Showing posts with label literary travel writing. Show all posts
Showing posts with label literary travel writing. Show all posts

Monday, April 23, 2018

Q & A with Sara Mansfield Taber on CHANCE PARTICULARS: A WRITER'S FIELD NOTEBOOK

Sara Mansfield Taber,
author of Chance Particulars
Starting this year, every fourth Monday I run a Q & A with a fellow writer. This fourth Monday features Sara Mansfield Taber

Creative nonfiction, literary journalism, literary travel memoir, ye olde travel writing-- by whatever name you call this genre, Sara Mansfield Taber is a master. Among her works are: Born Under an Assumed Name: The Memoir of a Cold War Spy's DaughterBread of Three Rivers: The Story of a French Loaf; and Dusk on the Campo: A Journey in Patagonia.  

[>>CLICK HERE TO CONTINUE READING THIS POST ON THE NEW SELF-HOSTED WORDPRESS BLOG, MADAM-MAYO.COM]

Without exception Taber's works are superb, wondrous, must-reads for anyone who would explore the world from an armchair-- and for anyone who would write their own. There is so much to relish and to learn from Taber's daring, her mastery of the craft, her ability to see the most telling particulars, and the exquisite, sensuous beauty of her prose.




Get it from
The Seminary Co-op
Book Depository
amazon.com
Johns Hopkins University Press
Based just outside Washington DC, Taber is also a long-time writing teacher, currently leading workshops both privately and at the Writer's Center (Bethesda MD) and elsewhere. And now, for both her workshop students and for those at a distance, who cannot take her workshop, just out from Johns Hopkins University Press, and with lovely illustrations by Maud Taber-Thomas, we have Sara Mansfield Taber's Chance Particulars: A Writer's Field Notebook.

I was honored to have been asked to contribute a blurb:

"Sara Mansfield Taber's Chance Particulars is at once a delicious read and the distilled wisdom of a long-time teacher and virtuoso of the literary memoir. Her powerful lessons will give you rare and vital skills: to be able to read the world around you, and to read other writers, as a writer, that is, with your beadiest conjurer's eye and mammoth heart. This is a book to savor, to engage with, and to reread, again and again." - C.M. Mayo

The following Q & A is reprinted from her publisher's website.

Q: Why did you decide to write this book?

TABER: So that writers of any stripefrom travelers, to bloggers, to journal-keepers, to memoirists, essayists, and journalistswill know just what to note down so as to paint rich and vivid pictures of people and places, and create a lively record of their experiences in and responses to the world.

Q: What were some of the most surprising things you learned while writing/researching the book?

TABER: The writing of the book allowed me to put on all my hatsliterary journalist, anthropologist, memoirist, essayist, journal-keeper, and travelerand draw together in one place all that I have learned, from those various fields, about keeping a lively field notebook. Writing the book let me re-live the pleasure of field-notebook keeping and also offer the prodigious pleasure of the habit to others. It is a way to get to live your life twice.

Q: What do you hope people will take away from reading your book?

TABER: A sense of exhilarationto stride out into the world, to experience it fully and observe it closely, and then to write about that world with all the richness and color they can muster. 


# # #

> Check out the trailer for Chance Particulars:




> Visit Sara Mansfield Taber's website.

> For an in-depth interview from a few years ago, listen in anytime to the podcast (or read the transcript), Conversations with Other Writers: Sara Mansfield Taber.

> Your comments are always welcome. Write to me here.





Monday, May 29, 2017

"For the Vivid Dreamer": Notes from my Workshop on Nature and Travel Writing in the Glorious Guadalupe Mountains National Park

El Capitan from the Pine Springs Station,
Guadalupe Mountains National Park, Texas
This past weekend for my workshops as artist-in-residence at the Guadalupe Mountains National Park I offered this handout which includes three brief, fun, easy-peasy and yet powerfully effective exercises to rev up your writerly perceptions.

We can think of the best writing about nature and travel, whether fiction or nonfiction, as instructions for the reader to form in his or her mind a "vivid dream," an experience of the world. How do we, whether as readers, or as any human being (say, folding laundry or maybe digging for worms with a stick), experience anything? Of course, we experience the world through our bodies, that is to say, through our senses: sight, smell, taste, touch, hearing-- and I would add a "gut" or intuitive sense as well... CONTINUE READING

P.S. Loads more resources for writers on my workshop page.

> Some of my travel writing is here, here, and here.

> Your comments are always welcome. Write to me here.







