Blog

Important Subscription Update

Home » Blog

I’m changing how I post content.

You need to sign up for my newsletter: Alexander’s Newsletter

Join the fun!

Read Alexander’s Newsletter!

I don’t spam!

Check your inbox or spam folder to confirm your subscription.

I’ve made a major change to w.alexander.com. In fact, I purchased a new domain: alexanderdunford.blog. Both URL’s are active still, so you only need to subscribe to my new newsletter. The reason I updated and optimized my website is because I wanted to focus on delivering great content. School is over, and it’s time to turn my blog into something marketable.

Unfortunately, talent doesn’t determine a writer’s success, instead a writer’s marketability determines if they will be traditionally published or shown the door. Some writers voluntarily elect to self-publish, never approaching a major or minor publishing house, because it is easier to make a lot more money—if you are a good marketeer. However, I’m not focused on money, but I am concerned with growth. What I care about right now is writing the best damn prose I can scratch on paper. And I want you to join me.

When my novel is done, I want to be ready to send it straight to the top. I want to show my publisher that I have enough of a following to warrant them taking a risk on my book.

My readers have a great opportunity here to get to know me, as my Newsletter will run similar to how I have been posting. The difference being the content will be premium and well-put together, and will hopefully attract thousands of new readers.

Remember to subscribe at the top of the page. And will you do me a favor? Will you share my website, maybe your favorite poem of mine or this post or the link to my newsletter, on your own social media? It makes a huge difference.

A Nod To Derry’s Son

This piece was originally published by The Closed Eye Open in February, 2022. I hope you enjoy this addition to my portfolio, and let me know what you think. Interacting with this post helps more people see my poetry.

Subscribe here:

Join 111 other subscribers

A Nod To Derry’s Son

Derry, New Hampshire was the longtime home of Robert Frost. This poem is in dedication to my favorite poetry book: North of Boston, and his poem October.

A nod to him whom attended Lady Derry’s autumn tempests, gyrating orange and red and yellow leaves, dancing alongside stone-walled pastures, caroling in voices divine.

Beneath a chimney smoking, her singing overheard, the man north of Boston, stirred.

With his pen he picked and plowed and tilled her mysteries, and, in return, a thousand rhythms’ ineffable conceived expression.

Her rolling hills and tree lined cathedrals, he interpreted.

In his toil, she delighted.

For he, the Poet, penned psalms performed by the winds and cries he earwigged from her cold, autumn skies.

To him whom attended Lady Derry’s autumn tempests, a nod is given.

—W. Alexander

Other Writings:

On Writing: Stopping and Noticing

Damaris Coulter Photo-of-photo: Taken by W. Alexander

The lights this morning beam bright. I cozy myself into, what I think is a pine desk, in the furthermost corner of the WPL—Wolfeboro Public Library. My closest neighbor is a beautiful artwork, really a fine-art-esque, professional photograph, named “Service.” In the picture, a strong woman poses. She’s proud, she’s tattooed, she’s in bibs, and she wears big, gold hoop earrings. She’s my dream! Granted, if I wasn’t already married to my dream girl. Her eyes reveal her wisdom, courage, and the tough story that gave her both of these very obvious powers.

I didn’t expect when I sat down this morning and began hacking out the next phase in my latest novel, I would be interrupted. However, it’s her words, not her photo, which are responsible for holding my attention.

Damaris Coulter: "Rather than being focused on money or pretense, our family was more focused on asking, 'Are you being a good friend and sibling? Are you kind? Are you generous?'"

Ms. Coulter owns a restaurant, along with her sister, called Coco’s Cantina, and every Friday, they offer a meal to the New Zealand Prostitutes Collective.

Join 111 other subscribers

On Stopping and Noticing

When’s the last time you stopped and noticed what’s around you? When’s the last time a stranger’s photograph and short bio wrestled your attention from the day’s insurmountable tasks? The masters teach all true and good artists are versed and proficient in our abilities to observe. I admit it: I’m great at finding, thinking about, and weaving the tiniest, nearly invisible, sliver of details and ideas stemming from everything I see and experience into my writing. Of course, artists like me, like you, still miss more than we catch. It means we’re human and other clichés.

Great Article:

Trust me when I tell you that stopping and noticing the details around you is life’s most generative experience, not only will your writing improve, but so will your mental health. You don’t have to go to your local library to get inspired to notice. Stopping and noticing is not something a person just-knows-how-to-do, but it’s the easiest philosophy to pick-up, and will generatively fill your life with gratitude and empathy.

What’s Her Story got To Do with Me?

I’m writing a historical fiction novel that takes place in the fifth century B.C.E., Egypt. So what’s a woman who owns a restaurant outside of Auckland, NZ, have to do with me as a writer and Egypt? I’m glad you asked. Here me out:

One of my main character’s is a prostitute. She didn’t choose the life god(s) set out before her, and everyone in her world keeps their strides wide and their noses upturned. Nobody ever reaches out to help her. This was, is, and I fear, will always be the plight of our world’s most vulnerable. It’s called Neighbor Apathy. Okay, I just made that term up. Neighbor Apathy is when we believe we can’t help someone so different, in such a foreign reality, living a lifestyle we can never be seen to walk next, so we choose not to offer a hand, and we choose our own pride and judgement over another’s brokeness. That’s Neighbor Apathy.

Read More Content:

Here’s the literary theme of my character’s arc: culture creates its own evils. Neighbor apathy is disagreeing with someone, someone in your community, someone’s story you know nothing about, and judging you won’t have anything to do with them. In other words: ‘I don’t like them, so I don’t care what they think or do or believe.’

W. Alexander, 2022

The Bible teaches us to love our neighbors as ourselves, so when we think a stranger’s problems aren’t ours, then we think we know better than God and his desire for human harmony. He says to help the breaking, to shut up and listen to the hurting, and do something, anything at your disposal, that He’s blessed you with, to change the lives of the flailing. Not for your joy, but because God holds each of us responsible for what we do, and for what we choose not to do.

A wise man once said: It’s not what I believe, but what I do that defines me. That man was Batman, so you know he’s right.

So, when I took my seat this morning, in a library I don’t normally work from, and I noticed Damaris Coulter’s photo called Service, and I read her short bio, clicked and followed the QR link to her youtube, and I learned about her work, I engaged in the generative experience of learning how at least one-human, in this case Coulter, is making a difference in a world tired of being asked to make a difference.

I know nothing about Ms. Coulter, but I know art, and therefore I know the eyes of empathy and strength, and hers aren’t swimming in empty platitudes. She shields the broken or breaking from life’s universal, but horrible lie: we are alone in our struggles. She’s a hero. Her legacy helps my own story.

She Helps my Story

My second-leading character’s name is Satipy. She’s the prostitute, and her background comes straight from academic and contemporary research. Satipy was stolen as a young girl. She was robbed from a healthy home and forced into sex-slavery. She’s forced to work outside various Egyptian gods’ temples. She’s seen as meat, not as a person. People avoid her on the streets; mothers warn daughters not to be like her, father’s lust in secret, but are harsh with her in the square. Satipy, par-ably, represents the misrepresentation of struggles. Until this morning, and my encounter with Ms. Coulter, I wasn’t confident about how her story ends. That changed.

W. Alexander’s Published Poetry

I know how she ends now. Satipy is a positive arc. She starts from somewhere low and hopeless, and she ends somewhere better-off, but most importantly, and convicted by her experience to keep other girls, and boys, from ending up trafficked slaves in the Ancient-Near-East. Now, I think, no I know, her ending will have her generatively reaching out and helping others at great personal risk. Like her, everyone she knows is forgotten by the world’s prudes —majority of populations.

Stopping and Noticing Works

On the other side of a globe, unique to her own vision, and for her own reasons, Ms. Coulter began feeding the prostitutes in her area, giving them one less need to have to perform-their-services. She is serving them with love not judgement. She could have, and probably never will have, any idea that her photo and story hangs in the Wolfeboro Public Library, in rural Wolfeboro, New Hampshire, USA. She might never know how her legacy, which I happened to stop and notice, will influence and help me write and flesh-out the The day god Died. But, that fact is encouraging, because you never know how your own actions can cross the globe and inspire others. None of us are doing any of this life alone; we’re all in this together, so stop and notice the life around you, and your life will grow.

The power of stopping and noticing is paramount to honest writing. You cannot write what you do not know, and you will never learn the complexities of the human condition by not taking interest in strangers. Empathy is a practice, not an ideal.

So, I say all true and good artists are proficient in empathy, because they stop and notice and refrain from Neighbor Apathy.

—Happy Writing.

Follow Me for More Content, including exclusive readings.

Join 111 other subscribers

The Day god Died: Chapters I & II

“…I hated him and his kind. I hated his affluence, his expensive clothes, his chiseled looks, and the arrogance he was born too. But most of all, I hated the power he held over me, his assumption of authority, and the truth of his superiority.”

I’m Published in The Closed Eye Open

Hi, friends and readers, subscribers and first-time-site clickers. I have big, beautiful news to share with you. I published in The Closed Eye Open, which is an impressive literary journal boasting beautiful art and great writing. If you’re looking for something new, creatively speaking, to delight and inspire you, I recommend reading The Closed Eye Open.

Inspiration for A Nod To Derry’s Son

Do you love Robert Frost? Do you love living in rural, picturesque New Hampshire? Well, I can say yes to both questions. However, Frost’s faithful are found anywhere-but-local; his admirers span the globe. This is credit for writing poems which painted and printed specific images of a noble New England countryside. He wrote about a land hard and untamed, but where solitude is easily found. He showed us inside beautiful and brief moments of times fleeting and mortalities remembered.

There was a time when all I ever knew of New Hampshire was Robert Frost. Now that I live here, I experience her, this state, through his voice. These leaves and lakes, rivers and mountains, still sing for anyone who will listen.

Before I met my wife, Frost’s lines were the only images I had for reference. I compare this experience to what I imagine it would feel like discovering Rivendell is a real place. Wink!

And that’s what this poem is about: it’s not just an ode to Robert Frost, but an ode to his Muse —New England herself. Derry is a town, it exists today, and it takes me about an hour-and-a-half drive from my home in Wolfeboro, NH, to get there. This whole state is a beautiful, even magical place. No wonder New Hampshire is considered an artist’s paradise.

How To Read The Poem

You’ll read my poem online on The Closed Eye Open’s website. A Nod To Derry’s Son, by W. Alexander.

Join 111 other subscribers

New in Art

Portrait of _________, by W. Alexander

I clocked thirty-nine-hours creating this piece. Not one minute of time counted was paint drying. Nope! I made this on my new iPad with the apple pencil in photoshop. You can view this piece and other creations on my gallery page. Soon, you will be able to visit view my entire portfolio in Virtual Reality. Follow to stay-in-touch.

Tell Your Friends and Fellow Creatives About Me

Go ahead and repost, comment, share, email, whatever, my post to anyone who you know loves writing. Together, let’s share sweater words and write better worlds.


More from W. Alexander

The Day god Died: Chapters I & II

“…I hated him and his kind. I hated his affluence, his expensive clothes, his chiseled looks, and the arrogance he was born too. But most of all, I hated the power he held over me, his assumption of authority, and the truth of his superiority.”

My wife featured in SKATING Magazine

Most of you don’t know that I married a celebrity (Olympian and professional ice-dancer) and that we, now, abode in picturesque New Hampshire. Recently, she interviewed for SKATING Magazine. I will brag on my wife every chance I get.

Revision, Start Learning to Love It

Join 111 other subscribers

“If you haven’t surprised yourself, you haven’t written”

Eudora Welty

Anyone can write. Few revise well. Revision is essential. It is much more than spell-check and grammar adjustments. Revision is ensuring the story you are telling is clear. Rarely is misinterpretation the mistake of a reader. The job of writers is to ensure readers do not do any heavy lifting. Any skewed reading, comes from bad writing. How does the writer ensure the message they are conveying is interpreted clearly? You guessed it; revision. No one sits down and writes a novel by the seat of their pants in one long first and final draft. If they do, the writing will be garbage, regardless of talent. I would not count on being the exception.

Related Post

The Day god Died: Chapters I & II

“…I hated him and his kind. I hated his affluence, his expensive clothes, his chiseled looks, and the arrogance he was born too. But most of all, I hated the power he held over me, his assumption of authority, and the truth of his superiority.”

Revision is where the real magic happens.

Starting over sucks. I dread it. All who write dread it. My stomach turns at the thought. But understand this, the rewards of revising will outweigh the pains. You will be shocked. Learn to enjoy the process. Here are some questions you can ask about your work:

  • Why should my reader turn the first page to the second? Does the first sentence, paragraph, page introduce tension? If not, red alarm.
  • Is there unnecessary summary? Cut. Cut. Cut! I too often have the impulse to cover too much ground. It destroys energy and I find, I tell more than show. This is a bad thing. The whole premise of writing prose, is to show not tell. A concept I will elaborate on with a later post.
  • Is it original? Stereotypes are lazy. A good writer will extract any cliches and make a point to show the exact and honest.
  • Is it clear? Ambiguity and mystery are one of the pleasures of literature. But there is a fine line between mystery and sloppiness. I love characters rich with contradictions. That is the human condition. But I often have to start off with a more simple reality. Then I can build out the imaginative. Have your character answer these: Where are we? When are we? Who are they? How do things look? What time of day or night is it? Weather? What is happening? On how to create captivating characters, check out: Create Captivating Characters
  • Is it self-conscious? Just tell the story. Your style will follow of itself. But you have to just tell the story. If you get carried away dressing your prose with all your wit and insight, there is a good chance you are having more fun writing that the reader will have reading. Good writing is easy reading! Just tell the story.
  • Where is it too long? In fiction, you want sharpness, economy, and vivid details in telling. With every sentence, say what you mean to say and get out. Hit it and quit it. Use the fewest possible words. What does this look like? My advice, read the poets. Trust me, the poets will teach you everything.
  • Are there too many scenes? Try and tell your story with the fewest possible scenes. It is tempting to give each turn of plot or change of setting a new scene when fusing several together would proffer better effect.
  • Where is it too general? Look for general and vague terms. Write instead a particular thing, an exact size and degree. In fact, my short tip, cut the words very and really out of your work entirely. You are welcome!

Related Posts:

Writing

I’m starting 2022 intending to grow. Help me grow as an artist and influencer and follow.

Revision, revision, revision. Originality, economy, and clarity all come from thorough revision. These questions are just the start and short of taking a creative writing class, they will serve you well.

Remember in fiction, the goal is to show characters doing things. Never tell what you mean. I promise if the prose is clear and concise, the reader will not misinterpret. You write for the reader. If you forget that, you have lost your way.

Writing

Writing is Business

I am not overthinking; I am self-reckoning.

Me.

This article is uncomfortable to write, because I’m not pretending artsy-pompous, pennings of self-indulgence, or bleeding on display my deep personal wrestlings. I’m writing you in the nude—naked in spirit. It’s important that you read me. I have to admit something embarrassing.

I confess too many of my posts have been half-assed written. I blame my self-sabotage’s grip on my life, and how it’s crushing my dreams, squeezing the life out of me. My blog is my brand; my train-ticket destined for you to end up reading. Don’t be alarmed. Where you are is where I’m safe. 2022, is my year for both professional and personal growth. I share my strategy for growth. I’m concentrating on quality. I might even end up paying for a web designer. I want a flawless image. I’m twice published now. I got own this accomplishment. I think it’s okay to indulge in a win right? I worry I’m not worthy of accomplishment all the time.

It’s nice to get that off my chest. Thank you. 😊

I sobered to the cold-water-truth: making myself into a successful writer will be hard work. I’ll be thirty-three-years-old this summer. It’s time I win the fight against self-sabotage. So I’m going to do my blog right: each post gets equal attention to what I write in my prose and poetry. I want to be tomorrow’s next class act and sophisticated New England writer. We all have our ambitions, and you now know this one is mine. My dream is to publish a novel. Starting today, I will start performing like the writer I want to be, and I hope to attract more readers like you on my journey. It’s time I step out into the world; the primetime hour of my ambition nears. The time has come to put everything learned to test and work it.

I graduate with my english degree in a few months. I’ve been all in; I’m living everything I’ve learned. I looked into literatures deep waters, and she shared with me how she sailed over the currents flowing times passed, ideas and theory churned and crashed. She often whispers to me, I am your religion.

art, by W. Alexander

I try to never forget God is first-and-foremost worshipped as the creator. He’s the artist sculpting the cosmos. So, yes, I guess literature is right whispering she’s my religion. I am convinced it must have been the early artists, those who first looked inside themselves to color-in and seed perspective for the world outside, who first discovered God’s presence.

Creatives like us understand lightning can strike the artist anytime. It’s even more likely when the writer’s pen is spent and hot. My blog’s goal is to steal as much of that fire as I can and give it back to you. I’m starting 2022 intending to grow. Help me grow as an artist and influencer and follow.

Join 111 other subscribers

I love you all. Please share this post with a friend. It would meant the world to me


More Writing

The Day god Died: Chapters I & II

“…I hated him and his kind. I hated his affluence, his expensive clothes, his chiseled looks, and the arrogance he was born too. But most of all, I hated the power he held over me, his assumption of authority, and the truth of his superiority.”

