories, and I wanted to get lost, immerse myself in those words, and be a detective in my own life and family.

Anything I want to say myself about this part of my life is said in the film. It’s a search still, a search for meaning, truth, for whether there can ever be a truth. I have a lot of trepidation about doing interviews and being asked how I feel about it all. I worry about seeing my deepest feelings about my life taken out of context or shortened or made to fit into someone’s already written story. And I have spent five years deciding, frame by frame and word by word, how to tell this story in this film. I’d hate to see my inability to think before I speak wipe out years of work with one stupid comment that I haven’t thought through.

I have decided not to do any interviews about this film until the film is released theatrically and I hope that doesn’t offend, or that journalists who are assigned to cover the film understand this choice after seeing it. I’m sure it’s annoying to not have a new angle or a different quote than other journalists and I’m really sorry to create that problem for the people who decide to write about it. But I desperately want, at least while the film is on the festival circuit, to have people experience and write about the film before the story – or to experience the many stories that this story has become as opposed to just my version of it. It is, after all, why I made the film in the first place. It’s oblique I know. The film is much less oblique than this fearfully written blog. I’m trying to preserve as much of the experience of viewing it for the first time as I can for those who wish to see it, for better or for worse.

I learned so much along the way. I got to know my mother who died when I was 11 in a way that isn’t usually possible for people who lose parents young. I got to know so much about my family, about filmmaking, about trusting collaborators to keep making the movie when you need to just walk away for a time (for this I have to especially thank my editor Mike Munn, my DOP Iris Ng, Producer Anita Lee and Production Coordinator Kate Vollum, as well as others, who all kept on making the film while I hid in a corner for periods of time). I also learned that people can be more decent and ethical than you imagine. Several journalists, including Brian Johnson and Matthew Hays (and more recently Gabe Gonda, the arts editor at The Globe and Mail), have known this story for years. And while they very much wanted to print it, they all respected my wish to keep this story private until I was ready to tell it in my own words. I think arts journalists in Canada are made of good material generally. I’m so thankful to them for letting me have the space to explore this on my own, ask the questions I wanted to ask, and let this film come out into the world. I never could have made it if I hadn’t had that space and time.

Making this film was the hardest thing I’ve ever done. It took five years and tormented me. I didn’t want to make it, and I wanted to give up many times along the way, but I also didn’t want this story to be out there in the words of someone other than the many people who lived it. Now it will be written about in many other people’s words, and I’m finally at peace with that. With the inaccuracies, with the new insights that I may not have arrived at on my own, with the broken telephone that happens when “concentric circles of people,” as my biological father says, begin telling their own stories without experiencing the original versions. That is what the film is about anyway and after five long years I’m actually looking forward to its arrival in the world, and the inevitable mess that comes from a story being told and retold.
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“Stories We Tell”

There’s family, there’s history and then there’s the truth, but as Sarah Polley explores in her beautiful and uniquely moving documentary “Stories We Tell,” all of those terms carry different weight depending on the eye of the beholder. Begun as a project to investigate her own family background, “Stories We Tell” blossoms into a riveting portrait of a family still carrying secrets, heartache and accepted truths that sometimes fly in the face of reality. But Polley’s entire point is that one person’s “reality” is someone else’s “fiction” and her brilliant film almost deconstructs itself as it goes along, calling into question its own presentation of the “facts” yet never feeling academic, and always wholly emotional. It’s the rare documentary that we’d argue contains “spoilers” which aren’t just part of the narrative (though it’s more enjoyable if you’re in the dark a bit,) but the presentation itself. One of the most intelligent documentaries we’ve seen in quite some time, at times enlightening and profound, the film proves the simple truth that the “Stories We Tell” about our own lives can’t always be trusted.
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Sarah Polley Examines Her Own Family In Lovely, Fascinating ‘Stories We Tell’
Venice Review
by Oliver Lyttelton
August 29, 2012

Sarah Polley has a secret. It’s a secret that, remarkably, she kept under wraps to all but friends and family until the film screened at the Venice Film Festival this morning. It’s a secret that’s seemingly informed her two directorial efforts to date, “Away From Her” and “Take This Waltz,” and is the subject matter of her third film, and first documentary, “Stories We Tell.” And it’s a secret that’s led to her finest work as a director so far.

