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Terreson Profile
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Open Faces, Opening Places ( an explanation)


Here is the game. I have an old novel in hard copy only. Actually, it is also on a disk, but so many generations back the computer language does not translate forward. I've decided to get it into a Word doc. My printer has a scanner. I could import the thing with it. But I've decided to proceed the hard way by typing the novel into a document. I know myself well enough to know that by doing so I will edit, refine, fine, and excise words.

The board is very slow. By way of piqueing interest, I hope, while committing the novel to a document I am going to post it here in installments. Each successive thread will constitute a chapter. Open Faces One, Open Faces Two, etc. Each thread, however, will proceed incrementally, maybe five or so pages at a time, which is all I can tackle in a sitting. Here goes.

Tere
Dec/18/2010, 6:28 pm Link to this post Send Email to Terreson   Send PM to Terreson
 
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Re: Open Faces, Opening Places ( an explanation)


Tere,

I read the first installment of Open Faces but didn't want to comment there and fracture the thread.

Just to let you know I'm on board and enjoying the ride.

Chris
Dec/19/2010, 8:44 am Link to this post Send Email to Christine98   Send PM to Christine98
 
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Re: Open Faces, Opening Places ( an explanation)


Hi Tere,

Following Chris' lead and posting in this thread. Love the way you have captured childhood memories in the paragraph that begins: "A watery home."

I can see already you have a luxurious, leisurely prose style, which I think will lend itself well to the "installment plan" of unwrapping.

Question about the making of this novel: Was it written as described in dark corners of various bars?
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Re: Open Faces, Opening Places ( an explanation)


Hi folks and thank you. For reading and for commenting. I would not mind comments interspersed between the installments. But I appreciate the consideration you both show. So either way is fine by me, commenting here or in the novel threads.

More than once, Kat, the childhood memory mention has almost been taken out. But it is true. Bars and restaurants were part and parcel of my childhood. In a sense the memory establishes the narrator's authority on the subject. He knows the environment well, perhaps too much so.

As for your question I spent something in the neighborhood of fifteen years journal writing in bars, restaurants, and cafes. This was back in the early days. An odd habit, perhaps, but it worked. The Russian author, Gogol, is said to have done the same in Italy. But in the case of the novel I cheated. For almost two years I nightly visited a place the novel calls Tara's Place. Bar's real name was Scarlet O'Hara's. Actual writing was done at home in the daylight hours. A good day produced at most a paragraph. Most days amounted to two or three sentences. So if the prose comes through as leisurely I guess it is the product of much work. Funny. As I thought might happen typing it out again, all these years later, is resulting in a whole lot of crossed out words.

And Chris I do hope you enjoy the ride.

Almost forgot. I am putting the novel here because, by now, serious crit would not be of much help. Mostly I am hoping to entertain. But I am open to comments, questions, of any nature.

Tere

Last edited by Terreson, Dec/19/2010, 1:52 pm
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Re: Open Faces, Opening Places ( an explanation)


Man, I sure hope someone is reading the narrative. Up to chapter two and I had forgotten what it predicted in the relatively peaceful year of 1986. Seems I saw on a T.V. screen a pretty nasty near future for America.

Tere
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Re: Open Faces, Opening Places ( an explanation)


Following along, Tere. I remember a sense of things shifting--and not for the better in the 80's. Maybe our lives will encompass one full swing of the pendulum. Who knows?

Chris
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Terreson Profile
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Re: Open Faces, Opening Places ( an explanation)


Yeah, Chris. That is how it seems to me too. Can't say as I was consciously aware of it at the time. Maybe only on a cellular, molecular, or neuron level. I guess my metaphor for the shift is in those ghostly hooves clopping through the room. Will you and I witness a pendulum swing? We don't much talk politics here, not in their specifics. But I am not encouraged by the way things are going.

Anyway, chapter three is coming up, have started in on it. Things in Tara's Place are starting to cook.

Tere
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Re: Open Faces, Opening Places ( an explanation)


Tere,

I've used this post-holiday, pre-snowstorm knuckle of time to catch up on your entries so far. You mentioned in another thread that "It is not an action based story," and I'm beginning to see what you meant by citing that comment. This is much more of a mood piece, a character piece. The action and even the dialogue comes through indirectly. As the result of the shifts in tense you employ and because the story is not action based, one thing that comes across is the fluidity of time. The past and present merge and emerge, or so it seems to me.
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Terreson Profile
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Re: Open Faces, Opening Places ( an explanation)


Kat, I've said before you are quite a good reader. Temporal swings you pick up on have been deliberate from the beginning. I've always hated the notion, finding it an artifial sorting system used in story telling, there is a concrete, categorical distinction between past and present. In my view the tenses, I'll include the future too, participate in each other's territory co-equally, co-responsibly, slipping in and out, every tense predicative of the others. I wanted more nuance with the novel, which nuance strikes me as closer to the truth of how we actually experience time.