Keep reading

Escape Second Death

This poem was originally published in June, 2021. This is my first published work. I am reposting it on my blog, because hundreds of new followers may have not seen it. Together, we have come a long way in six month(ish). Honestly, I’ve received so much positive feedback over the past year that I just had to send this emotional poem out into the world again. Let me know what you think in the comments. Click here to read the original post.

This poem is published in the poetry anthology, Its Not Easy by Poets’ Choice.

Six feet under sixteen tall lilies, Man considers eternity.
Eternity’s ears hear no more the lamentations from Man’s regrets.

Regrets forgotten even by sixteen green stems, but Time—the grave gardener.

The grave gardener mows not, plows not, and sows not; He litanies.
He litanies as earth buries her one truth: Man wastes with worms.


Worms tunnel the clay and mud and brains and veins of Man’s forgotten pains.
Pains the gardener annals away, to be read on heaven’s judgement day.
Judgement day, asterisk of eternity, hour saved to open graves.
Graves untilled will break open—Man soars above lilies; He’s heaven’s chosen.


Follow Me for More Content:

Join 111 other subscribers

N.L. Blandford: On Writing

“People can shy away from topics because they are hard, and it can be easier to call them dark, rather than truth, or an aspect thereof. I believe that it is in the dark that we can really start to understand the true nature of our world and its people.” —N.L. Blandford

The Day god Died: Chapters I & II

“…I hated him and his kind. I hated his affluence, his expensive clothes, his chiseled looks, and the arrogance he was born too. But most of all, I hated the power he held over me, his assumption of authority, and the truth of his superiority.”

Forlorn Light: Virginia Woolf Found Poems, by Nazifa Islam

Photo Credit: Shearsman Books

Forlorn Light: Virginia Woolf Found Poems by Nazifa Islam

My rating: 5 of 5 stars

Nazifa Islam is your once in a generation poet. It’s no easy task to re-map the words of the great Virginia Woolf. Forlorn Light: Virginia Woolf Found Poems must have been both a challenge and reward to write. I think it’s quite clear Woolf and Islam share kindred souls. Their works deserve to rest side-by-side, forever conversing with one another, sharing the same shelf for generations. Islam’s book is their wedding—poetically speaking (pun intended). Forlorn Light is worth your time to read.

I warn you: read Nazifa Islam and you will be changed. Islam writes with phenomenal prowess about undressing and accessing the naked truth of the bipolar experience. Several poems left me exposed and shivering, as if I were in front of a mirror which reflected what’s inside the reader. The images I discovered moved me to tears. And, the more I studied, the more I understood myself. I know I will never be the same.

Read this book or miss out on something great. You can purchase it here:

Happy Reading!

Join 111 other subscribers

More from W. Alexander

The Day god Died: Chapters I & II

Chapter I: Necessity Breeds Destiny

We were poor, almost destitute. I remember pretending to sleep through my father’s weeping himself into exhaustion, day after day, from scratching a scanty living gathering and selling fish to our neighbors. The Nile sustained both of us, until, that is, I became a thief. Father was once a holy man, so the first day I stepped through the door with a handful of silver and laid the coins before his feet, he didn’t ask where my bounty came from. Instead, he sighed. Then, he kissed me and hurried out to trade for wheat and barley. Though necessity drove me to steal my daily bread, I soon found, Ra forgive me, that I was good at it. In fact, I loved the thrill of following fat patricians, as they waded through the agora’s crowds. I became their shadows, and when the moment was ripe, I jostled them, pretending accident, before I slipped my knife into their robes and sauntered into the crowd before they knew their purse was gone.

            That day, thievery and destiny entangled. Forever after, my previous insignificant life was insnared in a role far larger, and far worser than what fates befall the gods. I had been stupid, even overconfident. It was a ruse I used often: I hid behind some drunkard poking the barrels of beer imported from upper Egypt grumbling about their price. Senselessly, I lobbed a small stone at the next merchant’s stall, if I am remembering right, hitting him full on the chin. At once, the stall holders clamored at each other’s throats allotting their recriminations. In the upheaval, I grabbed a basket, believing it stuffed with bread, from behind the beer seller’s stall.

            But a woman caught me in the act. She emerged from the encirclement of barrels stored behind the stall just as I scooped up my prize and shouted: “Thief!” The entire agora turned. A cacophony of voices followed her, “Stop that thief!” and “Somebody, grab that boy!” I squirmed through the crowding press of the rich and poor alike until—crack—a soldier supplied a cudgel to the forehead. When I came ‘round, the soldier had dug his heel into my chest, pinning me to the ground in the center of the jabbering, malicious crowd. I struggled, but he picked me up by the neck and punched me full in the face with his battle-hardened knuckles. My legs went limp.

            “That boy is Ishaq,” I heard someone cry. Another yelled, “have pity on him. His father once served Horus.”

            The crowd’s expressions whirled and meshed with the blue liveries donning Pharoah’s guard, and I knew I was caught.

            I spit out a single tooth, and feared my own blood threatened to drown me. The soldier dropped me, and I sat up dazed and trembling. Onlookers craned forward to see the incriminating evidence the soldier was about to pull out the basket. I’ll never forget his smirk.

            “Why lose an ear for papyrus, boy?” he asked.

            “It’s not bread?” I replied.

            He laughed, “Scribbles make poor excuses for bread.”

            Then, a wave of jostling and shouting, and the crowd parted for six seven-foot-tall spearmen. Into the clearing stepped a figure outfitted entirely in scarlet. Though, I had never seen him before, I knew this was Imhotep: the first prince of Egypt, husband to Pharaoh’s daughter, regent of Alexandria, and, as such, held the power of life and death over all peoples for a hundred leagues. The agora fell silent, and I gawped at him, frightened, as his eyes scanned serenely up and down my starved body, taking in my unshaved scalp, bloody face, and tattered clothes. Prince Imhotep was a slight man, not tall like his guards but handsome. He had a body sharpened from heavy use clad in a scarlet kaftan, and a black satchel, fixed with a turquoise clasp at his hip. In his left hand, he fingered a black leather riding whip a yard long. His face was clean-shaven, carved and framed underneath his nemes. His eyes were cold and inhuman, and he pursed his lips while he studied me.

            Suddenly, somehow, in that moment my fear retreated. I discovered I hated him and his kind. I hated his affluence, his expensive clothes, his chiseled looks, and the arrogance he was born too. But most of all, I hated the power he held over me, his assumption of authority, and the truth of his superiority. I concentrated my disgust in my stare. He must have recognized my repulsion in the instant our eyes locked, for he simpered.

            “What is his crime?” Imhotep asked.

Writing

I’m starting 2022 intending to grow. Help me grow as an artist and influencer and follow.

            The soldier bowed and handed over several papyruses, “My Lord, he stole this thinking it bread.”

            Prince Imhotep undid the thread tying one of the rolls. I could feel blood running down my chin. I resisted the urge to lick at it. Imhotep signaled he wanted silence. He began to read.

            “Can you read this,” Imhotep asked me. Instead, I pressed my lips shut, trembling underneath. “Boy! Answer me.”

I stayed silent.

“You do as your prince commands, or I will—” threatened the soldier who caught me before Imhotep cut him short.

“Silence!” Imhotep thundered.

He stared at me with contempt and then spoke, “You’re brave. I can see that much, but you’re stupid.”

He snapped his fingers, and the soldier grabbed me by the arm, lifted me to my feet and started to drag me away when we all heard a man cry:

“That’s my son. Please, my prince, have pity on him, he’s only a foolish boy.”

Both Prince Imhotep and the soldier turned toward the man’s voice. As he looked, the soldier detained my left arm with only one of his fists. I twisted my body against his grip, ripped free, fell to the ground, and crawled through the prince’s legs and missing, by inches, his fast-closing grip. I took to my heels and dashed through the crowd.

Behind me, hell itself erupted; the soldier shoved and cursed the people impeding his path. A woman threw a pottered vase. I ducked just in time, avoiding my brains becoming entangled with the falling shards which crashed above me. I juked left and right; I slid through the crowd’s legs; I shoved past stout tradesmen and skirted unsuspecting slaves and the livestock they drove. Men and women, slaves and soldiers, sellers and buyers, all rounded quickly, furious at being so roughly shoved. I dared to look behind me. Only the soldier who caught me earlier pursued me. Prince Imhotep and his bodyguards walked, absentmindedly, the opposite direction. I stopped stunned still. That’s when I caught a fist with my left cheek and toppled into the dirt. I pushed my heel into the man’s kneecap. He screamed. Then, I rolled out of the soldier’s path as he dived to tackle me. I got to my feet again and squirmed through another fast-pressing crowd. I sent carts flying. I shoved an elderly man to the ground busy tying his empty cart to his donkey, seizing it, and then, with all my strength, pushing it into the nearby sheep hurdles. The animals let loose, and the ensuing tumult was chaos.

The soldier’s legs were taken out from under him by the stampede of darting sheep. That’s when I raced down a side alley, bursting, to my surprise, through our city’s great library, and into a crowd of philosophers and wealthy patrons. Then, out the other side, up a wide street, passing between noble houses, I ran until the noise behind me subsided. I turned left into another alley.

 I stopped in the doorway of a brothel, recovering my breath. No one was behind me. I leaned my back against the door, struggling to calm my hammering heart. The pain emanating from my jaw threatened my ability to stay conscious. In a flash, a hand wearing three gold rings closed around my mouth and dragged me through the door. I landed on my ass, coughing through a pounding head. My stomach churned. I struggled to stand, but a woman’s heel fixed my hand to a dirty clay floor covered in ragged yellow and green carpets.

A voice whispered, “Stop yelling, you fool.”

Outside the door, a troop of footsteps charged down the alley. Their voices commanding bystanders to stop me. The woman let off my hand and held a single finger over her mouth. I crept to the door and peered through one of its cracks. The soldier I ripped myself from in the agora was leading the others.

“Damn, he has help now,” I said.

“Whatever you did, you won’t be escaping today,” she said.

“Who are you?”

She frowned. “I wouldn’t expect you to recognize me as I—,” she hesitated. “As I am now.”

Keep Reading! Chapter II here: page 2

Subscribe for More Content:

Join 111 other subscribers

More Content:

Beat the Boy; Destroy the Man 

W. Alexander Dunford  I will never forget the television’s blue light that night fifteen years ago. Leonardo DiCaprio’s Blood Diamond played. Outside, beneath black skies, rain pelted our windows and the house’s bones braced against high winds. Thunder shook the walls.  It was Father’s idea to watch the movie. He loved violence, and I loved…

Keep reading
Continue reading The Day god Died: Chapters I & II

One Thankful Adventure

Our Family at Carowinds: Charlotte NC.

My post is short this weekend. My time is reserved for friends and family, especially since I haven’t seen either in a very long time. Next week, I promise to share the next events in Ishaq’s journey. Tell your friends about this live writing experience.

Start reading The Day God Died here:

To Live Is To Never Aim For Gentle Death

Aristotle said, “Memories are the scribes of the soul.” Okay, fine, this is my paraphrase of my own transliteration of his Greek, but this fact remains: Aristotle is right. The purpose of life is not to arrive safely into old-age, but to live presently. Each of us measures our lives in profound highlights. Time flies because we forget the spaces we lived between big moments.

Jesus shared this same point-of-view. The Christian Scriptures—New Testament—teaches us not to even worry about the clothes on our backs and not to worry about tomorrow. These aren’t abstract ideas; these are excerpts of wisdom. They are guideposts on how to live one’s life, if they have the privilege, to live fully.

I cannot and will not count all the times I have failed to live in the present. The task alone would send me into an early grave. However, if I cannot count all the times I have failed to live in the present, I can choose to count when I do live in the here and now. Journaling, for me, is the key.

I have, for as long as I can remember, always wrestled, unable to accept easy answers, life’s grand, unanswerable questions. I am an armchair philosopher, and a man obsessed with the same question ten-year-old Alex asked his grandmother twenty-two-years ago: how do people die happy?

She was stunned, and no clear answer came from that conversation. But I can remember, having now grown up and cut my teeth in this chaotic space we call Earth, a few things she did not say.

She never said money would make me happy. Though, the lack of it was guaranteed to make you miserable. She never said, the right spouse would make you die happy, or even kids that grew up to accomplish feats unimaginable. No, she never, that day over peppermints and coffee, said anything regarding the right job or the right influence. But she did do something, she grabbed her Bible and began teaching me the Lord’s Prayer—KJV version. She did not preach. She demonstrated. She never forced religion. She left the invitation open.

If it wasn’t for her, and for her doing this, I would not be counted among the ranks of the faithful today.

For a long time, every time my sister and I would stay the night, she would help us recite this prayer before bed. See, she knew she didn’t have the answers, but she knew who did, and instead of empty phrases and cliche responses, she pointed me and my sister toward the only one who could help a person to one-day die happy.

Faith is the secret to joy. Service is the key which unlocks heaven’s front gate.

Selfishness, greed, gluttony, and the rest of the deadly sins aren’t sins in abstract, but actual soul killers. In other words, joy stealers. If you live only for yourself and yours, regrets stalk you like shadows.

There are many paths to true joy, but none of them can be walked alone. We must live and love our neighbor and not worry over the future. We need to plan, sure. That is wise, but we cannot make decisions on how we treat one-another based on how it affects our wallets and lifestyle.

This is why a religious devotion to capitalism or any man-made philosophy will always lead us to alienating ourselves from our tribes—our neighbors.

So, again, how do we die happy? I don’t know that answer, but I believe in my heart-of-hearts that if one dies with Jesus on their mind, service and love in their hearts, one dies with profound hope, and, therefore, everlasting joy.

—I’m thinking of writing a poem or series of poems off of this idea. What do you think?

Special Announcement: Watch Me Live Tomorrow

Photo: PoetsChoice

It would mean the world to me if you would watch me tomorrow. I am beyond excited, and a little nervous.

Join me tomorrow on Instagram Live at 10:00 am.

Click here for a link to my Instagram: Alexander’s Instagram

I hope to see you there.

Portrayals of Commodus, From the Senate Floor to Hollywood

Lucius Aurelius Commodus reigned as emperor during the Roman empire’s apex. At nineteen years old he became the most powerful man on earth. Perhaps nowhere else in history was there more promise. Then when the young emperor first adorned the purple. However bright his beginnings, no one foresaw the tyranny and excesses that later defined his place in history. Remembered as one of Rome’s major villains, his likeness is reimagined across generations through screenplays, art, video games, biographical pieces, theatre, and a plethora of histories. The retelling of Commodus’ deeds has entertained and enlightened many, yet he is often portrayed by inaccurate reimaginations. One example is his depiction in modern cinema, the Gladiator[1] which seen in light of scholarship and his own contemporaries, misses countless complexities that molded one of histories most feared autocrats.

Facts & Fiction

            The screenplay Gladiator, not unlike Commodus’ contemporaries with their histories, will build an arc to tell a specific narrative. This is true regardless of a screenwriter’s pursuit to sew tension or a contemporary Roman historian, for example, attempting to justify a later imperial’s position on the throne.[2] History nor art, is rarely if ever told neutrally. Keep in mind every generation’s reimagining has an agenda, some entertainment, often nationalistic, others defacement, et cetera. Ridley Scott, Cassius Dio, Herodian, and many others are no exception to this reality. Understanding this dynamic allows for adequate separating of facts from fiction. Only then is an accurate comparison of portrayals possible.

            First, start by separating facts from fiction regarding Ridley Scott’s, Gladiator. The plot begins with Marcus Aurelius, Commodus’ father in the last days of his life. Deep in the Germanic woods he meets his end at the hand of his own son. The jealousy of missing out on the crown because his father favors Maximus, exposes to the watcher Commodus’ first great act of villainy. Powerful, unsettling, and a perfect plot foundation. Only it didn’t happen. Marcus Aurelius was never hostile to the thought of Commodus on the throne.[3] From early childhood Commodus was actively groomed for the imperial purple. In fact, at five years old Commodus was proclaimed a Caesar.[4] Of course when mindful of creating a screenplay arc, it makes sense Gladiator would need to reveal Commodus’ villainy early, even inaccurately to pace the film under say twenty hours. Fact here, Marcus Aurelius did die on the frontier and was succeeded by his nineteen-year-old son.[5] Fiction, Commodus murdered his own father.

            Knowing why this is important to analyze is in itself of utmost importance. Commodus is often portrayed as an inept, spoilt, cowardly, and mentally ill man. None of these are true. What spelled disaster for his reign was really a combination of severe complexities. Nearly always overlooked was the fact despite Marcus Aurelius’ reasonable expectations the Senate and his advisors would help guide his son in matters of state; when the time of his death came, internal strife prevented such an ideal arrangement in practice. One example would be how the Senate splintered under Commodus’ decision to not continue his father’s expansionist policies in Germania.[6]

The Day God Died: Chapters 1 &2

“…in that moment my fear retreated. I discovered I hated him and his kind. I hated his affluence, his expensive clothes, his chiseled looks, and the arrogance he was born to. But most of all, I hated the power he held over me, his assumption of authority, and the truth of his superiority.”