It’s also a secret that is so important to the film that it would be virtually impossible to discuss it without giving it away. So, while Polley has written about it online today, knowing it going in might theoretically hamper your enjoyment of the film, the spoiler-phobic should be warned that from here on out, we will be giving certain things away. Be assured that fans of Polley’s work to date will be delighted by a documentary that serves simultaneously as a gripping mystery, a moving record of a family and a fascinating investigation into the nature of truth, memory, and the documentary form itself.
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*SPOILERS AHEAD*

Made up of interviews and what initially appears to be archive home movie footage (in the manner of Jonathan Caouette’s “Tarnation”), the film begins as a portrait of the director’s actress mother Diana Polley, and of her marriage to Polley’s father Michael, which ended when Diana passed away from cancer when Sarah was eleven. To build up this picture, Polley has interviewed her father (who was also an actor for a time), her siblings, and her parents’ friends, who paint a picture of a vibrant, complicated woman in a relationship that was loving, but not entirely happy.
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stories we tell photo
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And then comes the secret. Her brothers and sisters had long joked that Sarah didn’t look much like her father, and when she turned 18, began to make enquiries, discovering that her mother may have had an affair with a co-star when she was in a play in Montreal around the time that Sarah was conceived. Polley is eventually intrigued enough to seek out Canadian producer Harry Gulkin (the Oscar-nominated “Lies My Father Told Me”), an old friend of her mother’s, to ask. In fact, Harry reveals that he was the one who had an affair with Diana, and suspects that he’s her father. In fact, having now met her, he’s sure of it.

On one hand, Polley tells this story as truthfully as is possible – through the words of those who it involves, or who were there for the aftermath, like her four siblings. Indeed, the bulk of the film’s narration comes from a lengthy essay her father wrote after the fact, read in his own dulcet tones (Polley shoots within the recording studio as he does so, charmingly showing her directing her father, and her own nervous energy, in the process). At the same time, by the very nature of the film, she’s editorializing, manipulating the narrative for maximum shock value, and shooting reconstructions of what initially looked like archive Super 8 footage, with actors playing her parents in their younger days, and the real-life participants playing themselves in more recent times.

But to her credit, Polley doesn’t just acknowledge these liberties, she makes them an intrinsic part of the film, to the extent that she openly questions her own motivations for making the documentary. She’s essentially encouraging the audience to ask questions about how possible it is to closely recreate and document the past, and whether a documentary can achieve those goals.

It’s fascinating stuff, doubly so because of the clear parallels with her previous directorial efforts. Her real story is reflected both in the late-in-life adultery in “Away From Her,” and the fallibility of monogamy, and the risks of not making the leap into the unknown of “Take This Waltz.” (Interestingly, her sister comments at one point that after discovering Sarah’s news, all three Polley daughters were soon divorced). She keeps herself mostly off screen, and yet the director is exposing just as much of herself as anyone.

Which makes it all sound quite high-minded, but the film’s plot, if you can call it that, grips like a thriller, and Polley takes care to introduce the participants as characters rather than as her relatives. And all of her “characters,” from wisecracking older brother Mark to the Albert Einstein-ish Harry to the quiet, repressed, impossibly generous Michael (the source of much of the film’s emotion) are hugely entertaining, and are simply a pleasure to spend time with.

There are some issues. Shying away from introducing her interviewees clearly at the beginning means that even by the end, you’re sometimes struggling to work out how they relate to one another. And the film drags in its conclusion, stacking multiple endings on top of one another. They all contain good material, but one does start to shift a little in the seat. But for the most part, it’s a film that tickles both the brain and the heart, and by some distance Polley’s most consistent, and best, work as a director to date. [A-]
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A Clip from Sarah Polley’s documentary on “Stories We Tell”

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Letters of Import: Miss Seeing You-Difficult 13

Letters of Import: Private Writings to a Psychoanalyst
Miss Seeing You-Difficult 13
Written by Jennifer Kiley
Illustrated by j. kiley
First Published March 19th 2013
Published Early Tuesday AM
Thirteenth Posted June 11th 2013silver divider between paragraphsanyone living or dead is purely coincidentalsilver divider between paragraphsletters-divider for sections of books-heart echosilver divider between paragraphsletters-miss seeing you-difficult 13silver divider between paragraphsTuesday, December 25th, 2007
Christmas Day

