I've lost the keys to my office.
'She's talking to that mirror again, farther?' says Misst Craddock. Father Cradock turns round slowly from the book he is eating and explains that it is just a face she is going through and they're all the same at that age.
Spiral Orb is an experiment in juxtaposition, interrelationships, and intertextuality—a cross-pollination. This opening poem composts fragments from each of the pieces in Spiral Orb Three. Standing also as the table of contents, each line is embedded with a hyperlink to its original poem. Once at each poem, you will find links to the other poems in Spiral Orb Three.Oh yes. This is what that poem could have been.
Wallace wrote a 1000-page novel in part in the smug assumption that such an act would protect him from any accusation of laziness – and yet he was the laziest American author since Sydney Sheldon. In writing as in life, laziness isn’t defined by how little you do – it’s defined by how much you’re willing to do to avoid work. Wallace buried his editors and publishers with hundreds of pages of ‘notes’ and ‘clarifications,’ buried his books in hundreds and hundreds of pages of pointless verbiage, but he didn’t do any of that for the reasons he helped the literary world to craft. There was never any of the ‘tortured artist with so much to say‘ involved in all that over-production … it, all of it, every page of it, was produced in order to avoid doing the actual work of writing, the shaping of plot and character and action, the whittling and revising and precision that are supposed to separate the novelist from the tyro. That’s epic, Biblical laziness.even Wallace. Ouch. Sydney Sheldon. Double ouch.
And it prompts laziness in turn. McCarthy at one point is practically asleep at the keyboard when he writes, “The issues of emotion and agency remain central, but are incorporated into a larger argument about the possibility or otherwise of these things within contemporary fiction.” I’m not at all sure what any of that means, but I’d hazard a guess that “issues of emotion and agency” are central to pretty much every novel ever written. These are the kinds of things reviewers write when the grip of a celebrity season is upon them, and even Wallace deserves better.
Lighting was a big deal in the rooms. It was all about setting the mood for creativity. I turned most of the lights off. All was black except a glow over the flying-V mixing console. Once you blocked out all external stimuli and you were listening for endless hours, the space between the beats got bigger and bigger. You could hear inside the sounds all the way to their core.And I found myself nodding. Oh, yes. Sound studios are magical in a way editing studios aren't. Editing studios are noise and repetition, they're flicker and blindingness. There's no spotlight and then darkness. There's no awe.
We have been here before. Indira Gandhi’s early years were full of radical and populist posturing, and the mould that Anna Hazare fills is not necessarily the one that JP occupied (despite the commentary that repeatedly invokes JP). Perhaps we should be reminded of the man who was fondly spoken of as ‘Sarkari Sant’ – Vinoba Bhave. Bhave lent his considerable moral stature to the defence of the Internal Emergency (which, of course, dressed itself up in the colour of anti-corruption, anti-black marketeering rhetoric, to neutralize the anti-corruption thrust of the disaffection against Indira Gandhi’s regime). And while we are thinking about parallels in other times, let us not forget a parallel in another time and another place. Let us not forget the example of how Mao’s helmsmanship of the ‘cultural revolution’ skilfully orchestrated popular discontent against the ruling dispensation to strengthen the same ruling dispensation in China.
These are early days, but Anna Hazare may finally go down in history as the man who - perhaps against his own instincts and interests – (I am not disputing his moral uprightness here) - sanctified the entire spectrum of Indian politics by offering it the cosmetic cloak of the provisions of the draft Jan Lokpal Bill. The current UPA regime, like the NDA regime before it, has perfected the art of being the designer of its own opposition. The method is brilliant and imaginative. First, preside over profound corruption, then, utilise the public discontent against corruption to create a situation where the ruling dispensation can be seen as the source of the most sympathetic and sensitive response, while doing nothing, simultaneously, to challenge the abuse of power at a structural level.