New Translation of Pablo Neruda’s poem The Dead Woman

La Muerta, or The Dead Woman, was written by Pablo Neruda. I was reading a bilingual edition of this book at El Cafe de Otraparte and didn’t like the translation so have transcribed my own below on the right side, linked to where other translations are below and then explained why I think my translation is preferable to theirs.

Si de pronto no existes,
si de pronto no vives,
yo seguiré viviendo.No me atrevo,
no me atrevo a escribirlo,
si te mueres.Yo seguiré viviendo.Porque donde no tiene voz un hombre
allí, mi voz.

Donde los negros sean apaleados,
yo no puedo estar muerto.
Cuando entren en la cárcel mis hermanos
entraré yo con ellos.

Cuando la victoria,
no mi victoria,
sino la gran Victoria
llegue,
aunque esté mudo debo hablar:
yo la veré llegar aunque esté ciego.

No, perdóname.
Si tú no vives,
si tú, querida, amor mío, si tú
te has muerto,
todas las hojas caerán en mi pecho,
lloverá sobre mi alma noche y día,
la nieve quemará mi corazón,
andaré con frío y fuego
y muerte y nieve,
mis pies querrán marchar hacia donde tú duermes, pero seguiré vivo,
porque tú me quisiste sobre
todas las cosas indomable,
y, amor, porque tú sabes que soy no sólo un hombre
sino todos los hombres.

If suddenly you do not exist,
if suddenly you no longer live,
I shall live on.I do not dare,
I do not dare to write it,
if you die.I’ll keep living.For where a man has no voice,
there, my voice.

Where blacks are beaten,
I cannot be without energy.
When into prison my brothers go,
I am with them.

When victory,
not my victory,
but the great victory
comes,
even though I am mute I must speak;
I shall see it come
though I am blind.

No, forgive me.
If you don’t live,
if you, beloved, my love,
if you have died,
all the leaves will fall on my chest,
it will rain on my soul night and day,
the snow will burn my heart,
I shall walk with cold and fire and death and snow,
my feet will want to march to where you sleep, but
I’ll stay alive,
because you wanted me above all things indomitable,
and, my love, because you know that I am not only a man
but all humankind.

Why My Translation is Better

Where my translation differs from the other versions is as follows.

In the third stanza seguiré should read as a statement of commitment to life rather a phrase that a book with some sort of platitudinous title on coping with grief would tell you to repeat over and over again in a mirror until you start to feel that you are “back amongst the land of the living” and thus no longer “trapped in the past/in death”.

The fifth stanza I’ve changed for the following reasons. First, the other translators incorrectly attributed the Castilian meaning of the word rather than the Chilean. While generally sensible, any Spanish speaker that’s travelled know that there is a wide variety regional dialects and meanings. Here’s an screenshot of a Chilean Spanish Slang Dictionary:

If that’s not enough to convince you why my iteration is better, consider this – while “not being dead” may sounds poetic, it doesn’t imply the same sort of implication of commitment to ameliorating racial oppression that was a major component of Neruda’s politics. Pablo Neruda was an ardent Marxist, a member of the Communist Party and was a politician and diplomat under President Salvador Allende. The lines as they were slightly obfuscated something that Pablo Neruda would have been highly attuned.

As it was worded,
it suggested that the “I” of the poem – which is later on characterized as indomitable – respond to racial oppression merely by oneself not succumbing to death. Using a dictionary definition rather than an informal one thus loses the implied need for material commitment to oppressed peoples liberation evidenced in my rendition of “I cannot be without energy”. People in perilous situations that require great physical endurance to survive are able to exert themselves past the point they would normally collapse because of the importance of their actions. My rendition captures this, and for similar reasons the next two lines of the stanza is also lacking verisimilitude to what I believe to be Neruda’s intent.
Embed from Getty Images

As it was,  the “I” of the poem implied a commitment to revenge seeking or some kind of adventurism. That’s not, however, the case as Neruda would be very familiar with the concept of solidarity. Now I understand and even appreciate why it’s rendered that way, for the sake of sound, but I also think it’s important not to declaw the meaning behind the words of a poet who was assassinated by the government of General Pinochet with the assistance of the C.I.A.

Marchar en Chile

In the eight stanza I changed “breast” for “chest” as pecho is both and. Following that I think the translation is again playing fast and loose for the sake of sound. Neruda uses the word marchar, to march, and in the translation it’s replaced with walk, or caminar. While one certainly walks in a march, the collective sense implied in the Spanish word is lost in the old translation.

Lastly, I changed the last line from “all men” to “all humankind” as the gender specificity within Spanish nouns need not apply to the English rendition given the alternative which more accurately symbolizes socialism’s aspiration for universal solidarity.

“Don’t do with love, what a child does his balloon, that having ignored it, then loses it crying.”