Dear Annie,

Not seeing you today was so painfully difficult. I realize it is Christmas day and you are with your family and I am, of course, with mine. Our furry kitties, Patrick, Toker and Little Sparky and our feathery Amazon Parrot, V Woolf. At present, we are all spread out together in the family room. Scottie is looking for a great book to read for the holiday week. She likes to choose a special book every year. She starts it out and when her voice begins to crack, it becomes my turn. I love this part. When I was in school, I prided myself on being able to read without a mistake or tripping over a word for the greatest length of anyone in my class. It was a feat that I still hold the record to. It’s a good habit to have if you ever have to do a book reading. Which as you may know, I do fairly often. More locally, then in the past, when I use to travel all over the states and sometimes even over in Europe, particularly in England.

I know this is suppose to be a joyful time of the year. Scottie and I have a good time together. We have a special Christmas Eve dinner, which was delicious last night, and there are always leftovers. We started the Christmas Eve feast our first Christmas together, before we were actually together. But that story is for another time. Something has been running through my mind, which I cannot talk about in therapy, private or group, but I need to get it out of my system. It has to do with crying. All the films we watch at Christmas should make me tear up or cry, especially at the end of Alastair Sims’s Scrooge, A Christmas Carol. His is the all time best film on Dicken’s story. I’ve watched it every year since I was a child. That is what I want to talk about. When I was a child, I remember I would swallow my tears in the lump that formed in my throat. I was too afraid to cry or for anyone to see the tears in my eyes. I better explain why. It is not a pleasant story.

I don’t cry. It is something I cannot do. Only when something so traumatic happens can I cry and then I can’t seem to stop. Everything sets me off. But only in private can I show my tears. I shut down completely around everyone, even Scottie, and during a sad film where crying is completely acceptable behavior. As I said, Tiny Tim always gives me a lump in my throat. It is my body trying to protect me by holding back the tears. It’s probably because I really want to scream. There is so much rage pent up inside of me. I want to let go of it but I’m afraid.

It’s shame. I am ashamed of my tears. There is a really good reason. When I was really young I use to cry all the time. It really drove my mother insane. My brothers would tease me and call me a cry baby. I hate that term. It made me cry even more. My mother use to tell my brothers to leave me alone. She left me alone to. But then suddenly, I must have reached a certain age when my mother didn’t find it acceptable any longer for me to cry. She flipped out and became some dark creature and mean as Hell. It started. She turned into a Demon. When ever she found me alone, she turned on me, like some cornered animal and started to beat me, all the while screaming at me. I became terrified and of course I would start to cry. This made her even more angry. Her seeing the tears in my eyes and falling down my cheeks enraged her. That’s when I discovered that tears were dangerous. They ignited a full blown rage in my mother. That was when I started thinking of her as evil and in therapy I came up with the name for her of The Shadow Mother. That’s what I called her in my mind. I cannot use the other word alone. It disturbs me.

My tears from that point on caused me to be physically, emotionally, psychologically, sexually and spiritually abused in the most vicious ways imaginable. The depth of abuse crossed the lines of any kind of abuse in ones childhood. The Shadow Mother wasn’t my only abuser but the things she did to me were so harsh. One would not expect a mother to do these things to their young child. Now that I am older and understand more I can describe what she did to me. She was into bondage and dominance mixed in with sadomasochism. In her beatings there were not any safe words to make it stop. That’s when I felt it brought the abuse into a questionably sexual realm with The Shadow Mother. The word No and Stop in her mind meant to keep abusing. Crying only doubled and tripled the intensity of the beatings. She started out by striking me through my clothing at first but as the frequency of the abuse increased eventually she would not get enough satisfaction with striking cloth, she wanted to beat my body on my flesh where she could see the effect of her brutality. She wanted to see the bruises and the tears in my skin. She used various weapons. Usually what ever was near at hand but she had a favorite switch taken from the branches of a tree from our yard that she liked the most.