Monday, April 10, 2017

Monday, April 03, 2017

A Visit to the Casa de la Primera Imprenta de América in Mexico City

>> READ THIS POST ON THE NEW PLATFORM AT WWW.MADAM-MAYO.COM


This is an excerpt from my long essay, of creative nonfiction, "Dispatch from the Sister Republic or, Papelito Habla," which  is forthcoming now available in Kindle.


In the shadow of the National Palace:
La Casa de la Primera Imprenta de América,
the House of the First Printing Press in the Americas,
Mexico City.
Photo by C.M. Mayo, 2017.
...There is one more a pearl of a place that cannot go unmentioned in any discussion of our sister republic’s literary landscape. 
From the Claustro de Sor Juana, in less than twenty minutes’ walk north and slightly east—weaving your way through the shoppers, touts, tourists, beggars, businessmen—honking cars and buses and motorbikes—and a skate-boarder or two—blaring music, freighters with their trolleys piled to toppling with boxes—don’t get run over by the pedicabs—and once at the Zócalo, wending around the Aztec dancers in feathers and ankle-rattles, the toothless shouter pumping his orange sign about SODOM Y GOMORRA MARIGUANA BODAS GAY, and an organ grinder, and to-ers and fro-ers of every age and size, you arrive, out of breath, at a squat, terracotta-colored three-story high building. This is where the first book was printed in—no, not just in Mexico—then New Spain—but in the Americas. 
La Casa de la Primera Imprenta de América.
To step into the foyer of its museum and bookstore is to relax into an oasis of peace. 
The uniformed guard hands me a pen to sign the guest book. It’s late afternoon; I am the third visitor for the day. 
I take a gander at the exhibition of contemporary textile art—a few pieces reference one of Frida Kahlo’s drawings in the Casa Azul of a tentacled monster of paranoia, each limb tipped with a staring eye. 
In the second gallery I find the replica of our continent’s first printing press soaking in sun from the window. The wooden contraption is taller than I am, but so spare, it occurs to me that it might serve to juice apples.
How my Mexican amigos scoffed at the auction of the Bay Psalm Book in 2013. Not about the record sum—14.2 million US dollars—for which that little book, printed in Cambridge, Massachusetts, in 1640, went to a private collector, but about the report in the international media that the Bay Psalm Book was “the first book printed in America.”
To Mexicans, America is the continent, not their sister republic. Mexico is part of the same continent, of course, and so the first book printed in America—or, as we estadounidenses prefer to say, the Americas—was Breve y más compendiosa doctrina Cristiana en lengua Mexicana y Castellana (Brief and Most Comprehensive Christian Doctrine in Nahuátl and Spanish), printed right here, in Mexico City, in this building, in 1539.
Mexico beats out Massachusetts by 101 years! But this sinks to silliness. That printer in Cambridge, Massachussetts, was English, and the one in colonial Mexico City, a native of Lombardy named Giovanni Paoli, Hispanicized to “Juan Pablos.” The technology that found its way to the Americas with these printing pioneers—to the north, Protestants, to the south, Catholics, separated by religious schism and the whirlwinds of European politics, and that century, and moreover, by the staggering distance of desert, swamplands, oceanic buffalo-filled prairies, and sunless and unmapped forests—had one and the same root: the fifteenth-century workshop of a German goldsmith by the name of Johannes Gutenberg. 
Gutenberg was inking his little pieces of movable type more than half a century before Christopher Columbus “sailed the ocean blue,” and the indigenous on this continent chanced to hear the first stirrings of vaguest rumors and weird omens.
Still, 1539 is an early date indeed for that first book printed in the Americas: only eighteen years after the fall of Tenochitlán. Three years after Cabeza de Vaca’s miraculous arrival in Mexico City. Fray Sahagún was still a year away from launching the research that would result in the Historia general de las cosas de la Nueva España, or the Florentine Codex. The lodes that would turn Mexico into an industrial-scale silver exporter had not yet been discovered. The Manila Galleons, treasure ships bringing porcelain, spices, and silks from China to Acapulco, would not begin their annual crossings for another twenty-six years.
In England, Henry the VIII was between wives three and four. It would be sixty-eight more years until the first, disastrous English settlement at Jamestown. The Pilgrims who would land at Plymouth Rock? As a religious community they did not yet exist.
Tucked in the shade of the National Palace and a block east from Mexico’s cathedral, the Casa de la Primera Imprenta was built, it turns out, over the ruin of the Aztec Temple of Tezcatlipoca, Smoking Mirror, trickster god of the night sky, of time, and of ancestral memory.
Aztec snake head on display, 2017.

