From: owner-aml-list-digest@lists.xmission.com (aml-list-digest) To: aml-list-digest@lists.xmission.com Subject: aml-list-digest V1 #507 Reply-To: aml-list Sender: owner-aml-list-digest@lists.xmission.com Errors-To: owner-aml-list-digest@lists.xmission.com Precedence: bulk aml-list-digest Tuesday, November 6 2001 Volume 01 : Number 507 ---------------------------------------------------------------------- Date: Mon, 05 Nov 2001 15:01:31 -0700 From: margaret young Subject: [AML] Steve Perry at Genesis Steve and Johanne Perry were the Genesis speakers last night and did splendidly. (Steve, I apologize for being so late. I had a sick daughter who needed care. We didn't decide to come until she felt well enough, and then I had to care for her immediately after the meeting.) Steve and Johanne shared beautiful music even though both were quite ill. During the testimony portion of the meeting, a sister from Arkansas told how difficult it was to grow up LDS in her particular hometown, and how the gift of a music tape performed by Janice Kapp Perry and Steven Kapp Perry had been her primary motivation to stick with it. It's nice to see the power of art. Thank you, Steve and Johanne, for giving so generously of your time and talents. [Margaret Young] - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Mon, 5 Nov 2001 15:12:36 -0700 From: Terry L Jeffress Subject: Re: [AML] Writers Conference On Mon, Nov 05, 2001 at 01:05:17PM -0800, William Morris wrote: > Who was the coolest person you met at the conference (i.e. who you hadn't > met before)? The coolest person I had never met before: Paul Bishop. Paul works as a detective for the Los Angeles Police Department. He also has a full time career as a writer. He has published nine novels and writes for numerous television shows, including Diagnosis Murder, the New Detectives, and Navy SEALs: The Untold Stories. I attended both his sessions which I will summarize. MOTIVATION - ---------- Paul talked about how to stay motivated as a writer. Most of this session he talked about the tools that he uses to keep moving forward in spite of wanting to do just about anything but writing. -- Automatic writing. Take a given sentence at random and write for three minutes. Paul suggested: "The last camel died at dawn." After three minutes, you should have warmed up your brain, and you can move on to your regularly scheduled writing. -- As a writer you have to have faith. You have to believe that you you don't write, you will die. You have to give yourself permission to spend the time writing. -- Myths. We often despair that we just don't have great natural talent. Well, a lot of those people with natural talent will never publish because the don't have the determination to finish a book. Determination will usually overcome a lack of natural talent. -- Writing, like any other muscle, needs exercise. -- Finish your work. Don't let new ideas distract you. Just take a few moments, write down the idea in your nagging-ideas book, and finish what you have started. You should always confront and embrace the fears about your writing. At the 75% mark, Paul always feels that his book will never work, but he pushes forward and finds his fears unfounded. -- Don't let outside factors determine how you feel about your writing. If you get a rejection letter criticizing your prose, you certainly should take a serious look at the complaint, but you can always decide that the critic just missed the point. -- Get into a physical exercise program. Your mind will function better if you get exercise. Paul also finds that his subconscious will solve problems during periods of repetitious activities: driving to work, showering, exercising. -- Writing is all about rewriting. -- Don't worry about perfection. Just produce the best work you can right now. POLICE PROCEDURE - ---------------- -- Never let reality get in the way of your story. You certainly want to give enough details to evoke the setting, but don't feel that you have to include every detail. -- If you have questions, call the community relations department of your local departments. If you get someone unwilling to answer your questions, don't give up. Just call someone else. You can get all sorts of details just by asking: cars, uniforms, procedures, etc. -- Paul went through some points about what he would do professionally when called to a homicide scene. He would make sure that the on-scene officers had taped off enough of the crime scene -- usually much larger than you would initially think. He would double check everything (like calling the coroner or the scientific investigation team). He would ensure that the officers had started a crime scene log. The body and its position tells a lot about