Silence and no movement were the only things when combined that worked to stop her. I needed to be dead or show the appearance of someone dead for the abuse to stop. Maybe not technically but physically without sound or motion. That was the first part. When that was over there was one more phase to the abuse. It wasn’t over until I, the child and one abused, went to her closed bedroom door and groveled at the door with The Shadow Mother inside. She was always dead silent. I was always on my knees pleading with her to forgive me. I had to ask my abuser to forgive me. I’d ask her multiple times to forgive me. I was trained well into being submissive but even with all the pleading there was no forgiveness. Not ever. The door never opened. There was never a sound made from inside those walls behind that damned door. I was left there till oblivion escorted me away. Memory blanked from that point on. Rewind tape and repeat performance at a future but unknown time. Just her performance was the only thing that was repeated over and over again in all its brutality and my submission and pleas for forgiveness were echoed in those halls and bedrooms.

I am sorry that I am telling you this now but Christmas is about family and I have no family. I left them all behind when I became brave enough and my first therapist managed to convince me I needed to leave that place of unbalanced confusion, madness and inequity. There are no blood family I want anything to do with except a niece and her family. We are close and keep in touch but I have never met her. My agoraphobia has prevented us getting together. Her family want to meet Scottie and me. It’s just I have a terrible time being around people. I relate to them from a distance, through cyberspace. With the few exceptions. Physical contact is not something I am very good at except with my animals and Scottie. I do group and private therapy but do not relate well in my private sessions. As far as group goes, I can handle the people in group as long as it’s in a therapy room. Now, it seems to be developing into something impossible and uncomfortable to handle. If you weren’t there Annie, I wouldn’t return. Your entering my life when you did has saved me. I hope in the near future you will come to my rescue even further. You becoming my psychoanalyst is my Christmas wish and those wishes always should be answered.

Merry Christmas Annie. And thank you for entering my life when you did. It means more to me than I am able to express to you in person at the moment. Oh, by the way, Scottie finally settled on her choice of books to read over the holidays. It’s Evelyn Waugh’s “Brideshead Revisited.” We loved the series and have watched it several times. I seem to recall that the opening line of the series was spoken by Charles Rider, played by the actor Jeremy Irons (one had no idea of who he was at the time in the states) saying off camera, “I knew Sebastian by sight long before I met him. That was unavoidable for, from his first week, he was the most conspicuous man of his year by reason of his beauty, which was arresting, and his eccentricities of behaviour, which seemed to know no bounds… I was struck less by his looks than by the fact that he was carrying a large teddy-bear”.” It should be fun hearing Sebastian talk about his teddy bear Aloysius, “If it could only be like this always – always summer, always alone, the fruit always ripe and Aloysius in a good temper…” Love both of these lines but I wish the second one could be true most of the time. I, also, love all the adventures Sebastian had with Charles at Cambridge together. Then there is Sebastian’s family, the mother was almost impossible to take to heart and overly pompous in her religiosity and the same of brother Bridie, what a bore.

It was easy to love Sebastian’s sisters Cordelia and Julia, and spending time at Brideshead, the Flyte homestead, that was mostly marvelous in the beginning. And Sebastian’s father was a free spirit, who was accepting and had found love away from England in Italy, away from his wife and the mother of his children. When all starts going wrong, that I don’t like. Sebastian is my favorite and I don’t like that Waugh gives him such a bad turn. It should still be exciting to have Scottie reading to us as I rest my head in her lap and stretch out the rest of my body on the sofa with a throw over me, our cats Patrick, Toker and Sparky curled up on top of the sofa with us, and a fire roaring in the fireplace. Quite the romantic and cozy scene. Add to that some Schubert or Rachmaninoff playing in the background or Michael Hoppe and the sweetness of the spiritually uplifting flute and the peaceful serenity the music induces inside one’s soul.

