6:10 minutes (5.65 MB)

Our notions of what counts as literary shift constantly, a theme woven throughout much of the work that has happened in courses I've taught this semester. Sometimes as these shifts play out, it can be difficult to recognize the emerging forms among an evolving landscape formed around stalwarts like Shakespeare, Faulkner, Austin, Morrison. We need podcasts like this to help us make such identifications.

Here is a draft of my bit for the panel Jenny Edbuaer Rice, John Biewen, and I will be putting on in New Orleans. The panel is on sound in composition, so it's a bit ironic that the audio quality of this is somewhat dicey, but you do what you can.

Musical Pieces: Readymade Audio Projects and Creativity from Daniel Anderson on Vimeo.

16:08 minutes (14.77 MB)

This is a repost of a playlist composition I want to share with some classes. I'm posting here an audio mix of the playlist and the textual mix below. Prompted by the phrase "was dead three days," the story is about missing time.

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Three Days Dead

"One Tree Hill" U2 (lyrics)
The story begins today, steeped in references to our shared memories. The black center of The Heart of Darkness and the songs of folk found in Jara’s music trick us into thinking these are only our struggles. But the tale leans back, archetypal, toward the symbolic scene.

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"Babylon" David Gray (lyrics)
Three days bind the story. Its deeper movement starts with anticipation.
An eager descent softened by hope:

Friday night I'm going nowhere / All the lights are changing green to red

A blessed mistake.

Only wish that you were here

You know I'm seeing it so clear
I've been afraid

To tell you how I really feel

Admit to some of those bad mistakes I've made

The long passage back.

Turning back for home

You know I'm feeling so alone

I can't believe

Climbing on the stair

I turn around to see you smiling there

In front of me

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"Sympathy For The Devil" The Rolling Stones (lyrics; Salon piece)
This big picture plays out in close up, the curtains rich burgundy, velvet and deep as blood. Not fabric, but membrane screen image flickering as grey light comes up from the back of a stage. The lit grey screen contracts into a tight circle and swings off stage to the woman, wracked. The light swings back, center stage. The dead.

So if you meet me
Have some courtesy
Have some sympathy, and some taste
(woo woo)
Use all your well-learned politesse
Or I'll lay your soul to waste, um yeah
(woo woo, woo woo)

The dead shimmer as the man extends his arms and gathers them, shapelike, collecting them like clouds dissipating in summer sun. He breathes deep. Looks off stage. The light dilates, brightens, and swings with his gaze, highlighting the woman. Her face is framed at the bottom by fingers, steepled over lips. Eyes closed with thought. Brow set, wrinkled. He looks to the light. Turns.

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"In The Garden" Van Morrison (lyrics)

The streets are always wet with rain
After a summer shower when I saw you standin'
In the garden in the garden wet with rain

You wiped the teardrops from your eye in sorrow
As we watched the petals fall down to the ground
And as I sat beside you I felt the
Great sadness that day in the garden

His fingers curl over the back of her hand. Nerves race up his side and fire up his face. He radiates. She breathes, opens her eyes. He’s fixed. She too.

And as it touched your cheeks so lightly
Born again you were and blushed and we touched each other lightly
And we felt the presence of the Christ

And I turned to you and I said
No Guru, no method, no teacher
Just you and I and nature
And the father in the garden

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The man awakens. He stretches, expectant. Remembering the garden. Sunday. Ascendance. The morning light warms the side of his face. Questions. The circle of light surrounding him on the empty stage expands and all around him the dead. He squints toward the sky. The morning sun makes no sense. Three days and still he sits among bankers, butchers, mothers, fathers, sisters, sons, the lost souls of the darkened world. Sunday’s past and something’s wrong: “They call it stormy Monday but Tuesday’s just as bad.”

"Stormy Monday" Eva Cassidy (lyrics)

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"Black" Pearl Jam (lyrics)
The sadness smacks personal and profound. Lured by pain and beauty to betray the world, he feels now the loss and fingers at his own soul like a sore, remembering. That joining. That giving, that, allowed just an instant, instantly changed forever.

And now my bitter hands shake beneath the clouds
of what was everything?
Oh, the pictures have all been washed in black--
tattooed everything.

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"Pacing
the Cage" Bruce Cockburn (lyrics)
Reflection comes much later and brings with it nothing more than the slow turn of the proverbial screw. The unjust judge and the pearl of great price. He wanders the timescapes of the past, stepping into this very present. The rusted ships, scuttled on distant shores and waiting to turn to scrap. The lights of cities, biting and empty in their brilliance. The thrum of the engine soundtracked beneath the song of the lark. He wonders aloud, how is it that you’re just now “finding yourself in a place that you've willingly waltzed into. Suddenly, you realize it's not such a good place to be, and it's hard to find your way out, hard to know where the next step is supposed to go.”

---

"All
Along The Watchtower" Bob Dylan (lyrics)
Swiveling days compile their despondencies and urgent little victories. An adoption in Armenia. Plundering in Mertz. A library in Egypt. A Caldera vaporizes a village. A man has a dream. Resigned, he turns toward each event, draping shawls over corpse and cold soul alike. Lowering and lifting to the timeless rhythm of the rise and fall. More, he finally cries. I now need nothing more.

Outside in the distance a wildcat did growl,
Two riders were approaching, the wind began to howl.

