Jan 2, 2009

(Probably) the Final Leftwich Post

As regular readers have probably figured out, Leftwich is in a serious state of dormancy. I've moved on to other endeavors, but I realized tonight that I never put up a post to let the Leftworld know what happened. So here it is.

In late 2007 I launched Slant Six Creative, and that has been taking up quite a bit of my focus (including writing regularly for the site). I've also been writing at my Baltimore sports website, The Loss Column. Then a couple of months ago, I was named the National Design Trends Examiner for Examiner.com, and I'm writing there as well.

The plate is still plenty full, and everything I'm doing is happening in part because of the lessons I learned here at Leftwich. I've simply outgrown this place is all.

So for anyone looking me up online or stopping by here in hopes of new content, please bookmark my other sites and join the conversations. I'm grateful to every one of you.

-- Neal Shaffer

Jul 20, 2008

Richard Ford

(cross-posted, of course. many thanks if you're still checking this page.)

Some thoughts on the man who just might be America's greatest living writer.

My reading habits tend to the obsessive. I start and fail to finish a lot of books, but when I find an author whose work hits me at that magic moment where the quality of the work and the resonance of what it says converge, I seek out all I can find. Such has been the case lately with Richard Ford.

I've yet to tackle any of his novels, owing mostly to the fact that I tend to prefer short stories these days. Lucky for me, the man is an absolute master of the short form.

Like Raymond Carver -- with whom Ford has often been compared (the two were contemporaries) -- he tells stories of regular people in regular situations. In doing so he reveals the pain, grace, nobility, and horror of life itself -- not life as one would perhaps like it to be lived. He sees things for what they are: extraordinary in many ways, provided one is willing to uncover it.

The thing that's weird for me is that Ford is still very much alive, and still working. For whatever reason, I don't read a lot of contemporary authors.

The advantage to this is that I can more or less study him in real time, see what he's up to these days and compare it to the things I've gleaned from his earlier work. One such opportunity arose with a curious piece he recently wrote for the Wall Street Journal, called "The Myth of Summer". Here's a particularly fine sample:

From where I stand I can see down through the trees and across the property line to our neighbors' new summer cottage, which is all but finished, with most of the work going on inside. The sounds of hammers and saws scarcely interrupt the quiet that the breeze has brought in from the south and off the bay that provides our house and our neighbors' house their lovely views. One man there, a young carpenter wearing a carpenter's apron and holding a claw hammer, has stopped to watch the goings-on here on our side. He waves his hammer at me in a gesture meant to be genial. I wave back. We all know what we know. I decide I might take a walk now, then later think about lunch.


The ability to write that well is a rare thing, and so it's a surprise to me that Ford isn't more popular than he is. Unless he really is quite popular and I just don't realize it. Either way, I'm here to recommend his work.

More on Ford here ("on the work of writing") and here (a Salon interview).

Also, he penned an absolutely amazing piece about New Orleans in the wake of Hurricane Katrina. If you click just one link from this page, make it this one.


Apr 28, 2008

cross-posted with my Slant Six blog...



I'm a huge fan of the mystery writer Ross Macdonald. Like better-known greats such as Dashiell Hammett, James M. Cain, and Raymond Chandler, Macdonald had an unmistakable gift for voice and tone.

To the extent that he's famous, it's for his Lew Archer books -- a series of gritty yet surprisingly elegant and philosophical tales of love and corruption set against the backdrop of southern California in the mid-century. One of these -- The Moving Target -- was turned into a Paul Newman vehicle (as Harper).

Today I plucked his novel Blue City (an early, pre-Archer work) from my shelf and started reading. The opening lines floored me:

All the time you've been away from a town where you lived when you were a kid, you think about it and talk about it as if the air there were sweeter in the nostrils than other air. When you meet a man from that town you feel a kind of brotherhood with him, till the talk runs down and you can't remember any more names.


I'm a big believer in having a sense of place, an idea of the value of those places in which you've spent any time. I think each of them becomes a part of you, and I think it's important to recognize that fact and apply it to your work whenever possible. Macdonald's words strike a chord on that level. They read to me as not only a careful observation of human tendency but also a challenge to the reader to consider his or her own roots, and wonder what it might be like to remember and revisit them.

Mar 6, 2008

This is what the hell is up: The National performing Mistaken For Strangers. One of the best bands around performing one of their best songs, and flawlessly.

Also featuring some of the finest lyrics I've ever read:

Well you wouldn't want an angel watching over/Surprise, surprise, they wouldn't wanna watch/Another unelegant innocent fall/Into the unmagnificent lives of adults

Feb 25, 2008

on editing

note: this is cross-posted with my blog at Slant Six

raymond carver

A good editor might make your writing. A bad editor will ruin it.

Raymond Carver has long been one of my favorite writers. His terse, emotionally complex prose isn't to everyone's taste, but I've found it to mine. Recent revelations about his relationship with his editor, Gordon Lish, make me wonder just who it is I've been appreciating all these years.

The opening lines of his classic What We Talk About When We Talk About Love, in particular, have always grabbed me and held on tight:

My friend Mel McGinnis was talking. Mel McGinnis is a cardiologist, and sometimes that gives him the right.

The four of us were sitting around his kitchen table drinking gin. Sunlight filled the kitchen from the big window behind the sink. There were Mel and me and his second wife, Teresa—Terri, we called her—and my wife, Laura. We lived in Albuquerque then. But we were all from somewhere else.

It's one of the most fascinating opening passages I've ever read, saying as it does so much with so little. But as it turns out, Carver's original version was something quite different. Titled Beginners, it read like so:

My friend Herb McGinnis, a cardiologist, was talking. The four of us were sitting around his kitchen table drinking gin. It was Saturday afternoon. Sunlight filled the kitchen from the big window behind the sink. There were Herb and I and his second wife, Teresa—Terri, we called her—and my wife, Laura. We lived in Albuquerque, but we were all from somewhere else.

You can see a side-by-side comparison of the whole story here. You can learn more about the relationship between Carver and Lish here.

Lish seems to have been the kind of editor every writer hates: heavy-handed and prone to not only rewriting but inserting passages of his own. And yet I can't -- if I'm being honest -- deny that he improved the work in significant ways.

It points out just how difficult it can be to bring written material to print. The creator, naturally, has a huge stake in what's being said. But there's no denying that an engaged, thoughtful set of outside eyes can take something good and push it to greatness. Or, more often, take something middling and make it good.

The keys to making the process work are trust and communication. It will not work without both, and the sad fact is that there are far more bad editors out there than good ones. The right mix is delicate and hard to come by, but it's worth looking.

Feb 14, 2008

happy love day


If you're stuck for that last minute gift, there are some surprisingly great e-cards over at the Kate Spade site. E-cards are usually hella lame, but not in this case.

Also, recent updates to the Slant SIx blog include a look at what Hillary Clinton vs. Barack Obama means for creative folks. Then later today I'm planning on putting up a post about the new Shelby Lynne album. I'll cross-post that here I think, but in the meantime you should absolutely check that album out.

Feb 5, 2008

Jan 14, 2008

The This Divided State guys have launched the website for their new film, Killer at Large. Check it out here.

I had a nice lunch with Bryan and Steve while they were working on this, and the discussion was lively and enlightening. My money's on this one being well worth your time.