The Key – Junichiro Tanizaki

In Tanizaki’s The Key (Dutch: De sleutel), an elderly couple live somewhat detached lives from each other. Both keep a secret diary. They write about their lives from their perspectives, speculating about the other’s motivations. Both know from each other that the other keeps a diary. They both suspect each other of reading the other’s diary and leave messages in their diaries intended for the other to read. But both write they do not read each other’s diary. But only the reader knows that.

They lead a bizarre sex life with each other, with the man more or less voluntarily drugging the woman, and only in that situation can they genuinely make passionate love. After the man dies (during the act), the woman starts reading his diary (she writes in her diary). She continues her diary, and a bizarre spin ensues, where the truth turns out to be quite different.

The woman’s diary is reminiscent of Sei Shonagon’s The Pillow Book.

I am a Cat – Soseki Natsume

In I am a Cat (Ik ben een kat in Dutch), a rather headstrong and intelligent observant cat moves into a teacher’s home. The book follows the cat’s observations and interactions with the teacher and his circle of friends, providing an interesting perspective on human behavior.

Ik ben een kat - Soseki Natsume

The cat, with a critical eye, narrates his master’s inflated behavior, revealing the human tendency to feign superiority and the struggle between habits and customs. In a humorous twist, he exposes the triviality that surrounds his master.

Good taste

Good taste, to me, is liking what you see and knowing why you like it.

Seth Godin writes in The Practice:

… the ability to know what your audience or clients are going to want before they do.
… watch what the market does and learn from that.

To me, that is too much of a market-oriented view of taste. The second statement also disagrees somewhat with the first.

I don’t think you learn about good taste by observing the market. You only learn what is out there and what the people with the most enormous mouths say about what they like.

Good taste is about appreciation for the specific. The market is about appreciation for the average.

Seth Godin – The Practice

Encouragement for the creative mind.

Reassurance is futile. Attitude is a skill. Produce with intent. The work is too important to be left to how we feel. Instead, trust the process and do the work.

Change your actions first. We become what we do.

Peculiar means specific. The standard narrative pushes us to fit in, but through specificity and peculiarity, we stand out. Change comes from idiosyncratic voices. Be more specific and less generic.

Attachment to status, outcome, and opinions brings nothing. There is no such thing as a foundation. The process of engaging with the genre, the audience, the change ís the foundation. Become unattached.

The practice is about doing it, more than once, regularly, until it becomes… practice.
Ship on a schedule.

Credentials are just a piece of paper. Instead, create a body of work that shows you have insight, experience, and concern.

The work is an infinite game. No winners, no losers. (The reward for work is more work, said Tom Sachs.)

Determination counts (versus inspiration).

Chop wood, carry water.

Mise en place is preparation. The muse shows up when we do the work.

Seek desirable difficulty to seek improvement. Be uncomfortable.

Genre states your idiosyncratic work. Generic is a trap. Learning a skill is attitude and cohort.

Constraints feed creativity.

Be paranoid about mediocrity.

Many, many quotable sentences. A companion to The War of Art and Do The Work.

No molar picture, two chances left

Last week, my first wisdom tooth was pulled.
It wasn’t that bad—fifteen minutes of prying. And I have two more.

Forgot to ask for the molar. So, no picture.

Days at the Morisaki Bookshop, by Satoshi Yagisawa

Takako, a young woman from Tokyo, quits her office job and comes to live and work in the small second-hand bookstore of her uncle, Satoru, in a small provincial town.

In her life in Tokyo, she was indecisive, reserved, and treated like dirt by her boyfriend. After summoning the courage to confront her boyfriend and tell him the truth, Takako takes a decisive step forward, leaving behind the negativity and moving on with her life.

Her uncle’s wife suddenly reappears with her husband after years of absence. As if nothing had happened. With her aunt Momoko, she heads into the mountains for a weekend. Momoko turns out to have had an abortion years ago and then struggled with life. After the mountain outing, Momolo disappears again as shyly as she has returned. Takako breaks her vow of secrecy and informs her uncle Satoru of the secret his wife is carrying. He searches and finds his wife again, and they become closer than ever.

Secretive as a Murakami. With a fine list of quoted Japanese writers at the back of the book.

The World Don’t Need No More Images

I have my photo-movie, The World Don’t Need No More Images (full of pictures), just about finished. The first episodes are on YouTube. Is it any good? Probably not. Does it raise a ripple? Unlikely. Is it fun to mix images and sound? Absolutely. Besides, it feels like it has to get out. In this form, this had to be tried and done because I have not seen anything similar done before.

And now: bye. Next.

Failure narrative

From Seth Godin’s The Practice, this creator’s failure narrative:

  • There is more supply than demand; therefore, most of the feedback is rejection. From the market, from the gatekeepers.
  • The work is created with generally available tools. The group that believes they can do the same job or better is large.
  • The fanbase is transient, and the churn is significant.
  • Negative criticism spreads easier than positive feedback.
  • We work in novelty. There is always more novelty for our customers to turn to.
  • We and our customers chase creative magic. By that standard, almost all of our efforts fail.

Then, successful creators have in their favor the benefit of the doubt and tribal cognitive dissonance.