Keep reading

            However, blighted the young Emperor often was by those meant to help him succeed, Commodus did them no favors. It is well documented that dressed as a gladiator; Commodus threatened Senators sitting front row in the Colosseum by waving the head of a decapitated ostrich.[7] This clearly captures the sadism of a corrupt autocracy and personality of a young emperor who offered little to no respect regarding the institution of the Senate. A grave mistake.

            The facts in regard to the screenplay are Commodus was unstable, disrespectful, and a tyrant. Not to mention his lust for the mass’s approval was infectious. The fictions are how Ridley Scott created and completed his arc. Commodus did not kill his father and he himself did not die in the arena. He was assassinated in 192 CE,[8] after only twelve years on the throne. The film accurately caught the ethos of Roman culture during the sadist rule of Commodus, bloodlust and corruption. This in its own right is commendable and should not be overlooked.

Cassius Dio & Herodian

            Senator and historian, Cassius Dio is arguably the best firsthand witness to Commodus. His writings paint a vivid portrait condemning the emperor for his lack of devotion to matters of state. Cassius Dio tells that Commodus devoted his life to ease, horses, and combat of wild beasts and men.[9] The emperors disregard for handling matters of state and his perpetual purge of personal enemies filled Rome with terror. When a plague broke out in Rome, and at one point two thousand people were dying a day, Romans feared the emperor’s wrath more than the gods; “Now the death of these victims passed unheeded for Commodus was a greater curse to the Romans than any pestilence or any crime.”[10]

            It is important to note that such a damning account will be replete with bias. However, a historian’s lamentation does not make him wholly inaccurate. Having personally lived through the reign of Commodus and taken part in much of what he seen; Cassius Dio is an instrumental witness.

            Another historian is Herodian. Sharing with Cassius Dio many similar lamentations regarding Commodus, he reinforces the ineptness of the emperor. One of these complaints was how the emperor simply handed over all communication to go through his chamberlain Perennis.[11]Perennis was cruel, but efficient. Again, proper context should be given. This decision was largely a result of the emperor’s refusal to appear in public in response to his sister’s plot to kill him. Though Perennis was soon replaced by Cleander, who became Commodus’ new chamberlain after exposing Perennis’ own plot to overthrow the emperor.[12]  If Herodian is to be believed, Commodus learned of the plot while attending a festival, before an entire audience seated in a theatre.[13] Commodus certainly, if not constantly feared for his life. An event like this would have been humiliating. Circumstances like this perhaps contributed toward his fanatic behavior.

Conclusion

A consistent narrative across scholars, his contemporaries, and screen play writers is the message that Commodus had little to no respect for his duties and unleashed a reign of terror. Though much scholarship has tried to figure out why Commodus was the way he was, history lacks any empirical explanations. Scholars are left asking questions that may never be answered. Was the office too big for him? Was being born into his duty, in itself a corrupting feature? Perhaps it was his love for reading and imitating emperor Nero that drove his excesses?[14] Did he really see himself equal to Hercules? He did erect a colossus depicting himself as much?[15] Was he simply mad? Was the constant threat on his life what drove him mad? The pursuit of these questions has inspired interest into Commodus for generations.

Regardless of what it was that led to the autocratic behavior Commodus exhibited, his legacy is immortalized. Even if it is for negligence, jealousy, and tyranny; Commodus would be pleased he didn’t fall into obscurity. His portrayal from the ancient Senate floor to Hollywood has remained consistently negative. Though facts are often stretched to arc the narrative as the writer sees fit, commonalities in his portrayals help uncover just how difficult ruling Rome must have been. From the start Commodus was manipulated by his own counsel for personal gain. This alone might provide reasonable insight into his personal disdain toward the Senate. Where Gladiator missed Commodus’ bright beginnings, his contemporaries overwhelm history with evidence the emperor was not naturally evil, but a product of circumstances.

Join 111 other subscribers

Bibliography

“Gladiator.” Ridley Scott. DreamWorks Distribution, (2000).

Mary Beard. “SPQR,” A History of Ancient Rome. (New York, NY: Liveright Publishing, 2015): 43-398

Gary North. “Gladiator,” A Review. (lewrockwell.com, www.lewrockwell.com, 2001).

Allen M. Ward, Fritz M. Heichelheim, Cedric A. Yeo. “A History of The Roman People,” Sixth Edition. (New York, NY: Routledge, 2016): 368-371

Cassius Dio. “Roman History,” Vol IX, Book LXXII. (Cambridge, MA: Harvard University Press, 1927): 94-103

Donald L. Wasson. “Commodus.” Ancient History Encyclopedia. (www.ancient.eu/commodus, 2013).

Mary Beard. “Confronting the classics,” Traditions, Adventures, and Innovations. (New York, NY: Liveright Publishing, 2014): 145

Herodian. “History of The Roman Empire Since the Death of Marcus Aurelius.” Vol I, Book I. (Cambridge, MA: Harvard University Press, 1927): I.IX


[1] “Gladiator.” Ridley Scott. DreamWorks Distribution, (2000).

[2] Mary Beard. “SPQR,” A History of Ancient Rome. (New York, NY: Liveright Publishing, 2015): 43

[3] Gary North. “Gladiator,” A Review. (lewrockwell.com, www.lewrockwell.com, 2001): par III

[4] Allen M. Ward, Fritz M. Heichelheim, Cedric A. Yeo. “A History of The Roman People,” Sixth Edition. (New York, NY: Routledge, 2016): 368

[5] Allen M. Ward, Fritz M. Heichelheim, Cedric A. Yeo. “A History of The Roman People,” Sixth Edition. (New York, NY: Routledge, 2016): 368

[6] Allen M. Ward, Fritz M. Heichelheim, Cedric A. Yeo. “A History of The Roman People,” Sixth Edition. (New York, NY: Routledge, 2016): 369

[7] Mary Beard. “SPQR,” A History of Ancient Rome. (New York, NY: Liveright Publishing, 2015): 398

[8] Allen M. Ward, Fritz M. Heichelheim, Cedric A. Yeo. “A History of The Roman People,” Sixth Edition. (New York, NY: Routledge, 2016): 371

[9] Cassius Dio. “Roman History,” Vol IX, Book LXXII. (Cambridge, MA: Harvard University Press, 1927): 94

[10]Cassius Dio. “Roman History,” Vol IX, Book LXXII. (Cambridge, MA: Harvard University Press, 1927): 103

[11] Donald L. Wasson. “Commodus.” Ancient History Encyclopedia. (www.ancient.eu/commodus, 2013): par IV

[12] Donald L. Wasson. “Commodus.” Ancient History Encyclopedia. (www.ancient.eu/commodus, 2013): par V

[13] Herodian. “History of The Roman Empire Since the Death of Marcus Aurelius.” Vol I, Book I. (Cambridge, MA: Harvard University Press, 1927): I.IX

[14] Mary Beard. “Confronting the classics,” Traditions, Adventures, and Innovations. (New York, NY: Liveright Publishing, 2014): 145

[15] Mary Beard. “Confronting the classics,” Traditions, Adventures, and Innovations. (New York, NY: Liveright Publishing, 2014): 145

A Life Lived for Art Is Never A Life Wasted

Hi, friends.

Today, I talk art. I want to share about how much I love to create; that is, I want to show you how writing changed my life.

For those of you who have stumbled on my blog for the first time, here is a quick introduction. My name is W. Alexander, and I am an artist; I am a writer. I am thirty-two, married to a smoking-hot, perfect ten, and I have two kids in diapers. Our family calls New Hampshire home—a writer’s paradise—, and, well, there you have it: I am a writer in New England. However, as you will see, I am also a budding painter and illustrator. As for my day job, I am enrolled full time at University, and I am a stay-at-home modern dad.

Join 111 other subscribers

Ever since I was a small child, I wanted to be a writer. Perhaps, you too wanted to do something you felt passionate about and naturally drawn toward, but life did not pan out as hoped. That is what happened to me. I spent my entire twenties following the “rules.” I devoted myself to work, and I prided myself on clocking long hours of hyper productivity. I was the poster boy for the disillusioned American capitalist, and there was little room left, within, to spend time on my passion, my beating-heart, my calling, my writing. So, like all things left unused, my skill decayed—I had forgotten, it seemed, everything I ever knew. In order to write, and write well, I would need guidance; I needed to study creative writing. Ultimately, at thirty-years-old, I went back to school, and am earning a degree in Creative Writing. That was two-years-ago, and, now, I am set to finish my degree in March, 2022. So far, it is working out. I published, for the first time, this spring.

Many writers declare you cannot learn creative writing, and I think, for the most part, they are, excuse my French, full-of-shit. The arts are like anything else: if you want to get better, you have to work and selfishly carve out a schedule for your writing and push yourself beyond what you know and what is comfortable.

Yes, you can learn craft, and any writer worth his salt is devoted to craft, period. So, obviously, grammar and syntax are teachable, but what someone means when they say, “you cannot learn writing.”, they are talking about style, voice, and the artist’s attention to detail.

You may also like:

Book Review: On Writing, by Stephen King

“What I took from this book? Stephen King is not superman, and neither does the aspiring writer need to be. King makes it clear, writers are made in the trenches, and those who put their nose to the grindstone, and never let anything stop their writing, succeed.”

One thing I know well: Art demands all of you. You can have no Plan B’s for life, or as one of my favorite song artist said, “The greats weren’t great, because a birth they could paint. The greats were great because they paint a lot” (Macklemore). The same laws apply to the art of writing fiction; if you want to be a good writer, you have to write. Talent makes you decent, obsession makes you great.

Click Play

https://music.apple.com/us/album/ten-thousand-hours/560097651?i=560097690
Ten Thousand Hours, by Macklemore and Ryan Lewis

Once, I dedicated my life to writing, not to become famous or rich, but to do what I love, I have experienced incredible personal growth. Has it been easy? Hell no! Has it been the best experience of my life? Yes. If my wife asks, tell her she is the best experience. I am a writer, and that means, human psychology is my canvas. To write well, you have to write what-you-know, and your knowledge about what motivates, scares, angers, and affirms the individual person are the brushes you will use to paint page after page. The greatest thing about only writing what-you-know is there is always an excuse to keep learning. The bigger your worldview, the richer your work. All writing is autobiographical, it cannot be avoided, so writing helps me stay oriented as a person, neighbor, citizen, and lover.

—W. Alexander

Come back next week. I may speak more on the subject. Again, go ahead and follow me and share my post with those you know it would benefit. Also, feel free to contact me and discuss the writing life.

Something went wrong. Please refresh the page and/or try again.

Excerpt: A Current Project.

The next morning, Agnus and I singed in fields blanketed under heavy-fresh dews. Our hot breaths chimneyed above tilled ground, and sweet-earthy aromas filled the mist. Agnus kept busy practicing a new song he learned from the troubadour. Committed to not forget it, he sang its lyrics, over and over, until a breeze showered us with dew drops from the evergreens above.

            “Do you think that troubadour will stay another day?” Agnus asked.

            I hoped he would, but I was not so sure. His type never stayed anywhere for long. I scanned a red and orange sky for the village’s skyline. Four chimneys smoked above the tree line. The shortest chimney belonged to the tavern below. The traveler would be staying there.

            “He didn’t play the song,” I said.

            Agnus shrugged his shoulders and tilled a new row. The mist soon receded, and I began to sweat. By late morning, the earth was dry and hard. Twenty-three new rows later and I could no longer see our breaths.

            “That looks like trouble,” Agnus said.

            He was right. A black, windowless square block, towed behind six draft horses, emerged. The carriage was not alone: atop of it, a driver whipped the horses; and on the back, two-armed soldiers rode. Twelve-calvary-men followed the carriage, and two-squads of foot-soldiers followed them. A knight headed the column, and six uniformed in their master’s colors, rode in three rows of two behind their leader. Following the entire column: wagons of supplies, groups of artisans, prostitutes, and tradesmen followed much further behind. I counted thirty-three archers assisting the convoy.

I recognized the banners: a red octopus wrapped around a spear, both across a green background. The troops paid no attention to us as they passed. We smelt them before we laid eyes on them. All of them wore black tankards emblazoned with their master’s standard.

“They smell like the sea,” Agnus said.

“Good. We never quarrel with that kind,” I said.

“How would you know?”

“Lords don’t sail to pillage farmers. They are after bigger prizes.”

Back in town, Agnus and I toasted with a couple old pals who planted our lord’s fields further down the road. They stroked their grey beards and remembered a thousand-men at least. Others were more reasonable: they thought three hundred, because they weren’t sure there was one-thousand people in the whole world. Not after the last wave of plague. One farmer’s daughter, a real beauty, shared how her brothers all of a sudden grabbed her and her sisters by the mouth and pulled them into the forest, far from the road, far from the soldiers. All the women agreed, they shared the same experience.

“Did any come into town?” one old pal asked the barmaid.

“The whole town cleared out, but I stayed right behind my bar,” she replied. She handed them their beers. “They never left the road.”

“Has anyone seen Rufus?” I asked.

No one answered. The troubadour stepped out of his room.

“Well, you forgot a bit of news to tell us last night,” Agnus said.

“Ah, the jest is up,” he replied.

The troubadour climbed onto the bar. His blonde hair fell to his shoulders. He smiled and raised an empty cup.

“Cheers, my friends, and forgiveness, for I lied,” he said. “I serve her Lordship, the Countess, the leader of the very army that so peacefully passed through your hamlets today.”

The room erupted. The troubadour sat, ordered a drink, and waited for everyone to cool down. The door swinged open and standing in the midday’s light was Rufus and our Lordship, the Duke. Behind him, the Dutchess and Wet Nurse stood.

Join 111 other subscribers

My Writing: A Historical Fiction Sample

Below, my friends is a sample excerpt from my stories midpoint. Originally, I was going to keep this scene in my new novella, but I decided to cut it—I think—and write something different. As always, I want to share my hard work with all of you. Enjoy!

All Content Is Copyrighted and is prohibited to download, copy, and redistribute.

Ishaq ordered the diggers to work by moonlight, shovels scraped, hammers smashed, and picks stabbed stone. The work was difficult. The men were soaked; sweat and sand clung to their skin. Halfway up the northside of the tomb, above the crew’s silhouettes, Ishaq studied the valley. The night performed tricks; phantoms prowled the desert, lizards transformed into soldiers, and gusts became chariots. If pursued, he knew, the soldiers would stealth in the shadows until, at last, on top of his party. Four-vigilant hours passed, and by the time the men were spent, he heard rocks fall.

At the bottom, he found the diggers on the ground, their chests heaving, their eyes anxious. Bes was occupied with distributing each man his ration of water.

“It’s hollow there,” Bes said.

            “We’re too exposed,” Ishaq replied. “We must hurry.”

            Ishaq ordered the crew to build a fire and shield it with a thief’s chimney. Each man linked their sleeping blankets together and encircled the flames. Bes erected a fire inside the improvised wall. He warned if the faintest ember could be seen they risked discovery. Others retrieved the pots of water they carried from Thebes. They worked fast; one-by-one, the pots boiled, and then two diggers, juxtaposed on each side of a blanket, dragged the water. Ishaq helped them leverage each pot between two beams of cedar above the dig site and carefully tilt it over. The limestone absorbed each douse and hardened. They repeated the process until, at last, the stone cracked. One digger swinged his hammer in wide vertical arcs and smashed the stone where it split. His blows thundered across the desert before the wall collapsed, and a hole big enough for one man at-a-time to crawl through, appeared.

Ishaq ordered their cart and what supplies could not be carried into the tomb to be buried. They discovered soft ground west of the tomb, and there, beneath a sand dune, the crew hid their supplies and marked the spot with a pattern of rocks. One man started petitioning the Gods to not hide their marker before they had a chance to recover their belongings.

            “Stop praying,” Ishaq said. “The attention of the Gods is the last thing we need.”

            The diggers shared, between them, that rare conversation reduced to a glance which suggests each man is all the other one has left in the world. Ishaq knew that look well; he saw it often in the war.

            “You won’t need the Gods or anyone else once we’re done. You will have servants to wait on your wives, horses for your sons, and hunger only a bad dream.”

            Ishaq, as he spoke, wrestled with images of his father. The old man grew weaker with every sunrise, and, worst, the God’s his father loved, the very ones he faithfully fed their sacrifices, the ones he taught his children to fear, returned his faithfulness by removing his sight and with it, hope. He cursed how cruel the Gods were and vowed to hire a physician with his share.

            They were ready to enter at the blue hour; that in-between time where it is no longer dark, but not yet morning, when the desert holds its breath. The crew paused, and their eyes leveled on the stars; each committed the heavens to memory in case they’ve seen it for the last. One-by-one the diggers crawled through the hole; Ishaq went last. He wouldn’t risk one of the men not entering and alerting a nearby patrol, so to collect an easy ransom.

(630 Words)

To Be Continued

More from W. Alexander

Big Moments Count

“it felt like those moments in life where we sense magic; those days where every bone in your body feels good, and there is laughter and love overflowing, and you know how great that feels. I feel that.”

Keep reading

Big Moments Count

Photo: W. Alexander, 2021

Hello, and welcome my readers, followers, subscribers, cyber stalkers, Russian hackers, and anyone else who finds themselves reading my blurb. Like you, and every other humanoid, I’m just as self-obsessed and self-consumed with my life and reality, and, like you, I steady my aim toward that-ever-close-or-distant American, white-boy success, dream. So, engage and celebrate with me and forgive my little boast. For, I request a toast.