But the novel is less action based in another way too. You'll see. It becomes like a private investigation into rock n roll motive(s) Damn near an anthropological expedition into a certain way of living. You'll see. Things wind up getting dirty and compromising. How else could I have truthfully told the story? Thanks.

Tere
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Yes, I wanted to say past, present and future, but I wasn't sure if or how much the future comes into play in your novel. Makes sense to me though that you would include it. The very act of reading, especially on the installment plan, implies th future: "You'll see" indeed.
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Re: Open Faces, Opening Places ( an explanation)


Man, I am so back into the story! I had forgotten just how ambitious it is. I've wondered about, but never actually tallied, the number of characters, most of whom have a cameo appearance, the story draws on. Maybe twenty or so. Maybe thirty. Hugh, Sean, Dennis have made their intro. Melissa, well then there is Melissa, makes her first appearance midway through. And the music that more and more takes center stage.

Tere
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Okay. Chapter three is posted. It is the novel's last easy chapter. I remember deciding to ease into the story. With the next chapter things take a decided turn. Character portraits start adding up, music increasingly takes center stage, chapters get longer, and then the darker side of this world I observed for two years, then nominally fictionalized. Not sure I'll ever make another novel. Even the memory of what went into this one is draining. Again it is like Pascal said: "The heart has reasons reason cannot understand."

Tere
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Re: Open Faces, Opening Places ( an explanation)


Just read your latest, Tere. Particularly liked the father/daughter interlude. I think these first chapters have set a tone and pace--so I'm acquainted with the story teller even as the plot thickens

Keep 'em coming, Tere.

And Happy New Year emoticon emoticon emoticon emoticon

Chris
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Thanks, Chris. I do hope you are enjoying it.

Tere
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Re: Open Faces, Opening Places ( an explanation)


At the expense of anticipating the story, but also offered up as a tease, I found something to share. Hugh the great sailor man had a sailing ship. It is called the Lord Jim. I say is, not was, because the schooner, three masted, is a real boat. Hugh owned it in the eighties. I gather she ran on the rocks somewhere off the coast of Brazil about three years ago. The Lord Jim is famous among sailors. Built in 1936 she is one of three sister ships built by the same shipyard, possibly in Germany. She has circumnavigated the world at least four times. She tends to get included in any coffee table book on famous sailing yachts. Readers will meet her before story's end. But here is a sneak preview.

Tere

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(later) Just read the above blog. Kind of fun reading. It seems the schooner pictured is not the same Lord Jim I knew. Reading down I discover the one I knew, the original built in '36. St Augustine FL is mentioned, which is where I wrote the novel and where she was docked. Hugh is mentioned as her owner in the mid 80s. The drug bust is also mentioned but some of the facts are wrong. It seems she went down off the coast of South Africa sometime in the late 90s.

Last edited by Terreson, Jan/2/2011, 2:43 am
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Hi Tere,

Like Chris, I am caught up on the latest installment and starting to feel familiar/comfortable with the story teller's way of telling the tale. Interesting info about the Lord Jim. Sad to see she went down in the 90's though.
Jan/2/2011, 1:35 pm Link to this post Send Email to Katlin   Send PM to Katlin
 
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Yeah, Kat. I was wanting to find a different sort or report on the Lord Jim. You'll end up meeting her the way I saw her, walked her boards, back in the 80s. I saw her at her dillapidated worst and she was still fine on the eyes.

So, my chance reader, first installment of Open Faces 4 is up. I just cut out 2 full pages, which was damn hard to do. I am going by something Camus said. Every novel is a marriage of idea (philosophy) with narrative. When the idea(s) imbalance the narrative line it is no longer a novel. Anyway, be prepared for one dark night of the soul. I meant it in Chapter One when I paraphrased Dante.

Tere
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My apologies, board buddies. I had planned to post installments of the novel this weekend. But the Tucson incident has me down and distracted. I'll be back to the story soon.

Tere
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Two more installments posted. Tomorrow is a legal holiday. Maybe I can get a third up. Damn hard revisiting all this stuff. Partly truth, partly fiction. But even the fiction brings back a certain environment. I think that is what you call verisimilitude.

Tere
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Re: Open Faces, Opening Places ( an explanation)


Hi Tere,

I can see why this would be hard to revisit. Despite the foreshadowing, the latest installments were quite a jolt. I know he was blasted and booed for Iron John, but I can't help thinking of Bly's claim that what is missing in our society is some sort of authentic initiation rites. Reading your story, I am beginning to make a connection between rock n roll and shamanic trance rituals. Kind of sketchy on the details but that's what my instinct tells me.

