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The/skits! - live @beastfair - 8th of june.
Famous authors, their writings and their rejection letters.
Sylvia Plath: There certainly isn’t enough genuine talent for us to take notice.
Rudyard Kipling: I’m sorry Mr. Kipling, but you just don’t know how to use the English language.
Emily Dickinson: [Your poems] are quite as remarkable for defects as for beauties and are generally devoid of true poetical qualities.
Ernest Hemingway (on The Torrents of Spring): It would be extremely rotten taste, to say nothing of being horribly cruel, should we want to publish it.
Dr. Seuss: Too different from other juveniles on the market to warrant its selling.
The Diary of Anne Frank: The girl doesn’t, it seems to me, have a special perception or feeling which would lift that book above the ‘curiosity’ level.
Richard Bach (on Jonathan Livingston Seagull): will never make it as a paperback. (Over 7.25 million copies sold)
H.G. Wells (on The War of the Worlds): An endless nightmare. I do not believe it would “take”…I think the verdict would be ‘Oh don’t read that horrid book’. And (on The Time Machine): It is not interesting enough for the general reader and not thorough enough for the scientific reader.
Edgar Allan Poe: Readers in this country have a decided and strong preference for works in which a single and connected story occupies the entire volume.
Herman Melville (on Moby Dick): We regret to say that our united opinion is entirely against the book as we do not think it would be at all suitable for the Juvenile Market in [England]. It is very long, rather old-fashioned…
Jack London: [Your book is] forbidding and depressing.
William Faulkner: If the book had a plot and structure, we might suggest shortening and revisions, but it is so diffuse that I don’t think this would be of any use. My chief objection is that you don’t have any story to tell. And two years later: Good God, I can’t publish this!
Stephen King (on Carrie): We are not interested in science fiction which deals with negative utopias. They do not sell.
Joseph Heller (on Catch–22): I haven’t really the foggiest idea about what the man is trying to say… Apparently the author intends it to be funny – possibly even satire – but it is really not funny on any intellectual level … From your long publishing experience you will know that it is less disastrous to turn down a work of genius than to turn down talented mediocrities.
George Orwell (on Animal Farm): It is impossible to sell animal stories in the USA.
Oscar Wilde (on Lady Windermere’s Fan): My dear sir, I have read your manuscript. Oh, my dear sir.
Vladimir Nabokov (on Lolita): … overwhelmingly nauseating, even to an enlightened Freudian … the whole thing is an unsure cross between hideous reality and improbable fantasy. It often becomes a wild neurotic daydream … I recommend that it be buried under a stone for a thousand years.
The Tale of Peter Rabbit was turned down so many times, Beatrix Potter initially self-published it.
Lust for Life by Irving Stone was rejected 16 times, but found a publisher and went on to sell about 25 million copies.
John Grisham’s first novel was rejected 25 times.
Jack Canfield and Mark Victor Hansen (Chicken Soup for the Soul) received 134 rejections.
Robert Pirsig (Zen and the Art of Motorcycle Maintenance) received 121 rejections.
Gertrude Stein spent 22 years submitting before getting a single poem accepted.
Judy Blume, beloved by children everywhere, received rejections for two straight years.
A Wrinkle in Time by Madeline L’Engle received 26 rejections.
Frank Herbert’s Dune was rejected 20 times.
Carrie by Stephen King received 30 rejections.
The Diary of Anne Frank received 16 rejections.
Harry Potter and The Philosopher’s Stone by J.K. Rolling was rejected 12 times.
Dr. Seuss received 27 rejection letters
Now this…THIS inspires me.
Don’t give up people.
Famous authors, their writings and their rejection letters.
Sylvia Plath: There certainly isn’t enough genuine talent for us to take notice.
Rudyard Kipling: I’m sorry Mr. Kipling, but you just don’t know how to use the English language.
Emily Dickinson: [Your poems] are quite as remarkable for defects as for beauties and are generally devoid of true poetical qualities.
Ernest Hemingway (on The Torrents of Spring): It would be extremely rotten taste, to say nothing of being horribly cruel, should we want to publish it.
Dr. Seuss: Too different from other juveniles on the market to warrant its selling.
The Diary of Anne Frank: The girl doesn’t, it seems to me, have a special perception or feeling which would lift that book above the ‘curiosity’ level.
