Why America is called America

Why America is called America and the power of acknowledging “We Don’t Know”

From Harari’s Sapiens: “During the fifteenth and sixteenth centuries, Europeans began to draw world maps with lots of empty spaces–one indication of the development of the scientific mindset, as well as of the European imperial drive. The empty maps were a psychological and ideological breakthrough, a clear admission that Europeans were ignorant of large parts of the world. The crucial turning point came in 1492, when Christopher Columbus sailed westward from Spain, seeking a new route to East Asia. Columbus still believed in the old ‘complete’ world maps. Using them, he calculated that Japan should have been located about 7,000 kilometres west of Spain. In fact, more than 20,000 kilometres and an entire unknown continent separate East Asia from Spain.


On 12 October 1492, at about 2 a.m., Columbus’ expedition collided with the unknown continent. Juan Rodriguez Bermejo, watching from the mast of the ship Pinta, spotted an island in what we now call the Bahamas, and shouted ‘Land! Land!’ Columbus believed he had reached a small island off the East Asian coast. He called the people he found there ‘Indians’ because he thought he had landed in the Indies–what we now call the East Indies or the Indonesian archipelago. Columbus stuck to this error for the rest of his life. The idea that he had discovered a completely unknown continent was inconceivable for him and for many of his generation.


For thousands of years, not only the greatest thinkers and scholars but also the infallible Scriptures had known only Europe, Africa and Asia. Could they all have been wrong? Could the Bible have missed half the world? It would be as if in 1969, on its way to the moon, Apollo 11 had crashed into a hitherto unknown moon circling the earth, which all previous observations had somehow failed to spot. In his refusal to admit ignorance, Columbus was still a medieval man. He was convinced he knew the whole world, and even his momentous discovery failed to convince him otherwise.


The first modern man was Amerigo Vespucci, an Italian sailor who took part in several expeditions to America in the years 1499–1504. Between 1502 and 1504, two texts describing these expeditions were published in Europe. They were attributed to Vespucci. These texts argued that the new lands discovered by Columbus were not islands off the East Asian coast, but rather an entire continent unknown to the Scriptures, classical geographers and contemporary Europeans. In 1507, convinced by these arguments, a respected mapmaker named Martin Waldseemüller published an updated world map, the first to show the place where Europe’s westward-sailing fleets had landed as a separate continent. Having drawn it, Waldseemüller had to give it a name. Erroneously believing that Amerigo Vespucci had been the person who discovered it, Waldseemüller named the continent in his honour–America. The Waldseemüller map became very popular and was copied by many other cartographers, spreading the name he had given the new land. There is poetic justice in the fact that a quarter of the world, and two of its seven continents, are named after a little-known Italian whose sole claim to fame is that he had the courage to say, ‘We don’t know.’...”


Amazon link to Sapiens here.

Stephen Jeffrey’s Playwriting: Structure, Character, How and What to Write

Stephen Jeffrey’s manual on how to write plays is brilliant. He had a celebrated series of workshops he used to do, although I never made it to one. The book covers character, form, structure and story in one of the most accessible, comprehensive and erudite fashion. Great for an enthusiastic beginner or seasoned writer alike.

One short passage “your characters do not necessarily understand their motivations, and that the gap between characters’ stated intentions and their deeper motivations is a very fruitful area for the playwright. Indeed, you may not fully understand your character yourself. During rehearsals for the second production of my play The Libertine, I asked John Malkovich, who was playing the Earl of Rochester, what he thought the play was actually about. He replied by saying that he thought Rochester was a man who had been given every conceivable physical and intellectual gift and had quite deliberately proceeded to waste them. On hearing this for the first time, I not only understood my play, but realised for the first time why I had written it. In a sense, the characters you write will never be entirely knowable, just as you will never entirely understand the people you meet in life..."

If you are interested in the structure of plays (and also film and some similarities/differences), I can recommend it.

Stephen Jeffrey’s Playwriting: Structure, Character, How and What to Write

How not to bore your audience at a reading, Viet Thanh Nguyen

“Am I the only one who finds literary readings boring? I usually avoided them. Then I had to go on book tour and tried not to bore people. I learned to think of myself as a performer rather than a reader.”