He had been wondering about a young woman’s side of a story at least as old as that pleasure poet of old town Rome who shamelessly set himself to mapping out most of the regions of love and hate; and who, like Ian, was singly overthrown by a another slender waisted river girl.

Ah, how serendipitous. Catullus, right? Without Seneca's translations, I wouldn't have picked up on this.

(A very minor note of caution, which I hope you will not find out of line, be aware of your use of words like always, never, still and just. The bones of this are so strong that I don't think you need to overemphasize certain things, although I do understand that repetition is being used to create a holographic, swirling, twirling, continuous present-tense representation of those times. Just my 2 cents, as always, to use or to refuse.)

Good cliff-hanger place to stop the latest installment, btw. Some damn fine writing here, Tere. I'm hooked. I hope you do get to post the next section today. emoticon
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Terreson Profile
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Re: Open Faces, Opening Places ( an explanation)


Kat, they say timing is everything. I very much appreciate the encouragement today. As mentioned before I am not only typing out the text but revisiting every word, every article, verb and tense. The text is getting a thorough scrubbing. And so it is slow going.

About your instinct, it is a good instinct. I think I can say this without giving too much away. The novel's intention way back when was to chase down the Dionysian, viewed as a way of life, as opposed to the Apollonian insistence on, say, law and order. Here the rules of sunny side logic do not apply. It's how I came to view rock n roll and all of its related sister genres like Country n Western, the Blues, Soul. Here procedural rules are entirely in the provenance of the emotions and everything the emotions open up. Not a particularly safe way to go. And exactly so. Without the right initiation into these darker places the uninitiated is lost, usually to his own devices. You'll see. It is not by accident that the main of the story is set in the night and in an R and B roadhouse.

And how fun, huh? I had forgotten how the story makes change on Catullus and Lesbia. Mention is slight, meant more as a sign post or milage marker, so to speak. But I hope the intention comes through. Songs of love and hate, as much part and parcel of rock n roll as it was of poetry written over 2,000 years ago. So many other examples through time I could have given of the same insistence. But then the narrative would have started to read like a monograph. It was damn hard having to stick to the rules of story telling when what I wanted to do was place rock n roll, viewed as a cultural expression, on a chart and on a time line going back into the furtherest recesses of the human story.

About your cautionary note, point taken. I'll keep looking to strike the right balance.

I ask myself why the hell am I doing this anyway, coming back to this thing? Answers are several. I think the story is important. I want to get it, effectively, right. And I know I am a better writer, a better wordsmith, than I was in the mid-80s.

Now back to Lisa. A type of young woman I met with frequency in an R and B setting.

Tere
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And how fun, huh? I had forgotten how the story makes change on Catullus and Lesbia. Mention is slight, meant more as a sign post or milage marker, so to speak. But I hope the intention comes through. Songs of love and hate, as much part and parcel of rock n roll as it was of poetry written over 2,000 years ago. So many other examples through time I could have given of the same insistence. But then the narrative would have started to read like a monograph. It was damn hard having to stick to the rules of story telling when what I wanted to do was place rock n roll, viewed as a cultural expression, on a chart and on a time line going back into the furtherest recesses of the human story.

Tere,

It would be cool to see that time line, but I understand why you couldn't include all the examples that sprang to mind, just enough to operate as sign posts and mile markers. You've got me wondering if you had read Campbell by the time you wrote this novel? Seems you must have been familiar with "the hero with a thousand faces" in order to make the connections. You mention the Dionysian and the emotions, which of course means the body. "Not a particularly safe way to go." It's also the mystic's way if I'm not mistaken.
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Terreson Profile
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Good question, Kat. I get why you ask it. It would be another three years before I immersed myself in Campbell, which reading only confirmed what I had for long suspected. I don't know but I suspect that making the novel, getting into the story going on all around me, rather opened me up to a certain perspective. Viewed from one angle, the musical form viewed as a way of life was peopled by satyrs and nymphs as animal/elemental as they were human, maybe more so.

And yes indeed it is also true of the mystic's way, the ecstatic's at least. Such maybe is how things are when in the precincts of the Dionysian.

Tere

Last edited by Terreson, Jan/19/2011, 7:18 pm
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Okay. Two more installments made today. Chapter 4 complete. 5 to come.

Tere
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I hesitate to mention this as it is kind of personal. But the detached part of me finds the circumstance interesting. Twice now while copying out the novel I've lost my cookies. I guess as the song line goes: this sure brings up the ghosts. Of course, it is a different matter whether or not the story is any good.