the crime. -- A huge difference exists between an "investigator" and a "detective." These aren't really professional labels, but labels for those who practice the art of criminal investigation. Investigators follows clues until the clues run out. Detectives follow clues and make intuitive leaps for the next clues. Detectives exhibit an art; investigators just follow the rules. In real life, detectives often make intuitive leaps that defy logic. In fiction, you have to set up the intuitive leap so that the reader can follow the leap, even though most readers would not have made the leap on their own. I bought two of his books and will review them here on the list. - -- Terry Jeffress | Find a subject you care about and which | you in your heart feel others should care AML Webmaster and | about. It is this genuine caring, not your AML-List Review Archivist | games with language, which will be the | most compelling and seductive element in | your style. -- Kurt Vonnegut - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Mon, 05 Nov 2001 15:19:23 -0700 From: "Eric R. Samuelsen" Subject: Re: [AML] Credit/Blame in Drama, Movies A few other rules in assessing credit or blame in film (compiled in = consultation with faculty colleagues in film at BYU): a) When you hear a critic praise a director for his 'dark forboding = lighting scheme,' or for his 'exquisite use of camera angles,' that critic = probably shouldn't be trusted much, because he doesn't know what he's = talking about. Lighting and camera angles are generally the province of = the director of photography. A director will probably have lengthy and = valuable discussions with the DP about what he wants, but film is a = collaborative medium, and the other artists on a set are, in fact, = artists. Steve Soderburgh films are the exception, because, of course, he = serves as his own DP. b) Most of the time, if the writing credit is shared by three or four = writers, the film had major studio interference, and probably will end up = somewhat predictable. (It still might be an okay screenplay, but studios = are comfortable with proven formulae.) =20 c) Actors often get a reputation for being 'bad actors' because of the = material they've been called upon to work with. Bruce Willis is an = excellent example. Action films are terrifically hard, and require really = superb actors to pull off, but they tend not to get much respect. Willis = is actually a marvelous actor, but recognition as such has been long in = coming. Of course, there are some actors who have created a certain = charming stage persona, which they use for everything--that doesn't make = them bad actors, but merely means that you're not going to see much = variety in characterization. Jackie Chan is a great example. d) General rule of thumb; stuff that looks fantastically difficult is = often actually pretty easy, while stuff that looks very easy is often = pretty difficult. A simple straightforward relaxed realistic conversation = is fabulously hard. Special effects are easy (though expensive). Comedy = is unbelievably hard. Playing a character with a physical defect of some = kind is comparatively easy, and actors love those kinds of roles because = that's where Oscars come from. =20 e) On every film, there's one person who is the Muscle. Sometimes the = Muscle is the director, sometimes it's a studio boss (usually executive = producer) sometimes it's a star, very rarely is it the writer. There's a = new Mariah Carey movie out--the Muscle on that film, betcha anything, was = Mariah Carey's husband/producer. Harry Potter might be good, because = apparently J.K. Rowling was the Muscle. =20 Eric Samuelsen - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Mon, 05 Nov 2001 15:25:06 -0700 From: "Eric R. Samuelsen" Subject: [AML] Re: AML Writers Conference William Morris was kind enough to ask: >What was Eric Samuelsen's play like (review please)? Eric Samuelsen's play was not read at the Writer's Conference. The reason = for this is very simple: Eric Samuelsen is an idiot. The fact is, Eric = Samuelsen forgot that the day of the Writer's Conference was also the day = his youngest daughter was supposed to be baptized, by him, at the exact = hour his play was supposed to be read.