I haven't posted much in the last month or so, and I know it. I've mainly been dividing my in-front-of-a-keyboard time between AMN, work and The New Golden Age, and between those three things I'm often left without a lot to talk about. There's some other stuff going on that I'm not quite ready to talk about — some personal projects and things which once they're settled should be absolutely worth discussing — but again, right now really isn't the time for such things.
There's a saying, "The owl of Minerva flies at dusk," which seems to apply to what's going on here: sometimes the best way to really understand something is only after it's over and reflected on, and that's probably the best way to think about a couple of things that are taking place. (None of this is sinister or evil or anything like that; I'm probably just finding a particularly pretentious way to talk about something that, if done right, will turn out to be really nifty and well worth following up on.)
One thing I know I ought to do is empty out some of the music reviews that got stacked up; I sat down and wrote a ton of them in the space of a couple of days, and never got them cleaned up or formatted for presentation. Sometimes talking about a record I've loved for years is like talking about my front lawn: I see it every day, I know most every knoll in it, and to talk about it just seems like the purest act of redundancy imaginable. Hard thing, to get out of one's head, and see something else.
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Most of my writing work has been directed at New Golden Age, as I've mentioned, and two other projects have been back-burnered in favor of that. One was NaNo 2007, aka Vajra (which I might come back to first; it's a really interesting story, the more I think about it); the other is Tensai Kenki, which the more I think about it the less certain I feel about anything in it except the itch to do it.
I dug out the Big Book of Projects the other day — my scrapbook where I park possible story ideas and let them germinate — and was amazed at how far I'd drifted away from some of them. In my Mind, which I think I mentioned indirectly here and there, is draft-complete and has been for some time, but the story itself is just so far removed from anything I know I want to dwell in (or on) that I don't have the hear to go back and make it into anything readable. It was basically my homage to No Longer Human, and I think I even managed to alienate myself from it, it was that reader-unfriendly.
I've decided, perhaps belatedly, that I'm no longer interested in trying to subject the reader to an endurance test as some kind of proof that either I or they are "worthy". Writing Summerworld reawakened for me the kinds of stories I wanted to tell, and in what form — not gray little things about gray little people with gray little lives, but Technicolor and Dolby 7.1 sound and 1080p HD. And at the same time under the razzle-dazzle, a guiding sensibility about it all — in short, everything I pulled off with that book, I'd like to do again and again, albeit in different contexts.
I always do keep busy, don't I?
New York City
Other Lives Of The Mind