This month I want to talk about Techniques for getting at TRUTH. Which the Realist and Naturalist Movements were both working on. They were trying to write in a way that reflected Real Life, and depict the struggles of Real People, without the overly fanciful flights of Romanticism or some of the Over Idealisations of the Enlightenment. Many times they were harsh in their depictions, and they had their characters fall into troubles that they claimed were justified by scientific theories, rough chance, ‘the way things are’, or other deterministic equations that reflected the face of reality as it presented itself to their increasingly modernistic minds.
It seems, we’re all doomed in the end to a negative fate. But art, I think, is about knowing the world as it really is, and accepting it for what it is, and fighting anyway. And still putting up a damned good resistance. Art, is about not giving into the inevitable. There’s a bit of madness in the artist, always.
The Realist and Naturalist movements are semi-reactionary movements against Hegel’s philosophy, and his idea that History is progressing towards some positive, absolute good, and that the mind works with reality to create an ideal. For a brief moment it seemed the world might make sense. But the vision falls from such sublime heights into the chaos of fractured ideas about how to make the world ‘better.’
It reminds me of the 1960’s in our more recent cultural history and how the 70’s turned all those great ideals of revolution and peace back on themselves and end up turning everything into marketing and money and jeans ads and from LSD mind expansion and garage rock to cocaine and… Disco.
In the Sixties a lot of writers were experimenting with Fiction and Non-Fiction blends and cross-overs, from Norman Mailer’s ‘The Armies of the Night’, billed as “History as a Novel / The Novel as History”, to Hunter S. Thompson writing ‘Gonzo Journalism’. Going back to the Realists and Naturalists, they took a first step in this direction by no longer making fiction only about Kings and Queens and the Aristocratic Elites, but starting to write about the lower classes, and everyday people, to say that their lives were just as important and full of meaning. That class war in who cuts muster as SUBJECT seems to me to march onward to find itself engaging on the same battlefield in the battle of IS THE TRUTH OF THE SUBJECT worthy of the SAME REGARD AS THE TRUTH OF SO CALLED ‘OBJECTIVITY’. Though, again, that way traverses into MADNESS TERRITORY. Off the edge of the known map, where they mark the unknown, non-terra-firma “HERE THAR BE MONSTERS!”
These are the realms the poet makes their home when they decide to tell their story, though! That is written invisibly on every blank page: “Here thar be monsters!” – Is it not? And the best tools at our disposal for cutting through the jungle are both machete-like, AND mystical. The things that give us the raw energy to attack the page, to hold back our fear and refill the inkwell with subconscious hutzpah, whether it is a writing group that lets you be yourself, the help of the whole community of art and the books you give your faith to daily, as a reader and fellow, and the sheer willpower to tell your story. And also, those divination techniques that free the muse, from the use of tarot cards, or the ‘Cut-Up Technique’, or Dream Journaling, regular journaling, 10 minute writing exercises, all those things that let you get a word in edgewise and continue beating down the blankness of the page. Truth is cumulative, and spreads like fire, fed. The more you add to it, the more it grows strong, and has a hunger for more of itself. But we also must find ways to stay connected to it. To not have those days where we feel disconnected from what we have created, or fall into imposter syndromes from all that we have already accomplished. We need to practice self-gratitude and appreciation for what we have and who we are, then. And this grows with the strength of our voice!
So, this month, let’s start a discussion about both TRUTH and FACT. From the SUBJECTIVE portion, where we spark those flames, and throw our oxygen, and fuel (our sweat, hard work, and will) at the goals we set for ourselves… The things we see behind our eyes, the dreams we envision… to the OBJECTIVE side- The things that for one, we can never know, but only interpret, and yet, keep nagging at us, for they seem to never live up to what we hope to receive. The appreciation and acceptance we want from the world, the publications we want to achieve, the finished book we want to hold in our hands finally. — The history that we remember and want to try to remember in a sharper, clearer way; to make into our truth, that may hurt us to remember. The harshness of that bright reality that makes it hard to try sometimes, which we keep trying to turn into productive days. To be worthy of our own dreams.
QUESTIONS / PROMPTS FOR FEBRUARY:
- Is my writing an experiment where I am trying to learn something, to test a hypothesis, to figure out a thought while I write?
- Or do I want to present my writing like a magic trick where all the hard work goes on behind the scenes, and I make the telling seem effortless, and all the reader sees is rabbit popping up from the hat, where there was no rabbit before? Will I eventually strive to hide the mechanism?
- What is the benefit of each of these types of writing?
- It is very important to write on the ‘in-between’ days, when you are working through something, but don’t feel like ‘talking about’ it. Because the thoughts that are churning in your head, happen to be the very conflict of the story, of your personal/character dillema being thought through. Try to at least make a few notes on these days, so that you can flesh out the thoughts that are at the heart of where your story goes through tough changes! You don’t go from point a to point b without a ½ ? Know what I mean?