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Precious, Not Few

I can't wait to see the film, though I might have to wait until it comes out on DVD. I definitely recommend the book as a powerfully written testimonial of a subject we don't hear nearly enough from today, and in fact for the last year or so, have been using an example from Sapphire's text for a writing prompt and discussion with entry level writing students. They are always intrigued, but now might be more motivated to pick up the book, after seeing the film: How do we explain exactly what affects us about this writing? I find that taking very small excerpts, and drawing out what ideas and meanings come to me, can help me to pinpoint more clearly what it is about this writing that attracts or repels me as its audience: For example, I find the language of Sapphire's novel Push, to be deceptively simple while concealing depths of feeling and meaning. Words are often spelled phonetically, and contain some rhythms similar to those employed by Zora Neale Hurston. Here's an excerpt: "I jus' fall in Mr Wicher's class sit down. We don't have assigned seats in Mr. Wicher's class, we can sit anywhere we want. I sit in the same seat everyday, in the back, last row, next to the door. Even though I know that back door be locked" (Push 4). What I love about this short passage is how much is communicated in few words, how Sapphire says so much with so little. Here are just a few of my thoughts on this three-sentence passage: The structure of the first sentence, with its word usage, the "jus fall," gives me a feeling of abruptly sweeping into a room and falling into a chair in one swift motion--with purpose, and with a noticeable "I don't care" attitude, perhaps. "Jus" falling into the chair without a thought could indicate that this person is feeling a bit defeated in some way; she falls into the room and the chair. But then again, it seems that even though seats aren't assigned, this person behaves as though they were, giving the impression that she wants structure and stability she can control, not change. She distances herself from others, yet perhaps to also draw attention to herself, by sitting in the back, the last row. This character shows us that she literally has her back against the wall--but that she has demonstrated control over the situation because she has knowingly chosen this position--she knows the door is locked. Sometimes a locked door can provide a kind of support, because no one can open it and surprise you, or knock you down--even if the opening door might bring a good change. What I'm doing here is called "close reading," something we do a lot in literature, but also in advertising. Every word counts, and every word and sentence must communicate something to the reader without it being spelled out.
— November 28, 2009 1 a.m.

Inconvenient Death

Sure? ;)
— November 27, 2009 10:25 p.m.

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