Who knows what still lies beneath in the rubble? Dug up in the eighteenth century during a renovation, a gigantic Aztec stone snake head was, no doubt with a shudder of horror, reburied. But we live in a different time with a very different sensibility. In 1989 when renovations unearthed that same Aztec stone snake head—elegant with fangs, nostrils, scales, eyes the size of melons—it was carefully excavated and cleaned by archaeologists. This monumental sculpture, heritage of the nation, is now displayed atop a roped platform in the Casa de la Primera Imprenta’s Juan Pablos bookstore, surrounded by a shelf of fiction, a table of poetry, and a sign informing us that the Aztec snake head is carved from grey basalt and weighs approximately one and a half tons.
The Juan Pablos bookstore, named for that original printer Giovanni Paoli, retails books from the press of Mexico City’s Universidad Autónomo Metropolitana (UAM). Such are my interests du jour: I came away with a copy of the first Spanish translation of an eighteenth-century Italian’s journey to Mexico and the 2015 El territorio y sus representaciones. 


A splendid and very important book:
El territorio y sus representaciones
by Luis Ignacio Sainz Chávez and
Jorge Gonzlález Aragón Castellanos
winner of the 2016 Premio de Investigación
Published by the Universidad Autónoma Metropolitana,
Mexico.
END OF EXCERPT

From "Disptach from the Sister Republic or, Papelito Habla" by C.M. Mayo
Copyright 2017. All rights reserved.
#        #        #


When the Kindle is available I will be sure to announce it here. If you'd like to get my very occasional newsletter, I welcome you to sign up for that here.

> Your comments are always welcome. Write to me here.

> Another excerpt from this same long essay, on Cabeza de Vaca's Relación, is forthcoming in Scoundrel Time; another, on Mexico's great baroque poet, Sor Juana, appeared in this blog Monday before last; and yet another, on Lord Kingsborough's colossal Antiquities of Mexico, was posted back in February.



UPDATE: "Dispatch from the Sister Republic or, Papelito Habla," my long essay pon the Mexican literary landscape and the power of the book, is now available in Kindle.

amazon.com







Monday, September 19, 2016

Literary Travel Writing: Notes on Process and the Digital Revolution



Confession: After I snapped this photo with my iPhone I checked my email
-- just to see if I could! Alas, I could.]]

The aim of literary travel writing was-- and remains-- to bring the reader to deeply notice, that is, get out of her head and into the world of specific sounds, smells, tastes, textures, colors, ideas, histories, geographies, geologies... In the words of Kenneth Smith, "You have to open space, and deepen place." 


Start with escape velocity: from wherever you are, whoever you are in your known world, you rocket out, beyond the orbit of ordinary life. You float around out there-- there being your own backyard or, for that matter, the island of Molokai-- for a spell. Then, with a story to tell, you splash back to earth.


Next step: craft the narrative, rendering your experience in and understanding of that time and place as vividly, as lyrically, and engagingly as possible. I've had plenty to say about the craft of literary travel writing; what I want to touch on here are some of the steps in the process and how they have or have not changed with the lure of digital technologies and the tsunami of the Internet.


[>>CONTINUE READING THIS POST AT WWW.MADAM-MAYO.COM]

HEREWITH SOME NOTES, 
FIRSTLY, ON TAKING NOTES:

THEN: 
[[ Miraculous Air ]]
In olden times of yore, I mean in the 1990s, when traveling in Baja California for my travel memoir Miraculous Air, I carried around a pen and bulky notebook, and a camera with so many lenses and dials that if I were to pick it up today I wouldn't remember how to operate it. To get every raw thing down that I would need for my book, I had to scribble-scribble-scribble, and during interviews and/or at the end of a day's driving and hiking or whatever, boy howdy, I felt like a squeezed-out sponge and my hand like an arthritic claw. Once home, I spent hours upon hours typing up my field notes. And neither film nor film processing was cheap. Such was the first step of the process.


