Wednesday, July 15, 2009

Musical Wednesdays: "I Don't Expect a Southern Girl to Know the Northern Lights"


I just recently discovered the band Bowerbirds, and in that discovery I learned that I am behind the curve in listening to them. They apparently toured with John Vanderslice and the Mountain Goats while I wasn't looking. They're a North Carolina band, and there is something very Mid-Atlantic to Southern about their sound.
The first song I heard, "Northern Lights," is really blues/folk-inspired. Every time I hear the opening chords, I think it's going to be Ryan Adams. The song's lyrics (one line is the title of this post) are really simple and interesting: "I don't need you to catch my wandering mind," and later, "Yes I do need to know my place." The contrast between wandering and staying is reflected in the composition: there's a way they walk around the song, with the guitars and drums really settling into some notes and beats harder and for a longer time than others. It really reminds me of Bon Iver's "Skinny Love." They're a lot tougher-sounding than Bon Iver (well, sometimes. Sometimes Bon Iver really turns things up). There's also something in them that reminds me of Fleet Foxes, but again, I think their sound is a bit harder. Fleet Foxes seem to be more about the vocal arrangements and the sounds that the voices can make by layering and coming in at different points, whereas the Bowerbirds are more about the arrangement as a whole.
I would love to see them live, but apparently I just missed them in Philadelphia. Just missed them as in they were there last week. I need a better way to keep track of who is playing nearby. I want to go to more shows. I can't wait to see the Decemberists in August.

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Monday, July 13, 2009

Fiction Mondays: Big First Draft

Very exciting news: I finished the first draft of my novel last week. When I got to last chapters, I just couldn't stop, so one afternoon I wrote through to the end. 91,747 words. That will change as I edit; a lot will be added and subtracted, but I like that number. It seems like a good start, and it's definitely the longest thing I've ever written. And there are parts--I won't know this for sure until I start editing sometime next week, but I have a feeling--that are good. At some point in my non-editing, just-writing first draft, themes started emerging, sometimes out of necessity for the plot or the development of the characters. Things I pulled inspiration from suddenly made perfect sense. The characters got deeper and started surprising me, doing things that I didn't know they had in them. But once they did these things, it made perfect sense. It was really astounding, the way things started to line up from my refusal to step in and censor anything. I just wrote at least 1000 words every day until a first draft emerged, and soon I will edit.

I'm a little nervous for the first edit. I took a red pen to the story I posted here last week, and that took some time. Editing is much more difficult than a first draft, and there's a lot of story to get through. I can do it, but not yet. This week and next week are devoted to short stories. Making the necessary changes to "Bearing the Body," savagely editing "Appalachian Blues," and continuing "Twenty-Ten," which I want to enter in Esquire's Fiction contest. I haven't written anything about that here, but I will soon. I'm working on a story about a guy whose friend believes the world will end that year, based on something he saw on the History Channel. We'll see how it goes.

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Friday, July 10, 2009

Friday Films: Nikola Tesla, My Hero

I was going to post something else for Friday Films today, but I just learned that today is Nikola Tesla's birthday! As a way to commemorate him and have a film related post, I've decided to share this clip from Jim Jarmusch's Coffee And Cigarettes, in which Jack White shows Meg his Tesla coil.




Enjoy, and remember: whenever you plug something in, use your cellphone, or listen to the radio, thank Tesla.

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Wednesday, July 8, 2009

Musical Wednesdays: Wilco and A Call for Girl Groups

I think I'm going to make Wednesdays my days to post about music-related things. Since Tuesday is a day for new releases, it makes sense (in my mind) to talk about music the day after. This week, I'm going to kick it off by talking about one my perennial favorites, Wilco. They've just released their new, self-titled album, and unlike Sky Blue Sky, which took me a few listens to really get into, this one was an instant hit for me. I think it's pretty funny that this late into their career, they're releasing a self-titled LP, and it seems like Jeff Tweedy thinks it's funny, too. Why else would he include a song called "Wilco" on the album? That song reminds me of their old song (maybe one of the first I heard by them) "Radio Cure." It's Jeff Tweedy saying, "Are times tough? Wilco: good for what ails you."

As far as a review, it's kind of hard to say anything about Wilco that hasn't been said. If "Alt Country" is a genre, Wilco started it, and by constantly tweaking their sound but sticking close to everything their fans love about them, they've continued to be a respected, productive band. I think their ethos is almost as great as their music: they self-released their album, "Yankee Hotel Foxtrot," when a major label dropped them, and since then they've been touring and making new music. They understand, like record labels don't, that the days of musicians making a living purely off of royalties and selling records is probably over. That was the old way, when old, irrelevant rock stars got fat off of singles they recorded decades ago, before the internet changed the game. Wilco understands that you have to tour, you have to work on connecting to the fans, if you're going to be a successful artist. It works. They sell out every show they play, because they don't care if you download the album, as long as you're supporting the band.