I’d say thanks for listening. In a way you are, at least in my head. Annie, that does help me make it through, believing that you are there for me. Maybe after this letter you might not want to deal with someone who has been so damaged. It isn’t easy to be around that shit I wrote about. It’s in my psyche and I hate having to remember. I don’t often. My defense mechanisms are like iron vaults. They lock up the darkness as best they can but there is always the sneakiness of memories. They don’t like being trapped in any containment. They have no idea they are so destructive to me. All they want is their freedom. Being creative helps to release them in a way that I have more control over them but one doesn’t have control over one’s nightmares unfortunately. They sneak out through all those symbols in the unconscious, thank you Carl Jung, that collective unconscious that manifests its self by bringing back the dead to haunt me, so that I will be forced to remember, even if it is in code. Eventually, the code is broken and the symbols are understood. They must be. It is the only way to work things out and be rid of their hold on me. Out, out damned nightmares. I may joke but I want my dignity back and my honour and innocence.

Annie, this is what you would have to look forward to if you decide to accept the challenge to be my analyst. I so hope you will. Please don’t turn away from me now. I can feel my insecurities are already starting to grow. There is nobody I am able to turn to who will help me. I’ve tried so many therapists and analysts. I need help. There isn’t much time. My strength is weakening. I feel suicidal so often. Holding back the dam from breaking just won’t work much longer. With all my heart, I am asking you sincerely to please help me.

Sorry for such intensity. I am not able to help myself. It is part of who I am. All I want to say now in finishing this letter is to wish you a great holiday vacation. I hope it’s wonderful spending time with your family. I look forward to seeing you after the first of the year. It will be hard to make it through that long. I will work on being creative. My new screenplay needs working on for Scottie to begin setting up her method of attack. She’s beginning casting after the New Year. The casting department at the studio have lined up actors for auditions after the holidays. So I am under pressure to have something decent for them to read in their try-outs. Plus I want to work are some of my computer art. That should capture my full attention.

I look forward to seeing you the second Tuesday of the New Year. Bye for now. Next week is New Year’s Day. I hope I haven’t totally freaked you out as much as I have myself. “Like madness is the glory of this life.” — Shakespeare-The Timon of Athens

Quite Fondly,
Madisonsilver divider between paragraphsletters-divider for sections of books-heart echosilver divider between paragraphsTo Annie,

I write these letters in the strictest of confidence. I am not trying to be a coward, but I feel if I don’t hold back now and never send these letters to you, then I am freeing myself up to write whatever I need without any censorship. There will be secrecy to protect you, Annie, and to protect myself. But I also want to record the development of our relationship as it truly happens. At least, in the way it appears in my own mind.

I want you to trust me, Annie. I am freer writing to you this way. If I know I will not be sending these letters to you. I will be more honest with what words I use and feelings I express. I will know I am not hiding anything from coming to the surface. It frees up my libido. I will keep my letters confidential. On my honour, no others shall see these pages, I promise you that.

Fondly,
Madisonsilver divider between paragraphsletters-divider for sections of books-heart echosilver divider between paragraphs

Annie Haskell --- Madison Tayler's Psychoanalyst's Office

Madison Tayler’s Fantasy of Annie Haskell’s Office as a Psychoanalyst. Not real.silver divider between paragraphsletters-divider for sections of books-heart echosilver divider between paragraphs

Maksim — Somewhere In Time — Theme Song For “Letters of Import: Private Writings to a Psychoanalyst”

silver divider between paragraphsThis is the poem I would like to include in this letter. I like to leave a poem if I find one that I would like to share with you. Since I am not even sure if I am going to give these letters to you, I felt it is okay if I include a poem within these letters. And if some day, I change my mind and I hand my building collection of letters to you, then I will likely evaluate all that I have written to determine if all of the content feels acceptable to me to share openly with you. I may feel too shy to be so vulnerable. We will proceed as we have for now and see this as a way of recording the experience of getting to know you and in turn get to know how this all effects me as I record this experience in writing.silver divider between paragraphsNo Healing But Time
By Madison Taylor
Dec. 23th, 2007

No healing but time.
Even that is a projected hallucination.
Feeling a hold on what is real.
Moments creep in and change things up.
Waiting for time to pass so the pain will stop.
Losing control.
Not able to control the intensity
hurting the flesh
corrupting the instrument of the mind
controls the dam from overflowing.
Tear everything apart
to stop the insanity of waiting
from circling the brain.
The madness takes over
rips it all apart so it becomes bearable.
Eventually, the torture subsides
is replaced with a more acceptable level.
The waiting feels less maddening
the feelings brought down
to a more manageable level.
But the waiting still exists.
The pain remains.
The intensity is spread out
to a bearable diversion of acceptance.
There still exists time between the madness
and the satisfaction
the pain will be subdued
to a reasonable state bearable
to only the divinely mad.
Losing control sometimes
is the only acceptable answer
to certain situations.
Healing needs to be done
only in a way that allows
for all possibilities of acceptance.

