“Revise! Read writing that inspires and challenges you. Write about what really matters to you and do it so well that it is compelling to others. Keep editing your work. Be strict with yourself, but patient with your own process.” – Lisa Cohen (from David Low interview in The Wesleyan Connection)
White Sands, New Mexico, 1984 by Tetman Callis
“Art requires suffering, just not the kind you thought.” – Hugh Sheehy, “Getting Outside”
West Texas, 1981 by Tetman Callis
“It is not the critic who counts: not the man who points out how the strong man stumbles or where the doer of deeds could have done better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood, who strives valiantly, who errs and comes up short again and again, because there is no effort without error or shortcoming, but who knows the great enthusiasms, the great devotions, who spends himself for a worthy cause; who, at the best, knows, in the end, the triumph of high achievement, and who, at the worst, if he fails, at least he fails while daring greatly, so that his place shall never be with those cold and timid souls who knew neither victory nor defeat.” – Theodore Roosevelt, “Citizenship in a Republic: ‘Man in the Arena’”
Bear River Range, Utah, 1979 by Tetman Callis
“The problem in politics is this: You don’t get any credit for disaster averted. Going to the voters and saying, ‘Boy, things really suck, but you know what? If it wasn’t for me, they would suck worse.’ That is not a platform on which anybody has ever gotten elected in the history of the world.” – Barney Frank, quoted in Andrew Ross Sorkin, Too Big to Fail
GP 3446, from The Graffiti Project, 1987 by Tetman Callis
“When it comes to writing, the despairing perfectionism known as alcoholism can be as tragically inhibiting as it is sordid to witness.” – Terry Castle, “You Better Not Tell Me You Forgot”
GP 3441, from The Graffiti Project, 1987 by Tetman Callis
“As sophisticated as the world’s markets have become, the glue that holds the entire arrangement together remains old-fashioned trust. Once that vanishes, things can unravel very quickly.” — Andrew Ross Sorkin, Too Big to Fail
GP 3427, from The Graffiti Project, 1987 by Tetman Callis
“It’s never enough to have lived through anything, you need to have a je ne se quoi about the way you put it into words.” – Michelle Tea, quoted by Jessa Crispin in “Sister Spit: Writings, Rants & Reminiscence from the Road”
GP 3392, from The Graffiti Project, 1987 by Tetman Callis
“I was still busy in pushing forward the repairs to the railroad-bridge at Bear Creek, and in patching up the many breaks between it and Tuscumbia, when on the 27th of October, as I sat on the porch of a house, I was approached by a dirty, black-haired individual with mixed dress and strange demeanor, who inquired for me, and, on being assured that I was in fact the man, he handed me a letter from General Blair at Tuscumbia, and another short one, which was a telegraph-message from General Grant at Chattanooga, addressed to me through General George Crook, commanding at Huntsville, Alabama, to this effect: ‘Drop all work on Memphis & Charleston Railroad, cross the Tennessee, and hurry eastward with all possible dispatch toward Bridgeport, till you meet further orders from me. U.S. Grant.’
“The bearer of this message was Corporal Pike, who described to me, in his peculiar way, that General Crook had sent him in a canoe; that he had pulled down the Tennessee River, over Muscle Shoals, was fired at all the way by guerrillas, but on reaching Tuscumbia he had providentially found it in possession of our troops. He had reported to General Blair, who sent him on to me at Iuka. This Pike proved to be a singular character; his manner attracted my notice at once, and I got him a horse, and had him travel with us eastward to about Elkton, whence I sent him back to General Crook at Huntsville; but told him, if I could ever do him a personal service, he might apply to me. The next spring when I was in Chattanooga, preparing for the Atlanta campaign, Corporal Pike made his appearance and asked me a fulfillment of my promise. I inquired what he wanted, and he said he wanted to do something bold, something that would make him a hero. I explained to him, that we were getting ready to go for Joe Johnston at Dalton, that I expected to be in the neighborhood of Atlanta about the 4th of July, and wanted the bridge across the Savannah River at Augusta, Georgia, to be burnt about that time, to produce alarm and confusion behind the rebel army. I explained to Pike that the chances were three to one that he would be caught and hanged; but the greater the danger the greater seemed to be his desire to attempt it. I told him to select a companion, to disguise himself as an East Tennessee refugee, work his way over the mountains into North Carolina, and at the time appointed to float down the Savannah River and burn that bridge. In a few days he had made his preparations and took his departure. The bridge was not burnt, and I supposed that Pike had been caught and hanged.