Above, a rare photo of me wearing the latest in I have yard work to do fashion: work boots, Star Trek: Next Generation socks—out of laundry, sweat soaked old-man-polo and, of course, featuring accents of grass. My hobo looking ass is sitting where my driveway meets the street. Seconds before my wife captured this moment, I grabbed the mail and read a package-slip from the publisher. My heart stopped. To hell with the yard, I thought to myself. I sat down and tore through packaging. Inside it was my poem. Well, the poem is on page 15, but it is not about the poem, it’s more than that: it’s my first writing ever published in a book and people can buy this book. Is this some grand accomplishment? No, but damnit I feel grand, and I want to enjoy it, and I want to share this moment with you—yes, You! It’s no small feat to trust that people really want to hear my voice.

I set a goal in January that I would be published twice before 2022; I am halfway there. So, go ahead and imagine Bon Jovi level excitement at my house. I feel gratified, even relieved.

Trying to publish, so far, feels like dating. Shew! So, please, help me give myself a bathroom-mirror-thumps-up. My publishing virginity is taken. Big Moments Count.

Now, I promise not to annoy you any longer, but a major part of accomplishing something is to bask in it with your friends. I lack those, but I have readers and that is sort of the same thing but better. Thank you for allowing me, and helping me make possible this giant, little step in my career as a writer. This blog is, after all, about my writing journey.

—W. Alexander. I wrote this high—on life, lol.

P.S: I just don’t know how to explain the feeling I felt when I first read my name, my words, on a physical, published book. The best I can do is say it felt like those moments in life where we sense magic; those days where every bone in your body feels good, and there is laughter and love overflowing, and you know how great that feels. I feel that.

You’re welcome to subscribe and follow me if you haven’t yet. I’m not always charming, but I like to think I share interesting things.

A Nod To Derry’s Son

Derry, New Hampshire was the longtime home of Robert Frost. This poem is in dedication to my favorite poetry book: North of Boston, and his poem October.

Worlds Apart, by W. Alexander

W. Alexander

I wrote this story in February, 2021. I consider it one of my best pieces, artistically. I talk a lot about writing, and I want to share my own short story. Here, is an example of my passion for fiction. Share with me what you think.

This story is my intellectual property, and I provide no provisions for anyone to copy or download my data.

Worlds Apart

By W. Alexander Dunford

The long, thin esplanade snakes between the brackish waters of the Charles and the city—Boston. Here, under a dogwood tree, Chris wrestled back and forth with his future. The late morning sun transformed these muddy waters into polished glass.

            The parkgoers beetled away, jogging and walking, stretching and splashing with the occasional laugh. Next to Chris, two dozen college students executed in solidarity a yoga class as couples passed with hands held, and others went about engaged in lively conversation.

            Chris noted an exception to all the commotion: an elderly man feeding a flock of geese. The old man laughed as he spread breadcrumbs in all directions over their honks, delighting in their greedy squabbles over his generosity. One bird chased a crumb to where a girl was posed upside-down, and inches from her mat, it hissed. The old man chortled when the girl screamed and chased away the goose by hitting it with her blue tin water bottle.

            It seemed months since Chris, too, laughed so hard. Today was a sunny Sunday morning and two white clouds snailed high above the skyline where a plane towed a banner advertising tickets for the Federal Theatre. Chris, for once, had nowhere to go and nothing he had to do this morning. Tomorrow, everything would change, and he may never see these waters again, or hear the city buzz behind him; he would begin his new life in Wyoming. It was God’s Will; the church declared this, but he doubted it. Watching the old man incite the geese, for a moment, gave him respite from the pain of losing his city, his identity, his normal. He closed his eyes, sat up straight, and let the sun touch his face. He began to pray. If only I could hear your thoughts, Lord.

            Chris remained unmoved until something nipped his heel; he was alarmed to find several geese had, in fact, swarmed him—honking and hissing, prodding and squabbling, while he heard the old man laugh.

            “All right, all right, leave the man alone,” the old man said and waved off the geese. He placed his bag of breadcrumbs in his coat pocket and joined Chris on the bench.

            Chris shrugged his shoulders and willed his gaze on the river. His jaw was tight, his face flushed. He wanted to think; he needed to relay over and over how he got to this place. But no matter how hard he traced, he could not figure out why he felt punished. He wanted to be left alone.

            “Sorry about your coffee, young man.”

            Chris looked down and discovered his latte spattered over his shoes. He sighed and glanced between the old man and the geese that watched them both from a close distance. The old man offered him a napkin. Chris flung the napkin over his shoulder, stood up, looked around, and focused on each breath. He was in no mood to be grateful, so he started to walk off. When he stepped onto the esplanade’s path, a squadron of agitated geese confronted him. His face turned pale, and he slowly stepped backward before he bumped against the bench.

            “You’ll want to sit awhile longer,” the old man said. “Those birds won’t bother me, but they will make a sport out of you.”

            “Make them move.”

            The old man shook his head, “I’m not going to do that.”

            Chris turned to the old man; his mouth opened. He squeezed his fists and inhaled a deep breath. Lord, please don’t let me hurt this old man.

            “Now, that’s no way to pray.”

            “Do I know you?” Chris asked scratching his head.

            “You do most days, but I’m here all the same.”

            Chris would have walked away that instant if it were not for the, now, encirclement of waterfowl that restrained him. He glanced back-and-forth between the geese and the old man. He marveled how this man marshaled these birds; how they halted their honking and hissing and remained standing and guarding like sentries.

            “Sit,” the old man said.

            He wanted to go as far as his legs could carry him. The old man made a clicking sound, and the circle tightened. Chris obeyed. The old man smiled, pulled a pipe out of his jacket, and sparked a match; the smoke smelled citrusy and sweet. Chris’s body relaxed as the smoke filled his lungs: his stress, his fear, his anger all vanished. The troop of geese fluttered in formation and disappeared behind the trees.

            “It’s frankincense,” the old man said.

            “Who are you?”

            The old man dragged on his pipe, producing a glowing ember, and inhaled more smoke; he smacked his lips, smiled, and still holding the pipe between his teeth, he wiped the ash from his fingertips. The smell reminded Chris of Mass, and his delight when this scent filled the parish: children’s noses crinkled, eyes watered, and all the faithful kneeled. Then he remembered that this morning’s 7am Mass was his last. He had announced his reassignment as tears cascaded down his and the congregation’s cheeks. He had spent ten years serving and leading, teaching and learning, and he winced at the thought of restarting.

            “I am here to help.”

            “I don’t need any help.”

            “You did wish to hear my thoughts about Wyoming, did you not?”

            Chris felt like a statue; he found it impossible to speak. He ran his hands through his hair. I’m crazy, he thought. Wake up, wake up, wake up. But every time he opened his eyes, he found the old man smoking and smiling, as if reading and listening to his thoughts.

            “This is no dream.”

            “But that would make you God,” Chris said.

            “Nothing gets past you,” replied the old man.

            He noted to himself to later look into medication. The God of Abraham doesn’t just show up in Boston. The old man laughed again, delighted with himself. This is some kind of joke, Lord. Help.

            “What do you want?”

            “I already told you. To help you.”

            Chris resigned himself to playing this through and composed himself. He peeled his gaze from the old man’s face—blotted by blemishes, moles, and yellow teeth—and turned toward the river. Chris spotted a fleet of sailboats pilot the current, racing toward the ocean. Laughter and joyful shouts carried over the water. Scents of gasoline, saltwater and frankincense hung in the air.

            “Okay, why do I have to leave?” Chris asked. “If you’re God, help me understand why I have to leave a life that makes me happy.”

            “I am! And I don’t consider your happiness when I call. You are needed, and you are able, therefore you must go.”

            Chris let these words sink to the dark depths of his heart. He knew them to be true, but as he closed his eyes images of his friends, his congregation, and his accomplishments permeated his thoughts. How was he any better than the martyrs of yesteryear? They gave up everything. I’m afraid I will fail there, and I will hate it, he thought.

            “Worrying over the future costs real people the help they need today. My plan is mine alone, and Wyoming is where I want you,” the old man said, and inhaled another drag of his pipe.

            “Why?”

            “Because when you trust me to send you there, others will trust me to invite them to paradise. And besides,” he chuckled. “I said so.”

            The sun beat down on Chris as he mulled over the old man’s words. When he opened his eyes, he saw the old man had vanished; and above the trees, he watched the troop of geese fly east toward the risen sun. He exhaled. Amen.

This story is my intellectual property, and I provide no provisions for anyone to copy or download my data.

A Rambling Treatise on The Craft

Originally, I submitted for class discussion introductions, and I thought I’d like to have this on my blog too.

            Fiction is devoted to exploring the complex drama of human experiences. The writer’s canvas is the human psyche, and we, the wordsmiths—creative writers, microscope the human condition; our job, first-and-foremost, is probing the everyday reality of human situations, regardless of how weird or superfluous, or sad, or hilarious, or frightening. I write to touch my readers’ hearts by writing truth.

            My process is simple: I wrestle, before coffee, every morning to deposit onto the page, at a minimum, six-hundred words of prose, and, at some point in the day, I read fiction for a minimum of an hour a day—I do this five days a week. Creativity, I believe, is a muscle, and, like all muscles, routine exercise builds strength. Now, I confess, inspiration does not often come easy; prompt books are helpful when my creativity sleeps past the alarm. The most important thing a writer can do is write, but the second most important thing a writer must do is read. I read seventy-five, or more, books a year. The six-hundred words every morning, before my kids wake up, helps warm up my creative process; usually, once Scrivener, my software of choice, flashes the green check mark, which indicates I met my goal, I find myself unwilling to stop.

My Hogwarts Pride

            I write both literary fiction and poetry, but my preference, my passion, my ambition, my purpose is writing prose—fiction. Like all art, the artist, in my case the writer, tattoos themself into their work. All good writing comes from writing what we know, and my truth, the nucleus of my identity is my Christian faith. However, I rarely write anything perceived as Christian, but rather my work, my characters and themes, wrestle with spirituality and ethical dilemmas—a footprint or commentary regarding my own wrestling with God. I embed this insight in nearly all of my work: truth is rarely, if ever, black-and-white, because a character’s circumstances are the brushes that paint their lives. I fancy myself a modern apprentice of Stephen Crane and Victor Hugo; albeit, my style mirrors Madeline Miller and Bernard Cornwell—I write tight.

            I fear, after probing and articulating the human condition, my writing will go unread. My heart is in my work, and, like many of you reading this, I fear rejection; and I accept this fear may never go away; I cringe when rejection letters hit my inbox. However, my confidence holds firm, because without rejections, I would have never learned and ultimately published, and I would have gone on wondering if I was living a pipedream—my head stuck in the clouds.

            Despite personal challenges, my obsession with routine writing and reading has provided me the tools to be good at theme and tension. I love paralleling themes with the physical world in my stories and with my characters’ situations—layering. Nothing arouses me more than when a reader, as if hoodwinked by a magician, thinks I have talent. The trick to writing well, I have found, is to make it easy for your reader to turn the page. My greatest strength in writing is my eye for the reader. 

            Writing is life.

—W. Alexander  

Paradise and Achievement: A Week in Acadia

Hello, friends and followers, I am back from vacation. I climbed summits and traversed ocean waters—harbor to harbor. I watched seals nap, Bald Eagles fight Seagulls, and I even kissed, yes kissed, a fresh caught lobster. If you know me, you know a week in nature isn’t my vibe, but, now, I am inspired to make that change. Acadia National Park and Bar Harbor fills a man, this man, with a thirst for natural beauty. I believe I am becoming a true New England artist, lol.

Join 111 other subscribers

Of course, a much needed, much enjoyed, week in a national park isn’t all that I experienced. My poem, the one recently accepted to be published printed. It is found in Poets’ Choice’s new Anthology Its Not Easy.

I cannot begin to tell you how proud I am of the progress I have made as a person and as an artist. I am finally, successfully, living my true self. Cheers, friends, to all whom have the courage to be their honest selves.

Below are pics of our family on vacation. For my email followers: You may have the best viewing experience if you open your email to the webpage.

Something went wrong. Please refresh the page and/or try again.

N.L. Blandford: On Writing

Writing a story, of any length, can be scary. It can be particularly scary when the subject matter may be considered “dark” or “sensitive.” Questions arise: “Will people appreciate what I am trying to say?” and “Will I accurately portray the real world through my fictional characters?” and, of course, the one all authors ask themselves: “Will people like it?”

I had all of these questions, and more running through my mind as I wrote The Perilous Road to Her. The story is set within the world of human trafficking and follows Olivia in her search for her missing sister, as she becomes a victim herself. 

I cannot recall exactly how human trafficking came into play, however, I knew that was the world in which the story would take place. Honestly, I was scared to write it. However, I was passionate about the story and hoped my fictional story would bring awareness to a prevalent issue. Human trafficking doesn’t just occur “somewhere else.” It occurs in all of our backyards, and I hope the more we read and hear about it, the more likely we are to recognize and help prevent it. 

N.L. Blandford‘s debut novel: The Perilous Road To Her

From the outset, I knew that I did not want to glamourize or hide what happens to people—in this case women—who are trafficked. 

Real World Portrayal and Sensitivity

As much as I wanted my fictional account to stay true to the real world of human trafficking, I did stray from how people usually become victims. During my research phase, I learned that the number one human trafficking myth is that people are kidnapped and forced into prostitution or other forms of sexual exploitation. I acknowledge that myth in my book, however to keep the story moving at a rapid pace, and to get characters from Point A to Point B, I used that myth as a transportation vehicle. To balance that, I tried hard to give all of the women Olivia meets in Los Angeles a backstory which represents actual victim experiences I had read or heard.  

I also worked hard to make some of the “bad guys” be represented as humans with their own problems. Characters you love to hate and hate to love. I have not met or read the stories of traffickers, thus, these characters are my own creation. However, criminals are humans and I can only imagine what could be going through their heads. 

Setting my story in a devastating world meant that dreadful experiences would occur. I wanted to ensure I was sensitive when I articulated the violence that the characters experienced. For me, removing that aspect of the seedy underbelly of human trafficking would not do the subject matter justice. On the flip side, I also had the question in my mind about how the story would be received by actual victims or those who worked closely with them. A story like this had the potential to be a trigger and affect people’s mental health. As such, I advised readers about the nature of the story in a Letter From The Author at the start of the book. Additionally, I included Human Trafficking Resources at the back to support readers if they found that they wanted to learn more or needed help.

The good news is that I have received amazing feedback on my ability to portray a gruesome world with sensitivity. In particular, someone who works with victims of sexual exploitation said, “I wasn’t sure if I was going to be able to read it, as a significant part of my job has been…to develop programs for children who are being sexually exploited. Your book was real for me for sure. It was a great read. I will be recommending it to my colleagues.”

Dark Subject Matter 

Human trafficking is only starting to become a talked about social issue, and, often, when I describe my book, a common reaction has been: “Wow, that’s dark!” It could be considered that; It is not a light-hearted read, and I wouldn’t have it any other way. 

When I was talking to W. Alexander about guest blogging, I loved that he defined ‘dark’ as ‘truth’. It is very relatable. People can shy away from topics because they are hard, and it can be easier to call them dark, rather than truth, or an aspect thereof. I believe that it is in the dark that we can really start to understand the true nature of our world and its people. 

The story is not for everyone and I respect that. There are books out there that aren’t for me. In the end, I wanted to create a great story that people couldn’t put down, while bringing awareness to a social issue, and maybe giving a voice to those who may not be ready to speak their truth yet. 

Based on the feedback I have received, I believe I have done just that. Which means: bucket list item number one for writing is complete! 

What’s Next for N.L. Blandford?

The Perilous Road To Her was released on May 4, 2021, and with that I am in full swing to get the word out. If you, or anyone you know, is interested in a riveting story that can’t be put down please check it out on Amazon! Part of a book club? Contact me via my website if you are interested in a virtual Q&A, after the group has finished reading the book.

Future writing projects for me will continue to be fictional accounts of real issues. I have many ideas that include Post Traumatic Stress Disorder (PTSD), prejudice/judgement and the equity of persons. 

As I continue to write, whether it be in Olivia’s world or not, I want to create compelling stories that pull readers in. I hope by doing so those same readers, whether they realize it or not, learn about a topic they may not necessarily explore outside a fictional world. 

—N.L. Blandford

If you would like to learn more about me and my writing you can find me at www.nlblandford.com; on Twitter/Instagram @nlblandford; on Facebook at N.L. Blandford and LinkedIn at nlblandford

Bio

N.L. Blandford’s poetry was first published when she was thirteen, and, recently, her drabble titled “Love of a Lifetime” won the Arlene Duane Hemingway Unconditional Love Drabble Challenge. She loves to travel and has enjoyed exploring Canada, however her favourite spot is a tie between Hawaii and Jersey, Channel Islands. N.L. Blandford resides in Calgary, Alberta, Canada, where she has built a life of dream exploration with her husband, mild mannered dog, Watson, and stubborn but lovable cat, Sebastian. 

I am Published!

I am published, well soon-to-be anyway. My poem Escape Second Death, will be added to PoetsChoice’s new anthology book It’s Not Easy. I admit, I did not consider that my first published work would be poetry—I am a prose guy. However, I am excited, thrilled, and intoxicated from seeing that Accepted on my Submittable; I feel validated. Details are still coming.