=20 My humblest apologies to D. Michael and to everyone else. I'm just a big = dummy, is what I am. I'll make it up to y'all next year, promise. Eric Samuelsen p.s. The baptism went fine, though. =20 - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Mon, 5 Nov 2001 13:38:37 -0700 From: "Sharlee Glenn" Subject: Re: [AML] Writers Conference Congratulations to D. Michael (and everyone else involved) for a great conference. It was a thoroughly enjoyable day (though the food could have been better). Kenny Kemp was an entertaining and animated speaker. He talked (among other things) about using the parables as a model for our fiction because they 1) deal with universal themes, 2) are subtle, 3) are non-didactic, 4) use metaphor and symbol in memorable ways, 5) don't dumb-down their message, and 6) often leave the ending unresolved. William asked whether or not Kenny's success story could be duplicated. I suppose so, but it would probably take someone with a comparable measure of energy, confidence, persistence, general know-how (Kenny has a strong background in both law and marketing), and blatant CHUTZPAH. Oh, yeah. And talent. :-) William asked: >Who was the coolest person you met at the conference (i.e. who you hadn't > met before)? Everyone was cool. Way cool. I met quite a few people from the list. It was fascinating for me to match names to faces. I feel like I know many of you quite well through your posts, but I have to say that some of you don't look at all like you were supposed to! Darlene, for example, looks like a cute little teenager. And D. Michael, in person, is mild-mannered and kind--not at all like his on-line persona. (Kidding, D. Michael!) My one suggestion for next year would be to use pin-on name tags rather than the kind that hang about the neck. Too many people wore jackets and I couldn't see their names because the tags kept slipping inside. Oh, and change the menu (or the cooks). Sharlee Glenn glennsj@inet-1.com - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Mon, 5 Nov 2001 14:43:45 -0700 From: "Sharlee Glenn" Subject: Re: [AML] AML Writer's Conference Darlene wrote: > 1. Who is this American Books? Does anyone know any > more about them? Have they published any LDS fiction > at all? How do they distribute? Are their books > available at bookstores? I had the same question. No one I asked had ever heard of them, yet they claim to have been around for a couple of years. And they have a HUGE staff--150 employees (so says their brochure). I was puzzled by the fact that they have 65 editors on staff and publish 60 books a year. If anyone has any information on this company, please pass it on. They are headquartered in SLC and their goal, they say, is to "publish wholesome books nationally." ________________ A couple of other general observations about conference attendees: Harlow Clark is a delight to sit next to. If he isn't hopping around, snapping pictures of the speakers, he is heckling them mercilessly. Marilyn Brown cracks the whip just as well as she cheerleads! She wasn't about to let any speaker go over his/her alloted time. Of course, even she didn't dare interrupt Richard Dutcher. :-) Richard Dutcher and Eric Snider look like they could be brothers. I saw them standing together and had to do a double-take. At least I think it was Eric Snider--I've never met him in person and I'm told that he looks nothing like his picture in the Daily Herald. And finally, what is it with all these big, bearded men!? It was a genuine pleasure meeting all of you. Sharlee Glenn glennsj@inet-1.com - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Mon, 05 Nov 2001 16:52:41 -0700 From: "ROY SCHMIDT" Subject: [AML] God's face (was: God in Fiction) Scott wrote: Here's the question: Why does Satan get a "face" in Scott's books if God does not? Roy replies: Maybe for the same reason that Jim Christianson chose not to put a face on Jesus in his painting of Christ in Gethsemane. he explained that whatever faced he used would not satisfy how YOU believe Christ looks. Card not giving God a face makes perfect sense to me, particularly in this context. Roy Schmidt - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Mon, 05 Nov 2001 16:46:39 -0800 From: jltyner@postoffice.pacbell.net Subject: Re: [AML] Writers Conference Well, since William asked and Jonathan "amened" his request to have a report on the conference, here's what I got out of it... 1. Excited relief. I wondered if I would encounter a lot of art and literary types who were "out there" and mocking in their thinking of anyone who was just starting out and act as if they were above it all. I was very happy to find people who have to make a living, usually in another way besides writing, who have lives and families and a real passion for literature and a love for the LDS people as individuals, as a culture and want them and the doctrine to be brought out and blossom as the rose, to be all that they can and apologize to no one for it. 2. Kenny Kemp-Some realities about breaking into the market, contests, agents, how to get the book out there and publicize it. The use of metaphor and symbol, universal themes and Jesus Christ as the master storyteller and how to