“When we reached Columbia, South Carolina, in February, 1865, just as we were leaving the town, in passing near the asylum, I heard my name called, and saw a very dirty fellow followed by a file of men running toward me, and as they got near I recognized Pike. He called to me to identify him as one of my men; he was then a prisoner under guard, and I instructed the guard to bring him that night to my camp some fifteen miles up the road, which was done. Pike gave me a graphic narrative of his adventures, which would have filled a volume; told me how he had made two attempts to burn the bridge, and failed; and said that at the time of our entering Columbia he was a prisoner in the hands of the rebels, under trial for his life, but in the confusion of their retreat he made his escape and got into our lines, where he was again made a prisoner by our troops because of his looks. Pike got some clothes, cleaned up, and I used him afterward to communicate with Wilmington, North Carolina. Some time after the war, he was appointed a lieutenant of the Regular Cavalry, and was killed in Oregon, by the accidental discharge of a pistol. Just before his death he wrote me, saying that he was tired of the monotony of garrison-life, and wanted to turn Indian, join the Cheyennes on the Plains, who were then giving us great trouble, and, after he had gained their confidence, he would betray them into our hands. Of course I wrote him that he must try and settle down and become a gentleman as well as an officer, apply himself to his duties, and forget the wild desires of his nature, which were well enough in time of war, but not suited to his new condition as an officer; but, poor fellow! he was killed by an accident, which probably saved him from a slower but harder fate.” — William Tecumseh Sherman, Memoirs of General W. T. Sherman (emphases in original)
GP 3383, from The Graffiti Project, 1987 by Tetman Callis
“It appears to me that no one can ever have made a seriously artistic attempt without becoming conscious of an immense increase–a kind of revelation–of freedom.” – Henry James, “The Art of Fiction”
GP 3378, from The Graffiti Project, 1987 by Tetman Callis
Three months ago, Snow Monkey published my story, “The Tiny Toy Train.” Today, I am adding it to the “Previously Published Stories” sidebar immediately to your right and one level below “The Gordon Lish Notes.”
“Art derives a considerable part of its beneficial exercise from flying in the face of presumptions, and some of the most interesting experiments of which it is capable are hidden in the bosom of common things.” – Henry James, “The Art of Fiction”
GP 3336, from The Graffiti Project, 1987 by Tetman Callis
“A novel is a living thing, all one and continuous, like every other organism, and in proportion as it lives will it be found, I think, that in each of the parts there is something of each of the other parts.” – Henry James, “The Art of Fiction”
GP 3311, from The Graffiti Project, 1987 by Tetman Callis
“The power to guess the unseen from the seen, to trace the implication of things, to judge the whole piece by the pattern, the condition of feeling life, in general, so completely that you are well on your way to knowing any particular corner of it–this cluster of gifts may almost be said to constitute experience, and they occur in country and in town, and in the most differing stages of education. If experience consists of impressions, it may be said that impressions are experience, just as (have we not seen it?) they are the very air we breathe. Therefore, if I should certainly say to a novice, ‘Write from experience, and experience only,’ I should feel that this was a rather tantalising monition if I were not careful immediately to add, ‘Try to be one of the people on whom nothing is lost!’” – Henry James, “The Art of Fiction”
GP 3228, from The Graffiti Project, 1986 by Tetman Callis
“One day, as I was riding the line near a farm known as Parson Fox’s, I heard that the family of a Mr. Wilkinson, of New Orleans, was ‘refugeeing’ at a house near by. I rode up, inquired, and found two young girls of that name, who said they were the children of General Wilkinson, of Louisiana, and that their brother had been at the military school at Alexandria. Inquiring for their mother, I was told she was spending the day at Parson Fox’s. As this house was on my route, I rode there, went through a large gate into the yard, followed by my staff and escort, and found quite a number of ladies sitting on the porch. I rode up and inquired if that were Parson Fox’s. The parson, a fine-looking, venerable old man, rose, and said that he was Parson Fox. I then inquired for Mrs. Wilkinson, when an elderly lady answered that she was the person. I asked her if she were from Plaquemine Parish, Louisiana, and she said she was. I then inquired if she had a son who had been a cadet at Alexandria when General Sherman was superintendent, and she answered yes. I then announced myself, inquired after the boy, and she said he was inside of Vicksburg, an artillery lieutenant. I then asked about her husband, whom I had known, when she burst into tears, and cried out in agony, ‘You killed him at Bull Run, where he was fighting for his country!’ I disclaimed killing anybody at Bull Run; but all the women present (nearly a dozen) burst into loud lamentations, which made it most uncomfortable for me, and I rode away. On the 3d of July, as I sat at my bivouac by the road-side near Trible’s, I saw a poor, miserable horse, carrying a lady, and led by a little negro boy, coming across a cotton-field toward me; as they approached I recognized poor Mrs. Wilkinson, and helped her to dismount. I inquired what had brought he to see me in that style, and she answered that she knew Vicksburg was going to surrender, and she wanted to go right away to see her boy. I had a telegraph-wire to General Grant’s headquarters, and had heard that there were symptoms of surrender, but as yet nothing definite. I tried to console and dissuade her, but she was resolved, and I could not help giving her a letter to General Grant, explaining to him who she was, and asking him to give her the earliest opportunity to see her son. The distance was fully twenty miles, but off she started, and I afterward learned that my letter had enabled her to see her son, who had escaped unharmed.” – William Tecumseh Sherman, Memoirs of General W. T. Sherman (emphasis in original)
GP 3198, from The Graffiti Project, 1986 by Tetman Callis
“The only obligation to which in advance we may hold a novel without incurring the accusation of being arbitrary, is that it be interesting. That general responsibility rests upon it, but it is the only one I can think of. The ways in which it is at liberty to accomplish this result (of interesting us) strike me as innumerable and such as can only suffer from being marked out, or fenced in, by prescription. They are as various as the temperament of man, and they are successful in proportion as they reveal a particular mind, different from others. A novel is in its broadest definition a personal impression of life; that, to begin with, constitutes its value, which is greater or less according to the intensity of the impression. But there will be no intensity at all, and therefore no value, unless there is freedom to feel and say. The tracing of a line to be followed, of a tone to be taken, of a form to be filled out, is a limitation of that freedom and a suppression of the very thing that we are most curious about.” – Henry James, “The Art of Fiction”
GP 3142, from The Graffiti Project, 1986 by Tetman Callis
“‘Art,’ in our Protestant communities, where so many things have got so strangely twisted about, is supposed, in certain circles, to have some vaguely injurious effect upon those who make it an important consideration, who let it weigh in the balance. It is assumed to be opposed in some mysterious manner to morality, to amusement, to instruction. When it is embodied in the work of the painter (the sculptor is another affair!) you know what it is; it stands there before you, in the honesty of pink and green and a gilt frame; you can see the worst of it at a glance, and you can be on your guard. But when it is introduced into literature it becomes more insidious–there is danger of its hurting you before you know it. Literature should be either instructive or amusing, and there is in many minds an impression that these artistic preoccupations, the search for form, contribute to neither end, interfere indeed with both. They are too frivolous to be edifying, and too serious to be diverting; and they are, moreover, priggish and paradoxical and superfluous. That, I think, represents the manner in which the latent thought of many people who read novels as an exercise in skipping would explain itself if it were to become articulate. They would argue, of course, that a novel ought to be ‘good,’ but they would interpret this term in a fashion of their own, which, indeed would vary considerably from one critic to another. One would say that being good means representing virtuous and aspiring characters, placed in prominent positions; another would say that it depends for a ‘happy ending’ on a distribution at the last of prizes, pensions, husbands, wives, babies, millions, appended paragraphs and cheerful remarks. Another still would say that it means being full of incident and movement, so that we shall wish to jump ahead, to see who was the mysterious stranger, and if the stolen will was ever found, and shall not be distracted from this pleasure by any tiresome analysis or ‘description.’ But they would all agree that the ‘artistic’ idea would spoil some of their fun. One would hold it accountable for all the description, another would see it revealed in the absence of sympathy. Its hostility to a happy ending would be evident, and it might even, in some cases, render any ending at all impossible. The ‘ending’ of a novel is, for many persons, like that of a good dinner, a course of dessert and ices, and the artist in fiction is regarded as a sort of meddlesome doctor who forbids agreeable aftertastes.” – Henry James, “The Art of Fiction”