Tere
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Hi Tere,

Finished reading Chapter 4 today. The first thought that came to mind was, "Primal scream." Not the old form of therapy, per se, although that too, but the bedrock rawness of it all.

"Viewed from one angle, the musical form viewed as a way of life was peopled by satyrs and nymphs as animal/elemental as they were human, maybe more so."

What some in other cultures might call genies and jinns.

Sorry to hear that revisiting the ghosts is making you ill. My chiropractor refers to something called retracing, when the body re-experiences old symptoms before finally releasing them. I hope copying and posting the novel will prove cathartic for you.
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Terreson Profile
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Good comments, Kat, and thanks. Primal scream works for me. Keep an eye on Hugh. Eventually you'll get to a thing about him explaining him. Hell, keep an eye on most of my characters. Character development was so deliberate and slow.

Funny thing about the physical, somatic reaction to an old story. The observor in me is fascinated by it. What was it Joyce said? "History is a nightmare from which I am still trying to awaken."

Tere
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Okay. First installment of chapter five is up. Ladies and gentlemen, it is with pleasure I introduce you to the great Sag Boody. Next to Hugh, one of my more colorful literary inventions, which, of course is a lie. Both are portraits drawn from real-time models. Still, had I not met them I would have had to create them.

And again I had forgotten all of this. That is to say, remembered in the schematic but not in the texture. Hell, I am back in that bar, back in that town, back on the manic depressive side of living by the emotions.

Tere
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Hi Tere, I have just made my first acquaintance with Sag Boody.

Thinking about it, thinking about how it will probably be again when Sag Boody sings to them from the stage, Richard is hard pressed to see what else there might be in a mythical belief, except for this dream reality where all the senses get quickened, satisfied, and set yearning simultaneously. And where all the inside places where all the senses lead are opened up, made to feel new. Maybe it is a notion that can have nothing to do with anything, except for a summerhaven dream. The place where Hugh had wanted to get to when he said he could think of nothing more glorious than a song. But it is also the same notion that has kept them going, all the rock n rollers in a rock n roll age, in spite of an unfriendly order of things still wanting to reduce them to a digit in someone’s number game, a pawn in the hands of another power broker, or a cog in a not so metaphorical machine. It is also what keeps them coming back to places like Tara’s.

Reading this, I was reminded by something I read earlier this afternoon in an essay by Katie Ford:

In addition to teaching us about the secondary emotional effects, William James discusses, in his epic work of 1890, bi]The Principles of Psychology, what he calls "the subtler emotions" evoked by art:

"In listening to poetry, drama, or heroic narrative we are often surprised at the cutaneous shiver which like a sudden wave flows over us, and at the heart-swelling and the lachrymal effusions that unexpectedly catch us at intervals. In listening to music the same is even more strikingly true."

Images—here James discusses the images we see and hear in the arts—have physiological effects; of this there is no doubt, James says. In other words, art works on the body, not only on what we call the emotions, whatever those may be. James' theory of emotion, in short form, is this: the body is changed in response to "an exciting fact," and the emotion follows the physiological change. Prior to James, it was long held that just the opposite was true—that we have an emotional response to an "exciting fact," and then our bodies respond to our emotions. We are sad and then we cry, for instance. No, James said, we are sad because we cry. Our bodies change at the sight, sound, taste, smell or tactile sensation of something, and then emotion arises. We are happy because we laugh. We are scared because our bodies are fleeing.

James' theory has excited criticism, as all radical theories do, yet neurologists, scientists, and theorists today acknowledge there is something true in what James wrote. Emily Dickinson knew this, too. "If I feel physically as if the top of my head were taken off," she said. "I know that it is poetry."

Change me physiologically, and I will listen to you. Art works on the body, James says.


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Perhaps the secret appeal of rock n roll is the secret appeal of art in general as James described it: Keep the body alive, keep the emotions alive because so much of life can be deadening and deadly.
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Terreson Profile
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Damn, Kat. I've read your post twice, then mulled over it for I guess a half hour or so. Which came first? The music of R n R that clearly blew the tops off many a head or the capacity, even the predisposition, for responding to everything the music and lyric poetry flushed out? Not sure I know. A part of me says the music came first, music designed to speak to what can only be described as manic depressive behavior, just another label for living by the emotions. Another part of me says the emotional capacity came first, and out of which the music and the lyric poetry sprouted. If the second is the case then maybe the audience created the music, not the music makers themselves. Provisionally, I view the matter dialectically. Yes. Without the music there wouldn't have been the same depth of the emotional experience. Without the audience's, or the bar room's, emotional experience there would not have been the music.

Another installment up. Rocky Ridges is a hard chapter to revisit. It only gets harder.

Tere
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