Writing everyday is the dream. Writing is my pulse. I am excited to finally be able to answer the dreaded question, “Are you actually published?” with a, “Yes!” I pray this poem is the first among many, of my works, to find itself in front of readers. I am blessed and humbled, and, perhaps, way too excited over a minor publication, but, to me, it is the first points-on-the-board; I shot a three from deep.

I am not sure what I can post about the poem, so, I won’t be providing a copy of it here, until I know more about what I can do. Of course, once it goes into print, I will shout-out to everyone.

Life:

My wife and I have been buried in renovations—we don’t know why we decided to do so much at once—and the last two weeks has been filled with family and other strains on my time—volunteering, Church, favors and commitments, etcetera. My writing has really dropped off. Hoping for the routine to spark again soon.

Some Updates:

Next week, I will be in Acadia for the week. N.L., Blandford will be taking over my blog. She is a great author, with a debut release, and will share her insight and wisdom with you in the upcoming post.

Masters of The Craft: Stephen Crane, The Herald of Naturalism

Stephen Crane, The Herald of Naturalism

Stephen Crane

            Few writers achieve the distinction of master, herald, or avant garde of entire genres, but Stephen Crane, the crown jewel of naturalism, rests in the pantheon of literary history among the  immortal few, near divine, writers whose works will outlast time itself.  Crane wrote with, at the time, a unique, not seen before, style and voice, and he compounded his mastery over language with exceptional attention to detail; thus, allowing him to microscope the human condition—the plight of living and dying according to one’s circumstances.

            Stephen Crane’s, 1871-1900, career was replete with flare, ingenuity, and influence but, unfortunately, brief; He died at only twenty-eight. A few of his notable works are Maggie: A Girl of the Streets (1893)his debut, considered the first complete work of naturalism, novel, The Red Badge of Courage (1895), War is King (1899), and, of course, the infamous short story The Open Boat (1898). Crane can be considered, without stretch, to be the American version of Victor Hugo. Crane, a student of European naturalists, was committed to write the truth, “He was convinced that if a story is transcribed in its actuality, as it appeared to occur in life, it will convey its own emotional weight without sentimental heightening, moralizing, or even interpretive comment” (Perkins, Perkins 815). This idea of creating characters and putting them in the path of realistic circumstances and observing how they worked themselves through their plights, without conveying an author’s opinion, was, at the time, revolutionary.

            There is more, here, than Crane’s infatuation with writing the truth—naturalism; One, artists can only write well what they know; and two, life, truly experienced, is not filled with moral themes and positive character arcs; sometimes, as in life, characters have negative arcs and, without much choice, compromise their ethical positions. People are a product of their circumstances; they are, in a sense, unable to control the evolution of mankind’s predicament. The world, no matter how much one may wish it untrue, is chaotic, dark, selfish, and competitive; a life-lesson everyone learns, some too young, but all will eventually. Consider this, “he was initially in agreement with the naturalistic belief that the destiny of human beings, like the biological fate of other creatures [referring to natural selection], is so much determined by factors beyond the control of individual will or choice that ethical judgement or moral comment by the author is irrelevant or impertinent” (Perkins, Perkins 815). This truth is the defining characteristic of naturalistic literature.

            Crane knew struggle; he knew, all too well, the cards life hands out, and how unromantic existence is for most people. His life began in Newark, New Jersey, and he was the youngest of fourteen children to a Methodist Minister. His father died when he was still a young boy. Crane wrestled early the pain which life, for no rational reason, dealt him. His troubled upbringing did not bring him intimate with faith, in fact it did the opposite. Crane once joked his family were, “the old ambling-nag, saddle-bag, exhorting kind [of ministers]” (Crain par. III). Without his father, the family struggled financially, “as a teenager Crane worked for an older brother’s news agency and later left college to work as a reporter in New York City” (Gioia, Gwynn 195). One grows up early when one grows up poor. One can, easily, even to some degree confidently, assume within this context and his exposure to the calamity of other’s struggle—through being a newspaper reporter—Crane did not find life rosy. There is nothing romantic in suffering. Perhaps, it was these circumstances that Crane decided for himself, as an artist, as a writer, as a storyteller, that he would rip off the band aid and write the truth—naturalism.

            He proved himself the master, the herald, the avant garde of a new style of craft, and the apex naturalist author. There are laws one must follow in every art, and fiction is no different. These laws, rules, are what, when followed, breathes life into an author’s prose. However, in Crane’s case, like all other geniuses from all other mediums of art and academics and sciences etcetera, he was a pioneer, “he [Crane] pioneered free verse and plainspoken idiom—techniques that seemed radically innovative at the end of the nineteenth century…” (Gioa, Gwynn 195). As a consequence, the next generation, the masters of existentialism in particular, would turn his style into common practice. The most famous of all the writers he inspired was the legend Ernest Hemingway—considered, the inventor of modern fiction and its discipline of tight and active prose. In laymen terms, Crane wasted no time inserting his own thoughts; he simply revealed, through his craft, the plight of the human condition, without opinion and without judgement. His only footprint in his work is his belief in determinism.

            The Red Badge of Courage is considered the pinnacle of his achievement. It is a panoramic view on the psychological struggle one finds themselves wrestling in war. There is no doubt, and no contesting, that this novel is a great work of literature. However, it is the opinion of this author [me] that The Open Boat is his masterpiece. The Open Boat (1898)is short fiction, otherwise, and perhaps more popularly, known as a short story. Unlike The Red Badge of Courage, Crane wrote from firsthand experience.

Book Review: The Portrait of a Lady, by Henry James

“Throughout these pages, the reader finds the brushwork of the master, and like all great artists, James can not only paint a story by the prowess of his craft, but, simultaneously, he hangs a mirror of enigmas and human complexity. Every reader can relate to the figurative handcuff’s persons’ finds themselves confined to.” —W. Alexander

            On New Year’s Eve, 1896, Stephen Crane, aboard the Commodore experienced a shipwreck, “Working as an ordinary seaman, Crane helped bail the flooding water [the ship had sprung a leak] until the order came to abandon ship. Crane and other survivors spent thirty hours on the open sea before reaching land” (Gioa, Gwynn 213). Crane wrote a newspaper account himself on the wreck, “Now the whistle of the Commodore had been turned loose, and if there ever was a voice of despair and death, it was in the voice of this whistle…it was as if its [the ship] throat was already choked by the water, and this cry on the sea at night, with a wind blowing the spray over the ship, and the waves roaring over the bow, and swirling white along the decks, was to each of us probably a song of man’s end” (Crane par. I). Even in his own factual account, Crane’s style fills his readers with despair; every verb he uses themes chaos and fear—choked, cry, blowing, roaring, and swirling.

            The Open Boat may have easily been a best-selling nonfictional account which would have dazzled readers across the globe, but Crane had a different idea: he wanted to tell the truth, the whole truth. Such truth can only be told in fiction. One excerpt from his short story, which reminds readers there is more than men riding together in a dingy hoping for rescue, there is a bond formed, “It would be difficult to describe the subtle brotherhood of men that was here established on the seas. No one said it was so. No one mentioned it. But it dwelt in the boat, and each man felt it warm him” (Crane 10). Anyone that has ever been in the unfortunate position of complete despair, a battlefield, a stranded boat, or lost in the forest will swear this is true: a bond is fused, which will last a lifetime, between them and those that shared in the experience. The fears experienced in life tattoos the heart far easier than the joys.

            So, Crane told his truth; he shared the plight of surviving on the high seas; he wrote with vivid imagery, to provide his readers with the exactness of the experience—only fiction can do this well, “Crane’s characteristic use of vivid imagery is demonstrated throughout this story to underscore both the beauty and terror of natural forces” (Poetry Foundation par. VII). His syntax, his weaving of prose, highlights more than just the natural truth of-a-thing, he explores ethical questions too.

            Ethical compromises seem to have a place in all his works. Caleb Crain, in The New Yorker captures naturalism in a nutshell, “In narratives of the hopeless and the near-hopeless, of human beings experiencing powerlessness and self-delusion, he [Stephen Crane] managed to record a new kind of consciousness, giving the reader glimpses of the self as an opaque and somewhat mechanistic thing” (Crain par. III). This revealing of a mechanistic approach is no doubt why Stephen Crane is considered the herald of naturalism.

            Crane’s mastery of craft and passion for elaborating on naturalistic themes lays the seed for the later literary movement of existentialism, albeit, in Crane’s day, the world still held the illusion of its institutions and their reliance. The façade of civilization’s reliability was only beginning to crack—new ideas emanated across the globe, and the world then, much like today, seemed to be near boiling over—which it did in WW1. This is why Crane is considered the avant garde of plain-spoken and direct writing—no higher themes, no moralizing, only the truth of the matter. A true idea, a portrait of reality, can and should stand on its own without embellishing it with higher purpose. The story must reflect life’s very real, very raw, realities and her uglies.

            There is little doubt Stephen Crane is one of the most, if not the most, innovative writer of his day. He, like the European naturalists he loved and studied, was obsessed with showing that life is largely deterministic in nature and is indifferent to mankind’s suffering. He looked at life with sober indifference; there was nothing anyone could do, but what they did, in certain circumstances. There are no martyrs of the poor and helpless. People live miserable lives and are treated like miserable wretches by those of privilege. The latter is as true today as it was in his day, and every generation since the first generation of mankind.

            Crane is the crown jewel of naturalism. He was inspired by the plight of the human condition—that one’s choices are according to circumstances; he committed to writing this truth without embellishing it with higher moralism or themes. He simply painted, with words, portraits of the inner machinations of one’s life; he microscoped and copied what he observed, and wrote, for all the world to see, a portrait of the human psyche. He was a heartbeat away from existentialism, which his legacy, no doubt, influenced the style of the modernist and the literary generations to follow. Determinism, a major influence on the naturalistic style, has spread its roots ten-fold in the modern world, and as a result, one can easily surmise that Crane was the avant garde of an entire worldview being manifested in prose. Civilization and art have come full circle: mankind has returned to the mythological psychology of accepting that they cannot escape fate; their actions are products of their place in the world.

            The Open Boat is a work of genius. Here, without research, without study, he wrote a story from which he had personally experienced. He, like all the great masters, turns his sentences on strong verbs, and as he used consistency, plain—spoken language, radical close attention to detail, to capture the truth—the exactness—of what it is like to be stranded at sea. He added no color to his work other than what would realistically be seen. His story is even more impressive when one realizes, despite escaping death, death stalked him, and he died two years later of tuberculosis.

Fiction is the vehicle which truth is revealed, and Crane, perhaps, more than any other author of his generation proved this to be true. His writing style compares to the artistic movement of impressionism—he paints, with words, what is before him and without judgement. All great writers master the craft, but Crane—like Whitman, like Dickinson, like Hemingway, like Hugo, like Pope, like Voltaire, like Homer, like Kafka, like Woolf—had a touch of the divine; that unteachable it factor, and it is among the company of these writers where he lives forever in the pantheon of literary immortality.

Crane’s work can be identified in regard to the ethical compromises one faces in specific, negative, circumstances. One’s pursuit of virtue is largely affected by one’s place in the world, and, similar to the natural world, one’s ecosystem—community—and their position and predicament in life is largely out of their control. His legacy is far more than the herald of naturalism, he was among the first to shine a light on the plight of humanity, without comment or opinion, and show the world the very real mental gymnastics characters, like people in real life, must navigate according to their circumstances.

Works Cited

Crain, Caleb. “The Red and The Scarlet: The Hectic career of Stephen Crane, the chronicler of the undermined self.” The New Yorker, June 30, 2014 Iss., 2014, New York, NY., par. III). Accessed May 2021. https://www.newyorker.com/magazine/2014/06/30/the-red-and-the-scarlet

Crane, Stephen. “The Sinking of The Commodore, New York Press, 7 Jan 1897: Author’s Perspective.” The Art of The Short Story: 52 Great Authors, Their Best Short Fiction, and Their Insights on Writing, Pearson Longman Publishing, Boston, MA, 2006, pp. 213-216. Print.

Crane, Stephen. The Open Boat. E-artnow publishing, Apple Books, MacReader, 2013, pp. 10. E-book.

Gioa, Dana & Gwynn, R.S., “Stephen Crane.” The Art of The Short Story: 52 Great Authors, Their Best Short Fiction, and Their Insights on Writing, Pearson Longman Publishing, Boston, MA, 2006, pp. 195. Print.

Gioa, Dana & Gwynn, R.S., “The Open Boat.” The Art of The Short Story: 52 Great Authors, Their Best Short Fiction, and Their Insights on Writing, Pearson Longman Publishing, Boston, MA, 2006, pp. 196-213. Print.

Perkins, Perkins. “Stephen Crane: Author Bio.” The American Tradition in Literature, Volume 2, edition 12, McGraw-Hill, Inc., 2021, pp. 814-815. E-Textbook Liberty University English 341.

Poetry Foundation. “Stephen Crane, 1871-1900.” Poetry Foundation, Poets, par. VII. Accessed May 2021. https://www.poetryfoundation.org/poets/stephen-crane

Back To Workshop

I’ll be done with my degree in a few months, and that means my workshop classes will be history. This breaks my heart, as I fear without the structure of “deadlines,” I won’t write as much. I have my local writer’s group, and without school’s work load, I will be able to attend far more…

Miniver Cheevy, by Edwin Arlington Robinson

This week’s post is short, but not without your consideration. So, I have shared with you a poem that I adore; a poem that I very much identify with, and, I confess, is remarkably as close, as any poem ever has been before, to a portrait of my personality. To read this poem is to know who I am. I only wish I wrote it, lol.

Photo: imgur.com
Miniver Cheevy, child of scorn, Grew lean while he assailed the seasons; He wept that he was ever born, And he had reasons.
Miniver loved the days of old
When swords were bright and steeds were prancing; The vision of a warrior bold Would set him dancing.
Miniver sighed for what was not, And dreamed, and rested from his labors;
He dreamed of Thebes and Camelot, And Priam’s neighbors.
Miniver mourned the ripe renown That made so many a name so fragrant; He mourned Romance, now on the town, And Art, a vagrant.
Miniver loved the Medici, Albeit he had never seen one; He would have sinned incessantly Could he have been one.
Miniver cursed the commonplace And eyed a khaki suit with loathing; He missed the medieval grace Of iron clothing.
Miniver scorned the gold he sought,
But sore annoyed was he without it; Miniver thought, and thought, and thought, And thought about it.
Miniver Cheevy, born too late, Scratched his head and kept on thinking;
Miniver coughed, and called it fate, And kept on drinking.
                                                                                                                                                         1910

Side note: Minutes ago, I submitted my last paper for finals. I calculated that I have written, in the past two weeks, fourteen-thousand words. Of course, that is what I kept in revision, and I am not counting anything written outside of academia.

One of my poems:

Crosses & Scribbles: Writing As Christian

My faith defines who I am and how I see and interact with the world. Yet, most people I meet are surprised to learn that I, a Christian, don’t line up with the evangelical right on matters of theology—the stereotypical American believer. I don’t accept, as they do, the Bible as a defacto, clearcut instruction manual without error. I read God’s word like poetry and understand that books like, for example, Genesis are allegory—beautiful, replete with enriching wisdom, but not to be taken literally. So, am I an outlier? No, there are millions like me, who appreciate science, who believe in evolution (God-guided), who believe the nature of how mankind has considered and understood God has changed throughout time, and who delight in His grace and redemption.

However, I am weary of people lumping myself in with the young-earth-creationists and intelligent design theorists types. When I meet new people, especially those I want to make a good impression with, I tend to conceal my faith. I don’t know about you, but I sort of wish I had, jokingly, a business card with a QR code for people to scan, linking them to an online page explaining all the nuances of my personality. Basically, it would say, “look I’m not like those crazy other people and here is why.” I get tired of answering the questions, people are apt to ask, as they explore whether or not I am going to be a problem to them. They are weary of judgement. This is particularly true in the artistic and academic communities—places I hang my hat.

Recently, I joined a writer’s group. Everyone shares what they are writing and offer snips of advice. I was so nervous to attend, and my head was filled with all the worries one can expect when one opens their heart to complete strangers. I wrestled with what I should bring, I thought of reading a current project, or a previous—finished—one; I chose the latter. The problem? It was a Christian piece and, by far, my best writing. If I read this one, these strangers, these artists, might worry if they could be open with their own work around me. People can be rightly skeptical of how judgmental Christians can be. I, of course, am not like those believers. But they didn’t know that.

When the day came, and it was my turn to read the story, I did what I always do: I started with a disclaimer. I sat there, my eyes darting back-and-forth between the others, my bottom lip quivered, and my speech turned to blubber. I managed to say, somewhat cohesively, something like, “You don’t know me, but you will think, after I am finished, that I am reading a Christian story. It is, however, religious themed, but not specifically Christian.” I had practiced that last line on the drive over a dozen times. I did not want to make anyone uncomfortable, and so I stretched the truth to get them to like me. When I was done, my heart bleated in the open, and I counted the microseconds before, I feared, their disapproval would come slashing. However, I was shocked.