use Christ's storytelling style. Also how one can subtly incorporate LDS beliefs and themes and the power to change into books for the general market. He was very good. I listened to his "Dad was a carpenter" book on the way home and loved it. 3. Richard Dutcher-The main reason I came. He didn't disappoint. He talked about loving to talk to writers and how we often misjudge our audience. "Placing an order kind of writing" he called it. But the thing he said that just grabbed me by the shoulders and hit me right between the eyes was the admonition to write our best idea, to "Write the stories we were put on earth to write." And that if we're not, "We are not fulfilling the measure of our creation." Wow, it was what I needed to hear. I think I just got permission to go forth and multiply the desire and ability to write I've been talking myself out of for years. The thought that no one would care about what I have to say, and I'm too wordy and ranting anyway. It was like, "yeah, and so what?" "Go out and learn the craft of writing and when you care about your writing and say it well, so will others." I'll bet Richard didn't know that that's how he spoke to me, that's what I heard. He also talked about having opposition from some people at church about what he's been doing including a Stake President. But that he prays about what he's doing, and he feels he has the inspiration for what he's working on. He has also had some very positive encounters with a couple of General Authorities, (Apostles), who told him to keep up the good work. He opened it up to questions and did some great back and forth, but he's not giving away the Joseph Smith plot. I have personal interest in films and hopefully more LDS films because my girl is in the business and I want to see someone who'll put out characters who are LDS children, and preteen/teen protagonists in movies that will appeal to a general audience while continuing the dialogue about who we are. Richard doesn't appear to have anything like that on his desk, so he says, "to go for it." Any takers out there? I'm looking for you. 4. I concentrated on classes about Children's picture books, YA fiction, and a terrific panel made up of Rick Walton, Sharlee Glenn, Randall Wright, and Ken Baker. Along with instruction by Toni Brown, Laurel Brady, and Carol Lynch Williams. They all emphasized using Query letters, learning to use theme and plot, finding a voice in the story and the nuts and bolts of proper length and rhythm of picture books. They highly advised joining a writer's group to get the constructive criticism you need and write, rewrite, edit, and rewrite some more. Editors want character driven novels. They also advised to read the kind of books you want to write and find a new way to tell a story. Editors also want well written and well researched books. They too said entering writing contests is a good idea. Politely inquire with an editor, don't stalk or badger them. If you can find good creative writing classes, do take them. Join the Society of Children's Book Writers and Illustrators, they said it's the best fifty bucks you'll ever spend if you want to get in this market. 5. Gideon Burton did a terrific class on Personal Essays and how to do them. He has a bibliography of books to help learn how that he'll e-mail upon request. He said it's a good area to start with and get published in. From specific interest mags like fishing, knitting, etc. that has a personal point of view page on any particular subject to Irreantum, Dialogue, Sunstone, et al. There can be an enormous range of writing styles and subjects that the Personal Essay can accommodate. My thumb was purple by the end of all these classes from taking down all these good ideas. One other thing they all said-if you're going to be a writer, than call yourself a writer. That gives you the confidence to be one. 6. I buttonholed a lot of the people that post to the list and picked their brains. They were very nice to this short, talkative woman who is going to be a writer. My friend Ramona came to learn about running a theater, play writing, etc. She hopes someday to open a conference center/theatre and was very impressed with Thanksgiving Point. The publishing reps gave helpful presentations and I briefly talked with one of the reps from American Publishing and Tyler Moulton from Covenant. So, that's what I learned on my Fall vacation. Someone else will have to cover the other classes. D. Michael, Terry, Melissa and the whole AML board deserves a hearty vote of thanks for putting together an incredible conference. I learned more than I could have hoped and enjoyed myself more than I can say. I also want to tell Paris Anderson he is an amazing individual. Are there anymore ways to say thanks? Kudos and Gramercy to all. Kathy Tyner, Orange County, CA - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Mon, 5 Nov 2001 16:20:54 -0800 From: harlowclark@juno.com Subject: Re: [AML] Credit/Blame in Drama, Movies On Thu, 01 Nov 2001 15:37:09 James Picht writes: > Even painting and sculpture depend on the observer for some of=20 > their value. Unless you believe the Sistine Chappel ceiling has=20 > intrinsic value (value to God?), its value really derives from > the culture that looks at it.