Buy yourself a copy of Neruda.

The Struggle for Catalonian Independence and Art

82 years after the Asturias Revolt, and 78 years after the end of the Spanish Civil War Republican unrest is now mobilized enough again that politicians in Catalonia believe that independence from Madrid is a possibility. Spain has always had a special place in my heart and thus I’ve been closely following the events in Catalonia regarding their movement for independence. As a populist movement not only does it’s development lend itself to new forms of art, which I will briefly talk about below, but it also allowed President Maduro of Venezuela to troll Prime Minister Rajoy with the phrase, “Who’s the Dictator Now?” after Rajoy was critical Maduro’s response to U.S. backed attempts to destabilize the country and to bolster indigenous people’s attempts to create their own national governments, like in Kurdish Iraq. Massive Social Mobilization Across Catalonia These photos show the millions of participants in the protests that were part of the huelga general (general strike) called for by all the Catalan trade unions. According to the Catalan government the general strike was the largest economic paralyzation in the history of Catalonia. Reports I’ve read state how one of the many chants that  reverberated in dozens of cities across Catalonia, was “The streets will always be ours!” The reason for this stems from the fact that people were upset with Spanish state repression and police violence against the #CatalanReferendum, in which 90% of the voters voted for independence from Spain. Their claim that the streets belong to them reflects the fact that police from outside the region had to be brought in to control it.

Workers Against the State While the police were celebrated by small crowds in other regions for the oppression they would bring to their neighbors, Catalonian farmers blocked the ports to prevent more police officers from coming in, to prevent police vehicles from coming in and to otherwise hamper the movement of those that were already brought off shore to “reign in” the movement. The Huelga General, or General Strike, called by the Catalan unions is supposed to be the largest in history and has paralyzed commerce throughout the region.

The State Against Workers and Democracy 

“The worker who becomes a policeman in the service of the capitalist state, is a bourgeois cop, not a worker.” – Leon Trotsky

Not all social services workers were willing to fight for the status quo, here we see firefighters that are attempting to keep the police from preventing people from going to polling stations. Other powerful photos of what’s going on there depict ballot boxes connected by chains to large concrete blocks to prevent police from confiscating them. Reports from all outlets depict greater  90% of those that voted wanted independence.

Is History Repeating Itself?

Let’s clean them out! – 2017 Comrade Lenin is Cleaning the World of Scum – 1917

100 Years on from the Russian Revolution and it is still inspiring people around the world trying to get free from oppression and exploitation. While reading some Spanish language news media, I came across the above poster on the right and was tinkled pink (or is tinkled red more appropriate here?) as it is a variation of the famous Lenin poster that I placed on the right. While the forces driving Catalonian independence are nationalist and not anti-capitalist – the region’s history as a Libertarian Communist/Radical Republican stronghold during the Civil War are well documented.

Or is History Adapting to the Conditions of the Present?

While I found myself resonating with the Escombrem Los! image and the illustration above to the left as it combines a famous photo by Robert Capa called Loyalist Militiaman at the Moment of Death, Cerro Muriano, September 5, 1936  with a depiction of the current suppression – this is one of the examples where historically powerfully iconography is repackaged in a way that’s not really appropriate. The anti-monarchic sentiment may be the same and there is similar dissatisfaction with the government on it’s spending choices – it’s not an international revolutionary movement.

The Future is Unwritten, But Has Certain Limits Brexit, massive youth unemployment and brain drain to Germany, growing nationalist movements – the hopes for a united European Union is starting to unravel. Just like the Catalonian independence movement is not likely to become a clarion even for those disaffected with the neoliberal world order nor is it that Catalonia will again be a testing ground for new weapons. And yet these historical images are still being used by those on the ground now as a reference for understanding the present.

While this is to be expected, it’s worth recalling Karl Marx’s famous quote on the subject: “Men make their own history, but they do not make it as they please; they do not make it under self-selected circumstances, but under circumstances existing already, given and transmitted from the past. The tradition of all dead generations weighs like a nightmare on the brains of the living. And just as they seem to be occupied with revolutionizing themselves and things, creating something that did not exist before, precisely in such epochs of revolutionary crisis they anxiously conjure up the spirits of the past to their service, borrowing from them names, battle slogans, and costumes in order to present this new scene in world history in time-honored disguise and borrowed language.”

A More Appropriate Art of Protest

While there are certainly groups within the Catalan nationalist movement that wish to make the referendum for nationhood similarly a vote for socialism, this is a vocal but small group.

Because of this, I believe, a more appropriate aesthetic is less that which pulls from a revolutionary tradition and more one that sees it as solely a transfer of powers. It’s a lot less sexy, but a lot more accurate. It’s also a lot more dangerous, as continuing the state in this regard will not necessarily ameliorate the anxieties expressed in such social mobilization and opens up the way for new ones.

