BREATHNAIGH

Pronounced bra-nug.
A tumblr from same dude as breathnaigh.org.

  1. When I write, I don’t feel like a craftsman influenced by earlier craftsmen who were themselves influenced by earlier craftsmen. I feel like a member of a single, large virtual community in which I have dynamic relationships with other members of the community, most of whom are no longer living. By means of what I write and how I write, I fight for my friends and I fight against my enemies. I want more readers to appreciate the glory of the 19th-century Russians; I’m indifferent to whether readers love James Joyce; and my work represents an active campaign against the values I dislike: sentimentality, weak narrative, overly lyrical prose, solipsism, self-indulgence, misogyny and other parochialisms, sterile game-playing, overt didacticism, moral simplicity, unnecessary difficulty, informational fetishes, and so on. Indeed, much of what might be called actual “influence” is negative: I don’t want to be like this writer or that writer.
    Jonathan Franzen in The Guardian, via Done to Death

  2. Sometimes the progress of man is so rapid that the desert reappears behind him. The woods stoop to give him a passage, and spring up again when he has passed. It is not uncommon in crossing the new States of the West to meet with deserted dwellings in the midst of the wilds; the traveller frequently discovers the vestiges of a log house in the most solitary retreats, which bear witness to the power, and no less to the inconstancy of man. In these abandoned fields, and over these ruins of a day, the primeval forest soon scatters a fresh vegetation, the beasts resume the haunts which were once their own, and Nature covers the traces of man’s path with branches and with flowers, which obliterate his evanescent track.

    —Alexis de Tocqueville, Democracy in America, via Ta-Nehisi Coates, via alexbaca

  3. Edward Gorey and a big stuffed bear.

    Edward Gorey and a big stuffed bear.

  4. But I think everyone now has the (largely mistaken) idea that they can write. Whether or not they have something to say….

    There seems to be a confusion of typing and writing. There always was (all those monkey-keyboard jokes that used to make the rounds), but now that EVERYONE types and has at least one keyboard with them at all times, the distinction seems blurrier than ever.

    Chronicle of Higher Education piece on beginning writers’ response to having their work edited.

    The pseudonymous editor who wrote this comes off as a little bitter in the way many editors seem to get, and there are a few generational generalizations that I bristled at (and I’m older than her targets). A few other sharp barbs in there, though, and a good amount of truth.

  5. Writers wear atrocious clothes when writing. So terrible that I have been asked, by the UPS man, “Are you all right?” An example: stretched-out pajama bottoms imprinted with cowboys on bucking broncos, paired with my husband’s red thermal undershirt (no guilt; he wouldn’t even wear such a thing in Alaska) and a vest leaking tufts of down, with a broken zipper and a rhinestone pin in the shape of pouting lips. Furry socks with embossed Minnie Mouse faces (the eyes having deteriorated in the wash) that clash with all of the above.
    Ann Beattie in “Mrs. Nixon: A Novelist Imagines a Life,” via The New Yorker.
  6. When we say that we love a writer’s work, we are always stretching the truth: what we really mean is that we love about half of it. Sometimes rather more than half, sometimes rather less. The vast presence of Joyce relies pretty well entirely on “Ulysses,” with a little help from “Dubliners.” You could jettison Kafka’s three attempts at full-length fiction (unfinished by him, and unfinished by us) without muffling the impact of his seismic originality. George Eliot gave us one readable book, which turned out to be the central Anglophone novel. Every page of Dickens contains a paragraph to warm to and a paragraph to veer back from. Coleridge wrote a total of two major poems (and collaborated on a third). Milton consists of “Paradise Lost.” Even my favorite writer, William Shakespeare, who usually eludes all mortal limitations, succumbs to this law. Run your eye down the contents page and feel the slackness of your urge to reread the comedies (“As You Like It” is not as we like it); and who would voluntarily curl up with “King John” or “Henry VI, Part III”?
    Martin Amis in the New Yorker.
  7. There are landscapes in which we feel above us not sky but space. Something larger, deeper than sky is sensed, is seen, although in such settings the sky itself is invariably immense. There is a place between the cerebrum and the stars where sky stops and space commences, and should we find ourselves on a particular prairie or mountaintop at a particular hour (the wispiest little pasta of cloud can spoil the effect), our relationship with sky thins and loosens while our connection to space becomes as solid as bone.
    Tom Robbins, Skinny Legs and All