Richard Bach (on Jonathan Livingston Seagull): will never make it as a paperback. (Over 7.25 million copies sold)
H.G. Wells (on The War of the Worlds): An endless nightmare. I do not believe it would “take”…I think the verdict would be ‘Oh don’t read that horrid book’. And (on The Time Machine): It is not interesting enough for the general reader and not thorough enough for the scientific reader.
Edgar Allan Poe: Readers in this country have a decided and strong preference for works in which a single and connected story occupies the entire volume.
Herman Melville (on Moby Dick): We regret to say that our united opinion is entirely against the book as we do not think it would be at all suitable for the Juvenile Market in [England]. It is very long, rather old-fashioned…
Jack London: [Your book is] forbidding and depressing.
William Faulkner: If the book had a plot and structure, we might suggest shortening and revisions, but it is so diffuse that I don’t think this would be of any use. My chief objection is that you don’t have any story to tell. And two years later: Good God, I can’t publish this!
Stephen King (on Carrie): We are not interested in science fiction which deals with negative utopias. They do not sell.
Joseph Heller (on Catch–22): I haven’t really the foggiest idea about what the man is trying to say… Apparently the author intends it to be funny – possibly even satire – but it is really not funny on any intellectual level … From your long publishing experience you will know that it is less disastrous to turn down a work of genius than to turn down talented mediocrities.
George Orwell (on Animal Farm): It is impossible to sell animal stories in the USA.
Oscar Wilde (on Lady Windermere’s Fan): My dear sir, I have read your manuscript. Oh, my dear sir.
Vladimir Nabokov (on Lolita): … overwhelmingly nauseating, even to an enlightened Freudian … the whole thing is an unsure cross between hideous reality and improbable fantasy. It often becomes a wild neurotic daydream … I recommend that it be buried under a stone for a thousand years.
The Tale of Peter Rabbit was turned down so many times, Beatrix Potter initially self-published it.
Lust for Life by Irving Stone was rejected 16 times, but found a publisher and went on to sell about 25 million copies.
John Grisham’s first novel was rejected 25 times.
Jack Canfield and Mark Victor Hansen (Chicken Soup for the Soul) received 134 rejections.
Robert Pirsig (Zen and the Art of Motorcycle Maintenance) received 121 rejections.
Gertrude Stein spent 22 years submitting before getting a single poem accepted.
Judy Blume, beloved by children everywhere, received rejections for two straight years.
A Wrinkle in Time by Madeline L’Engle received 26 rejections.
Frank Herbert’s Dune was rejected 20 times.
Carrie by Stephen King received 30 rejections.
The Diary of Anne Frank received 16 rejections.
Harry Potter and The Philosopher’s Stone by J.K. Rolling was rejected 12 times.
Dr. Seuss received 27 rejection letters
Now this…THIS inspires me.
Don’t give up people.
Photographer Bastiaan Ekeler made a modified zoom lens so that he could take photos of distant objects with a Gameboy Camera
White people look dumb af when they listen to rap music just listen to your music traditional European music. That’s more geared to you.
Aside from the fact that 'rap' music (unspecific to sub-genre, which is important, but you were general, so I have to be) is just poetry on top of an arrangement of sounds, I would say that is it not racially binding. The point I wish to highlight is the fact that there are also is white rappers as well, Eminem (I know a bit 'basic', but he is) for example. This is not to say that rap music is white, or black. But let's say you slapped Shakespeare's sonnets on top of sampled Beethoven, then that's traditionally European. Music is an arrangement of sounds, and if you think it's cacophonous and don't like it, don't listen, or if you like cacophonous music, do listen. Same goes for pleasant sounding music. Listen to what you like, only the culture sounding it may be different from your own. Music may not be geared towards specific people, but it has the potential to be universally listened to, even taking into account the cultural origins (such as blues music from African-American Slaves).
The double standard could be me saying "black people look dumb af when they listen to classical European music just listen to your music traditional African-American slave blues music. That's more geared for you".
But that'd be absurd and racist.
i’m really sick from seeing all women’s legs shaved while men strut around with incredible amount of leg hair, can you fucking imagine what kind of deep ingrained fear of humiliation would cause entire female population to shave their legs, regularly, every time before they show up anywhere in public? do you realize how much hours this is in women’s lives they spend just on making sure they don’t appear “disgusting” and “ugly” and that don’t get looked at as if they’re wrong and ugly and unworthy of existing like that? fuck beauty standards, if men can walk around hairy and unconcerned about their natural features why the fuck can’t women do the same without getting hurt for it.