The Return of Fascistic Unity

Embed from Getty Images

Regardless of one’s position on Catalan independence, it’s worth noting the strong similarities with those against it and those that wish to make the United State a white ethno-state. It’s said that a picture says a thousands words, so notice the swastika tattoos on this anti-independence Catalan demonstrator at a National Unity rally in the centre of Barcelona during Catalonia National Day on September 1.

The struggles in the street over symbols, history and power will continue so long as profound dissatisfaction with the distribution of political and economic power continues. However, reliance upon old verities such as nationhood or race that once made people feel secure will not provide a genuine out for such problems. I hope that the electoral aspirations of the Catalonians are achieved, but also feel that should independence happen the hopes that they have will soon be lost given what will be their diminished power in the current world order.

How To Best Use Data for Storytelling and Content Marketing

In this article I explain how creative strategists like myself can help companies utilize their own data for use in content marketing campaigns or evergreen website content. I review some of the formulas which underlie most of the viral content shared on social media and outline with an examples how it is that data can also be used for evergreen content.

I don’t, however, go into detail why data based content is so important for today’s companies.

Turning Data into Narrative and The Most Viral Content Marketing Structures

Content marketing is both an art and a science.

Its designation as a science stems from being able to obtain and determine the significance of information from a single or multiple sets of data in a methodologically sound manner as well as being able to then track its effects online to determine ROI. This is why the best content marketers often work in conjunction with growth hackers.

Its designation as an art comes from that fact that once a number of these particular findings are uncovered in data, they must then be placed in a narrative structure with aesthetically pleasing components (infographics, gifs, videos, etc.) that is compelling enough to hook and hold the attention of a reader. This is why the best content marketers often work in conjunction with a team able to properly promote campaigns.

Examples of Successful Content Marketing Narrative Structures

Surveys and internal data that use demographic information to tell engaging stories is that which is most likely to be picked up by media outlets and shared on social media.

There are, however, a finite number of ways that such data can be presented and not all of them are equal in the value they bring. Those that exhibit certain traits have a higher tendency to become viral.

Here is a non-comprehensive list of some of the narrative constructions most likely to be shared:

  • People who do X are more likely to to be Y.
  • Having X attribute (big butt) means you are more Y (smart/stupid).
  • X% of children in Y birth order are more Z% than their siblings.
  • Doing X (glass of red wine) easy thing = Y (one hour of exercise)
  • X study confirms Y thing (that everyone already agreed about — such as dogs are better company than people)
  • Being X “good thing” (religious) means you are more Y (bad thing) (mean)
  • People who do X on social media (post selfies) are more likely to be Y (narcissistic)
  • People with X “bad” personality trait (Loner) are Y “good attribute” (more intelligent)
  • Doing X regularly (meditating) correlates with Y (happier life)
  • X type of person (Women) need more Y (sleep) than opposite type of person (men)
  • People who do X (brag) thing to get Y (praise) reaction, actually are the Z (opposite – insecure)
  • X% (high percentage) of Y (common demographic) group admit to Z (taboo thing)

The Psychology Behind People’s Curiosity

It’s possible to go into great depth on the variety of emotional responses and how they are likely to affect various reader personas, so for now an analogy will do. Chances are at some time you’ve been out somewhere in public and heard someone call out your name. If so, you probably can recall the feeling of sudden alertness you get. Where did that sound come from? Who said that? What message do they have for me now that they’ve captured my attention?

The social media equivalent to this is seeing a headline with one or more demographic qualities featured in it that relates to you or someone you care about. You want to know this new bit of information about people like you or something that interests you.

Using Survey and Internal Data For Content Marketing

Depending on the business, oftentimes the data required to tell a good story is already stored in a Customer Relations Management (CR) database or something similar. Depending on their willingness to publish this information, this can be a great means for producing content marketing with original research. Here’s an example:

A company like BeachBody could potentially use their clients data to illustrate possible differences in likelihood of starting and completing a particular workout program by age, weight or current level of physical fitness. This would be a great piece of evergreen, potentially live updating, marketing content as it would show subscribers the attrition rate for all the programs based on those demographics.

By informing those that might be new to their services that certain exercise programs are more appropriate for people at higher level of fitness, it could help them to lower the monthly cancelation rate as people can now visualize how others have handled their programs and realize that they might need to choose an easier one.

For survey based content marketing campaigns, wherein new data is created through services such as Survey Monkey, including demographic questions is the key for turning raw data into narrative. As you can include a variety of questions that have previously been peer-reviewed and tested to show a number of psychological qualities, surveys typically allow for much more complex data to be parsed that that normally collected by companies.

