Monday, June 9, 2014

"Nothing but individual talent mattered."



Like some sort of irritating, insane migratory bird (because this topic is sadly too persistent to be compared with locusts), the debate about whether x group should read y book type is back. The only saving grace of this tedious conversation is that it always makes me think of this bit in my favorite book. 

[Professor Lake] had been born in Ohio, had studied in Paris and Rome, had taught in Ecuador and Japan. He was a recognized art expert, and it puzzled people why, during the past ten winters, Lake chose to bury himself at St Bart's. While endowed with the morose temper of genius, he lacked originality and was aware of that lack; his own paintings always seemed beautifully clever imitations, although one could never quite tell whose manner he mimicked. His profound knowledge of innumerable techniques, his indifference to 'schools' and 'trends', his detestation of quacks, his conviction that there was no difference whatever between a genteel aquarelle of yesterday and, say, conventional neoplasticism or banal non-objectivism of today, and that nothing but individual talent mattered - these views made of him an unusual teacher. St Bart's was not particularly pleased either with Lake's methods or with their results, but kept him on because it was fashionable to have at least one distinguished freak on the staff. Among the many exhilarating things Lake taught was that the order of the solar spectrum is not a closed circle but a spiral of tints from cadmium red and oranges through a strontian yellow and a pale paradisal green to cobalt blues and violets, at which point the sequence does not grade into red again but passes into another spiral, which starts with a kind of lavender grey and goes on to Cinderella shades transcending human perception. He taught that there is no such thing as the Ashcan School or the Cache Cache School or the Cancan School. That the work of art created with string, stamps, a Leftist newspaper, and the droppings of doves is based on a series of dreary platitudes. That there is nothing more banal and more bourgeois than paranoia. That Dali is really Norman Rockwell's twin brother kidnapped by gipsies in babyhood. That Van Gogh is second-rate and Picasso supreme, despite his commercial foibles; and that if Degas could immortalize a caleche, why could not Victor Wind do the same to a motor car?
-Pnin by Vladimir Nabokov.
There are reasons for the pictures on my office door. This quote is one of them. 
"... which starts with a kind of lavender grey and goes on to Cinderella shades transcending human perception." 
What were we complaining about again? [Goes back to trying to be Professor Lake.]

Wednesday, June 4, 2014

#amediting, a soundtrack

Some books demand a musical accompaniment during the editing. And this was certainly the case for the book I'm finishing now, the sequel to E.K. Johnston's debut, The Story of Owen

The highlights:

(There was a great deal of Stan Rogers, whom I totally imagine as Siobhan's bardic forebearer.)





(And then there was a considerable amount of Glenn Gould. Because Canada and also because I always listen to Gould.)


(And then Kate introduced me to a couple new things from Canadian bands, including this, which is crazy moving.)

And there's one other, but it would be spoilery.

I have no idea what @carkneetoe listens to while she designs Kate's books, but I do know she's procuring a bugle for the photo shoot. I'm not sure if that will be easier than the sword from the first book.