© madison taylor 2007silver divider between paragraphsletters-divider for sections of books-heart echosilver divider between paragraphs

Queen — Who Wants To Live Forever — Theme Song #13 For “Letters of Import: Miss Seeing You-Difficult 13silver divider between paragraphs

labyrinth of a wandering wonderland

the labyrinth called “wandering wonderland.” it is where madison, scottie and their cats loves to escape to

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madison's woods of imagination where she takes long walks to reflect

madison’s “woods of imagination” where she takes long walks to reflect. it is starts just past the labyrinth

silver divider between paragraphsLE CHATEAU DE ROCHER
le chateau de rocher by j. kiley (c) jennifer kiley 2013   824x552

le chateau de rocher is the home of madison and scottie & their three cats sparky toker & patrick

silver divider between paragraphsglass enclosed pool le chateau de rochersilver divider between paragraphsfamily gathering place and hangoutsilver divider between paragraphs
madison's study/library  640x480

madison’s study/library

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scottie's study library

scottie’s study library

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front foyer and staircase  812x612

front foyer and staircase

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Maksim — Somewhere In Time (A New Version-with Quotations-of the Theme Song for “Letters of Import: Private Writings to a Psychoanalyst”silver divider between paragraphsQUOTATIONS from: LETTERS of IMPORT: Private Writings to a Psychoanalyst

“A Dream

The beginning always starts out with a dream.
It is all a dream
And we are all players
In our own nightmares”
— Madison Taylor

“For that fine madness still he did retain,
Which rightly should possess a poet’s brain.”
~Michael Drayton~
(1563-1631)

“Who ever loved that loved not at first sight?”
Christopher Marlowe for “Hero and Leander”

“A therapeutic relationship is often more psycho-emotionally intimate than a marriage, or a romantic attachment. I know things about my patients that they would never dream of revealing to their spouses or families. Why is that? One word — trust. If you do not have a connection with a therapist, you cannot trust them. If you do not have trust, you will not expose yourself, and if you do not expose your innermost being, what good is the therapy?” — unknown but ask any great therapist

“Men have called me mad, but the question is not yet settled, whether madness is or is not the loftiest intelligence…whether much that is glorious–whether all that is profound–does not spring from disease of thought…” — Edgar Allan Poesilver divider between paragraphsQUOTATIONS on MISSING YOU-DIFFICULT:

“I like to see people reunited, maybe that’s a silly thing, but what can I say, I like to see people run to each other, I like the kissing and the crying, I like the impatience, the stories that the mouth can’t tell fast enough, the ears that aren’t big enough, the eyes that can’t take in all of the change, I like the hugging, the bringing together, the end of missing someone.” ― Jonathan Safran Foer, Extremely Loud and Incredibly Close

“I had my chance.’ He said it, retiring from a lifetime of wanting. ‘I had my chance, and sometimes in life, there are no second chances. You look at what you have, not what you miss, and you move forward.” ― Jamie Ford, Hotel on the Corner of Bitter and Sweet

“All I can think about is what she must be doing, and how I wish she were still here.” ― Pittacus Lore, I Am Number Four

“Tamani smiled softly and lifted a hand to her face, tucking a strand of hair behind her ear and letting his thumb rest on her cheek. ‘Trust me, it’s no picnic missing you. I wouldn’t wish it on anyone.” ― Aprilynne Pike, Spells

“He tried to tell me week after week to accept things as they were and move on with my life. But if there was one man who had put his life on hold to wait for something or someone, it was him.” ― Cecelia Ahern, A Place Called Here

“Didn’t I say I’d always be your same stars? If you get to missing me, just look up.” ― Anne Rivers Siddons, Fault Lines

“Usually time alters and affects everything, but when someone you love dies time cannot change that, no amount of time will ever change that, so time stops having any meaning.” ― Rosamund Lupton, Sister

“I won’t let you have it. I won’t give you this moment. I won’t let you fill up this valuable organ…I own it. I won’t do it. I can’t think, I won’t think about it.” ― Coco J. Ginger

“…there remained a strange formality between them, and her pleasure in his presence felt too much like missing him had felt during the last week.” ― Robin McKinley, Pegasussilver divider between paragraphs

DrNanaPlum's Rhyme Corner.