=20 While I agree with the general point (if the general point is that all art is done for an audience, done for someone else) I also believe that the Sistine (yea, even the Seventine) Chapel Sealing room paintings in the Rome Temple have intrinsic value--value to God. Michael and the rest of the Angelo family, Adam, Gabriel, Elias, Moroni, even Roma Downey are all children of God, so why should their creations not have intrinsic value to their father and creator, just as my son's novel Dragonbane (www.geocities.com/land_of_tur/) has interest to his father? But even if he weren't my son, Mason's novel would have intrinsic value as the creation of an intelligent mind trying to shape and understand a world, and share that shape and understanding with other people.=20 If it sounds a like I'm saying all art has intrinsic value, I'm saying that all things done for others have intrinsic value. When God asks Adam and Eve what they have just done, they reply by blaming each other. God responds by placing them in a world where they have to serve each other to survive. And it's not casual service, it's difficult, dangerous service, whether bringing forth life from the earths of their bodies, or bringing forth life from the body of their mother earth. In creating things physical or mental to share with others we are fulfilling the instruction given to our parents, and to us, by our Parents. So yes, I think our art does have value to God. Harlow S. Clark "We forget that if we are righteous the Lord will either not suffer our enemies to come upon us=97and this is the special promise to the inhabitants of the land of the Americas (see 2 Ne. 1:7)=97or he will fight our battles for us (Ex. 14:14; D&C 98:37, to name only two references of many). This he is able to do, for as he said at the time of his betrayal, 'Thinkest thou that I cannot now pray to my Father, and he shall presently give me more than twelve legions of angels?' (Matt. 26:53.)" - --Spencer W. Kimball, "The False Gods We Worship," Ensign, June 1976, p. 6 - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Mon, 5 Nov 2001 17:45:45 -0800 (PST) From: William Morris Subject: Re: [AML] Dave EGGERS - --- Dallas Robbins wrote: >Those who have read the book and enjoy it, I would > highly > recommend the literary journal in which Dave Eggers is the > editor-in-chief - > McSweeney's (http://www.mcsweeneys.net). It breaks conventional > boundaries > of what a literary journal should be like, and in the process is > furiously > creative, very funny, and highly talented. > I live in one of the major nexi of Eggersdom. The Bay Area with its scores of hip young writers and professionals (and many are both, of course) is in to Eggers and has been ever since his first 'zine _Might_. I have resisted reading AHBWOSG for precisely this reason. It's one of those things where it's something I should be into, so I don't want to be into it (That's why I didn't see _Dead Poet's Society_ until a few months ago). Eggers to me is more interesting as a literary/media figure, which I'm sure is selling him short. But really, the guy knows how to promote. He plays the game well, but his genius is that he plays it in such a way that he maintains credibility in most quarters. He's like a new Warhol except instead of employing kitsch he employs honesty or rather genuiness since he also employs dishonesty: planting friends in the audience at bookstore readings who stand up and harass him. He tries to make literature fun. And I begrudgingly admire him for the fact that he's taken some of his money and put it behind other authors and their works. If you haven't checked out McSweeney's online yet, you really should. I've grown tired of the style of much of the writing featured there, but there is an amazing work in progress called "Letter's From Elizabeth Miller's Dad, Who Fights Fires While Flying A Helicopter." His letters are fascinating. And to be fair, not all the writing on the site is dripping with hipsterosity. I even induldged and sent in a question to the "Ask a Former Literary Agent" feature. It was answered in the agent's trademark sardonic manner. But my favorite online literary journal is still AML's own Quinn