In which teenage Ben Franklin improves his writing by imitation

When I was reading this New Atlantis article on self-help, I found mention of Ben Franklin’s ingenious plan for becoming a better writer: imitation, summary, repeated practice. He set up lessons for himself, varying ways of copying from The Spectator

  1. One method was picking an essay, summarizing every sentence with a brief “hint”, setting those summaries aside for a while, and then trying to recreate the essays from his own notes. Then he’d compare to the original and see where he came up short.
  2. Sometimes he’d put these hints on separate sheets, jumble them all up, and set them aside for a few weeks. Then he’d try to re-order them and re-write the essay, and compare his with the original.
  3. To work on his vocabulary, he transformed the prose stories into poetry, waited a while so the memory was no longer fresh, and then turned them back into prose again.

Dang. Who has time for all that? Basically everyone with discipline: “My time for these exercises and for reading was at night, after work or before it began in the morning, or on Sundays, when I contrived to be in the printing-house alone, evading as much as I could the common attendance on public worship…”

He did this while still a teenager working at the printing shop. Here’s how Franklin tells it in his autobiography:

My father happened to find my [letters] and read them. Without entering into the discussion, he took occasion to talk to me about the manner of my writing; observed that, though I had the advantage of my antagonist in correct spelling and pointing (which I ow’d to the printing-house), I fell far short in elegance of expression, in method and in perspicuity, of which he convinced me by several instances. I saw the justice of his remark, and thence grew more attentive to the manner in writing, and determined to endeavor at improvement.

About this time I met with an odd volume of the Spectator. It was the third. I had never before seen any of them. I bought it, read it over and over, and was much delighted with it. I thought the writing excellent, and wished, if possible, to imitate it. With this view I took some of the papers, and, making short hints of the sentiment in each sentence, laid them by a few days, and then, without looking at the book, try’d to compleat the papers again, by expressing each hinted sentiment at length, and as fully as it had been expressed before, in any suitable words that should come to hand. Then I compared my Spectator with the original, discovered some of my faults, and corrected them. But I found I wanted a stock of words, or a readiness in recollecting and using them, which I thought I should have acquired before that time if I had gone on making verses; since the continual occasion for words of the same import, but of different length, to suit the measure, or of different sound for the rhyme, would have laid me under a constant necessity of searching for variety, and also have tended to fix that variety in my mind, and make me master of it. Therefore I took some of the tales and turned them into verse; and, after a time, when I had pretty well forgotten the prose, turned them back again. I also sometimes jumbled my collections of hints into confusion, and after some weeks endeavored to reduce them into the best order, before I began to form the full sentences and compleat the paper. This was to teach me method in the arrangement of thoughts. By comparing my work afterwards with the original, I discovered many faults and amended them; but I sometimes had the pleasure of fancying that, in certain particulars of small import, I had been lucky enough to improve the method or the language, and this encouraged me to think I might possibly in time come to be a tolerable English writer, of which I was extremely ambitious. My time for these exercises and for reading was at night, after work or before it began in the morning, or on Sundays, when I contrived to be in the printing-house alone, evading as much as I could the common attendance on public worship which my father used to exact on me when I was under his care, and which indeed I still thought a duty, though I could not, as it seemed to me, afford time to practise it.

What a badass.

The New Atlantis » History as Wall Art

Excerpt from the Annals of St. Gall, a yearly chronicle from an early-medieval Frankish monastery:

709. Hard winter. Duke Gottfried died.
710. Hard year and deficient in crops.
711.
712. Flood everywhere.
713.
714. Pippin, mayor of the palace, died.
715.
716.
717.
718. Charles devastated the Saxon with great destruction.
719.
720. Charles fought against the Saxons.
721. Theudo drove the Saracens out of Aquitaine.
722. Great crops.
723.

The New Atlantis » History as Wall Art

Ivan’s Childhood

Ива́ново де́тство (Ivan’s Childhood). This was my second TarkovskySolaris was amazing. This one is impressive, especially for his first film. It’s told non-linearly with occasional flashbacks, memories, dreams, and voiceovers creeping in. Ivan is a child orphan who, when we meet him, is doing recon/intelligence for the Soviets during World War II. This movie has a similar gritty take on the war that you find in The Cranes Are Flying. It’s less rhapsodic, but the black and white photography is just as ridiculously good. My favorites are the haunting nighttime scenes along the riverbanks and swamps, and the scenes in those Russian birch forests that are just impossible to make look bad. Criterion essay.