Why You Should Hire Ariel Sheen to Develop a Content Marketing Plan Using Your Company’s Internal Data; Existent Data or New Data

As presenting misunderstood or misinterpreted data can damage a company’s reputation, it is imperative that at each stage of research and production all findings are fact checked for quality assurance. Thanks to my academic training and content marketing experience, I am uniquely qualified to produce SEO-optimized, original, viral or evergreen marketing content that follows best production processes.

If your business is ready to incorporate content marketing projects that uses internal data, existent data or newly created data as part of your digital media fingerprint, then contact me and together we can craft a statement of work that helps you to achieve your marketing goals.

Review of Finding Your Voice: How to Put Personality in Your Writing

Reading Finding Your Voice: How to Put Personality in Your Writing by Les Edgerton reminded me how to be attentive to the variety of creative decisions that determine the voice of a work. How they can be interpreted, improved and evolved from different experiential exercises. The book contains focus on various voices – pulpy, sardonic, confessional, etc. – along with “before and after”  changes. Theres illustrate how a few different decisions can radically alter the ease and enjoyment level of the reading. Some of the various traps to watch out for that Edgerton cites are the “beige voice” as well as talking up or down to the reader. As all of the fictive dream – the neurological firings in your brain that are activated during the process of readings words on page or screen- occur as the results of words, best get them right. Right?!

There are, additionally, exercises contained within for identifying the ways in which honing in on voice in specific passages can radically improve the experience of the reader and how some choices can lead to it “going wrong” in one’s writing. For instance, say one wanted to get the reader to slow down. Not to scan the text; as so many are apt now to do. Well, the solution is simple. Place a number of shorter sentences back to back. This is a particularly effective practice following longer expository passages. Explaining difficult things, after all, requires the combination of lots of pieces. Much as in the same way that sentence variation forces the reader out of the simplistic subject verb object constructions.

The book is for both writers of fiction and non-fiction and addresses something that is very important as it relates to today’s media landscape – talking up, down and beigley to the reader. Explaining every and all thing can cause passages to drag on and o n. If they are known by the reader, it’s a bore, and leads to mental lagging. A good writer, Hemingway and others have stated, leaves something for the reader to want to discover. Writing in too high of a voice is the struggle that I’ve had, having an advanced academic background I can sometimes lapse into uncommon terms that are, nevertheless, quite useful for understanding today’s world. But this isn’t all about me. This is not purple prose, either, which I’ve only found in contemporary Latin American literature, is not gone in to but that’s just because it’s so rare in American fictional and non-fictional works that get published.

Edgerton’s colloquialisms, and the linguistic playfulness of the text was, I thought, a little corny at first. However it did grow on me. Plus, I recognized what he was doing with it. Not only was he describing insights into what makes a well crafted writers voice; but he was also demonstrating it! By sharing this, as well as the hat of instructor, he’s helping to show one of the Walt Whitman quotes about – I’m stacatato-cattically summarizing her : “there being multitudes that exist within each of us”. It’s true. There are!

Les’ lessons are follower by exercises to either read, write or re-write. The book is an attempt at a comprehensive attempt to teach the craft of good writing, plot, etc. but just focus on narrative voice and the voice of characters. He lists a large number of books that go into these other areas, and it’s clear with his familiar with them that a lot of experience and time went into the formation of this book.

I finished the book not only informed but also interested in seeing the dynamic that exists in his writing workshops. Having attended several writing workshops as an undergraduate at Florida Atlantic University and in Prauge, Czech republic as part of a University of Michigan program – not to mention other informal gatherings – I’ve always found workshops a productive place where people provide new eyes to help you see things you may not be aware of because you’re too close to the work, or wasn’t aware of some insight or whatever other reason that shows up when people gather with strategic and creative intentions.

I like how following this book one can apply like dissection tools onto the writings of your favorite writers in order to better place their style in history rather than a burden. Stealing can always be great art, but only if it’s great art does it get called great art – not just because it’s just an iteration of the same efforts. That last quote, ya, that’s me. Put that on a goddamn site so i can get me da stats higher.

Review of The World of Sex

I’ve read most of Henry Miller’s work but hadn’t heard of his composition entitled The World of Sex until recently reading The Selected Letters between him and Anais Nin. Impulsive Ariel, of course, jumped onto the internet, set my web browser to Amazon and two dayed it. Both delivery and in time spent reading it.

The World of Sex is an extended essay written at the time that Henry Miller’s work was being censored from publication, importation or sale of his work in the United States. He was becoming a cause célèbre in France, where he’d wrote much of his early work. However in puritanical America a number of graphic depictions of sex lead to suppression of his work. A number of copies made it into the US, making his book literally an underground phenomenon until his work was finally deemed not categorized by the legal definition of pornography, however this dynamic caused Miller much consternation and a cause for deep reflection on what sex can mean to the individual as well as the relationships between sex and art, sex and fiction, and sex and society.

