The Trouble Left Unknown, Kate Chopin’s “The Storm”

Kate Chopin describes her writing method with ease: she writes in the morning, midday, and evening (but as she gets older she holds off on evening writing); she sits by a window where she can see some trees and the blue sky; she writes with a pen and ink from a grocery store; but the greater question is: why does she write?

She doesn’t give us an answer. She gives us an answer that is more satisfactory than an answer: “To seek the source, the impulse of a story is like tearing a flower to pieces for wantonness.” She continues to say that a story, if treated like a painting, won’t get you very far: “a trick, a mannerism, a physical treat or mental characteristic go a very short way towards portraying the complete individual in real life.” In “The Storm” it is impossible. Continue reading “The Trouble Left Unknown, Kate Chopin’s “The Storm””

Minimalism, Art as the Process of Simplification

I’ve always yearned for a minimalistic approach to art in which I use the fewest words or lines to produce a final creation. There is a famous story of Picasso scribbling on a napkin in a cafe. A woman hurries to him and says, “Please, how much for the napkin?” “Excuse me,” he replied. “I want to buy the sketch on the napkin.” “Twenty thousand” “What!?” “Twenty thousand,” he repeated. “But it only took you two minutes,” she said. “No, ma’am, this took me 65 years.”

It will take time and sacrifice. T his story illustrates a message I fail to communicate to anyone,  though I try: somehow it just feels like I’m always learning even if I’m not trying. The more I do it, the more I understand, the more focus and attention and analysis I put in, the better I become, even if it’s a simple line. It’s as if every inch of that line held a year each. That line couldn’t have been drawn without those years and an intensity of concentration (years alone guarantee nothing but decomposition). Continue reading “Minimalism, Art as the Process of Simplification”

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