Here are some tips for writers who have to speak in front of audiences:

1. Do not be defensive and think that you are a writer and that writing is different from performing. I have seen poets who say that the words on the page are what matter and therefore they will read them with minimal interpretation. I invite them to do so in the privacy of their own rooms, because listening to them in public was painful (for me). …

2. Perform from a script rather than just read your book. I also like to blow up my font to 16- or 18-point size to make the text easier to see.

3. Make eye contact with your audience. Not just once or twice. Regularly. This will help keep the audience involved.

4. Do not just read 20- to 40-minutes straight while never looking up from your book and speaking in a soft monotone. PLEASE.

5. Consider reading just short excerpts and insert them into a story you are telling or a talk about some larger issue. Imagine what the larger story or talk is about

6. 
If you’re lucky enough to get an auditorium, dim the lights to get your audience in the mood for a performance. 

8.
Dress up, whatever that means to you.
 A vintage outfit, a motorcycle jacket, a cowboy hat. T.C. Boyle looks like a punk rock statesman.

9.
Consider visual aids
. T.C. Boyle has the advantage of actual movies made from his work that he can show. For my initial tour of The Sympathizer, I had a friend make a three-minute highlight reel from American movies of the war in Viet Nam.

10.
If you just cannot perform, consider having someone interview you
.

11.
Writing programs should teach their students how to perform.
 Just a one-unit course. 

12.
Last, bring energy to the room.
 Your energy level will be the room’s energy level, which comedians understand

Full details in his article at Lithub here.

See some Zadie Smith writing tips here.

Philip Roth on writing

If you write every day, eventually you’ll have a book.

I can’t explain the fact that there have been a series of books coming rather regularly out of me. I work most days and if you work most days and you get at least a page done a day, then at the end of the year you have 365.

-from a 2009 interview with Tina Brown for The Daily Beast

Learn to edit yourself.

Part of being a writer is being able to read what you’ve written and see what’s missing, see what needs development, see what’s suggested by what you wrote. It’s like a trampoline. You know, you’re jumping up and down on this draft, and each jump is an idea.

-from an interview with Robert Siegel at NPR

Write towards what works for the story (or for you).

You go with what’s alive. Two thousand pages of narrative and six lines of dialogue may be just the ticket for one writer, and two thousand pages of dialogue and six lines of narrative the solution for another.

-in a 1984 interview with The Paris Review

Work sentence by sentence.

Solving the problem of the book you’re writing always remains hard work, and your progress is snail-like. Even if you write a book in two years, sometimes you get a page a day, sometimes you get no pages … every sentence raises a problem, and essentially what you’re doing is connecting one sentence to the next. And you write a sentence and you have to figure out what comes next or what doesn’t come next.

-from a 2013 interview with NPR

World echoing language and lacuna choices

Four observations on the power of language and lacuna.

Language can take us out of context. But, language and artistic choices will and should always reflect the wider world, when made public.

The choice to use a puppet to portray a severely autistic boy in a recent play in London has had much criticism from the wider world outside the play.*The creative decision is mediocre, but beyond that the social political world beyond the play cannot be ignored. We live in a world of metaphor and symbols.

The decision for a German CEO to use words that echo the phrase that appears on the entrance of Nazi Auschwitz, even if accidental shows a lack of judgment for the reflection it would bring to the wider  Germanic world.

The casting of a queer-phobic actor into a leading bisexual role (the Color Purple) has echoed angrily and awkwardly with queer audiences and creatives.

On the flip side, the New Zealand Prime Minster, Jacinda Ardern has evoked  “Damnatio memoriae”. In Roman times the state condemned the memory of a person and erased their name from history, it’s been done within many civilizations.

"I implore you, speak the names of those who were lost rather than the name of the man who took them. He is a terrorist. He is a criminal. He is an extremist. But he will, when I speak, be nameless."

She’s condemned the recent terrorist to no name, such that their cause and “fame” fail.