As one would expect given his oeuvre, Miller tells the story of how he came to have a number of his views on sex and love through a recounting of his personal narrative. Describing his infatuations and frustrations from the vantage point of decades of distance, not to mention much internal and psychological research, provides the necessary detached frame that allows him to describe impact these impulses and urges being contained had on his – and indeed all peoples – development. Because of these constraints, be it social taboos or ideologies and religions which seek to shame the body, he comes to see these as invalid for they vastly limit our knowledge of others and ourselves.

Society takes much of the brunt of Miller’s animosity, it is an assemblage of conflicting messages that engenders neurosis is listened to. Real truth is the self, Miller believes and shows through his life and work. By rejecting those as a means for guiding oneself and allowing the internal direction one feels to fully take hold – be that in the pursuit of sexual conquests to gain self-knowledge or through living something other than the typical “get married, work hard, follow your dreams leads to failure” mantra then great things start to occur:

Our laws and customs relate to social life, our life in common, which is the lesser side of existence. Real life begins when we are alone, face to face with our unknown self. What happens when we come together is determined by our inner soliloquies. The crucial and truly pivotal events which mark our way are the fruits of silence and solitude. We attribute to chance meetings, refer to them as turning points in our life, but these encounters could never have occurred had we not made ourselves ready for them. If we possessed more awareness, these fortuitous encounters would yield still greater rewards. It is only at certain unpredictable times that we are attuned, fully expectant, and thus in a position to receive the favors of fortune. The man who is thoroughly awake knows that everything “happening” is packed with significance. He knows that not only is his own life being altered but that eventually the entire world must be affected.

Much of the many underlined passages that I have in Miller’s work relates to these moments of revelation – be it as it relates to friendship, lovers, the role of literature in society or something else. It saturates his fiction and here too, such insights appear. In one section on page 33, Miller describes a deep spiritual relationship to numerous authors that I’ve too suggested other people spend time with. Their stories, their vision, their analysis, their dynamic tension, their message, their… “X factor” was something that made it worth’s one attention to read them as well as it makes your inner vision that much more expansive.

A quote of Miller’s

There are comments Miller makes about the sexes that are open to being considered misogynistic. For instance while describing the archetypical psychological aspects of male-female sexual and romantic relationships he states the following:

“A man is usually plagued with all kinds of disturbing notions with regard to love, sex, politics, art, religion and so on. A man is always more muddled than a woman. He needs woman if for no other purpose than to be straightened out. Sometimes it takes nothing more than a good, clean, healthy fuck to do the trick.”

I’m not going to place what he says for the women here lest I seem to be endorsing it outright, but having had a lot of experience with women I think that there is some truth to it. Obviously it doesn’t apply to all, just as the above need not be the truth for all men, however I would largely agree with the above statement and feel that much of what he says is true even if not universally so. Miller, certainly, didn’t place himself fully within this mass, instead identifying himself with the “man of genius,” who through his work or by personal example, seems ever to be blazing the truth that each one is a law unto himself.

As someone versed in Miller’s work I found his reflections on his own writing to be particularly rewarding as it matched much of my memories of them. I’ve only recently begun to remind myself of him due to events in my life, but when I read this, his letters and passages like the below it all came back to me:

The Tropic of Capricorn represents the transition to a more knowing phase: from consciousness of self to consciousness of purpose. Henceforward what metamorphoses occur manifest even more through conduct than through the written word. The beginning of a conflict between the writer who is resolved to finish his task and the man who knows deep down that the desire to express oneself must never be limited to a single medium, to art, let us say, but to every phase of life. A battle, more or less conscious between Duty and Desire. That part of a man which belongs to the word seeking to do its duty; the part which belongs to God striving to fulfill the demands of destiny, which are unstable. The difficulty: to adapt to that desolate plane where only one’s powers will sustain one. From this point on the problem is to write retrospectively and act forwardly. To slip is to sink into an abyss from which there is no rescue possible. The struggle is on all fronts, and it is ceaseless and remorseless.

For fans of Miller as well as those that are interested in essay’s on sex, art, and social matters I highly recommend this book.

 

Review of A Literate Passion: Letters of Anais Nin and Henry Miller

On the inside cover of the used copy of A Literate Passion: Letters of Anais Nin and Henry Miller 1932-1953 is an inscription that has been covered over with black permanent marker. Dated December 1987, it reads

Dear Thom,
In some ways we will always be together.
Love,
S.

Those familiar with the life and works of Anais Nin and Henry Miller would no doubt not be surprised by such a sentimental dedication being written into its pages, and made an amusing start to my reading this 395 page edited selection of these two literary luminaries letters. I chose to read these letters, which range in length from 1/2 to 33 pages, following a reflection on a discussion.