Aside from the generalisations made in this comment, a valid point can be seen underneath. I do think it's valid to add and consider though where these 'standards' actually came from. You can point to the Europeans (1700's ish) where people shaved their bodily hair to keep away lice; in more contemporary culture you can point to prostitution in America, where shaved bodies and legs was a symbol of not having 'crabs' or lice and thus considered clean. Furthermore, you can point to the 1910's (ish) when sleeveless dresses came on the scene and women would shave their underarms because it was reminiscent of downstairs and considered riskè and scandalous if not (product of the times). The thing with standards are they're ingrained in specific cultures for a myriad of reasons, they can be very naturally and organically over time (perhaps not). If you want to change that, then yeah go for it, but the thing to keep in mind is that if it [beauty] doesn't organically change and you transgress against it, it's counter-culture. And counter-culture comes with the consequences of being so. Yes, you can make the claim some guys like hair on women. You can only make the claim some don't, for reasons such as hygiene. You can make the claim that women are women's own worse critics with judging each other into shaving. Whose to say, it's not my place. They are just suggestions I've not done the studies.
To add onto right at the end, however, there is an organic change happening with hypermasculinity in which it is becoming more expected for men to be physically in peak condition and waxed all over etc (just look at places like Ibiza). This does in fact add, (from my own experience and primary experience with younger men I know) pressure on some men to. For example, do their head hair extremely well, make sure they are shaven, keep yourself fit (sometimes in dangerous cases such an anorexia, bullemia and excessive excersise) to stand up against other, potentially better looking and more genetically viable men. It's not just women, not just men, not ALL women, not ALL men.
I think the thing to remember is not to make generalisations, not all women shave and not all men don't. Not all men like shaved women, not all women like shaved men. It's just that a lot of beauty is subjective and the standards you call are based from the cultures they're in. Change will come, that's what happens in society, along with its changing beauty standards. You can try cause the change or you can roll with the flow. Most of all, do what keeps you healthy and what you think will make you happiest. That been said, you cannot force people to find your choices beautiful, it's subjective and trends change.
(Ps. I know I'm brief with facts, also the times I claim may not be 100% accurate, whatever).
!let’s draw a war! call it something sweet to distract and explore the fact. /. one’s not so pure and the other’s adored. !let’s draw a war? ….u. angel/roar/talk?
- jdotingham 02/07/17 (My art and poem)
- and as always, have an eccentric day.
&the tail stops, so does the panting, the eyes immortalised in that naïve stare. I stand there with the pistol in my right hand, looking at what was once a dog. was it once my dog? does it matter? I become God. Dog becomes sheep. And, the universe doesn’t even blink. so I light another fag and toss my empty Crayola Crayon Cigarette Case into the puddle beside me. I guess that’s some sort of metaphor. who knows, who cares(?)
- extract from my novel a radiohead’s pilgrimage. @jdotingham
And as always have an eccentric day.
bed/rooms. temple of the person(al). ……messy floors in order of a jackson pollock on crack, cd collections of when music was rad, then we look over at our slippers: our we slowly becoming our dad. an empty space on the other side of the bed: the dent disappeared. the new wife is a bottle of gin and a meal of beer. books on self help thrown into the fireplace (along with pictures of jane). stains on the ivory. yellow and faded whites. “self pity kills the brain”. knifes should not be kept in the bed/room (they.are.though). dull lighting. bland shadows. the mirror is smashed in the tip outside, the mirror don’t lie, it’s a reflection of life and it tells men they are fuckup guys. introverted emotions. extroverted commotions. misunderstanding. alpha male landing. july feels like september which feels like december. time does fly and drag at the same time. a drag from cigarettes with a candle to mask to smell of fag: a closet open, throwing up a clothing trap. scribbles of paper, poetry. jane is poetry. the angry note of: “all these characters are fictional, any resemblance to any person, living or dead is purely coincidental… apart from jane… fuck jane” the rest is empty. expressionless as the mirror. the temple is falling apart. some cut their ears off for art. in the bed/room we part with the feeling of wondering what it feels like. to break away from anomie and inner penitentiary lives. a fire? suffocation? alcohol poisoning infection from mould? slitting of wrists before we get old? a cluedo of the bed/room. in bed/rooms we have narrow vision: night-thinkers. curiosity kills.