Warnick's "The White Shoe Irregular" (www.whiteshoe.org) which I shill at every opportunity. Like now. Check it out. Read Eric Snider. Read the bit and bitter Ryans. Read Pablo Ortiz's "Why I Am Not Smart Enough to Subscribe to The New York Review of Books: Exhibits from a Failed Direct Mail Campaign"---it is one of the funniest things ever. ~~William Morris __________________________________________________ Do You Yahoo!? Find a job, post your resume. http://careers.yahoo.com - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Mon, 5 Nov 2001 18:52:15 -0600 From: "REWIGHT" Subject: Re: [AML] Fluff I liked seminary donuts. Which has brought me to a conclusion. As a writer, I am getting terrified of you people. I can see that whatever I write, if it does get published, will be taken and torn apart, called 'fluff' or worse "spiritual pornography." Because it seems some people on this list are in the persuit of finding perfection. And it must be perfect to them. So if I write a scene that I might have been inspired to write, and if it touches someone, I'm fine, until it doesn't touch someone else. Then it's labled spiritual pornography. If I write something that doesn't agree with someone elses concept of doctrine, then it's fluff. If it isn't in the realm of experience that everyone on the list has had, then it's a lie. Yet we mere mortals, are not perfect. Our gifts of creativity are merely embryonic of the Father. But if we do not use it, we do not grow. We need to not be afraid. We need to know that perfection is not necessary to glorify the Father. So if I write a little poem that expresses a fraction of my feelings towards the Father is it someone elses place to call it pornography or fluff? I'm not talking about likes or dislikes here. And I'm not talking about judging the artists work. I'm talking about judging the artist himself. Is that what we're doing here when we put labels on other people's work? Anna Wight - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Tue, 06 Nov 2001 10:37:38 -0600 From: Jonathan Langford Subject: [AML] re: AML-List Proposals Folks, I think we've had a pretty full discussion of the specific proposals for AML-List revision that were sent out a while back. I'm presenting below my own summary; commentary; and conclusions I have reached through review of List members' comments, weighing arguments in my own mind, and some discussions behind the scenes with the Powers That Be. (Short version: We'll keep things as they are for the time being with regard to number of posts, but I will be a little stricter in some elements of moderation. Longer version below...) Summary of Results ================== 30 people responded in some fashion to the proposals. All but one reply went out publicly. * On the first proposal (moderating more strictly), I count 5 mostly yes, 18 basically no, and the others not clearly responding. Several people in the "no" category commented that tighter would be okay "if kept within limits" or suggested other specific ways to limit the posts, besides weeding out the less on-topic posts: e.g., avoid off-topic asides, or cut the comments that are "me too" or not substantive additions. * On the second proposal (15 posts/day), I count approximately 3 yes, 21 no. I think there are a couple more in here (not above 2-3) who expressed a concern over List volume, but didn't comment on this specific way of limiting it. * On the third proposal (one post/person/day), I count approximately 4 yes, 16 no. Commentary on Results ===================== It's only to be expected, of course, that those currently participating in AML-List would be those who are already pretty satisfied with the way it's working. And by and large, those currently actively participating are the ones who responded to the (informal) advisory poll. Based on these results I think it's clear that there's no groundswell of support for any of these ideas among the current AML-List membership. This, of course, is no reason why we shouldn't consider possible changes. But I'd want to have a clear idea of what benefits we wanted to achieve from making the changes. I don't think such a clear idea emerged from the discussion. From here, it looks like a tradeoff: try to attract a new clientele who's not currently served, at the risk of reducing our value to the community of those who are already pleased with what we do. So far, I don't see any signs that this tradeoff would be worth it. I also find persuasive the arguments of several list members who commented that reducing volume and range of discussion on AML-List is likely to cut muscle, not just fat--ultimately leading to a reduction in the number and diversity of opinions expressed. If anything, I think at