As you can see from the below photo from my library…

#Truestory: I #binge #books #henrymiller #litlife

A post shared by Ariel Voyager (@arielvoyager) on

I’ve a long history of affection for Miller’s autobiographical oevre. Now that I’ve read enough of Art and Artist by Otto Rank, a psychologist who actually plays an short but important role both as an inspirer to both and lover of Nin’s, to know the word I’d even go so far as to say that he was, in Rank’s terms, the artist after which I’d apprenticed myself.

Missing from the picture are the journals of Nin’s that I’ve read from the same period when she was first introduced to Miller. I’d first read two of her multi-volume journals while in Copenhagen, Denmark, occupying time as rain made the wide city unwelcoming. My host, a family friend, had just smoked some buds from Christiania, put on some chaotic but oddly calming jazz music while writing a paper on import tariffs effects on the fishing industry of the country and then suggested I occupy myself with what was on his shelf since he had no television. I perused it, picked up her, and began literary journey of my own as the recordings of her inner life were so compelling and the man about which she felt so ecstatic about so intriguing that after that bingereading I knew I had to have more.

In the letters collected here they are at first merely two people with deep passions to be recognized as literary artists. The share the writings that they’ve been working on – in Miller’s case Tropic of Cancer and Tropic of Capricorn while in Nin’s it was her early childhood journals – and give each other reams upon reams of feedback, discuss art, and a variety of topics from the banal to the esoteric. A note in the introduction, in fact, points out that the roughly 400 page collection is but a partial fragment as a number of the notes – sometimes two or three a day – were lost and that a sizeable amount of material was excluded so as to make this collection a “best of”. Anyways. Though both were married, Miller and Nin soon became lovers after meeting. Nin also explores lesbianism with Miller’s wife, June. Anais’ husband, well he’s oblivious to it all. A banker, he leaves for a short period and this gives the two of them a few weeks together. The time that they share during this brief affair become grist for more and a growing, profound appreciation for each other. Since Miller is too poor to afford to keep a home with Nin as he’s unwilling to take on non-literary work he is not able to ever “set them up” as he so wishes. Amusingly enough in fact, Miler relies on Hugh for money to live, though not directly but by that which is given to him  by Nin. Here, for example, is one of the many delightful passages that Miller writes:

Don’t expect me to be sane anymore. Don’t let’s be sensible. It was a marriage at Louveciennes – you can’t dispute it. I came away with pieces of you sticking to me; I am walking about, swimming, in an ocean of blood, your Andalusian blood, distilled and poisonous. Every thing I do and say related back to that… I say this is like a wild dream – but it is this dream I want to realize.

It’s not just as human expressions of love and longing that makes the collection pleasurable. Alongside the star-crossed love narrative are the reflections of two genius writers that struggle to find markets for their works. My book is peppered with underlines to mark great turns of phrase and insights into the human condition. No surprise given that this was a period when both were each producing significant works. One of those significant works, in fact, I learned about for the first time while reading this book. The World of Sex is a Penguin Modern Classic that despite having read all of those books from New Dimensions and Grove Press that I’d never heard of.

Those familiar with Henry literary work will be pleased to find a number of the kaleidoscopic collisions of thoughts in the form of beautiful flourishes of phrase and insight characteristic of Miller at his creative height.

The latter third of the book the romance has ceased to be described. Following a series of events – which I describe in the close their letters and lives turn from lovers to an exemplar friendship. Such a friendship does not come easy, however. A number of letters contains long and heart-rending accusations and cold, but insightful recriminations flow back and forth. The romantic love subtext fades from their exchanges, but they still clearly love each other.

Henry’s final break with Nin comes over her haven taken on Rank as a lover. While there is no direct statement of this by Henry, the pattern of behavior that he follows for a while hints at his pain. Had he the courage to admit the source of his pain, to overcome it and thus not keep distant from her is an interesting exercise in “what if”. While they both found professional acclaim and a financial stability form their work – I can’t but help wonder – a la La La Land’s lovely and yet heart-rending ending – whether or not they would have found greater happiness had pride not prevented it.

 

Review of Storyscaping: Stop Creating Ads, Start Creating Worlds


As part of my professional development as a Creative Director, despite my title of “Creative Strategist”, I decided to read a book by the Chief Creative and Brand Strategy Officers of Sapient Nitro, a very large brand and content marketing agency. Storyscaping: Stop Creating Ads, Start Creating Worlds, written by Gaston Legoburu and Darren McColl could easily have been one of those shamelessly self-promotional type of works, which seeks to show in book form a number of client successes and merely hint at the type of research and creative work that goes into the marketing projects they manage. While they certainly do include a number of their success stories, this is done primarily to illustrate the developmental and publishing process related to “storyscaping”.