[[Charlie Angell, in the Solitario,
Big Bend Ranch State Park, Texas.
Photo taken with my iPhone.
P.S. Check out Charlie's 

Tripadvisor reviews.]]
NOW:
These days, for my book in-progress on Far West Texas, I carry a pen and a slim Moleskine to jot down this-and-that, but my main tool is my iPhone. Rather than scribble my field notes and interview notes, I simply turn on my iPhone's dictation app and press "record" -- when finished, I have a digital file. I also take loads of photos and videos. Oh yes, this is infinitely easier on me as I am traveling, and as far as the pictures and video go, the cost is zip. Once home, however, transcribing the audio field notes takes me hours upon hours, and it is exhausting.[*] 

[*]Yep, I have voice recognition software but it doesn't work well enough-- in the time it would take me to correct the gobbledygook I might as well transcribe from scratch. I expect this to change. For some of my podcasts I have used a transcription service, but field notes are another matter-- too detailed, too personal. Furthermore, as tedious a job as it may be, transcribing my field notes helps me hyper-focus, recall more details, and gain further insight.


I am the first to admit, were I to do another literary travel memoir, while I would dictate my notes, I would need a better strategy for getting them transcribed. So I'm working on this mid-way. Ayyy.

===



ON UTILIZING / PROCESSING / PUBLISHING PHOTOS & VIDEO

THEN: Photos stayed in a box. A few ended up in the book. (Several years after the book on Baja California was published I uploaded a few to my website. You can view those here.)

NOW: Photos and videos can be amply shared on this blog, the website, Twitter, etc. A few will end up in the book, I expect.


Is this aspect of the process really that different because of the Internet? A few years ago I would have said so-- I got very excited about the multimedia possibilities in ebooks. But I now believe that while our culture is increasingly oriented towards visual media, as far as books go, not much has changed-- nor will it because what readers want is text. 


I'll grant that some literary travel memoirs might offer a few more images and color images than might have been economically feasible before. I'll grant that ebooks can include video or links to video. And I'll grant that a few people may find out about and read my book because of a photo or video they Google up on my websites. A few. Most people surfing around the Internet don't read books, never mind literary travel memoir. And there is nothing new about that.

===


ON FINDING BOOKS

THEN: To find books on Baja California, I scoured the shelves at John Cole's in La Jolla, El Tecolote in Todos Santos, and a very few other bookstores and libraries, including the Bancroft at UC Berkeley. I thought the bibliography on Baja California was enormous, and I ended up owning a wall of books.

NOW: Amazon!!!! Although the other day I bought a rare book about the town of Toyah on www.abebooks.com. Over the past few years I have also bought a few books from bricks-and-mortar shops including the Marfa Book Company and Front Street Books in Alpine, and more from the bookstores in various state and national parks. And I go to the always fabulosa Librería Madero in Mexico City for out-of-print Spanish language books. 
I have consulted a few archives and collections... But I get most of my books from amazon.*
[[ Check out the Blog of the ABAA ]]

*I hasten to add that for research purposes I am mainly buying paperbacks and used reading-quality books, the kind I'll take a highlighter to, not rare books. Buying rare books from amazon is not the best idea for many reasons, one of them being that the multitudinous sellers of used books  oftentimes describe a book as "new" when it is actually a stamped review copy, stained, or missing a dust jacket, and so on. For quality rare books from reputable sellers, I can recommend www.abebooks.com , www.abaa.com , and www.biblio.com

(Why am I buying so many books? Because I need to read and consult them and, alas, I do not live anywhere near a good English language library. And I admit, I do have a thing for rare books, especially on the Mexican Revolution, Baja California, Mexico's Second Empire, or Far West Texana. Uh oh, that's a lot.)

Bottom line: Not only is it easier to find books now, but the bibliography on Far West Texas and Texas makes that on Baja California look puny. Um, I think I'm going to need a new house.

Is this aspect of the process of writing a literary travel memoir really that different because of the Internet? It would seem so, but I'm contrasting an apple and a Durian, as it were. Baja California is a very different subject than Far West Texas. Many of the books I found useful on Baja California are not easy to find online, even today, while, so it seems to me now, if I sneeze someone hands me a book on the Great State of Lonestarlandia. 


I do miss ye olde brick-and-mortar bookstores. But I do not miss being unable to find what I was looking for. 

Anyway, not every travel memoir requires such intensive reading. 

And yet another consideration-- and a topic for another blog post-- is that it's always easy to under- or over-research any given book.

===

ON THE INCONVENIENT LUXURY OF BEING INCOMMUNICADO 

THEN: Traveling in remote places on the peninsula I more often than not found myself incommunicado. (Back then, many small towns in Baja California did not yet have telephones.)