I’m not terribly interested in whether real, brain-chemically-defined Asperger’s is over- or underdiagnosed, or whether it exists at all except as a metaphor. I’m interested in how vital the description feels lately. Is there any chance the Aspergerian retreat from affective risk, in favor of the role of alienated scientist-observer, might be an increasingly “popular” coping stance in a world where corporations, machines, and products flourish within their own ungovernable systems?

When jazz cats cover classical

I got to wondering the other day, what’s the best-ever jazz cover of a tune from classical music? Seems strange that jazzinfluenced classical stuff seems so much better known than the reverse. Is there a jazz-community stigma from drawing on the old white stuff? A classical tendency to canonize? More marginalized musicians? A comparatively higher level of general quality in in-house jazz than in-house classical? Maybe I’m just more ignorant?
In any case, the question came up when I was listening for the millionth time to what is my nominee for #1, Thelonius Monk, John Coltrane & Co.’s cover of Abide with Me. Take a great tune by William Henry Monk (no relation?) and add some breathy woodwinds. What a beautiful piece of music.

"Abide with Me" sheet music

You’d have to try pretty hard to mess that one up. Another bulletproof melody comes from Joaquín Rodrigo‘s Concierto de Aranjuez, which I think is probably better known in Miles Davis form:

Another strong contender for 2nd place is Duke Ellington’s twist on Tchaikovsky’s Nutcracker Suite:

Also, the man has charisma coming out of his ears:

Beyond those, I didn’t know any really outstanding ones. Bill Evans’ version of Fauré’s Pavane seems a little safe and boring until you get to the improv. At least he avoids the heavy, trodding, sappiness that a lot of classical recordings seem to embrace. Wayne Shorter’s take on Sibelius’ Valse Triste is lively. Glenn Miller’s riff on Verdi’s Anvil Chorus ranks above the Woody Herman recording of Khachaturian’s Sabre Dance, but both are a little too… swing-y? Big band-y? for my tastes. I don’t expect anything different from those guys, but I’ve always struggled with the big band stuff. Although maybe that’s because I’m not dancing. I wonder what else I’m missing.

Look what I made: a wallet

I love this thing.
I made a wallet

Rollin’ flush with my single dollar bill. That’s just how I do.

I stole the idea after stumbling across Leffot’s Fold wallet when I was trying to find some shoe porn. Mine isn’t nearly as nice as theirs. On the other hand, it didn’t cost $100, so I’ll call it a draw. I also got the satisfaction of a job-kinda-well-ish done. I made a quick paper prototype and then went to cuttin’. Part of the fun of doing a quick sloppy draft is that often times the quick sloppy draft is surprisingly good enough.

I made a wallet

Like they say, “Simplicity is the ultimate sophistication”. I loved the stripped-down feel. I will spare you the #lifehack #diy #dailycarry #tips about how I use it. You’re welcome.

I made a wallet

The point is, this thing is awesome. Now that I’ve tested and loved the concept, I’m considering making myself an upgrade with nicer leather and non-crooked cuts. And there’s also the expected satisfaction that comes with generally trying harder—not to be underestimated.

Alas, the ascendancy of this wallet means that my previous favorite, the Backpacking Light/Simblissity collaboration, the LiteFOLD XP, is now retired. After 6 or 7 years of hiking and, um, sitting on my ass, the old wallet was showing its age. I still highly recommend Simblissity and will probably pick up another one for multi-day outdoorsy use. My fold is the new king.

Leveling the field: What I learned from for-profit education—By Christopher R. Beha (Harper’s Magazine)

This is a fascinating funny/sad inside look at for-profit education. [$]

The first chapter of our textbook, Your College Experience, was entitled “Exploring Your Purpose for Attending College,” and that’s where we would begin. It seemed strange to me that a credit-bearing college course should be dedicated to telling students why they should go to college, but the entire first-year sequence turns out to be an almost surreal riff on the socialization process of higher education, where secondary characteristics of college graduates become the actual subjects of the courses.