To put this new form of marketing action the books begins with a delineation of the power of human narrative going back to the time of man when we sat around fires and told each other stories to distract us from the fear of animals and tribes surrounding them. In reviewing the elements of short narratives I found myself recalling much of college elective course in Storytelling. This is actually a knowledge set that I’ve found myself consistently drawing on in my ideation for Fractl, which I find amusing as after I’d decided to take it a number of people said that this was something that’d I’d never use. Following this the authors provide an overview of the various ways that the internet has changed the development of effective business to consumer marketing communications. They point to a digital/traditional divide that exists in marketing and are even handed about it saying that while the latter still has its place, it’s due to the dominance of virtual worlds for mediating decision-making processes and the more number of contact points with customers that it’s something that companies neglect at huge potential risk to their bottom line.

The application of Joseph Campbell’s ethnographic and literary/mythic concepts related to the hero’s journey was, for me, surprising but also sensible as it’s appropriate for relate the product of a brand to the hero’s quest. It frames desire as, well, heroic self-development rather than personal satiation.

The recent Pepsi television ad that has been receiving much, deserved, flak for its social insensitivity is a great example of this. In the video while a heroic goal is met, the cessation of social strife stemming from systemic economic and racial marginalization and oppression, the cause for it – mutual enjoyment of Pepsi – is, well, stupid.

A more appropriate example of such heroic help is provided in the analysis of campaigns that SapientNitro did for a UK gambling company and a ski resort. For the gambling company they were able to apply UX principals to their app – there’s always a co-constitutive relationship between marketers and producers – such that they were able to provide an improved “excitement” level for bettors. For the ski resort they were able to consultancy that would lead to investment in digital photography equipment and smart chip technology so that guests were able to share their experience and thus encourage the most convincing form of marketing – word of mouth.

By “building worlds” the opportunity is created for people to connect with brands in immersive and cooperative ways. With the emotional responses to these “Experience Spaces” that lead to sharing as the goal, consumer research helps improve the response and helps to build brand identification and loyalty. At this point Legoburu and McColl outline relationship between the steps leading from brand strategy and product positioning to an organizing idea and experience space that leads to the “storyscape”. They’re clear to point out that this is not a linear path but a conceptual totality that adjust to the many variables which exist within consumer insights and their purchasing journey.

Part two of the book switches tracks to focusing on how it is that an organization’s purpose can be clarified, uncovered and applied in the office and in marketing to increase brand value. The purpose is something that Legoburu and McColl say is not found from talking with the president of the company but an internal assessment of their operation due to the fact that their can be an excessive focus on profits on the part of management such that they lose sight of what they are actually delivering. Lest this seem esoteric, let me provide an example given in the book. Whereas Hanna-Barbera’s leadership defined themselves as purveyors of cartoons, Walt Disney conceived of themselves as providing family entertainment. Because of this wider scope of their operations, Disney was able to rapidly diversify their productions into other profitable areas while Hanna-Barbera slowly stagnated.

The chapters Walk the Walk, Insight to Desire and In Their Shoes, all provide an outline for how a creative, marketing department can transform various forms of research and data points in order to better understand the typical consumer narrative. For someone like myself, who is familiar with Marxist and Freudian interpretations of social and commercial activity, the book reads like a bowdlerized Marcuse with aphoristic rather than baroque formulations. Lest there be some confusion on my evaluation of the book here, this is a compliment to the authors. The author’s discussions on marketing mix modeling, adaptive worlds, and their relationship to the epistemology of customers is, I dare say, incredibly insightful for determining how to influence behavior and maximize on opportunities. This is a great book that I marked up significantly and I definitely fore see myself revisiting in the near future.

On Research for Unraveling

When I began writing Unraveling, it was a much different story compared to what it has now developed into. My early chapters and the notes for the project focused primarily on Jesse and Aaron. My vision was limited to exploring the dynamics in their lives that they were struggling with – respectively lost status stemming from familial/social causes and hedonistic nihilism that began following undesired repercussions of previous decisions. Put another way, the two main dynamics I wanted to explore were “what do you do when something occurs that’s completely outside of your control that you don’t want” and “what do you do when something happens that you don’t want but that was a result of your actions.” Because of this I conceived most of the other characters that I’d outlined merely as foils to their foibles on the path to achieve their goals – revenge over the person that had caused the loss of status and personal enlightenment.

A primary intention behind my writing, as I first conceived it, was to better understand my own personal development. Aaron and Jesse’s narratives contain a number of auto-biographical elements. As I continued to write out their stories and interactions, however, I came to realize that continuing with these limits not only made me miss out on developing some great characters but also caused me to exclude some of my own areas of expertise and interest. Since you’re supposed to write what you know about, I realized it was worth some time re-conceptualizing the project. Since doing that I’ve radically changed what I’d include in Unraveling.

