Happy (Half a) Hobbit Day

In honour of Bilbo and Frodo’s birthday, I wish to offer the following long-belated response to Bilbo’s famous compliment (or insult) at the Long-Expected Party:

I don’t know half of you half as well as I should like, and I like less than half of you half as well as you deserve.

That’s all right, Mr. Baggins. If you knew me half as well as you liked, you would soon discover that I deserve to be liked less than half as well as you like more than half of the Hobbits that you like half as well as they deserve. And I say this, which is half of what I should like to say, on behalf of the other half.

Told by an idiot

As every real literary person knows, brevity is not only the soul of wit, it is the absolute sine qua non of the literary art. The most essential part of writing is cutting.

Some fools and philistines think the most essential part of writing is writing: on the silly grounds that until you have written something, you have nothing to cut. This is an error.

My latest manuscript consists of 500 sheets of blank paper, and I am cutting it already.

I am making it into paper dolls.

They are going to be the most critically acclaimed paper dolls in all of literature.

    (signed)
    H. Smiggy McStudge

Tom Weller on Books

Books are like a magic arrow, an arrow by which poetry, literature, auto repair, indeed, all of cvltvre may soar from the minds of the artists and thinkers who created them swiftly to their final target – the remainder bin.

With books, we can travel in outer space, talk to Shakespeare, conquer the world, prop open doors and windows.

In them we can gaze on the faces, and wonder at the thoughts, of people from the remotest times, like in your high school yearbook. Through them, inhabitants of one part of the globe can understand the feelings and customs of those of another far distant, usually resulting in war. Indeed, it is just conceivable that through the unifying power of literature all peoples may yet come to live together as brothers and sisters: in continuous, squalling enmity.

—Tom Weller, Cvltvre Made Stvpid

Replying to a rejection slip

The correct etiquette, as demonstrated by Dylan Moran:

‘To do it with a flugelhorn was a stroke of genius.’

How to invent realistic character names

Want just the right name for a character? A name that perfectly expresses his role in the story, without being a spoiler? A handle that reveals his unique quiddity, without revealing too much? A moniker that speaks from soul to soul? A collocation of vocables that grabs the reader right in the kishkes and won’t let go?

Look no further. You can use any one of these.

(Except ‘Dan Smith’. That would be ridiculous.)

You’re welcome.

‘Beowulf Meets Godsylla’, by Tom Weller

I’ve been reading Beowulf in the original, and as you can imagine, having a wee bit of trouble with the language. Still, the stirring descriptions of combat and the thunderous roll of the alliterative metre fully justify the poem’s reputation as the fountainhead of English literature:

Meanehwæl, baccat meaddehæle,     monstær lurccen;
Fulle few too many drincce,     hie luccen for fyht.
Ðen Hreorfneorhtðhwr,     son of Hrwærowþheororthwl,
Æsccen æwful jeork     to steop outsyd.
Þhud! Bashe! Crasch! Beoom!     Ðe bigge gye
Eallum his bon brak,     byt his nose offe;
Wicced Godsylla     wæld on his asse.
Monstær moppe fleor wyþ     eallum men in hælle.
Beowulf in bacceroome     fonecall bamaccen wæs;
Hearen sond of ruccus     sæd, “Hwæt ðe helle?”
Graben sheold strang     ond swich-blæd scharp
Stond feorth to fyht     ðe grimlic foe.
“Me,” Godsylla sæd,     “mac ðe minsemete.”
Heoro cwyc geten heold     wiþ fæmed half-nelson
Ond flyng him lic frisbe     bac to fen
Beowulf belly up     to meaddehæle bar,
Sæd, “Ne foe beaten     mie færsom cung-fu.”
Eorderen cocca-cohla     yce-coeld, ðe reol þyng.

—Tom Weller, Cvltvre Made Stvpid

But somehow methinks Tom Weller, þætte rihte ealde Englisce scop, could have spun out England’s national epic to more than eighteen lines. Still, not bad for a culture that only emerged from the barbarous night of the Dark Ages in 1987, when Þacere ruled in Heorot.


Both Cvltvre Made Stvpid and its companion volume, Science Made Stupid, are unfortunately out of print, but they are now available as free downloads — with the author’s permission! Find them both here:

http://www.chrispennello.com/tweller/

 

Q (no A)

This matter has been bothering me for some days now, with no resolution yet. I dropped in on the Professor of Conventionally Impossible Languages to pick his brain.

‘What does it mean,’ I asked, ‘when a telepath tells you the image of a laughing horse with a long green mane, accompanied by the sound of a Harley backfiring? Only there’s some kind of synaesthesia involved, so that the whole scene tastes yellow.’

The Professor gave my question weighty thought. He specializes in the interpretation of anasymbolic sensory montages as a syntactic medium. This is what he says to you and me. To other experts in the field, he sticks his nose into questions about how telepaths talk in silly pictures.

When the thought had reached the optimum weight, or impatience softened me up enough to accept a silly answer, he said with great gravitas: ‘It means, I think, that the telepath is on drugs.’

‘Thanks large,’ I said sourly. ‘Most telepaths are. What I want to know is, which drugs? I want to buy up the entire world supply — and burn it. I will not be talked to like that again.’

Bridget McKenna on Shakespeare

I’ve heard his stuff is off-genre, and he can’t even get an agent. One rejection said: “Make up your mind, Will. You can’t be writing thrillers one day and sappy romances the next. Readers want to know what to expect. Pick a genre and stick with it, fergodsake. Then maybe I can do something for you.”

Bridget McKenna

Misquotha

I just heard the dandiest bit of verse. Apparently some of these fantasy guys do rhymes from time to time — who knew? Anyway this guy, who wrote the novelization of the Lord of the Rings films or something, wrote a few lines about trying to get hold of his agent or something. They went something kind of sort of like this:

Dial Nine for an outside line, under the sky,
Seven for a techie in his hall of stone,
Three for an Elf-king who’s probably high,
One for the Dark Lord on his dark throne
in the deep Long Distance where the Phone Bills lie.
One Ring to call them all,
One Ring to bind them,
One Ring to go to voicemail
where you’ll never find them,
in the deep Long Distance where the Phone Bills lie.

The cry of the highbrow

‘Ah, Shakespeare. Quite a promising poet in a minor way, when he was writing those sonnets and sucking up to Queen Elizabeth’s courtiers. All very proper. Pity he squandered his talents by going into that low-brow theatre business.

‘I wonder what ever became of him? He could have been somebody if he’d stuck to proper literature.’