They loved my story, they complimented my sentences’ rhythm and its arc, but, more importantly, they loved my story’s theme and idea. I was filled with light, and, then I remembered, I screwed up: I projected my fear onto them. I should not have disclaimed that my work was something different than it was because I feared they would mistake me for some stereotype. To share what one is writing is to share something equivalent to sex. Writing is your intellect naked. I have never been so happy to have worried over nothing.

Perhaps, it is a sign of our times that I would worry that people would not like me if they found out how religious I am. It is easy, for us Episcopalians, to get lumped together with the more vocal, more represented, more controversial and larger evangelical community. Of course, I pass no judgement on them. I have in the past been one myself. We truly believe the same core doctrines, but we have different approaches to reasoning out what Jesus teaches. Sometimes, I refer to myself at school as a Two Great Commandments Christian—see Matthew 22:36-40. I attend a Christian university, and, well, everyone gets my reference. They joke, “ah, you’re a democrat then, lol.” The weight of attaching political ideology to one’s religious perspective is one way, I believe, the American church has gotten it wrong, but that is a discussion for a different time and on a different kind of blog. My point is this: I found this group of artists, painters of words, did not hold any animosity toward the religious, and that I was projecting onto them what I thought they wanted to hear. It turned out a few of them are pretty serious about their faith, too. I should learn to just be myself and let the cards fall where they may—one day, maybe I will be like that, but probably not. The hilarious part of all this is that all of it was in my head; to them, I was just a new guy reading a story. That is it. I think too much.

The next week I shared a darker piece, another, in my opinion, well written piece, but one full of grotesque language, horrific scenes, and themes of rape and abuse. Which brings me to another concern: Have I really, truly, decided if I am a Christian author or not?

I want to say yes. I want to yell from the mountaintops, “I write for God;” I want stand loud and proud. I want to tug the hearts of the faithful, and share God’s truth with the curious. I want to entertain and nourish, teach and entreat my readers. Except, can I be a religious author and tell the truth? As an artist, the most important thing to write is the truth. That truth, for me, is that life isn’t sanitized; in fact, life is often a horror story; if you live long enough, you begin to see this complexity and all its colors—philosophically, the one truth about life is: it is not black and white.

This question, right now, sings by the hour in my head: Can I write as a Christian and not hold back? Am I allowed the freedom to share life as it is—full of sex, lies, triumphs, excuses, noble ambitions, petty revenges, destructions, hypocrisies, coveting, etcetera? If I was to write a Christian novel, I would have to write, like all writers do, a human canvas navigating and experiencing life as it is lived; I would have to write the truth. Think Victor Hugo and Les Miserable! At least, this is what I want to do.

Thank you for reading this piece. I would love to hear your thoughts. In fact, it would be a comfort for me talk these things out with you. Please share your thoughts, and share this post with others. It is no easy thing to be so honest, so naked online, but I do it because I believe writing the truth is the highest virtue in the art of writing. Help me grow my blog by sharing my posts with others and subscribing. God bless.—W. Alexander

More From Me

The Miraculous Rise of Phillis Wheatley

Wheatley achieved the miraculous, the impossible, the unthought of: she a black-African-born-woman did not peel at the edges of prejudice, she slashed it, and all were forced to recognize her gift and confront their misplaced assumptions on the place of women and slavery.  

Book Review: The Portrait of a Lady, by Henry James

“Throughout these pages, the reader finds the brushwork of the master, and like all great artists, James can not only paint a story by the prowess of his craft, but, simultaneously, he hangs a mirror of enigmas and human complexity. Every reader can relate to the figurative handcuff’s persons’ finds themselves confined to.” —W. Alexander

Book Review: The Portrait of a Lady, by Henry James

The Portrait of a Lady, by Henry James

Henry James authored one of American literature’s prized realist masterpieces: The Portrait of a Lady. Considered a psychological novel, because of James’s microscopic emphasis into the innermost characterizations—internal action, circumstances, and how these forces develop external, plot moving actions—regarding his characters; he creates tantalizing themes of freedom versus oppression, and the progression, or degression, of self-knowledge through psychological and moral decisions—The Portrait of a Lady is a painting, lavishly brushed by words, which tells the truth of the human psyche.

            James’s psychological novel attaches significant emphasis on his characters innermost motives, and how they contemplate their external and internal circumstances, therefore, ultimately, weaving these inner tensions into external action—physical plot progression. James will time-and-time-again provide his readers with intimate, microscopic views into a character’s inner conflict. For example, consider Isabel Archer, the novel’s protagonist, “…I’m absorbed in myself—I look at life too much as a doctor’s prescription…Why should I be so afraid of not doing right? As if it mattered to the world whether I do right or wrong” (James 196). The psychological novel is, although prose fiction, a close study of humanity.

            In addition to the riches found within a character’s innermost motivations, another example of James’s prowess in developing his psychological novel is his unique use of theme. The masterpiece The Portrait of a Lady, although replete with sub-themes, is most recognized by Isabel Archer’s arcing struggles between oppression and freedom and independence versus destiny. Ezra Pound wrote, “What he [James] fights is ‘influence,’ the impinging of family pressure, the impinging of one personality upon another” (Quoted by Lane par. xvi). James detested tyranny and the petty personal oppressions he witnessed everyday persons inflict upon each other. His, literary, voice reflects this contempt throughout The Portrait of a Lady. It is the unique frequent indecisions of his protagonist Isabel Archer’s, her inner conflicts with external consequences, need to stand on one’s own self-sufficiency, and her culture’s desire to rein her into the larger world’s conformity of marriage and obedience, that makes this psychological novel worthy of its home in the pantheon of literary masterpieces.

            However, despite James’s impressive weave of great emphasis regarding inner character, and his larger theme of oppression versus freedom, there is yet another, stronger, undebatable footprint of the perfect psychological novel: James writes the truth. This truth is the selfish self-interest of other person’s desire for psychological domination (control) or, more common, the extent of scheming and ambitious lies some persons will steep to subdue and extinguish another’s light—a person’s innocence. For example, Osmond, Isabel Archer’s eventual husband and the novel’s chief antagonist, never fell in love with Isabel; he fooled her in order to subdue her; he wanted her as a trophy, “That is what monsters do, especially the polite and patient ones: they harvest souls. Hand them a human in full bloom, and what they give back to you, after a few seasons, is a pressed flower” (Lane par. xvi). Humanity is often a horror story, and happy endings are not realistic stories.

This point of realism, life is often a horror story, is very much the eternal truth of James’s psychological novel; a genre devoted to the analytic study of the human condition; and, in his, the plight of self-degeneration through psychological manipulation. In laymen terms, the hell one finds themselves in once they realize they have altered their entire life for someone based upon a lie. And like, Isabel, it is often that everyone else can see the truth, but the one under their oppressor’s influence. In Isabel’s case, she becomes a victim of her own designs, “Isabel proceeds to marry Osmond, who she believes loves her and with whom she thinks she can relinquish the pressure to perform. She unfortunately rather quickly discovers the ruse and realizes he is the suitor most desirous of wiping her clean of any interiority” (Krzeminski 279). Perhaps, it could be argued her remark a third of the way through the novel was spoken from complete naivety (innocence) and foreshadowed the suffering that later came, “…to judge wrong, I think, is more honorable than not to judge at all” (James 143). By the end of the novel, and by a stroke of writing genius on James’s part, these words were no longer her truth.

            Henry James painted his theme of oppression versus freedom with microscopic emphasis on his characters innermost conflicts. The Portrait of a Lady is a masterpiece, not because of good versus evil, or anecdotes of adventures and trials; the novel is a masterpiece because it captures, like none before and few after, the human psyche down to the finest detail. James’s work reflects the progression and digression of his protagonist’s self-knowledge. By the end, the reader is left hanging. Isabel Osmond, as she is now, refuses to satisfy us with any epiphanic change; she does not, after confessing her plight to Ralph and kissing Casper, break for freedom, but in James’s fashion, she is handcuffed by her situation, which she blames herself for allowing, and, thus, she goes on, like so many women did and still do, without freedom, and with every reader questioning why, back to her prison of a marriage.

            Together, the theme and Isabel’s, surprising, negative character arc creates arguably the best psychological novel ever to be written, per its genre. As the reader travels its pages, they are confronted with a mirror, a work replete with accusing self-examinations, and, therefore, the reader is left, not watching, but considering the raw complexity of the human psyche, their own psyche.

  The footprint of realism has always been to write the truth; the common man or woman’s plight, and the mental gymnastics all persons, from all classes, perform are what makes this novel a psychological masterpiece. Throughout these pages, the reader finds the brushwork of the master, and like all great artists, James can not only paint a story by the prowess of his craft, but, simultaneously, he hangs a mirror of enigmas and human complexity. Every reader can relate to the figurative handcuff’s persons’ finds themselves confined to.

References

James, Henry. The Portrait of a Lady. Seedbox Press, LLC. Apple Books, 2015, pp. 143-196. e—book.

Krzeminski, Jessica. “The discovery was tremendous: Sex, Secrets, and Selfhood in The Portrait of a Lady.” The Henry James Review, article, Vol. 40., Iss. 3, 2019,pp. 279. Accessed 2021. https://search-proquest-com.ezproxy.liberty.edu/docview/2315565534/fulltextPDF/5B39C5728E734785PQ/1?accountid=12085

Lane, Anthony. “Out of The Frame, A New Portrait of Henry James’s ‘The Portrait of a Lady.’” The New Yorker, article, Books, Iss. September 2012., par. XVI. Accessed 2021. https://www.newyorker.com/magazine/2012/09/03/out-of-the-frame

More from W. Alexander

The Miraculous Rise of Phillis Wheatley

Photo Credit: Poetry Foundation

The second half of eighteenth-century America, witnessed the miraculous rise of Phillis Wheatley: An African-born slave-woman, who used the power of poetry along with her respectable connections to challenge and reverse many of the prejudices that plagued her sex and race, and, later, her genius helped inspire the abolitionist long campaign to abolish slavery. 

Wheatley, at only seven years old, found herself chained aboard a slave-trading vessel headed to Boston. When she arrived, she was sold to John and Susanna Wheatley, “The Wheatley’s were prosperous people with a wide circle of friends and active members of the New South Congregational Church” (Belasco and Johnson 599). However, her childhood was quite different than the plight of other slaves: she was taught to read and write, and was raised firmly entrenched in Boston’s Puritan religion, “she lived mostly as a member of the family and had considerable freedom to study… and received a good education, especially for a young girl of the time” (Belasco and Johnson 599). As a teenager, she discovered a passion for what would soon become the miraculous vehicle for her rise: she began to write poetry. 

Wheatley wrote in the style of the eighteenth-century English poets all her life, but like any poetic-genius, she left her own mark on literature, “while she closely followed the poetic conventions of the period, Wheatley was also an innovator…she was the founder not only of African American literary tradition but also of the tradition of black women’s writing in the United States” (Belasco and Johnson 600). Wheatley’s poetry concerned itself with the major issues that surrounded her life: politics, religion, and slavery. 

However, wonderful her poetry was, Boston proved difficult to find the funding needed to get her book published. Colonists were unwilling to support an African’s written work. This prompted the Wheatley’s to look across the Atlantic and travel to London, “…Wheatley traveled to London with the Wheatley’s son [Nathaniel] to publish her first collection of poems, Poems on Various Subjects, Religious and Moral—the first book written by a black woman in America” (par III). In London, Wheatley was an adored sensation—England showed little racial bias. This was in contrast with, at the time, the American colonies. Yet, even after she returned to America, her talents were undeniably exceptional, and her circle of influencers and connections soon extended beyond New England and into the admirations of the most famous and powerful man in the colonies: his excellency, General of the Continental Army, and later first President of the new United States of America, George Washington. 

More Poetry

Wheatley’s beginnings were humble: she came to Boston a small girl forced from her homeland, enslaved, restricted by the disadvantages of her sex, and the plight of racial prejudices concerning her race all stood in her way. However, despite her obstacles, she achieved remarkable, miraculous heights. Her poem, To His Excellency General Washington is a prime example of her poetic talents, her admiration for General Washington, and her patriotic sensibilities, “Proceed great chief, with virtue on thy side. They ev’ry action let the goddess guide. A crown, a mansion, and a throne that shine. With gold unfading Washington! be thine” (Wheatley 609). Wheatley’s rise from a small slave girl to being in correspondence with Mr. Washington was certainly no small feat. Such an accomplishment was certain to stick out in history. 

Of course, Wheatley’s poetry, like all great works of art, challenged the norms of her times both religiously and civilly. The country being built around her, that she so loved, was fast losing its religious zeal (of which she was devout), and the institution of slavery, was, naturally, an idea she would never advocate, “Wheatley recognized the contradiction between the institution of slavery in the American colonies and their struggle for “liberty,” a struggle she implicitly sought to align with the cause of freedom for the slaves” (Belasco and Johnson 601). Wheatley, certainly, showed a society built on control by the patriarchy, and a contradictory perception of superiority between the races (racial bias) that a woman, a black-woman, an African-born woman could rise to soaring heights in this new world the colonists were building. Her poetry was used by abolitionists as proof for the equality between the races. Wheatley’s legacy and popularity, especially, in New England continues to dazzle and inspire all those who learn of her miraculous rise. 

Eighteenth-century America, witnessed Phillis Wheatley overcome her humble beginnings and the challenges, at-the-time, that prejudiced her sex and race; her star ascended out of Boston and would eventually emanate its light throughout American literary history. Her poetry revealed a deep trust in God, yet it also revealed a break with political conventions— opposition to slavery, and her love for her new country. George Washington received her letters and poetry with adoration and gave testimony to her genius. Dunford 4 

Wheatley achieved the miraculous, the impossible, the unthought of: she a black-African-born-woman did not peel at the edges of prejudice, she slashed it, and all were forced to recognize her gift and confront their misplaced assumptions on the place of women and slavery.  

Join 111 other subscribers

Works Cited 

Belasco, Susan, and Linck Johnson, editors. “Phillis Wheatley (1753-1784).” The Bedford Anthology of American Literature, vol. 1.,2nd ed., Bedford St. Martin’s, 2014, pp. 599- 601. E-Textbook Liberty University English 201. 

Michals, Debra. “Phillis Wheatley.” National Women’s History Museum. National Women’s History Museum, 2015. Accessed: 20 February 2021. https://www.womenshistory.org/education-resources/biographies/phillis-wheatley 

Wheatley, Phillis. “To His Excellency General Washington.” The Bedford Anthology of American Literature, edited by Susan Belasco and Linck Johnson, 2nd., vol.1., Bedford St. Martin’s, 2014, pp. 608-609. E- Textbook Liberty University English 201. 


More Poetry

A New Novella

If you follow me on twitter, you know I am busy writing a novella. This, when completed, will be my second short story. The goal is forty-thousand words, and is a historical fiction piece. The setting and plot? I’m not sharing.

I am trying my version of the Stephen King-method on writing. The first draft will be written with the door closed (no readers), and then I will take a break from the piece. King recommends a few weeks. After that I begin to revise, and once the second draft is completed, I will seek editing opinions from trusted readers. Unlike my first short story, I intend this novella to be published, and trust me, I think I have a great idea. Of course, these rules could fluctuate a bit—I have never been a fan of systems.

So far, I have written the midpoint, and I am in the process of plotting—story mapping for you muggles. Of course, I have been writing solo scenes to help flesh out my characters, and short bios. Most importantly, I do believe I have my protagonist’s big lie down—the story’s arc.

More from me:

Deconstructing and Writing

Attached is today’s post, via video. Email subscribers, depending on your browser, may need to click here: http://www.w-alexander.com Be sure to follow me for more content: The truth is simple: art demands honesty. We can only create what we know, and what we know depends on what we have experienced, witnessed, and researched.

Keep reading

This is exciting stuff!

Using my blog to hold myself accountable for this project is critical. My last short story was twenty-five thousand words, and I wrote it for, believe it or not, a class on novellas last year, and it took me eight weeks. So, dearest followers, buckle up and enjoy the ride; I will be showing you an inside look of the writing process; you get to join me on an ambitious but fulfilling project.

I have to do this around school, and taking care of the kids. My goal is to be done by my son’s second birthday—late July.

My wife featured in SKATING Magazine

Short Post:

Most of you don’t know that I married a celebrity (Olympian and professional ice-dancer) and that we, now, abode in picturesque New Hampshire. Recently, she interviewed for SKATING Magazine. I will brag on my wife every chance I get.

I can, with one-hundred percent confidence, tell you that my wife is just as impressive in her personal life as she is in public.

I’m so proud of the woman Emily is, and the inspiration she is to so many girls.

Select the photo to go to article! Link expires with next issue.

Want to learn more about Emily and I? Visit my about page here.

Book Review: On Writing, by Stephen King

Photo: Goodreads

On Writing: A Memoir of the Craft by Stephen King

My rating: 4 of 5 stars


I will start by saying I am not, and I have never been a fan of Stephen King. Not for any other reason than I do not enjoy horror. However, the craft is the craft, and his take on writing was just too appealing to place back on the shelf.

The first one-hundred pages are about how he developed as a writer. This memoir is not a waste of time, and any reviews that suggest otherwise are your C- dreamers. I gained a deeper respect for Mr. King, and his work ethic—which is why he is a success; he simply sacrificed all he could to write.