As I decided to expand and explore the secondary character’s back stories I came to see how this not only made them richer persons in the book, but also added new depths to their interactions with Jesse and Aaron (and now others). Happy, for instance, was previously just a means for helping Jesse and Aaron get things that they needed. He became a business/social model for Jesse as well as a sage figure for Aaron. This transition from drug kingpen to force of benevolence in the community, think Stringer Bell/Damon Pope meets Huey Newton, required me to do more research as unlike Aaron and Jesse’s stories, which I knew well given they’re based on certain times in my life, I wasn’t as familiar with that type of psychological development. Put less delicately, I’m not black so I felt uncomfortable presuming that just through my imagination I’d be able to come up with a robust character for him and those around him.

To better write his character as well as those in his orbit, I decided to do research. Here’s what I came up with.

Autobiography of Assata Shakur
Angela Davis: An Autobiography
Black Against Empire
BMF: The Rise and Fall of Big Meech and the Black Mafia Family
Revolutionary Suicide
Soledad Brother: The Prison Letters of George Jackson
The Spook Who Sat by the Door
Who Becomes a Terrorist and Why

Thankfully, I’ve now completed the above research I wanted to have done before really getting into Happy’s chapter and am now a few books away from completing the research I’ve already started for Ela. While this was a long delay on the project, I look forward to being able to be able to write Happy’s chapter with greater verisimilitude to similar historical characters!

 

 

Titles of poems from my collection “20 Poems of Love”

Dowry Street
Escape
Heaven’s Mansions
Paris
Trinity
Notes
Returned to One
Silk
Those Skeletons Made You
Spark (v. 3)
Constellations
Breathless
A Simple Request
Menagerie
The Hipster Demagogue, The Leftist Professor and The Manic Pixie Dream Girl
Escape
Haiku #62
Ode to the Beauties that Have Sheltered Me
Un/binding
The Ascent of Icarus

Review of Contagious: Why Things Catch On

Contagious: Why Things Catch On by Jonah Berger is one of the books that inform the unique grading rubric for determining whether or not a certain campaign conceived in our daily Ideation meetings will be proposed to our advertising clients, send back for further details how it would be completed or shelved. The TL;DR book review format can turn the book into a short acronym, STEPPS, that stands for and encourages marketers to ask the following about their products:

Social Currency – Does sharing information about this make you look good?

Triggers – What cues do people have with your product, how can this be expanded

Emotion – What sort of emotion is elicited by discussion of you product and how can this be changed?

Public – What can be done to make private purchasing decisions private?

Practical Value – Can you assist others in some way by this information

Stories – Are you framing the information you want transmitted into a narrative format or just a list of product specifications?

Delving deeper into these principles, Berger presents a number of case studies that illustrates various advertising campaigns in action using these principles, correctly or incorrectly.

Being familiar with internet lore in general several of the examples provided in each of these sections, or variations therein, were those that I was familiar with. For example the $100 sandwich and the  connection between 1980s anti-drug advertising, which made the private public, being seen in part as a cause for the rise in teen drug use. A larger number of them, however, I was not. Thankfully the books was written in such a way that though it consists primarily of case studies illustrating the aforementioned messaging qualities the book does not take an overly formal tone.

Reading these analyses and commentary on the over-importance of influencers, varieties of physiological arousal, presenting information in an appropriate context all are very useful not only to those seeking to raise awareness about products for sale but also for those seeking to engage in any sort of public awareness campaign. An anecdote about a healthier eating campaign on college campuses, for instance, is described how a different choice in wording (A/B testing) could have a 25% greater likelihood in encouraging students to eat more fruits and vegetables. The difference in wording? Using a general food associated terms “When you eat” versus “when you fill your tray”. The latter was more effective as it had a stronger contextual trigger – students saw this in a cafeteria.

I found the “fool in the pool” anecdote – the story about Ron Bensimhon’s break in to the Olympics and jumping from the divers deck while wearing polka dot tights and GoldenPalace.com emblazoned on his chest – to be particularly useful as a reminder for the need for correct triggers/context and being attuned to the psychology of sharing. As a content marketer, depending on the client, much of the material we produce can be quite tangential to those whose products or services we are seeking to help bring greater exposure to.

The book is a quick and easy read and I was happy to learn that some of the practices that I’ve applied to my project decisions are those that Jonah Berger endorses. This isn’t necessarily a result of my own genius, but likely from my having read Berger’s teacher’s book Made to Stick: Why Some Ideas Survive and Others Die. For example, a project that I’m working on I was ready to use a single broad survey as a data source for a campaign. After having read this I’m now more confident in pursuing a slightly different direction that queries less people but gets more information that will likely lead to others relating to it at a deeper level. Previously open to pursuing the least time intensive route that would likely still make the customer happy, now I can cite evidence why a small pivot could be result in much greater visibility.