Leveling the field: What I learned from for-profit education—By Christopher R. Beha (Harper’s Magazine)

People have not yet learned that every work of art is a game played out at the worktable. Nothing is more harmful to creativity than the passion of inspiration. It’s the fable of bad romantics that fascinates bad poets and bad narrators. Art is a serious matter. Manzoni and Flaubert, Balzac and Stendhal wrote at the worktable. That means to construct, like an architect plans a building. Yet we prefer to believe that a novelist invents because he has a genius whispering into his ear.

Umberto Eco. I’ve collected some other good Umberto Eco quotes, but never read any of his works. Open to suggestions…

The Discourses by Epictetus, Book One – The Internet Classics Archive

The latest in my journey through stoicism. Last night while reading this I realized I was reading ideas from 2000 years ago on an iPad. Mind blown.

Bear and endure. Have you not received faculties by which you will be able to bear all that happens? Have you not received greatness of soul? Have you not received manliness? Have you not received endurance? And why do I trouble myself about anything that can happen if I possess greatness of soul? What shall distract my mind or disturb me, or appear painful? Shall I not use the power for the purposes for which I received it, and shall I grieve and lament over what happens?

“Yes, but my nose runs.”

The Discourses by Epictetus, Book One – The Internet Classics Archive

Movies saved my life: A young New Yorker meets foreigners in film—By Tom Engelhardt (Harper’s Magazine)

Unlike most of my peers in the 1950s and early 1960s, I advanced with the U.S. Marines and the Russians, bombed Tokyo and witnessed Hiroshima after it was atomized. I took out Panzers, but for two hours one afternoon was a German boy willing to die as American tanks bore down on him. They confirmed in me a sense that the world was not as we were told, and that ours was not necessarily the most exceptional way of life.

Movies saved my life: A young New Yorker meets foreigners in film—By Tom Engelhardt (Harper’s Magazine)

Changeling

Changeling. Man, Clint Eastwood has a steady hand. He will take his damn time and everything will be in its place. He even did the music. There’s no razzle-dazzle here, it’s just firm, reliable storytelling. I’m glad he didn’t go into the more lurid aspects of the story, focusing more on building your outrage and indignation. You only see one death in full and its impact caught me off-guard. Heavy stuff. Angelina Jolie is excellent. The only other Jolie films I’ve seen are one of the Tomb Raider films (ugh) and Mr. & Mrs. Smith (eehhhh), so this was a nice change.

My current rankings for Eastwood’s work as director:

  1. Unforgiven
  2. Gran Torino
  3. Million Dollar Baby
  4. The Outlaw Josey Wales
  5. Changeling
  6. Play Misty for Me
  7. Bird
  8. Midnight in the Garden of Good and Evil

Lots of good work there. Cf. Hitchcock.

Uncreative Writing: It’s Not Plagiarism. In the Digital Age, It’s ‘Repurposing.’ – The Chronicle of Higher Education

Summarizing some of Marjorie Perloff’s ideas on unoriginal genius:

Today’s writer resembles more a programmer than a tortured genius, brilliantly conceptualizing, constructing, executing, and maintaining a writing machine.

Also:

For the past several years, I’ve taught a class at the University of Pennsylvania called “Uncreative Writing.” In it, students are penalized for showing any shred of originality and creativity. Instead they are rewarded for plagiarism, identity theft, repurposing papers, patchwriting, sampling, plundering, and stealing. Not surprisingly, they thrive.

(via)

Uncreative Writing: It’s Not Plagiarism. In the Digital Age, It’s ‘Repurposing.’ – The Chronicle of Higher Education

“If Celebrities Moved To Oklahoma” — Pretty Faces, Poor Bodies | Celebrity Gossip, Academic Style.

The power of these photos, then, is the way that they illuminate the amount of capital it takes to make bodies not look like this. Celebrities weren’t born looking gorgeous and sophisticated. They are created; they are the product of capital. That process is elided, in part because the allure of the celebrity is the effortlessness with which he or she appears. But it’s absolutely crucial for us to remember, if only to recall that bodies are never automatically “trashy” or “classy,” “famous” or “poor,” including our own.