times that there isn't enough diversity on AML-List; I'd hate to see that suffer. At the same time, I think there are some tweaks that could be done to make AML-List serve people a little better. See below. Revisions to How Things Are Done ================================ The following are some changes I plan to make, mostly in my own style of moderating AML-List. * Screen a little more actively for off-topic comments (e.g., political) that are tossed off as asides in the middle of posts with a different focus. * Continue to allow discussions of borderline topics, but try to set down some ground rules and insist early and often on tying back to Mormon letters. In other words, let's continue to range far, but make the link to Mormon literature explicit. * Be more willing not to post messages that don't add much content to the discussion, even if they don't break any List rules. * Be willing to cut off threads a little more quickly if it seems to me that they're turning into a back-and-forth argument, with little new being added. * See if I can't make AML-Mag (the version of AML-List that is limited to 10 posts/day) a more attractive option for those who can't take the volume of the full AML-List. I plan to do this by rethinking what gets posted to AML-Mag--perhaps less emphasis on news items, and more on making this a "best of the List" feature. I'll be sending out a post specifically to AML-Mag subscribers on what types of items they are most interested in receiving. I think that with these ground rules in place, we can keep the discussion broad-ranging while cutting back on posts and threads that don't really relate to Mormon letters at all. At the same time, we will (I hope) continue to serve a range of needs and interests with regard to Mormon letters. Thanks to all for your input. I hope you will continue to let me know how you feel AML-List can best serve you. Jonathan Langford AML-List Moderator - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Tue, 06 Nov 2001 02:35:41 -0700 From: "D. Michael Martindale" Subject: [AML] James ARRINGTON, _J. Golden_ (REVIEW) J. GOLDEN Written and directed by James Arrington Starring Marvin Payne Performed September 28 through October 27, 2001 at the Villa Playhouse Theater in Springville UT "Morphing Marvin Payne" I had put it off for the entire month the play was running. Finally, for the last performance, I thrust the cares of the world aside, piled my whole family into the van, and made it top priority that night to see James Arrington and Marvin Payne's one-man show, _J. Golden_. Boy, am I glad I did. When the man walked on stage, he was Marvin Payne dressed and made up to look like an old man of a century ago who was supposed to be J. Golden Kimball. By the time the evening was over, the individual who walked off the stage _was_ J. Golden Kimball. The transformation wasn't immediate. Several minutes into the play I was watching Payne's performance as a performance. He was doing an excellent job of portraying a frail old man with a high-pitched voice, but he was still Marvin Payne made up. For a disrespectful instant I thought, if Marvin were acting this way under normal everyday circumstances instead of on stage, he'd look like a real dork. But this wasn't normal everyday circumstances. This was an experienced, professional actor, evoking a character with meticulous craftmanship, right down to the barely audible grunts as he lowered his rickety old body into a chair. With the combined synergy of James Arrigton's pen and Marvin Payne's acting, the spell was woven. Where the pen left off and the acting began was a seamless boundary impossible to detect. As the spell lulled my left brain critic to sleep, J. Golden Kimball sprang to life before my eyes. It was only a matter of sitting back and enjoying the experience from then on. The play was a tableau of J. Golden monologues, a stew of J. Golden stories, sayings, and attitude. From the beginning we knew what we were in for, as J. Golden walked out to the podium to address us like any church conference, only to be sidetracked by an unheard comment back stage, and J. Golden walked right back off to hear what the fellow was saying. Turns out someone was admonishing him to watch what he said to us. I could see James Arrington written all over the script, which exuded the whiff of Farley Family Reunion. But that's not a criticism; it's an author's style carried over that worked just as well in an incarnation designed to fit the subject matter perfectly. The expected--nay, essential--colorful language that a play about J. Golden Kimball must have, were mostly reserved to "damn's" and "hell's"--mostly--no doubt in deference to the sensibilities of the modern Mormon audience, but