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Sarabande Books is publishing a fascinating new anthology entitled, One Word: Contemporary Writers on the Words They Love or Loathe. The editor, Molly McQuade, asked 66 writers the question, "What one word means the most to you, and why?" Among the essays McQuade has collected is "Sixpack," an exploration of six words by the experimental writer Thylias Moss. Tucker Capps has drawn from Moss's musings on the word fork to create a captivating short film.
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We writers about writing mostly write about "good" writing; we give our readers helpful hints on how to write well and point them to masters like Homer and Dickens to show them how it's done.
Good writing, however, does not form the bulk of writing. Like islands lost in the vast Pacific, writing's great works rise as rare peaks above endless oceans of bad writing, books and journals in which the writing is so poor or feeble or dull or trivial or trite or pompous or false or malicious or stupid that it lives for a day and dies away.
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The title story of my collection, What the World Will Look Like When All the Water Leaves Us, began with me falling in love with a word: Madagascar. I fell head-over-heels for the cadence, for the way it evoked a Jacques Cousteau-esque sense of adventure and mystery.
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Years ago, after I'd graduated from grade 12 and moved on to higher learning — English 100 and Philosophy 120 — I discovered that my university had a recording library. Hallelujah! Sounds quaint now, I know, but this was more than a generation before iPods, and I was ridiculously excited about getting to hear music via headphones.
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I used to play at being a writer.
Afternoons in Boston, in my early 20s, I'd pour three fingers of Black Bush whiskey, feed a page into my typewriter, and surround my desk with books by whoever I was reading then — Bill Knott, Marguerite Duras — and add to that bibles and newspapers. I'd open to random pages and write down whatever caught my eye, whatever seemed anachronistic or poignant, then I'd make a hash out of it.
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