Now, before I wrap this up, a request to anyone reading: I have an idea for a novel about a girl group in the late 1960s, somewhere between the Ronettes and Janis Joplin, and I need a soundtrack and more information on girl groups from this time period. Think the Marvelettes, or Martha and the Vandellas. The band in the novel will be influenced by them, but with an aesthetic more in line with the emergent (hippie) subculture. If anyone has any recommendations for girl groups from that era, the heyday of Motown, send it along to john.shortino (at) gmail.com.

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Monday, July 6, 2009

Fiction Mondays: A New Old Story

You may remember a few months ago, when I talked about a story I couldn't figure out, and eventually set aside. This week, in a few spare minutes, I returned to it and realized I knew how to end it. It was like seeing an old friend I hadn't realized I missed, and then finding out they bought a house and had grown up. When I took another look, I realized I liked the characters a lot, the dialogue was relatively strong, and the problem was, more than anything else, a structural issue. I didn't know where the parts of the story went, or how they fit together. I also think the title I had given it, which was "The Pooka" was forcing my mind to go on a certain path that the story didn't want to take. It was meeting resistance down that path, and I was trying to force it. Given that one of the central scenes of the story was a wake, I changed the title to "Bearing the Body" to see where that brought things. I suddenly clicked together: the narrative wanted to travel with the two main characters, to see the other things they experience in the day the story takes place. The protagonist, Isaac, is accompanying a man named Anthony who just received bad news around a series of errands, pulled along until he decides to be an active participant. There's still a bit of the idea of the pooka, a guiding spirit that leads the way, but by abandoning that title, I arrived at a more genuine sense of what the pooka is in the mythological sense: a creature that takes someone for a wild ride. Without forcing it, without realizing it even, the story is about just that. I'm going to post the new, improved beginning here.

When Isaac and Anthony got back in the car, they sat far apart in silence, as though they were each waiting for the other to speak first. Anthony reached into his pocket and took a piece of paper out. He handed it to his driver, Chuy and said, “First the bank, and then this address.” He reclined, shifting his weight so that he seemed to take up even more of the backseat, and Isaac slid over toward the door.
“It’s not contagious,” Anthony said. “You’re making me feel like I’m already dead.” Isaac wasn’t sure if it was a joke—even if it was, it wasn’t one he was ready to laugh at just yet.
“I’m sorry. I shouldn’t have come in there. I didn’t realize the doctor—“
“He got confused. I don’t know how he made that mistake. He should know I don’t have a son, and you don’t even look like me. Still, it’s not your fault.”
“I won’t tell anyone,” Isaac said. “I don’t even have anyone to tell.”
Anthony laughed, and said, “You could tell the newspaper, but I’d never publish the story. Can we eat? I barely had any breakfast.” Anthony tapped Chuy on the shoulder and said, “Take us to eat. I’d like a burrito, if that’s possible.”
“Of course, Mr. Colucci.” They pulled through a Taco Bell, and Anthony bought Isaac lunch. Watching Anthony Colucci eat was not so much like watching a meal; it was more like an attack, the larger man’s face ravaging whatever was in front of it. He wasn’t messy, just efficient: the burrito was gone before they got back to the highway. Isaac was almost ashamed of how slowly he pecked away at his two tacos, like he was rationing them to last the rest of the day.
At least after they both ate, Isaac finally felt that he was able to relax. They had both now acknowledged that it was the doctor’s mistake, and they had shared a meal, so they were both okay as long as they never mentioned it to anyone or each other again. He leaned back in his seat, a poor imitation of Anthony’s posture: when Anthony did it, leaning back in the chair was a demonstration of his power, a king showing how large his domain was. When Isaac leaned back, it only felt like he was shrinking. As they drove, he wondered what kind of bank a man like Anthony Colucci would go to. There weren’t many impressive banks around here, but there were a few rich people, like Anthony, who must have kept their money somewhere. Isaac was surprised when they pulled up to the same bank he used.
“I use this bank, too,” Isaac said. Anthony only looked across the seat toward him and shrugged.
“They’re all the same,” he said. “The only thing that matters is how much you’ve got in them.” He got out of the car and walked inside, leaving Isaac to sit in the car with Chuy. He stared outside and finally said, “So your name…that’s slang for Jesus, isn’t it?” Chuy looked in the rearview mirror as though deciding if he wanted to waste his time answering.
“It’s short for Jesús,” he said. Chuy seemed annoyed, so Isaac kept his mouth closed until he saw Anthony come out of the building, tucking a thick white envelope into his inside pocket. When Anthony got back in the car, he mumbled something to Chuy that Isaac couldn’t understand. It was strange that the sound would travel to Chuy in the front on the car but die before reaching Isaac, right across the backseat, but the driver must have heard, because he said, “Okay,” and put the car in gear. He said, “Okay” in a strange tone: it went up at the end, an incredulous agreement to some unknown whim of his employer.

