- I don’t like poetry
Nor am I particularly good at it either. I’ve been a part of a few poetry groups, bought a lot of poetry books, written more poems than I’ll ever have the time to transcribe out of my chicken-scratch vandalized notebooks and into a word processor to make some sense out of whatever I vomited onto the page, yet I’m always finding myself shrugging at so much poetry, thinking to myself, “I don’t really get it.”
I know I’m not a philistine, and by all means I can definitely appreciate poetry as a genre and a craft in and of itself, but I don’t connect with poetry like a lot of the poets who I’ve hung out with. There was a long span of time where I wanted to connect with poetry so bad and I wanted to be passionate like so many poets, but I realized that it’s not the kind of thing you can force. You either get it and it resonates with you, or you don’t and you’re left trying to make sense out of incomplete sentences that are supposed to carry some sort of weight you just don’t feel.
And this is how I’ve figure out I’m a terrible poet. I’ve broken it down and called it the Bukowski test. It’s like this:
In all the poetry groups I’ve been a part of and with all the poetry fans I’ve shared my poems with, I always get the same response:
“It’s very Bukowski.”
Problem number one: I don’t like Bukowski’s poems. His prose is some of my favourite ever. I read Factotum in one evening. I read Pulp over a drive home from the Okanagan Valley. Hot Water Music was my favourite book and my favourite band at the same time. But I just don’t like his poems. This probably just falls back to point number one: I don’t like poetry (but apparently I like colons).
Problem number two is that everyone who has ever told me that my poems remind them of Bukowski, did not like Bukowski. In fact, a lot of them hated Bukowksi. A few even despised Bukowski. Yet, “It’s very Bukowski,” was meant to be a compliment.
So, when people tell me that, “It’s very Bukowksi,” what they’re really saying is, “You’re kind of bad at poetry, I think you’re kind of dumb, your face is unpleasant to look at, you write entirely literally and in layman’s terms, but I find you kind of funny and kind of charming in that off-putting awkward I’m afraid of what you’re going to say next sort of way. I admire your courage for putting yourself out there like that.”
- All the first books I ever read all the way through were written by celebrities
The first book I read cover-to-cover, understood the whole way through, and didn’t have to read as a part of a class, was David Cross’ I Drink for a Reason. The second was Lewis Black’s Nothing’s Sacred quickly followed by Kevin Smith’s Silent Bob Speaks. I love these books. I think they’re funny, insightful, tell a great story, and are written without any pretension. They’re accessible and meant to be consumed, laughed at, enjoyed, and revisited when there’s nothing on TV.
I came out of a university program where people were reading David Foster Wallace and Jonathan Franzen for the sole challenge of it. I’ll admit, I even bought a copy of Infinite Jest that has been sitting on a bookcase, doubling in size from dust collections since I brought it home. It’s seven-point font and entire-book-in-itself of endnote as part of the narrative (no, not references like endnotes in other books, this is fiction and you have to read the endnotes otherwise you just don’t get the book) has been an open challenge since the name first started getting kicked around my classrooms in first year. I’ve tried starting Infinite Jest, along with The Corrections and Freedom multiple times, and I’ve always landed on the same conclusion about ten pages in.
I don’t fucking care.
Yes, the writing is dense as a brick and the craft is something to marvel at like Renaissance Art. I understand the appeal of Franzen’s and Wallace’s technical skills as writers. But the writing is so fucking long-winded I can’t get through a sentence without losing my train of thought and de-railing thinking about books I’d much rather be reading right now.
This is probably something typical of a reader who grew up on TV and comic books as their first choice in medium up until college. Again, the first book I ever read cover-to-cover that wasn’t as part of a class was I Drink for a Reason and I was well into my 20s by the time that book was released, and even further into my 20s when I actually read it. That book did ignite that interest in me to look further into non-fiction well beyond journalism, which was my first writing medium of choice in my adult years, and was the start of that slippery slide that led me to stop caring about poetry and over-academic wanking and start finding books I can actually get into.
- At one point, I wanted to be a comedy writer
Then that horrible realization hit: I’m not funny. I think I might be quirky, and I’m neurotically over-analytical, and that worked well for Larry David and Louis CK, but they also know how to frame their quirks and analyses to be relatable, and therefore, funny. I lack those skills.
I’ve lucked out a few times hitting notes that people could relate to and getting a few chuckles, but I think my Bukowksi-charm wears out quick.