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"Across The Universe" The Beatles (lyrics)
The sound of horse’s hooves rises from the edge of the stage in clops like gentle rain. The ebbing and flowing circle of light that baths the man swells to full brightness and the two riders join the scene—the woman and the father, smiling. Musical feet fill the gaps as the horses stop, and with each beat figures step on the stage. Teachers. Farmers. Runners. Writers. Young and old, they step forward like members of a choir and mouth the sounds that change the world.

Jai guru deva om
Nothing's gonna change my world,
Nothing's gonna change my world.
Nothing's gonna change my world.
Nothing's gonna change my world.

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"With or Without You" (live) U2 (lyrics)
As the crowd gathers on stage, another sound swells from behind. A whistle. Clap. Clap. Whistle. Clap. Looking out he sees more souls pouring in from doorways and climbing down from the rafters. The days, he understands, have nothing to do with the scattered sequences of noon and night. The days instead have played out over these millennia in each ragged cough and lover’s cry. Three days dead, he understands he’s not alone and he “give[s himself] away”

My hands are tied
My body bruised, she's got me with
Nothing to win and
Nothing left to lose

And you give yourself away
And you give yourself away
And you give
And you give
And you give yourself away

She takes his hand. The sound turns smoky and swirls over the scene. It surrounds the man and the woman and slowly lifts them, as if on filaments of thought, invisible and rising skyward.

We'll shine like stars in the silver light
We'll shine like stars in the Christmas night
One heart. One home. One love.

As part of the end-of-semester reflection on the teaching that has gone under the bridge during the last few months, I offer this screencast. This is not an adjudication, arbitration, or investigation. Just pushing.

The real sticky example in the video is the last one, in which an entire song is translated into a video expression. It might be that using the song in the original video bumps into or spills over the limits of fair use. I'd be curious to hear what people think. After you chew on that one, you might ruminate about using the entire song in this video.

You'll need a good Internet connection and about twelve minutes.

Let's be Fair: Intellectual Property and New Media Composition from Daniel Anderson on Vimeo.

If you've got an extra twelve minutes and a decent Interent connection, feel free to take a look at a screencast for an upcoming NCTE presentation. The sound is not quite right, but the root of the problem is I recorded it too hot in the original Camtasia files and I'm not going back and have had enough tweaking.

47.5 mb movie

Came across this while sweeping the Web for mediawiki tips.

One final post from last week's trip to New Mexico. Opening day at the 2007 Balloon Fiesta. You can't hear it in the video, but as we were walking by the Spam booth, the woman inside was harking, "spam, get your spam here," which would have made the day, except the day was made by the time together with my family--something only hinted at by the magical colors, shapes, and movements of the balloons.

Tucked next to the long rows of book after book sits the empty shelf for my recently added literature class, Major American Authors. Strolling through the rows and rows of books selected by colleagues for every class imaginable in the English Department, I’m overwhelmed by all the good stuff. I’d love to work through all these stories and flashes in the cultural frying pan, but I just don’t see how to fit it in with my teaching style. We need to make things in class. We need to learn tech. We need time to think for ourselves instead of soaking up all these pre-packaged words and ideas. Don’t get me wrong, I need content. I love to read and to teach texts, and my book is on the way, arriving two weeks late. Still, hard pressed by the long rows and stacks, my empty shelf calls out the question, What is literature? In class we’ll follow this up with What is American? What is major? What are authors? And now as I type this, the earbuds just pushed Bob Marley into the equation. Book envy gone now. “The waiting feel is fine.”

Just a brief dispatch from the summer school activities. We're going full speed ahead, but I hope to reflect more on the teaching in the next few weeks

I'm doing a four mile run through town tomorrow and have been thinking about songs that might help with the push. I went with 32 minutes--hopefully I'll not need the entire last song, but who knows. So, here is my Four on the Fourth playlist:

Blood Of A Young Wolf, Buck 65 (5:26) Deliberately slower groove with narrative feel is intended to prevent starting out too quickly. Still, when the banjo kicks in it seems to spur a bit more tempo while maintaining an easy start-of-race feel. Also have to like the reference to the "long distance runner" and the repeating refrain, "zoom, kick, persuasion, tech"--I have no idea what it means but it seems to say get going.

Pictures of You, The Cure (4:45) Continues the easing into the run--nice and steady base and drums with a bit more flow layered in from the typically bouncy Cure guitar riffs. For some reason I just seem to enjoy when this song comes through the earbuds on a run.

Bandelero, Slightly Stoopid (2:43) Middle of the run ska moment to regulate things. A chance to look back over hazy memories and translate them into today's currents. In different ways, it's always good to be reminded that sometimes we "gotta roll a little faster."

Sinner Man, Nina Simone (10:19) This is the heart of the playlist and the run. Who knows how many movies this song made it into, but if you listen to the song itself, the original, it's such a storytelling treat that you realize putting it among the visual in film almost diminishes the feel and flow. Check out the whole thing on YouTube. What a song. Run to the rock. Run to the sea. Run to the river. Just run.

Full Control (Live from Pearl St Clubroom), John Brown's Body (8:40) This is one of those fan-recorded songs from the Internet Archive and I like the energy that comes from the crowd. Also, the call from the lead singer at the opening: "one more rubadub for the road" feels about right with hopefully a little under a mile left to go in the run. Plus, this song just hammers steadily, stops in the middle after announcing, "yes we getting stronger," and then finishes off with the hammering again and some horns thrown in for good measure.