Autor: Merriam A. Grain

  • Of manners, food and social standing in children literature

    delicious grazing table with cheeses and cold meats
    Photo by Angel Ayala on Pexels.com

    As a specialized field of study, children’s literature has its own set of works and texts that address food (although these works often build upon theorists like Barthes). One of the first articles to specifically discuss food in children’s literature is Wendy R. Katz’s aptly titled “Some Uses of Food in Children’s Literature.” The article, though humble in its claim, argues that “children’s literature is filled with food-related images, notions, and values” because if one “understand[s] the relations between the child and food…[one] understand[s] the workings of the world of the young” (192). More importantly, Katz discusses the place of food in the child’s “adjustment to the social order”––their acclimation to society–– or perhaps even the adult world (193). […]  As an integral part of reality, food fits seamlessly into fictional narratives, providing a multifaceted and symbolic vehicle for authors to communicate social change or lessons, whichever the case may be.

    Stephens, Mary A., «Nothing More Delicious: Food as Temptation in Children’s Literature» (2013). Electronic Theses and Dissertations. 50. https://digitalcommons.georgiasouthern.edu/etd/50

    The amount of stuff that can be ritualized, imbued of meaning and worshiped. Human beings are never contented with reading things as they are. Oh, no. They need to complicate everything by creating symbols. Witty ideas about the meaning of images.

    Oh, yes I do too. I write. If it is a conscious process or not it is irrelevant. I take the images I can recall from stories or design tools I learnt at school, in order to lie better.

    That is the way writing stops being just the literal meaning to become THAT PERFECT MOMENT. The perfect instant in which the image summons the feelings needed. The cliché image as a vehicle of standard communication we need to connect.

    Do you ever think what food means in your writing? Have a good time using its image. Pasto kalo.

  • Ball game

    tuxedo cat on wooden floor
    Photo by Arina Krasnikova on Pexels.com

    Bounce and move,

    Faster and smooth.

    Claw on it,

    Catch the thing.

    Roll on floor,

    Destroy!

    I stare at you,

    Why aren’t you?

    Throw it again!

    Slave.

    When did she?

    Again that black being!

    Back to bed.

    Await until.

    Maybe more food on me.

  • De deudas y ficción

    a vintage photo of a camera
    Photo by Suzy Hazelwood on Pexels.com

    Inevitablemente, el escritor de cualquier libro adquiere deudas incontables, y cuando el tema es tan interdisciplinario como éste, esas deudas son en particular, sensibles. Durante la casi década que ha tomado completar este trabajo; he recibido la generosa ayuda de un amplio rango de personas. Soy consciente de lo poco adecuado que resulte cualquier reconocimiento de ella, que yo pudiera ofrecer a cambio.

    THE NATURE OF THE BOOK. Print and Knowledge in the making. ADRIAN JOHNS. THE UNIVERSITY OF CHICAGO PRESS. CHICAGO AND LONDON

    No sé  [para empezar como cancion de Linkin Park] pero los escritores de ficción le deben mucho a los escritores a los que leyeron. Algunas veces, leer autores a los que no había leído hasta después de leer a los que sí, es un descubrimiento es sí mismo. Saber de donde salieron algunas ideas es una delicia.

    Disfruta la labor detectivesca. Pasto kalo.

  • Again, the truth

    beautiful daisy in close up view
    Photo by 대정 김 on Pexels.com

    The very first thing I tell my new students on the first day of a workshop is that good writing is about telling the truth. We are a species that needs and wants to understand who we are. Sheep lice do not seem to share this longing, which is one reason they write so very little. But we do. We have so much we want to say and figure out.

    Bird by bird. Anne Lamott

    I think the one thing not working here is “the truth”. We don’t want the truth. We want excitement; we want things that aren’t there. We want the spirit of the lion watching over us because it is scary for random things happening; in spite of all our care trying not to fall down the hole we haven’t seen. And this is our first lie: we want the truth.

    Sheep lice don’t write because they don’t have to record how many sheep they have sucked to pay taxes (and maybe, omit a few nano-litters in order to not go bloodrup). Add that they concentrate on sucking, not in pretending to be nice beings taking away the over exert of blood pressure for the sheep to feel better. Or, maybe, that sheep fuss is a signal from heaven to keep on sucking instead of letting go.

    I don’t know. Maybe this is only because I don’t have such a good memory to remember what I got from the Three wise kings when I was 10 or what the adults said in this or that situation.

    Maybe. Enjoy figuring out what you want to write about. If inventing is easier that telling the truth. Pasto kalo.

  • Interrupted

    close up photo of black cat
    Photo by Craig Adderley on Pexels.com


    Late at night?
    Early at day?
    What a ridiculous time, 3 am!
    That's when he came.
    Ate and went up to his lare.

    Wake up time,
    And the cat was nowhere.
  • El grupo selecto

    colorful toy on wooden tray
    Photo by Mikhail Nilov on Pexels.com

    Si completáis una novela, perteneceréis a un grupo más exclusivo, entre los aspirantes a escritores, de lo que lo son los autores publicados entre todos los que han terminado una novela. El porcentaje de personas que se proponen terminar un libro pero no lo consiguen es mucho más alto que el de quienes terminan un libro pero no lo publican. Así que, si termináis una novela, ya perteneceréis al grupo más selecto que probablemente pueda concebirse como escritores, en términos de proporción pura, de porcentajes de fracaso entre un objetivo y el siguiente.

    Curso de escritura creativa. Brian Sanderson. Traducido de Manu Viciano. Sinequanon.

    ¿En qué momento se considera terminado un libro de poesía? ¿Cuántos poemas se necesitan?

    En cuanto al segundo libro de mi vida, de eso no quiero ni hablar porque, con alguien como Brian Sanderson, ya serían cuatro y todos ASSSSSSSÍ de gordos.  

    En fin, por el momento, se trata de terminar la cosa. Pasto kalo.

  • Fiction and debt

    a vintage photo of a camera
    Photo by Suzy Hazelwood on Pexels.com

    The writer of any book inevitably accrues debts, and when its theme is as interdisciplinary as this one those debts are particularly keenly felt. During the near-decade that it has taken to complete this work, I have received generous help from a wide range of people. I am conscious of the inadequacy of any acknowledgment I can now give in return.

    THE NATURE OF THE BOOK. Print and Knowledge in the making. ADRIAN JOHNS. THE UNIVERSITY OF CHICAGO PRESS.CHICAGO AND LONDON

    I don’t know [to start like a Linkin Park song], but fiction writers owe a lot of what they write to the writers they read.

    Sometimes reading earlier authors we hadn’t read before those that we already have [more contemporary ] is a discovery in itself. To know where certain ideas came from is a delight.

    Have fun playing detective work. Pasto kalo.

  • Lectura de lujo

    https://www.instagram.com/p/DXRidE3FoPC/?img_index=3&igsh=bWZwdHJzMXVsdmho

    Ni idea si es cierto. Pero como idea para un libro… Eso de que hay que pagar para tener tiempo libre suena peor que pagar impuestos.