- jdotingham 17/07/17
Do I feel tears? A wet cheek? A blistering forehead? Sweaty palms? ./is this how God would feel? ..../The stray dog would have been wandering around before this. I wonder if he wanders? ........./aimlessly.thoughtlessly.just accepting.finding food, warmth. A master to distract, to be protected by, to love (unconventionally). . My writing. My art. Dedicated to my idol Camus. A wise and kind rebel. . And as always have an eccentric day.
disquote #2 - oscar wilde.
“Never love anybody who treats you like the ordinary” – Oscar Wilde.
Although this seems like a lovely conclusion on the topic of love (and in a sense it could be), unfortunately for Wilde he phrases a subjective idea in objective terms of “Never”. This is quite clearly a command even though the word “Never” is indeed an adverb – which is used to extend an adjective (Very cool as an example) – and yet has been used as a command. A more suitable version of the quote would be to take hints from the Decalogue format of the Old Testament with “Don’t love anybody who treats you like the ordinary”. Wilde may, or may not, have considered this as it really does sound like a command there.
Onto my next point, the word love is subjective and broad. In the Latin language they have many more specific forms of “Love” (which in my opinion is an overused term which loses its punch) which include Eros, Ludus, Agape, Pragma, Philautia. You see if we take Wilde as meaning love as Philautia, then we end up with narcissistic tendencies within the person. If we take Wilde as meaning love as Ludus, then it might be better for them to treat you ordinary (especially if your id runs Wilde – escuse the pun – if you are in a high profile job and that sometimes happens. I’m going to use Ed Sheeran as an example here, in recording Castle on a Hill, Sheeran appreciates the fact when he goes home his friends treat him ordinary and do not get star struck or in awe and they can just have fish and chips on the beach when the sky is moody. If their ludus towards him, and vice versa, was more than the ordinary then maybe Sheeran would struggle to cope with his high profile life where many people don’t treat him ordinary).
Maybe Wilde needs to be more specific in the idea of ‘love’, or maybe he intended dialogue and criticism?
My point here is very simple, maybe we need someone to act as an ego or superego to our ‘id’ and not treat us like we are special all the time. We maybe need someone to laugh at our messy hair and the spot on our nose, we maybe need someone to just watch TV with and someone to make sex awkward by saying something offensive or inappropriate (and then laughing about it after) and maybe, just maybe, someone to eat fish and chips at Scarborough with, avoid whatever makes you extraordinary and just complain about the weather.
Then again I could be over-analysing this, and if you like grandiose all of the time, f**k it, let someone love you as someone extraordinary and go Wilde.
�
Stop and smell the roses, then wake me up with a sucker-punch of metaphorical explosives.
jdotingham - hello poetry.
dis-quotes #1 - the road less taken.
“Difficult roads lead to beautiful locations” - Author unknown.
Possibly a misinterpretation [by this unknown author] of “The Road Not Taken” by Robert Frost (or at least that is how it appears to me, and Robert Frost has also stated, “this can be a tricky poem”). The common misinterpretation in which I speak of is: by observing in the dilemma to choose which road, the road less travelled [by] speaks to the protagonist as going against the grain of social ‘mainstream’ and arriving at a destination of uniqueness/independence.
It has become famous as an ironic anthem of ‘snowflakes’.
It seems like a nice ‘post-card-esque’ message to send to a Grandson or Daughter who is in the middle of their exams yet, in reality, the road less travelled (or taken) may be less travelled for a reason; and you could end up lost or eaten by wolves (or by maggots which feasts on the flesh of fatigued lost people). This is, of course, a metaphor for failing exams or getting lost in the wrong kind of revision, but the point still stands: difficult roads could be an odd choice when there is a perfectly suitable footpath with a great view.
Then again, if you like getting lost or being ‘unique’, f**k it, I have no problem with that snowflake.
-jdotingham.
original poem.
“never drunk, intoxicated with your kiss always junk, thrown away into your lips!《¤》” -jdotingham.
a girl worth kissing is not easily kissed.
jdotingham - "d.d. #2"
new podcast - for fans of welcome to night vale.
and as always have an eccentric day!