Like, King, I too read seventy-five plus books a year, and because of this book, I have now spent several weeks waking up at 5:30am to write a specific word count before I do anything else. Not only is this an empowering—I waltz around the house all day feeling accomplished—strategy, but, I am writing. Yes, that’s right, nothing gets in my way. I have this book to thank for the kick-in-the-butt.

I, also, believe his craft-advice for the words on page are well thought out. I am an English major, and his advice pretty much falls on the same lines—cut adverbs, write actively, etcetera. What makes his approach different, is his strategy of writing with the door closed (first draft). Get the story on the page without critics, without advice, without help, without anyone knowing anything—don’t even tell your partner what is on the page. He even shares excerpts of his own crappy first draft writing, and then his revising strategy—second drafts are shown to his most trusted readers, and they can give their thoughts. It is refreshing to see his first draft is just like the rest of ours: blatantly not ready for anyone’s eyes but the writer’s. It turns out, he is just a regular Joe after all; this is wonderful!

King thrashes the ‘literary elite,’ and their postulations of theory and theme, and shares how efficient and clear prose gets the job done. However, King, like me, was too an English major, and, like me, has a deep love for the language; he loves several different genres, and at one-point shares how much he enjoys Harry Potter—bonus points. I don’t share his anti-elite sentiments, but to each-their-own.

What I took from this book? Stephen King is not superman, and neither does the aspiring writer need to be. King makes it clear, writers are made in the trenches, and those who put their nose to the grindstone, and never let anything stop their writing, succeed.

Of course, I disagree with him on his anti-plotting mentality, but, hey, what works for him (writing situationally), and what works for other artists will be different. He understands, and says as much.

It’s a great kick-in-the-ass book for writers. Buy it, read it, love, read it again, and follow his advice.

*P.S. get up at 5:30am and write till you hit your word count. Who cares if it is garbage? Just write. If you want it enough, you will do it!

—W. Alexander

View all my reviews

The Choice to Write: A Reflection, Part 1

            We’re turning the corner, finally, with this pandemic. Soon, within the year, most of us will begin dining out, vacationing, throwing backyard parties, etcetera. I cannot wait. A sense of renewal, of regeneration emanates through the atmosphere. Not unlike, being on the other side of an awful illness; you feel the life, the vitality spreading throughout your body. However, let’s not discount the reality that danger continues to lurk around every corner.

One thing I have done the last few years is journal. I use, like all millennials, an app—Day One. Every night I write a short prayer, something I’m grateful for, add photos, and bullet the key events of my day. And every night, when I open my app—Day One—I can view my entries that I wrote last year, two years ago, three years ago, four years ago, etcetera.

            The memories I read, right now, consist of entries from Covid’s first days. I archived news clips of Trump telling us it will all be-over-with by spring (2020). I have my take on folks emptying the shelves of toilet paper, paper towels, and other (never before conceived) essentials. I even saved articles into my diary from the, Washington Post of folks buying up all the hand sanitizer and then selling it on e-bay. I looked ahead a few days and saw where my wife and I purchased a roll of toilet paper from China for $60.00 because there was none left, at all, at the time. This was all in the final days of March. Can you believe it?

            Like most of you, covid killed my work; I was a brand-new realtor, and well, I’m not anymore—I think. I just didn’t have the comfort of walking into other homes, nor did I have the connections needed to survive, and I, most important, didn’t have the time; I was needed at home. I decided, like many, with death looming around, and the fear of catching this virus striking my borderline hypochondria (a joke, but I fear sickness), to reprioritize what matters. My wife played a critic role in this.

I transformed.

            Before Covid, I was the poster-boy of preppy, healthy, and hard-working. I was raised in Appalachia (southwestern Virginia), pronounced apple-at-cha, and I spent my entire adult life trying to separate myself from those early days. I never thought myself better than another, but I certainly didn’t want to live on the bottom. So, I worked, and I became whatever people needed me to be. It was not long, sometime after my father died, my early twenties, that I noticed I pretended so much for everyone else, I didn’t know who I was anymore.

            As the years passed, and I obsessed over saving money (a good thing), and pleasing others, I began to take a much more comfortable route to life, one where getting honest with myself wasn’t required, and, so, I wore a mask, I wore all masks.

            See, I had always wanted to do one thing: write. Well, besides that short season, when I was a kid, that I wanted to be a biologist—I’m obsessed with Darwin and evolution. One of the things I always loved was historical fiction, and if I’m being honest, and I am, I wanted to write and publish historical research. I love that stuff!

            Like many people, I never got the chance to be who I truly was. It wasn’t just that I lacked the courage or the support-system, it is the fact that I never had the chance. I have worked a full-time job since I was fifteen years old.

            When I was in high school, I worked five days a week, 4pm to midnight at a Sonic-Drive-In (I still don’t eat at Sonic, lol). In college, I worked the night shift, 10pm-6am stocking groceries for a couple years (going to class at 8am and sleeping in my car between gaps), and after dropping out, I worked at a factory, 50-55 hours a week for three-and-a-half years, and was a waiter at Applebee’s in the evenings. I’m not complaining, I just had to do what needed to be done: bills have to get paid.

            In short, when I moved to Michigan, interned for Google, and then became a general manager for The UPS Store (a job I held for five years). Money was tight, and I saved what I could, and I struggled, and that’s when the pain that I was throwing my life away really sat in. If I was going to struggle, couldn’t I at least be happy doing it? Having a good job didn’t matter to me. I woke up every day doing something I know I wouldn’t choose to do, if I had the choice (don’t we all?). And only people of privilege say folks have a choice. They don’t know what it’s like to push one bill out, so you can eat. Not the kind of environment where a dream is ideally fought for, or hell, America’s poor would all become success stories.

            Either way, I met my wife in Michigan, and my faith flourished there. But the identity crises began emerging toward the end. I left my job, and took a break, I had a significant amount of money saved, and could live years without working—if I played it right. A friend and I traveled all over America, we went to forty states, and I spent that summer hoping, just like in the movies, under desert stars I would rediscover who I really was. After that, my future wife and I went to Europe, got engaged there and I entered a blissful season, where my identity crises was band-aided—I tied my self-worth to her vision. After all, I had no honest vision of my own; I did not even know who I was anymore.

            I decided money was the common denominator to a peaceful life. I knew it wasn’t everything, but I knew without it, personally, one lives a miserable life. So, I went to Wall Street, and became a MLO at a huge financing conglomerate. My entire time there, training months included, I never worked a week under 60 hours. Not a single one. I made BIG money, but didn’t even have the time to do anything with it. Everyone around me wore Rolex’s and drove black luxury sedan’s, and, although I tried, because I always become what people think is the best version of someone is, I couldn’t sustain pretending that I wanted those things too. I found, I wanted to just save again so much money, I could spend the rest of my life writing. I use to need a few drinks every night to settle these demons down.

            The thought came in one night, my hand under my pillow, my suit still on, four or five whiskey’s drowned, so randomly that I thought I snapped. I remember thinking I was having a nervous breakdown. I hadn’t truly thought of getting serious about my writing in years, though, I did from time-to-time start, but never finish, projects.

            I decided then and there, I would find away, but, again, it never happened. A few months later, I was bogged down, it had been 31 days since I had a full-day off, and my fiancée reveals she had enough with her job, too. She was the envy of everyone around her, but she couldn’t go on pretending either. We decided to move to Boston, a shared dream of ours and look for jobs. She found one first, I quit a couple weeks before we moved, and found, believe it or not, another job as a General Manager of The UPS Store franchise in Beacon Hill. Though I quickly took to operating within five different stores at once. I have always, and I mean always, had a strange knack for leadership. I even like it, but, again, that is just a mask I am great at wearing. Hell, I would have become a stripper before going back into finance. You couldn’t pay me $500,000 a year to do that again (which realistically, is what I would make if I was still there). So, I didn’t mind making less, and having time to see my fiancée again.

            We lived downtown, got married, went off to Paris and Bordeaux, and lived our happy, well-off, healthy young body’s life. Then we got pregnant.

            We wrestled with staying in the city. The cost of daycare was close to 3,000 a month per child, our apartment was 2500 per month, and we would absolutely need to go bigger, but we were unwilling to live outside of Back Bay or Beacon Hill. So, we wrestled and wrestled and wrestled some more with what to do.

            We decided to make another move. You know, get the big house. We loved the city, but we didn’t want to work ourselves to death just to live in a certain zip code. People really put themselves in awful situations over keeping-up-with-the-Jones’s—we are not those people.

            We moved to New Hampshire—closer to her family, and she transferred offices. We got the big house, and a nice spread on our personal P&L sheet—budget. I became a realtor. That was something I had always been interested in doing. My wife told me, “if you do that, you can get pretty flexible with your schedule and write. You’ve always wanted to write. Maybe this will help.” And so, it did.

            However, the winter after our first child was born, Covid hit. Pow! I hadn’t been successful yet in real estate, but it imploded. The day care closed its door to us, we weren’t essential, and we worked from home. Pretty soon, I was daddy-day care.

            Well, I saw the real estate experiment coming to an end long before I allowed myself to think that way. I tried riding that dead horse for months after. I hate failing, and I took it pretty hard. I started drinking for the first time really heavy. My father was an alcoholic, and that scared me, so it only lasted a couple of months before I reigned it in. I was taking some writing classes, because I never went too far away from it, just far enough to not get serious about it, and I decided I would finish my degree. After all, the pandemic was a great opportunity to recenter one’s life.

            And that’s what I have been doing since Covid hit, working on my degree and raising my kids all day. I don’t have ulcers from the stress of pretending anymore. I did struggle pretty hard with telling my in-laws about school. But at some point, I figure they will see that I won’t be much good as a father if I’m miserable. I can’t exactly raise my children by example, if, well, I didn’t pull myself up by the bootstraps and get honest with myself. Sometimes the only way to move forward is to walk all the way back to your biggest regret and strike a new path from there.

            I decided to pursue my dreams and write, finally. And let me tell you, for the first time in my life, I never think about money, and I have learned to write some pretty elegant, at times, prose. I already have two pieces submitted to publishers. This is not a pipe-dream. Somehow, I just know I have it. That this is the path, and I know many fail here, but I don’t worry about that (I honestly don’t). I don’t do it for approval, I do it because it is the most natural thing in the world to me.

To be continued…

Book Review: The Midnight Library

The Midnight Library by Matt Haig

My rating: 5 of 5 stars


Wow!
This is, so far, my favorite book-of-the-year. Five stars. Matt Haig is a genius, and since I struggle with my own mental health issues, depression, I found this book therapeutic.
Will it trigger you? Yes. Will it help you? Only, if you finish it. Should you read this when you are in one of your low periods? It depends on the person.

If you love fiction, philosophy, a smart piece replete with ethical dilemmas, and a plot theme following multiverses, this book is for you.

Few books can change you, teach you, and inspire you at the same time, but Haig’s The Midnight Library is one of those books. This is a must read! I would not be surprised if it becomes one literatures most commonly read works. And I promise, I am not giving this book empty lip-service; I really mean it.

Happy Reading,
www.w-alexander.com



View all my reviews

Spring Break, shew!

Today, I am celebrating my first day of spring break. My sub-term of three classes, 9 credit hours, taken at once in shortened 8-week increments are over. Now, I am back to just taking two classes at once every sub-term, and I have never felt so relieved. What made this start of the school year challenging was, right at the beginning my daughter was born, and I had to balance a heavy, my heaviest thus far, workload while adjusting to a second-child. I even had to put my real estate license on-hold. Obviously, I survived, but I came out panting and out of breath.

By the end of the year, I’ll have my degree. I honestly don’t want school to ever end—I have never been so happy in my life. I love learning (Straight A’s), but I will make myself ready for the new start this degree brings me: my gateway to grad school (where I am considering a Masters in Religion or an MFA), and a professional writing career. I’m definitely on course to be an amateur C.S. Lewis.

I am blessed to have such a supportive family—my wife, my mother, and my sister. I could not do it without their affirmations.

All of this is for my family. I have to be the man God made me to be, not what the world wanted of me, if I am going to raise children to believe, they too, can reach for the stars. Limiting beliefs (cautions) are dangerous, but that is a post for another day.

What’s new?

Well, I have began creating my own Harry Potter children’s book for my children. I am doing the illustrating, which is teaching me awesome things in graphic arts, and, of course, I am writing it too. Here is a sample of one of my characters I drew on the computer, with a mouse, the other day. I need practice, but I like the idea of where it is going.

Voldemort (childish likeness)

There is something motivating in knowing that my children will learn to read on a book I made just for them.

As for anything else, I am just doing the same-old-same: reading tons of philosophy and French literature. Of course, now I am also writing better poetry—that helps with my lingering war with depression.

Politics. Special Post, featuring Bill Maher

I do try and keep politics to a minimum. Not because I don’t like politics, but rather I want to spend as much time, as possible, focused on my writing career. However, occasionally, I feel compelled to share with you, my readers and followers, my thoughts on the times. I have attached a video from…

Something went wrong. Please refresh the page and/or try again.

I Write The Words I Cannot Pray: A Poem

I write the words I cannot pray.

Too false for Heaven, too honest for Hell.

I must tell the truth by lying well.

I write the words I cannot pray.

I hold my breath—one-second, two-seconds—I find the words I cannot say.

I must tell the truth by lying well.

Too false for Heaven, too honest for Hell.

I click my pen and write my heart open.

I write the words I cannot pray.

—W. Alexander

Do me a favor, if you like my short poem, please tweet it or share it. I know so many feel this way. I have been learning, reading, and writing poetry in school lately. I have very little gage on what is good, and what is not. Although, I hope you like it all the same.

I write the words I cannot pray, too false for Heaven, too honest for Hell, telling the truth by lying well. —W. Alexander

Book Review: The Light Between Oceans

The Light Between Oceans by M.L. Stedman

My rating: 5 of 5 stars


Wow!

This story had me drinking to get through it, as it twisted and ripped at my heart, for I could not put it down. I cannot begin to tell you how wonderfully written this novel is; the prose is beautiful, the plot is heart-wrenching, and the characters so richly developed, you love and hate them as if they are family.

It is rare that I read something that raises the kind of questions within that, if answered, sets me on a new path of self discovery. The mark of great literature is that the reader is changed. It will change you. It will touch you. It will help you have patience with the plights of the human condition—that is life. This is among the best stories I have ever read, and I am thrilled that this is Stedman’s first novel.

It is a beautiful and bitter-sweet story. Read this if you love a great ethical dilemma.

I recommend it with all the fervor I can muster.

Happy Reading,
www.w-alexander.com


View all my reviews

Related Posts:

Book Review: The Song of Achilles

The Song of Achilles by Madeline Miller

My rating: 3 of 5 stars


I wanted to give it four stars, so I struggled back and forth. The plot is fantastic, and her prose is neat, tight, and clear. In fact, I loved how she set up chapter 12; I was blown away, so I will be doing a literary analysis, for fun, on that scene. However, the problems tip the scales, so I cannot, in good conscience, give Miller’s book more than three stars.

My reason:

Many, if not most, of her support characters have little agency. Chiron, for example, seems to only exist to teach young Achilles and Patroclus. I don’t want to give away any spoilers, so I will not dig up more than is needed to make my point, and just leave it here. But note this: most support characters in this book lack their own agency.

However, I loved the story; I am a huge history nerd, and I love her ability to retell classic literature through the modern medium of prose. She is brilliant, and the book is wonderful—for a pleasure read. What screwed it for me was my recent learning of close-reading. I am a creative writing student. Oh, how the gods punish us!

Again, I wanted to give it four stars, but the three I went with is a high 3.8. I do recommend this book.

View all my reviews

Other Posts:

The Four Elements of Storytelling

Join 111 other subscribers

This might arguably be the most important concept to get right about your writing. The four elements of storytelling are an absolute must. They are physical, intellectual, emotional, and spiritual. Yes, P.I.E.S. Yum! How well a writer weaves together all four, is the difference between a great and terrible book.

Physical storytelling is the action and plot in your story. These are character descriptions, actions, story events, setting, conflict, resolution, and plot twists and turns. These are essential within every story.

But what is not physical storytelling? I am glad you asked. What is not physical storytelling is what a character is thinking, how they are feeling, goals, dreams, etcetera. I repeat, none of those are part of physical storytelling.

Intellectual storytelling is your characters analytical thoughts. These are character beliefs, understanding of the conflict, personal opinions about other characters (life, love, politics, etcetera), and of course your characters’ viewpoint. Pro tip here, ideally your characters viewpoints will conflict. Tension is everything in creative writing. Intellectual storytelling adds that element of tension because your characters will often have different thoughts and viewpoints, which clash until a resolution at the end. For more on creating characters see my post, Create Captivating Characters.

Related Post: W. Alexander’s Published Work

Things that are not intellectual storytelling is feelings, fears, what makes a character happy, and what they hope or dream for. Those are all wonderful things, and they have their place. But do not confuse them with intellectual storytelling. Everything has its place. Again, we will talk weaving at the end.