Reblogged from On The Plum Tree:

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I love to write in childish rhyme. I really do it all the time. A Doctor and a Nana too, 'Tis ontheplumtree that I grew. And this is where I shall be writing, stories that are so exciting, by scribbling scribes ~ those authors who ~ love the child in me and you. But first I want to introduce ~ two books, I hope, will produce ~ excitement and a flitter flurry, of orders that will simply hurry, across the land and open sea, to read to children where they be, to stimulate imagination ~ and create a small sensation!

Read more… 242 more words

Love the opening Rhyme @DrNaNaPlum. Brilliantly clever. And the Rhymes in the books are delightful and will tickle a child's tummy causing giggling laughter. I find them brilliant. Do think seriously about discovering DrNaNaPlum's Rhyme Corner and the children's books that she offers there written by Niamh Clune and Illustrated by Marta Pelrine-Bacon. Thank you from Jk the secret keeper

Editor’s Corner: 101.2

Editor’s Corner: 101.2
Scribe smallElements of Style: A Guide to Wowing on the Literary Runway

Let us now praise little books.

Well, one particular little book.

I don’t know when I got my first copy of Strunk and White’s The Elements of Style. The fluid fiction of memory tells me it was in my distant tweeny past, around the time I decided to be a writer. That original volume, spine-cracked and finger-stained, has been swallowed by the years, replaced and swallowed again. And, no matter how many pages I’ve written myself or edited for others, time after time, I still take EofS’s current, dog-eared incarnation from the shelf and go back to basics.

For, like all art, writing begins as a craft and any craft takes time and work to learn well. Before we graduate to the swish-and-swirl aspects of literary style, to voice and hue, meter and pitch, we need to know our ABCs. Professor William Strunk Jr. was a master at teaching them, first to his charges at Cornell, and then – thanks to a savvy editor at Macmillan and former student E.B.White – to the rest of us.

With economic prose and extensive examples, Strunk lays out simple rules of usage, composition, and, yes, style. These are the elements we should all know inside and out; the foundation upon which we can build our literary/editorial bona fides. Granted, no rules or grammar books – even the best – are a substitute for original storytelling and compelling voice (we’ll get to that in future weeks), and inspiration, I’m afraid, is in the hands of the gods. Elements of Style will not make you a great writer. But it can make you a competent writer, a clean writer, someone who knows how to structure a sentence, to have subjects and objects harmonize, tenses agree, and pronouns cooperate with their antecedents. Someone who can recognize the difference between passive and active voice and knows that using ten-dollar words when fifty-cent ones will do just makes you sound pretentious as hell and pisses people off.

In short, studying EofS is homework for our craft. Do it well, and become a precise writer who can juggle words, sentences, whole paragraphs certain that, when they land on the page, they say exactly what you mean. Show the world that you take pride in your work, and, when you split your next infinitive, do it as conscious choice, not simply because you don’t know better.

So, go to your bookshelf – or favorite bookstore – take down that copy of The Elements of Style and dig in. (It is now available in e-book; you can even get a free version from Amazon’s Kindle Classics, sans E.B.’s lovely addendum.) There are far worse classrooms, I assure you.

50th

Next week, going beyond the elements for a closer look at style.

Good writing and Happy Pesach!

Latest Edition Published at MacKenzie’s Dragon’s Nest Every Tuesday
Latest Edition Published at Plum Tree Books on Facebook Every Tuesday
Latest Edition Reblogged at On The Plum Tree The Same Week Posted

Every Monday Starting June 3nd 2013 “the secret keeper” Will Be Posting Sequential Archived Posts of the “Editor’s Corner” by Shawn MacKENZIE.