Our words and actions echo like small and major myths. If you will speak to the wider world, the world will judge what words and actions you use.

*

https://www.thendobetter.com/arts/2019/3/6/autism-stories-representation-and-all-in-a-row-review

CEO blunder:

https://www.bbc.co.uk/news/business-47566898

UK casting of Color Purple

http://exeuntmagazine.com/features/color-purple-gets-play-gay/

No name to the terrorist.

https://www.bbc.co.uk/news/world-asia-47620630

What’s a performance lecture?

It’s a form of anti-TED talk.

A genre of performance with roots in conceptual art.

Existing since the 1960s as a subgenre of performance, the lecture-performance or performance-lecture has its roots in the performance and conceptual art of the 1960s, and balances on the boundary between art and academia.

The lecture space becomes a performance space but fuses other disciplines

It’s a type of presentation that goes beyond the academic format of the lecture. Artists (not only visual or performance) use the lecture to turn it into a performance space which fuses aspects of drama and of visual and other media disciplines.

Hybrid it borrows heavily from anywhere else

It’s hybrid nature then often expresses in borrowed hybrid elements such as storytelling, the mass media, internet, adverts, slogans, images, and technology.

It acts on multi-levels to juxtapose and contrast

The performance lecture at its best has varied functions and elements operating on multiple levels. These can form a visual rhetoric or performative actions and artistic non-sequiturs  Techniques of advertising and propaganda or more straight forward education lectures and slides are used to explore the relationship between the image and the text or between consensus and the facts, or contrasting ideas or narratives.

It questions the audience/performer/viewer divisions and plays with interaction

In its artistic investigations the relationship of perception and of understanding, the audience and the performer and performance ideas can all come under scrutiny.

In that sense it is nothing like a Ted talk. It’s almost an anti-Ted Talk.

A TED talk gives you an idea and a smooth talker and tells you it’s the truth.

A performance-lecture gives you a part-idea that you have to complete, challenges you to assess its truth, your truth and the performers truth and like all good theatre can leave you activated and different from when you started.


An early influence on this genre has to be considered John Cage and his work Lecture on Nothing (see below) which may be considered performance art or poetry or music of sorts.

Screenshot 2020-01-02 at 23.27.38.png

Robert Wilson staged a theatrical version around 2012. Cage himself gave the lecture around 1949.

In any case from the experimental poets and performers has come this cross-genre form. It toys with more questions and answers and tends to critique all sorts of things. Not a mass media genre and less popular in . the UK - it has distant cousins now in stand up comedy and even YouTube performances to a distant degree.

Here’s a review of a recent Berlin lecture performance.

Contemplating other forms of performance for my sustainability arguments, this type of form seemed to suit and hence Thinking Bigly was created.


Further reads: Check out my £10K in microgrants for individuals looking to make positive impact.

A blog on listening to legendary theatre agent, Mel Kenyon. 

My Op-Ed in the Financial Times  (My Financial Times opinion article) about asking long-term questions surrounding sustainability and ESG.

A provoking read on how to raise a feminist child.

Dementia, end of life

I met C. this week. C has known me since I was born and is now double my age. Early symptoms of memory loss have appeared. C is facing the end of life with dignity and is adamant that life as a vegetable would be no life.


I can see how the case for dementia is more complex than for other end of life states.  This long form profile and essay takes you through the story of Debra Koosed.


Her Time | Debra Koosed was diagnosed with dementia at 65. That’s when she decided she no longer wanted to live. By Katie Englehart.  Long-form read 20 -30 mins in the California Sunday Magazine.

It recalls to me the beautiful and sad moments of seeing my friend Jane Bodie and her mother, suffering dementia, the artist Sue Dunkley at her retrospective exhibition. Small poem here.

Thoughts on a life well lived.

https://www.thendobetter.com/arts/2017/12/20/how-to-live-a-life-well-lived-bernie-de-koven

https://www.thendobetter.com/arts/2019/3/7/on-being-97-years-old

Thought on mortality and the medicalisation at old age.

https://www.thendobetter.com/blog/2018/8/16/mortality-how-to-die-well