So now I have a complete first draft. I'm going to go back and edit. Now that I've figured out the heart of the story and the structure, I'm happier with how it's turning out. There's also this sense of place linking a lot of my short stories lately, influenced by the area around me and all of the struggles and changes it's going through. I think,once I take a look at all of my stories taking place around the same area, I want to put together a collection of stories tentatively titled, "Appalachian Blues."

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Friday, July 3, 2009

Friday Films: Away We Go

Inspired by Practicing Writing, I'm going to try something new: different themes for different days. I'll try my best to do a Friday post on some kind of movie or movie-related thing, and then maybe a Monday and a Wednesday. Maybe they'll be alliterative, but probably not. Friday will be, so here we go: the first edition of "Friday Films."

I'm a really big fan of Dave Eggers. I've liked everything he's done since "A Heartbreaking Work of Staggering Genius." I don't know his wife, Vendela Vida's work as well, but the story I have read of hers, "Soleil," featured in The Book of Other People was good enough to make me want to seek out more of her writing. I also think Sam Mendes is a great director, so I was really excited to see the new movie "Away We Go," which Eggers and Vida wrote and Sam Mendes directed. It stars John Krasinski (Jim from "The Office") and Maya Rudolph (formerly of Saturday Night Live), and is a story about two individuals looking for a home. They're looking not only in the physical sense, but in what I guess you would call a spiritual sense, a place they belong, where they feel like they can do right by their unborn child. I read a few reviews of the movie which were less than kind, on Slate and in the Village Voice (that review was more of a personal attack on Dave Eggers than a real review, a personal attack that I don't think was well-deserved or fair to someone who seems, by all accounts, to really care about literature and fostering the written word), so I was nervous the movie would not live up to the stuff I've really loved, like "What is the What" and "How We Are Hungry." Luckily, I could not agree with those reviews less.

I like when a movie is unapologetically rooting for its main characters, despite their flaws and despite the fact that being sympathetic or sometimes sentimental is not always popular. I loved Pixar's "Up" for the exact same reason. So many movies are made, it seems, for little regard to the emotional core of their characters or their stories. They almost seem to believe they don't need those things, that visual effects or quirk alone will carry them along just fine. This is not to say that "Away We Go" did not have its fair share of "quirkiness": some of the supporting characters were a little over-the-top, but the moments that really resonated with me didn't have anything to do with those characters. What I was really invested in was the relationship between the main characters, and I think both actors, who are better-known for their comedic roles, went far beyond what I expected of them. There's a scene towards the end of the film where Maya Rudolph's character is telling a story about her childhood, and there was something so genuine about the dialogue and the way she spoke it that it really moved me.

There were a lot of funny moments in the movie, so I guess you could call it a romantic comedy. But it seems to be more in line with "Eternal Sunshine of the Spotless Mind," in that it is a romantic comedy that isn't afraid to explore darker themes and break out of the limits of that genre. It's a romantic comedy for grown-ups, even (maybe especially) if they happen to be grown-ups like myself, who are trying to find a place they belong, and are wondering how getting older and taking on new responsibilities will change them.

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Monday, June 15, 2009

Quitting My Day Job

I have decided to quit my day job (you know, the manual labor, frequently dangerous one) after two years of continuous fun and adventure. I will be joining the ranks of the tenuously employed: that's right, I will be a freelance writer. What does this change mean for you, the reader of this blog? Let's take a look:

1. More updates! Even if I don't have much to talk about--no, especially if I don't have much to talk about--I will come here and write. Like Edison once said*, "Necessity is the mother of invention."

2. More fiction! More time to write it, more time to read it.

3. Less exhaustion! More energy for going out and doing stuff means more stuff done. And this will be great for updates (see #1).

So that's all. Just letting you know. Also: first draft of the novel is in the home stretch. Taking some time after it's done to work on short stories.


*Edison probably didn't say this. I made that part up (see #2).

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