In addition to David Cross, Lewis Black, and Kevin Smith (all funny folk), I used to read a lot of David Sedaris (to be fair, I still often read Sedaris, but I went through a specific phase where I tried so hard to write like him) and my favourite comic book character was Deadpool (the comedic, pop-culture referencing, fourth-wall breaking mercenary whose yellow and white narrative boxes speak to him). Based on these influence, I wanted to bad to be a comedy writer.
I started looking into script writing and seeing what writers for SNL were like and I got into sit-coms that I felt like represented my generation. But then I ran into that problem.
The “my generation” thing.
As part of wanting to be a comedy writer, I really wanted to write the book that would be the millennials’ On the Road and Big Sur. I wanted to define the millennial experience through my unique perspective on storytelling. But the more I said that to myself, the more I fucking hated myself.
There’s an obnoxious pretension for wanting to “define your generation.” Especially with a piece of art. This is why I can’t stand Lena Dunham and Girls. It was a novel idea to start with, but the older I got the more her quirks and over neurotic analyses started to bother me. Self-awareness is a sign of intelligence. But hyper-self-awareness is a sign of narcissism. And narcissism’s novelty wears off quick. I can’t deny the show’s popularity so Dunham must be doing something right, but the drive to define your own generation doesn’t appeal to me. I seriously doubt Jack Kerouac went so far out of his way to try and define his generation. He just wrote cool stories about crazy shit he did.
Kerouac didn’t start out that pretentious. He wound up that pretentious. His fans are pretentious. Those who try to copy what he did are pretentious. People who over use the word pretentious are pretentious. People who think they’re funny for over using a word and pretending to be self-aware of over using that word are pretentious. Especially if the word is pretentious. Or a pretentious word.
I know that wasn’t funny. You don’t have to tell me. I know I’m not funny.
- I’m really bored with super heroes
Comic books are the reason I started reading, they’re the reason I kept picking up reading throughout my life, and remain one of my biggest influence when I write anything. Especially now that I’ve found my comfort zone playing with genre fiction, comics play a huge part in how I approach any story.
I still spend more money on comic books than I do on rent. But I’ve noticed how far I’ve strayed from the big comic publishers and the traditional comic characters. They’re more popular than ever thanks to their extra exposure in cartoons and in summer blockbuster movies, and I’m really happy that they’re so successful right now. My movement away from super heroes is actually very organic. I literally just looked through my comic collection and realized how few of them were super heroes and how many fall into either hard fantasy or hard science fiction categories.
I don’t know if I have a larger point with this point. Just an observation I guess. I still like super heroes, but I guess I know the format of sequential art to tell stories is capable of so much more than familiar franchises.
- Elf Quest is a very feminine comic book
I literally just figured this out over this weekend. I bought a few issues while at free comic book day because I’ve been looking for some decent fantasy and I know Elf Quest is a long standing title with a good following that is now being published by Dark Horse Comics (one of my favourite publishers).
There’s nothing wrong with it being feminine. Again, the format of sequential art is capable of a lot and this absolutely proves it. I have no larger point with this one either. I read through all the issues of Elf Quest that I bought and though I didn’t enjoy them I know there’s some solid storytelling going on. Just not my deal, nor does it have to be.
- Harvey Pekar made me want to be more honest
As part of stepping away from super hero comic books I got really into Harvey Pekar. American Splendor did a lot for comic books and for non-fiction. Reading American Splendor, Quitter, Our Cancer Year, and Not the Israel My Parents Promised Me was like nothing else I ever experienced before.
Most of all, it made me realize why I’m not funny and why I fell so short as a comedy writer. I’m not honest with myself. I tried to use comedy to hide from my own shortcomings and to point out the shortcomings of others. That can work to a point, but you always need to be willing to make fun of yourself first. I wasn’t ready to do that. So it didn’t work.
But reading Pekar’s work slapped a kind of sense into me that I wish was slapped into me years ago. He’s easily my biggest influence on the non-fiction side of my writing. I even hear his voice narrating along as I write these odd few essays every once in a while that I eventually publish on my blog which is regularly read by about twenty people. At least they’re reading.
As I box up my comic books, and look through the collection of novels and story collections and poetry collections I’ve gathered over my years of trying to figure this whole writing thing out, I realize how every one of these pieces of paper has somehow affected the way I write, and the way I live.
The lifestyle choices I make, the media I engage with, even the other books I get into are all influenced by whatever I’m reading at the time. And as much as this list is about things I’m not a big fan of, the piles of boxes that clutter my office floor remind me I have a lot to be stoked about too.
I should dig through my books more often.