NOW: Few stretches of any highway, anywhere, including the most offbeat corners Far West Texas, are without cell phone reception. Many campgrounds and all hotels, properly so-called, have wifi. Digital distractions are legion. Or, another way to put it: the digital leash stays on-- unless one is willing to confront friends, colleagues, and family. That takes energy. Or, another way to put it: that takes training. 

[[ Deep Work ]]

While traveling, no, I do not text, no, I do not email (except when I fall into temptation!), and no, I do not answer my cell phone while I am driving or possibly fending off mountain lions! Sounds easy. Sounds curmudgeony. But for the kind of travel writing I do, trying to immerse my consciousness in an unfamiliar place, and come back with a vivid narrative, very necessary. 


Is it really that different? Not so much as it might appear. It has always taken a strategy plus herculean effort against formidable economic, physical, psychological, and social pressures to protect uninterrupted stretches of time for deep work. 


>> See Cal Newport's Deep Work. Highly recommended.

===


ON FINDING (NONBOOK) RESEARCH MATERIALS

THEN: If it wasn't in a book or a paper file, usually, for all practical purposes, it didn't exist.


NOW: Whatever, Google.* And the Texas State Historical Association's Handbook of Texas is a fabulously rich-- and free- resource. 

*Don't get me started about the Maoist Muddle, aka Wikipedia. 

Is it really that different? Yes. 


To take but one example, it is radically different to be able to look at all the real estate on the Internet. I can be sitting in Mexico City and with my iPad and surf around, looking at all these places for sale in Far West Texas-- whether a luxury ranch or a humble hunt box / trailer-- I can see the kitchen, the bedrooms, ayyy, the bathrooms... I hasten to add I am not looking for anything in the Texas real estate market, but those listings, the descriptions and photos, constitute a window onto a people and place-- in the not-so-distant past, this sort of at-hand detail was available only to licensed local real estate agents. 

===

ON ANONYMITY & KARMA

THEN: In the 90s in Baja California I talked to a lot of people who wouldn't know me from a denizen of the fifth moon of Pluto and who would probably never learn about, never mind pick up and read my book. I found that very freeing.
[[ Everyone will be famous... 
for, like, 2 seconds, LOL ]]

NOW: Still true in 2016 in Far West Texas, but almost everyone who feels moved to do so can whip out his or her smartphone and Google up my name for scads of links from my webpage to podcasts to this blog to academia.edu to LinkedIn, Twitter, blah blah blah, and all about my book on Baja California, my novel, my stories, and my book on the Mexican Revolution with the uber-crunchy title! 
I Google other people, too. I can follow the Twitter feed for the Food Shark in MarfaI interview Lonn Taylor for my podcastLonn Taylor writes about me for the Big Bend Sentinel! Sometimes when I go out to Far West Texas I want to wear a wig and dark glasses a la Andy Warhol! But seriously, human nature hasn't changed; most people respond very generously when asked sincere questions about their art, their business, their research, and/or their opinion, and I believe this will remain the case whether people know about my works and/or Google me or not. Moreover I expect that it will remain the case long into the future that 
the majority of Texans, and for that matter, denizens of the planet, will not be avidly reading literary travel memoir and couldn't care a hula-whoop about the oeuvre of moi. (Oh well!)


Is it really that different because of the Internet? Having published several books, one thing I do appreciate, although my ego does not, is that books go out to a largely opaque response. You can talk about sales numbers, "big data," reviews, and prizes, and it doesn't change the fact that an author does not know when any given person is actually reading or talking about or feeling one way or the other about his or her book-- and anyway, the readers of some books will be born long after their authors have passed to the Great Beyond. 

Still, I think it best to assume that there is karma with a capital "K" -- opaque as it may be. In other words, you might not have to, but be prepared to live with the consequences of what you have written. Translation: truth is beauty but cruelty is stupid.

===

ON DISTRACTIONS


[[ What Technology Wants ]]
THEN: The main distractions were the television and the telephone.

NOW: It's the magnetic rabbit holes-o-rama of the Internet. In some ways this is more difficult for me as a writer because I use the same machine, the laptop, for writing as for research, for email, and for social media and surfing. (Oh, so that's the problem! Well, at least I don't watch television anymore.)


Is it really that different? Yes, because technology really is taking us somewhere very strange, and in some ways, for many people, smartphones are beginning to serve as an actual appendage. But no, because since the dawn of written history we have ample evidence that people have been tempted continually by hyper-palatable distractions of one kind or another and have been taken advantage of by those with the wherewithal to take advantage. Hmmmm.... religion.... slavery.... alcohol... opiates.... cigarettes.... casinos.... spectator sports.... mindless shopping.... television... or even, as they did even back in the days of the atl-atl, lolling around the campfire and indulging in idle & malicious gossip...