Emotional storytelling. Every writer has a particular strength, and this is my wheelhouse. I love revealing my character’s emotions. But what is emotional storytelling? Again, I am glad you asked. Emotional storytelling is your characters’ inner most feelings, dreams, hopes, how they react emotionally, how a character feels about an event in the story, and how your character will feel about other characters. Through your character’s emotions, your story will make the readers feel something. This is where you will find the pulse in my art. I get hot just writing about it. If you do this right, you can change a reader’s life.

Things that are not emotional storytelling are plot, actions, details of conflict and resolution, any ramifications of the conflict, or what what your character believes about anything. Keep in mind, you already know how to write all of this, it is intuitive. But being able to understand the difference, will allow you authority over your prose. As in, your characters will never run away from you and do their own thing. Which sadly happens all too often.

The Day god Died: Chapters I & II

“…I hated him and his kind. I hated his affluence, his expensive clothes, his chiseled looks, and the arrogance he was born too. But most of all, I hated the power he held over me, his assumption of authority, and the truth of his superiority.”

Keep reading

Spiritual storytelling. I am going to pause here for a second. Many of you might say, how is spiritual not part of intellectual? And I would say, great question. The reason spiritual storytelling has its own place is because every character has a spiritual nature. Now that can mean your character is religious or not religious, but either view is a spiritual viewpoint. Atheist have a spiritual relationship, in that they deny one exists. Muslims have a spiritual relationship, in that they believe their choices have tangible consequences, and etcetera. Spiritual storytelling is simply your characters’ belief system or lack of one. Either perspective is a willful decision by your character. Good characters are human; they are walking contradictions.

Things that are elements of spiritual storytelling is a characters’ belief system (or lack of ), a possible spiritual backstory, and any internally or publicly spoken prayers. If you are writing religious fiction, or from a religious point-of-view, things like a god’s response to your characters actions (usually written in italics), a spiritual conviction, and hints as to why a certain deity is pursuing your character or vice versa.

Related Post:

Things that are not spiritual storytelling is plot, emotions, dialogue and action, etcetera.

When writing creative fiction or nonfiction, only spiritual storytelling is non-essential. You can still have a great story, leaving out anything of the fantastic (fantasy) or spiritual. But note, spirituality is a very human trait. Some might be religious-like observers of science (that would fall under spiritual). Spiritual storytelling is a great way to connect a character to the reader. But, again, this is the only element of storytelling, that is non-essential.

Weaving all four elements of storytelling is the mark of a good writer. Every page will, in every book, have all four elements together.

As you can see, I still have a ways to go with my craft. But I was brave, and wanted to share my prose with you. One reason, it incorporates all four elements of storytelling. Yes, it flows without you even noticing. And the one thing a writer wants more than anything, is for a general reader to never notice the writing. But writers do notice writing, and I hope you the writer can see the weave.

I would love to hear your thoughts. Especially, if you are a writer or want to be a writer. Please comment and share my blog. I love sharing the things I am learning at Liberty University. And now, more than ever, dealing with family grief, I am in need of some encouragement.

Beat the Boy; Destroy the Man 

W. Alexander Dunford 

I will never forget the television’s blue light that night fifteen years ago. Leonardo DiCaprio’s Blood Diamond played. Outside, beneath black skies, rain pelted our windows and the house’s bones braced against high winds. Thunder shook the walls. 

It was Father’s idea to watch the movie. He loved violence, and I loved DiCaprio. Of course, Mom didn’t approve, but Father waved her off. Father’s work normally kept him from home, so that night was special; he was there, and he wanted to spend time together. He had thought of me. I was excited and promised to keep his secret: a bottle of Jim Beam in his inner left coat pocket. He always kept bottles hidden from Mom. They made her uneasy; she always cried after he finished one or sometimes two bottles. 

An hour before the storm hit, I put in the movie and Father lit a menthol. He poured his Jim Beam into a Coke can I’d finished earlier and turned off the lights. 

“Don’t close your eyes if you get scared,” he said. 

I promised him I wouldn’t. 

The more Father refilled that Coke can, the more he enjoyed the movie. There came a scene where a boy about my age, his lips-quivering, was blindfolded, and handed a machine gun. He was forced to pull the rusty weapon’s trigger. After his captors removed his blindfold, the boy realized he had killed a man. Both the boy and I shook. At that point, Father smirked and lit another menthol. The scent of burnt dried tobacco hung in the air. I vomited into an old plastic Hulk-head Halloween candy-bowl. Father did not notice. He loved violence. 

“That will make a man of that boy.” 

I agreed. 2 

Thunder cracked, the wind howled, and Father turned up the television. Soon, Mom appeared in her yellow nightgown with her hair rolled into a half-dozen pink-plastic curls, and they started to argue. That’s when the rain started. 

“And what is that?” she said pointing to the white labeled Jim Beam-bottle that sat in his lap. 

“Don’t start nothing,” he said. 

Mom protested, and Father stood up and threatened her. She dared him. He showed her his fist, and I screamed. 

Mom found me between the couch and window, my bare back cold against the glass. I hated when they fought, which was whenever Father came home. One of them muted the movie. DiCaprio was now crouched behind a large rock while he spied through binoculars on a slave camp. My Sister spied too from behind Father’s chair. He dominated the living room’s center— his legs widely planted; a cigarette held loose between his lips. 

“Fucking hell, stop that screaming, boy!” 

“Shut up, William,” she said. “He’s too young for that goddamn movie, and to see you drinking.” Her face was red, and one of her plastic curls had loosened. It hung by a few hairs. 

“Is that vomit?” she asked. 

Rain now hit the windows sideways. The wind blew open the screen door. Still, the cacophony of the storm’s rage did not overcome their voices. Mom pointed. Father roared. Lightning flashed and thunder cracked, then the Jim Beam bottle crashed. The scent of whiskey emanated throughout the living room. A moment later, Sis emerged from behind the chair—her leg cut by glass and bleeding. Mom shrieked and Father was sorry; he was always sorry after accidents. 3 

With blood-smeared fingers, Mom patched up Sis and Father picked up glass. On the television, DiCaprio’s chest—having survived a firefight—bleated. Outside, the storm softened. But now tears poured both inside and outside the house. 

In the kitchen, Sis and I were treated to the strawberry short cake reserved for tomorrow’s Sunday dinner. Mom held back tears while she handed us forks. 

“Promise you won’t tell Granny or Grandpa?” she asked. 

“What if they ask about my leg?” Sis asked. 

We heard Father yell from another room, “Wear pants.” 

Mom closed her eyes and mumbled something, then looked at us, then smiled, then cut herself a slice of cake. She let me eat her icing. Before we finished, I heard gunshots and orchestra. Father had resumed the movie. Outside, not far away, there was another thunderclap. 

Despite Mom’s objection, Father insisted I finish the movie. I no longer wanted to watch it or be near him, but he was adamant; he wanted the night fixed to how he’d imagined it. We always ruined his good intentions. Mom said I could close my eyes whenever I wanted. Father said nothing. Mom and Sis departed to their bedrooms. Father restarted the movie and this time I didn’t throw up when the blindfolded little boy killed that man. I simply watched without seeing. 

I fell asleep. When I woke up, I saw Father was gone and DiCaprio was on the run. The storm outside had returned—the thunder was louder, the lightning quicker, and the wind howled harder. The rain had turned into hail. I do not remember muting the television, but it’s possible the storm overwhelmed my senses. I did hear grunts and the sound of feet scraping though. 

Next to the television—on the left, hidden in shadow, unreached by blue light—was Mom and Father’s bedroom door. The sounds came from in there. The hair on the back of my 4 

neck stood up, my stomach dropped, my knees shook. I paused, and then gripped the doorhandle with a sweaty palm. 

Fast forward fifteen years to my own kitchen—it’s 9:00 am. It’s raining outside. My coffee is cold, but my face is hot and my tears have soaked through three Kleenex. On the screen in front of me, my therapist types a note; the tac-tac of her keyboard shakes me from the memory. We have been here before: years of counseling to unwind and probe the brokenness, but we always stopped here. 

“And what happened next?” she asked. 

I hesitated before I told her how I caught Father raping Mom. As the words poured out, dread seeped in. I could feel Father’s disapproval for telling his secret and I could feel Mom’s shame. I remembered her eyes when she first saw me standing in the corner, frozen, with fists clenched. How sorry she was, how ashamed, how lost, how defeated, how helpless. 

“And?” she asked. 

I made a futile attempt to tackle him, and we tumbled to the floor. He reeked of whiskey and cigarettes. He sat on my chest, his hard, wet genitals poked my neck, and he punched me. I have no idea how many times, or for how long. The wind shook the house, thunder deafened Mom’s screams, hail drummed the roof, and I was knocked unconscious. 

A couple days later, my sister told some friends at school I won a big fight. Everyone thought my black eyes and broken tooth were badges of honor, and that I had done something remarkable. To them I was no longer a weakling. That was when I first wore the mask all boys wear when pretending turns into surviving. 5 

My therapist assured me that incidents like these are common in abusive homes, and that the scars left by toxic masculinity have permeated through multiple generations of men. The more a man denies it exists, the better the chance he still wears the mask. 

“How was your relationship with him after that night?” 

I shared how eight years ago Father was in a coma; he’d suffered a heart attack. It took me fifteen hours to drive to Roanoke, Virginia. When I walked into his hospital room, Sis was beside him, his hand held in hers, his eyes blank and hers wet. The stench of her cigarettes hung in the air. On the television, she was watching—I could not believe it—Blood Diamond; DiCaprio had just been shot in the stomach. 

I have always felt guilty about feeling relief when I told the doctor to pull the plug. Father had drained the life out of us for years. When given the opportunity, I drained his. I did not take long to make the decision, but I would not stay in the room. The doctor told me that Father’s body, despite being brain dead, fought eleven minutes for oxygen. I will never forget how easy it was to breathe after I first knew he could not. The sun had never shined brighter. 

Outside, the rain stopped and the sun shined; New Hampshire’s, snow-tipped mountains gleamed like jewels. My therapist smiled through red lipstick and yellow teeth. I sipped cold coffee. 

“How do you feel?” she asked. 

I lied. “Better.” 

1500 Words

The Day God Died: Chapters 1 &2

Chapter I: Necessity Breeds Destiny

*Author’s note: Chapter 1 is a finished project. However, Chapter 2 is only a first draft.

We were poor, almost destitute. I remember pretending to sleep through my father’s weeping himself into exhaustion, day after day, from scratching a scanty living gathering and selling fish to our neighbors. The Nile sustained both of us, until, that is, I became a thief. Father was once a holy man, so the first day I stepped through the door with a handful of silver and laid the coins before his feet, he didn’t ask where my bounty came from. Instead, he sighed. Then, he kissed me and hurried out to trade for wheat and barley. Though necessity drove me to steal my daily bread, I soon found, Ra forgive me, that I was good at it. In fact, I loved the thrill of following fat patricians, as they waded through the agora’s crowds. I became their shadows, and when the moment was ripe, I jostled them, pretending accident, before I slipped my knife into their robes and sauntered into the crowd before they knew their purse was gone.

            That day, thievery and destiny entangled. Forever after, my previous insignificant life was insnared in a role far larger, and far worser than what fates befall the gods. I had been stupid, even overconfident. It was a ruse I used often: I hid behind some drunkard poking the barrels of beer imported from upper Egypt grumbling about their price. Senselessly, I lobbed a small stone at the next merchant’s stall, if I am remembering right, hitting him full on the chin. At once, the stall holders clamored at each other’s throats allotting their recriminations. In the upheaval, I grabbed a basket, believing it stuffed with bread, from behind the beer seller’s stall.

            But a woman caught me in the act. She emerged from the encirclement of barrels stored behind the stall just as I scooped up my prize and shouted: “Thief!” The entire agora turned. A cacophony of voices followed her, “Stop that thief!” and “Somebody, grab that boy!” I squirmed through the crowding press of the rich and poor alike until—crack—a soldier supplied a cudgel to the forehead. When I came ‘round, the soldier had dug his heel into my chest, pinning me to the ground in the center of the jabbering, malicious crowd. I struggled, but he picked me up by the neck and punched me full in the face with his battle-hardened knuckles. My legs went limp.

            “That boy is Ishaq,” I heard someone cry. Another yelled, “have pity on him. His father once served Horus.”

            The crowd’s expressions whirled and meshed with the blue liveries donning Pharoah’s guard, and I knew I was caught.

            I spit out a single tooth, and feared my own blood threatened to drown me. The soldier dropped me, and I sat up dazed and trembling. Onlookers craned forward to see the incriminating evidence the soldier was about to pull out the basket. I’ll never forget his smirk.

            “Why lose an ear for papyrus, boy?” he asked.

            “It’s not bread?” I replied.

            He laughed, “Scribbles make poor excuses for bread.”

            Then, a wave of jostling and shouting, and the crowd parted for six seven-foot-tall spearmen. Into the clearing stepped a figure outfitted entirely in scarlet. Though, I had never seen him before, I knew this was Imhotep: the first prince of Egypt, husband to Pharaoh’s daughter, regent of Alexandria, and, as such, held the power of life and death over all peoples for a hundred leagues. The agora fell silent, and I gawped at him, frightened, as his eyes scanned serenely up and down my starved body, taking in my unshaved scalp, bloody face, and tattered clothes. Prince Imhotep was a slight man, not tall like his guards but handsome. He had a body sharpened from heavy use clad in a scarlet kaftan, and a black satchel, fixed with a turquoise clasp at his hip. In his left hand, he fingered a black leather riding whip a yard long. His face was clean-shaven, carved and framed underneath his nemes. His eyes were cold and inhuman, and he pursed his lips while he studied me.

            Suddenly, somehow, in that moment my fear retreated. I discovered I hated him and his kind. I hated his affluence, his expensive clothes, his chiseled looks, and the arrogance he was born to. But most of all, I hated the power he held over me, his assumption of authority, and the truth of his superiority. I concentrated my disgust in my stare. He must have recognized my repulsion in the instant our eyes locked, for he simpered.

            “What is his crime?” Imhotep asked.

            The soldier bowed and handed over several papyruses, “My Lord, he stole this thinking it bread.”

            Prince Imhotep undid the thread tying one of the rolls. I could feel blood running down my chin. I resisted the urge to lick at it. Imhotep signaled he wanted silence. He began to read.

            “Can you read this,” Imhotep asked me. Instead, I pressed my lips shut, trembling underneath. “Boy! Answer me.”

I stayed silent.

“You do as your prince commands, or I will—” threatened the soldier who caught me before Imhotep cut him short.

“Silence!” Imhotep thundered.

He stared at me with contempt and then spoke, “You’re brave. I can see that much, but you’re stupid.”

He snapped his fingers, and the soldier grabbed me by the arm, lifted me to my feet and started to drag me away when we all heard a man cry:

“That’s my son. Please, my prince, have pity on him, he’s only a foolish boy.”

Both Prince Imhotep and the soldier turned toward the man’s voice. As he looked, the soldier detained my left arm with only one of his fists. I twisted my body against his grip, ripped free, fell to the ground, and crawled through the prince’s legs and missing, by inches, his fast-closing grip. I took to my heels and dashed through the crowd.

Behind me, hell itself erupted; the soldier shoved and cursed the people impeding his path. A woman threw a pottered vase. I ducked just in time, avoiding my brains becoming entangled with the falling shards which crashed above me. I juked left and right; I slid through the crowd’s legs; I shoved past stout tradesmen and skirted unsuspecting slaves and the livestock they drove. Men and women, slaves and soldiers, sellers and buyers, all rounded quickly, furious at being so roughly shoved. I dared to look behind me. Only the soldier who caught me earlier pursued me. Prince Imhotep and his bodyguards walked, absentmindedly, the opposite direction. I stopped stunned still. That’s when I caught a fist with my left cheek and toppled into the dirt. I pushed my heel into the man’s kneecap. He screamed. Then, I rolled out of the soldier’s path as he dived to tackle me. I got to my feet again and squirmed through another fast-pressing crowd. I sent carts flying. I shoved an elderly man to the ground busy tying his empty cart to his donkey, seizing it, and then, with all my strength, pushing it into the nearby sheep hurdles. The animals let loose, and the ensuing tumult was chaos.

The soldier’s legs were taken out from under him by the stampede of darting sheep. That’s when I raced down a side alley, bursting, to my surprise, through our city’s great library, and into a crowd of philosophers and wealthy patrons. Then, out the other side, up a wide street, passing between noble houses, I ran until the noise behind me subsided. I turned left into another alley.

 I stopped in the doorway of a brothel, recovering my breath. No one was behind me. I leaned my back against the door, struggling to calm my hammering heart. The pain emanating from my jaw threatened my ability to stay conscious. In a flash, a hand wearing three gold rings closed around my mouth and dragged me through the door. I landed on my ass, coughing through a pounding head. My stomach churned. I struggled to stand, but a woman’s heel fixed my hand to a dirty clay floor covered in ragged yellow and green carpets.

A voice whispered, “Stop yelling, you fool.”

Outside the door, a troop of footsteps charged down the alley. Their voices commanding bystanders to stop me. The woman let off my hand and held a single finger over her mouth. I crept to the door and peered through one of its cracks. The soldier I ripped myself from in the agora was leading the others.

“Damn, he has help now,” I said.

“Whatever you did, you won’t be escaping today,” she said.

“Who are you?”

She frowned. “I wouldn’t expect you to recognize me as I—,” she hesitated. “As I am now.”