that didn't even impinge on the play: watching it was too much fun to care about that sort of thing. Some classic J. Golden stories were told by the J. Golden character, only to have him turn around and say, "I never actually said that," giving the nod to the legendary aspect of our Kimball heritage. After one of those stories, J. Golden told us what he really said, then Payne paused for an instant that dragged on a little long, making us wonder if we should start feeling embarrassed for his momentary gaffe, only to discover that it was perfect comedic timing for the punch line that followed. An evening watching _J. Golden_ was an evening well spent, marvelously entertaining with a bit of thoughtfulness thrown in, just the right touch to avoid damaging the fun. As the end neared, it appeared that the obligatory maudlin "evoking of the spirit" was going to take place, and I sighed in resignation at what was probably a necessity for the LDS audience, only to have the threatened moment of schmaltz be snatched away as another fine J. Golden joke intruded. Masters were at work throughout the play maintaining the perfect balance. If you doubt my glowing account, let me bring in the big guns. My teenaged son and daughter sat through the whole thing and _enjoyed it_. No teenaged whining about being bored; lots of smiles and laughter at the right places. If that isn't a meaningful endorsement, I don't know what is. Even my eight-year-old son, who broke out in a series of three sneezes and had J. Golden Kimball ad lib a reaction to it, thought it was a fine thing that he'd had a chance to contribute to the performance. - -- D. Michael Martindale dmichael@wwno.com ================================== Check out Worldsmiths, the new online LDS writers group, at http://www.wwno.com/worldsmiths Sponsored by Worlds Without Number http://www.wwno.com ================================== - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Tue, 06 Nov 2001 09:57:03 -0700 From: "Benson Parkinson" Subject: [AML] ALLRED, "For the Strength of the Hills" / CLAWSON, _Yankee Story_ A quibble with Marny's post: >>> marnyparkin@earthlink.net 11/05/01 12:42PM >>> There were no battlements in the canyon, and we did not burn SLC as=20 we evacuated (though we did evacuate the citizenry to Provo).=20 >>>>>>>>>>> There were battlements in Echo Canyon, and I understand their remains are = still there. A lot of Utah militia camped up there all winter, my = g-g-grandfather Samuel Rose Parkinson with them. Another of my g-g-grandpas= ,= Hiram Clawson, wrote an outlandish parody of the U.S. Army called _Yankee = Story_ that was printed up and mailed to the soldiers on the plains. I'd = guess it had some little significance in the history of Mormon humor. The = Yankee dialect is so thick it's hard for modern readers to even follow. = Maybe we'll have to publish a translation. My wife's g-g-g-grandpa Joseph = Taylor was in one of the companies sent out to harass (but not directly = harm) the U.S. Army on the plains. He was captured by the army and = tortured--poisoned and nearly suffocated with smoke in a windowless hut--bu= t= finally escaped, in his stocking feet, with bullets whizzing by. He wasn'= t= able to read for ten years afterwards because of the damage to his eyes. = There's probably not an eirier image in all of Mormon history than the army= = marching through Salt Lake City, which was empty except for sentries in the= = shadows, ready to put fire to the buildings if the army turned to the right= = or left. All of northern Utah was in Provo--a boy named Horace Hall Cumming= s= was born in the granary of my g-g-grandpa Elijah Billingsley. Naturally = I've always felt pretty enthusiastic about the story of the Utah War, and = pretty proud we held the U.S. Army at bay without shooting anyone.=20 Ben Parkinson - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Tue, 6 Nov 2001 10:08:07 -0700 From: "Brown" Subject: Re: [AML] AML Writer's Conference Darlene--and everyone, Salt Press is publishing Marilyn Arnold's latest work, and it will be a memoir of the death of her mother and father within a month. It dips back into the past. PLEASE. If your work is good, it will eventually be published. However, it sort of does need to be "accessible." I think we have to make our own markets work. Marilyn Arnold writes with the quality of a national writer, but when it's about Mormons, it doesn't sell abroad. Believe me, I too know this. Never fear, dear Darlene, there are people writing and striving to publish the things that you admire. WRITE IT and send it around! Love, Marilyn Brown - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ End of aml-list-digest V1 #507 ******************************