>> See also Steven Pressfield's The War of Art: Winning the Creative Battle.

===


ON PUBLISHING EN ROUTE


[[ You are Not a Gadget ]]
THEN: As work progresses, I would publish an occasional article in a magazine or newspaper such as, say, the Los Angeles Times, the Wall Street Journal-- and I would actually get paid. I also published a number of longform essays in literary magazines. I got paid, a bit, and I treasure the beautiful copies.

NOW: Although I continue to publish in magazines, mainly I post digital media-- articles on this blog, guest-blogs, and text, photos, videos and podcasts on my websites, plus I send out my emailed newsletter a few times a year. Downside: My short works make less money. Upside: publishing articles is quick, easy, and I retain control. Further upside: when people Google certain terms, they get me. For example, try "Sierra Madera Astrobleme."


Is it really that different? Alas, yes. See Jaron Lanier's You Are Not a Gadget


I would tell any young writer getting started today that if you want the freedom to write things you will be proud of, first find a reliable alternative income source and from there, always living below your means, build and diversify your sources of income away from the labor market. (Getting an MFA so you can teach in a creative writing program? That might have made a smidge of sense two decades ago. Now you'd be better off starting a dog grooming business, and I am not joking.) Yes, if you are brilliant, hard-working and lucky, you might one day make a good living from your creative writing. But why squander your creative energy for your best work worrying about generating income from, specifically, writing? Quality and market response only occasionally coincide. Jaw-dropping mysteries abound. 

===


FURTHER NOTES: WHAT ELSE HASN'T CHANGED (MUCH)? 


The Call to Dive Below the Surface

One might imagine that with all the firehoses of information available to the average traveler, literary travel writing now needs to offer something get-out-the-scuba-gear profound. But this has been true for decades-- long before the blogosphere and Tripadvisor.com & etc. thundered upon us. 


As V.S. Naipaul writes in A Turn in the South-- waaay back in 1989:



"The land was big and varied, in parts wild. But it had nearly everywhere been made uniform and easy for the traveler. One result was that no travel book (unless the writer was writing about himself) could be only about the roads and the hotels. Such a book could have been written a hundred years ago... Such a book can still be written about certain countries in Africa, say. It is often enough for a traveler in that kind of country to say, more or less, 'This is me here. This is me getting off the old native bus and being led by strange boys...' This kind of traveler is not really a discoverer."

Organizational Challenges

Another thing that has not changed is the need to keep things organized-- whether digital or paper. When I sit down to bang out a draft and then polish (and polish & polish & polish) a literary travel narrative, I need to constantly refer to my field notes, books, photos and videos, so it is vital that I have these resources where I can easily find them-- and when done for the day, or with that section, that I have a place to easily put them back (and from where I can easily retrieve them as need be). This might sound trivial. It is not. 

Here's what works for me: 


BOOKS: Shelve by category, e.g., Texas history, geology; regional; rock art, etc, using big, easy-to-read labels on the shelves; 

PAPERS: File in hanging folders in a cabinet, e.g., travels by date, editorial correspondence, other alphabetical correspondence, people (as subjects), places;

TRANSCRIBED FIELD NOTES AND INTERVIEWS: Store in three-ring binders; 
DIGITAL FILES: Save in folders on the laptop, e.g., audio by date and place, photos and video by date and place;
WEBSITES, PODCASTS, VIDEOS: For websites and etc, I often use posts on this very searchable blog as a way of filing notes that I can easily retrieve (here's an example and here's another and another and another and another);

[[ SCREENSHOT OF A POST OF SOME OF MY NOTES--
"PEYOTE AND THE PERFECT YOU" ]]




[[ SCREENSHOT OF A POST OF SOME OF MY NOTES--

PRINT-OUT OF THE MANUSCRIPT: Shelve at eye-level in a box (along with a large manila envelope for miscellaneous scraps and Post-Its).
PILES!!!!!!

Sounds like I know what I'm doing! The truth is, no matter how often I declutter, books and papers tend to mushroom into unwieldy piles and ooze over any and all horizontal expanses. Piles make it easier to procrastinate. And procrastination is the Devil. I have been struggling mightily with getting my field notes transcribed. 
All that said, a book gets written as an elephant gets eaten-- bit by bit. It's happening.  Stay tuned. 

>> Your comments are always welcome.



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