The 2021 Writing Series is a series of daily writing exercises for both prose writers and poets to keep their creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.
This is not a standard writing session. This is pure production—to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink it, you will be able to complete all of the exercises in under 30 minutes.
#16
Erasing EAP "The Premature Burial" 1
For today's exercise we have split paths for fiction and poetry, though I highly recommend that even fiction writers try the poetry exercise, because erasures can be a blast!
For poetry do an erasure or black-out poem from the following opening selection of Edgar Allen Poe's 1850 short story "The Premature Burial".
Edgar Allen Poe is considered by some to be the writer that solidified the short story genre as, well, a genre. Not the first writer of short stories, or even popular short stories, but he wrote enough of them that with the stories of Nathaniel Hawthorne, Charles Dickens, Irving Washington and others, critics were finally like—fine. Short stories can be a thing.
An Erasure/Blackout is really simple: you take the given text and remove many words to make it your own new piece. One way to go about the erasure that I like to do is to copy the text and paste it twice into your document before you start erasing or blacking out (in MS Word set the text background color to black), that way if you get further into the erasure and decide you want a somewhat different tone or direction, it's easy to go to the unaltered version and make the erasure/black-out piece smoother. Another tip is to look for recurring words, or themes.
If you insist on fiction (or if one of these strikes you), write a piece with one of these six titles taken from this section:
- Entirely Horrible
- Simple Abhorrence
- At Best Shadowy
- The Incomprehensible Mechanism
- Lustreless
- Functions of Vitality
Erasure Selection:
from "The Premature Burial"
THERE are certain themes of which the interest is all-absorbing, but which are too entirely horrible for the purposes of legitimate fiction. These the mere romanticist must eschew, if he do not wish to offend or to disgust. They are with propriety handled only when the severity and majesty of Truth sanctify and sustain them. We thrill, for example, with the most intense of "pleasurable pain" over the accounts of the Passage of the Beresina, of the Earthquake at Lisbon, of the Plague at London, of the Massacre of St. Bartholomew, or of the stifling of the hundred and twenty-three prisoners in the Black Hole at Calcutta. But in these accounts it is the fact — it is the reality — it is the history which excites. As inventions, we should regard them with simple abhorrence.
I have mentioned some few of the more prominent and august calamities on record; but in these it is the extent, not less than the character of the calamity, which so vividly impresses the fancy. I need not remind the reader that, from the long and weird catalogue of human miseries, I might have selected many individual instances more replete with essential suffering than any of these vast generalities of disaster. The true wretchedness, indeed — the ultimate woe — is particular, not diffuse. That the ghastly extremes of agony are endured by man the unit, and never by man the mass — for this let us thank a merciful God!
To be buried while alive is, beyond question, the most terrific of these extremes which has ever fallen to the lot of mere mortality. That it has frequently, very frequently, so fallen will scarcely be denied by those who think. The boundaries which divide Life from Death are at best shadowy and vague. Who shall say where the one ends, and where the other begins? We know that there are diseases in which occur total cessations of all the apparent functions of vitality, and yet in which these cessations are merely suspensions, properly so called. They are only temporary pauses in the incomprehensible mechanism. A certain period elapses, and some unseen mysterious principle again sets in motion the magic pinions and the wizard wheels. The silver cord was not for ever loosed, nor the golden bowl irreparably broken. But where, meantime, was the soul?
Apart, however, from the inevitable conclusion, a priori that such causes must produce such effects —that the well-known occurrence of such cases of suspended animation must naturally give rise, now and then, to premature interments —apart from this consideration, we have the direct testimony of medical and ordinary experience to prove that a vast number of such interments have actually taken place. I might refer at once, if necessary to a hundred well authenticated instances. One of very remarkable character, and of which the circumstances may be fresh in the memory of some of my readers, occurred, not very long ago, in the neighboring city of Baltimore, where it occasioned a painful, intense, and widely-extended excitement. The wife of one of the most respectable citizens-a lawyer of eminence and a member of Congress —was seized with a sudden and unaccountable illness, which completely baffled the skill of her physicians. After much suffering she died, or was supposed to die. No one suspected, indeed, or had reason to suspect, that she was not actually dead. She presented all the ordinary appearances of death. The face assumed the usual pinched and sunken outline. The lips were of the usual marble pallor. The eyes were lustreless. There was no warmth. Pulsation had ceased. For three days the body was preserved unburied, during which it had acquired a stony rigidity. The funeral, in short, was hastened, on account of the rapid advance of what was supposed to be decomposition.
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As your background music sommelier I've chosen Vangelis to pair with your "Erasing The Premature Burial" series. For this amuse bouche of 631 words I've selected Vangelis' 1983 electronic album Horizons.
