Am 26. März wird meine Ausstellung „dis/cover“ in der Galerie im Bonifatiusturm in Röthenbach an der Pegnitz bei Nürnberg eröffnet.
Michael Göbel dis / cover 26. März – 23. April 2023 Vernissage: Sonntag, 26. März 2023, 11 Uhr Begrüßung: Pfr. Wolfgang Angerer, St. Bonifatiuskirche Einführung: Ulrike Götz M.A. (Kuratorin, NurembergArtSyndicate) Galerie im Bonifatiusturm, St. Bonifatiuskirche, Alter Kirchenweg 7, Röthenbach a. d. Peg. Öffnungszeiten: Sonntags, 11–16 Uhr, sowie nach Vereinbarung unter 0911.577661 oder email@example.com Ein Kooperationsprojekt des NurembergArtSyndicate und der Galerie im Bonifatiusturm.
Ich war nie ein großen Leser der Bücher von Stephen King (was aber wohl am Genre liegt, was mir nicht so liegt), aber er ist in den Netzwerken recht aktiv und macht mit Haltung und klugen Kommentaren einen sympathischen Eindruck. Er hat in seiner Autobiografie „On Writing“ (2020) 20 Regeln aufgestellt, die man befolgen sollte, wenn man Schrfitsteller sein möchte – um gleich dazu zu schreiben, das er selbst sich natürlich nicht immer an seine Reglen hält, aber es sei ein guter Anfang. Ich mag solche Aufstellungen. Besonders die Mischung zwischen konkreten „Verboten“ (avoid adverbs) und mehr allgemeinen Hinweisen (read, read, read) finde ich gelungen und vieles kann man mit ein paar Änderungen auch gut auf die bildende Kunst übertragen.
First write for yourself, and then worry about the audience. “When you write a story, you’re telling yourself the story. When you rewrite, your main job is taking out all the things that are not the story. Your stuff starts out being just for you, but then it goes out.”
Don’t use passive voice. “Timid writers like passive verbs for the same reason that timid lovers like passive partners. The passive voice is safe. The timid fellow writes “The meeting will be held at seven o’clock” because that somehow says to him, ‘Put it this way and people will believe you really know. ‘Purge this quisling thought! Don’t be a muggle! Throw back your shoulders, stick out your chin, and put that meeting in charge! Write ‘The meeting’s at seven.’ There, by God! Don’t you feel better?”
Avoid adverbs. “The adverb is not your friend. Consider the sentence “He closed the door firmly.” It’s by no means a terrible sentence, but ask yourself if ‘firmly’ really has to be there. What about context? What about all the enlightening (not to say emotionally moving) prose which came before ‘He closed the door firmly’? Shouldn’t this tell us how he closed the door? And if the foregoing prose does tell us, then isn’t ‘firmly’ an extra word? Isn’t it redundant?”
Avoid adverbs, especially after “he said” and “she said.” “While to write adverbs is human, to write ‘he said’ or ‘she said’ is divine.”
But don’t obsess over perfect grammar. “Language does not always have to wear a tie and lace-up shoes. The object of fiction isn’t grammatical correctness but to make the reader welcome and then tell a story… to make him/her forget, whenever possible, that he/she is reading a story at all. “
The magic is in you. “I’m convinced that fear is at the root of most bad writing. Dumbo got airborne with the help of a magic feather; you may feel the urge to grasp a passive verb or one of those nasty adverbs for the same reason. Just remember before you do that Dumbo didn’t need the feather; the magic was in him.”
Read, read, read. “You have to read widely, constantly refining (and redefining) your own work as you do so. If you don’t have time to read, you don’t have the time (or the tools) to write.”
Don’t worry about making other people happy. “Reading at meals is considered rude in polite society, but if you expect to succeed as a writer, rudeness should be the second to least of your concerns. The least of all should be polite society and what it expects. If you intend to write as truthfully as you can, your days as a member of polite society are numbered, anyway.”
Turn off the TV. “Most exercise facilities are now equipped with TVs, but TV—while working out or anywhere else—really is about the last thing an aspiring writer needs. If you feel you must have the news analyst blowhard on CNN while you exercise, or the stock market blowhards on MSNBC, or the sports blowhards on ESPN, it’s time for you to question how serious you really are about becoming a writer. You must be prepared to do some serious turning inward toward the life of the imagination, and that means, I’m afraid, that Geraldo, Keigh Obermann, and Jay Leno must go. Reading takes time, and the glass teat takes too much of it.”
You have three months. “The first draft of a book—even a long one—should take no more than three months, the length of a season.”
There are two secrets to success. “When I’m asked for ‘the secret of my success’ (an absurd idea, that, but impossible to get away from), I sometimes say there are two: I stayed physically healthy, and I stayed married. It’s a good answer because it makes the question go away, and because there is an element of truth in it. The combination of a healthy body and a stable relationship with a self reliant woman who takes zero shit from me or anyone else has made the continuity of my working life possible. And I believe the converse is also true: that my writing and the pleasure I take in it has contributed to the stability of my health and my home life.”
Write one word at a time. “A radio talk-show host asked me how I wrote. My reply—’One word at a time’—seemingly left him without a reply. I think he was trying to decide whether or not I was joking. I wasn’t. In the end, it’s always that simple. Whether it’s a vignette of a single page or an epic trilogy like ‘The Lord Of The Rings,’ the work is always accomplished one word at a time.”
Eliminate distraction. “There should be no telephone in your writing room, certainly no TV or videogames for you to fool around with. If there’s a window, draw the curtains or pull down the shades unless it looks out at a blank wall.”
Stick to your own style. “One cannot imitate a writer’s approach to a particular genre, no matter how simple what the writer is doing may seem. You can’t aim a book like a cruise missile, in other words. People who decide to make a fortune writing lik John Grisham or Tom Clancy produce nothing but pale imitations, by and large, because vocabulary is not the same thing as feeling and plot is light years from the truth as it is understood by the mind and the heart.”
Dig. “When, during the course of an interview for The New Yorker, I told the interviewer (Mark Singer) that I believed stories are found things, like fossils in the ground, he said that he didn’t believe me. I replied that that was fine, as long as he believed that I believe it. And I do. Stories aren’t souvenir tee-shirts or Game Boys. Stories are relics, part of an undiscovered pre-existing world. The writer’s job is to use the tools in his or her toolbox to get as much of each one out of the ground intact as possible. Sometimes the fossil you uncover is small; a seashell. Sometimes it’s enormous, a Tyrannosaurus Rex with all the gigantic ribs and grinning teeth. Either way, short story or thousand page whopper of a novel, the techniques of excavation remain basically the same.”
Take a break. “If you’ve never done it before, you’ll find reading your book over after a six-week layoff to be a strange, often exhilarating experience. It’s yours, you’ll recognize it as yours, even be able to remember what tune was on the stereo when you wrote certain lines, and yet it will also be like reading the work of someone else, a soul-twin, perhaps. This is the way it should be, the reason you waited. It’s always easier to kill someone else’s darlings that it is to kill your own.”
Leave out the boring parts and kill your darlings. “Mostly when I think of pacing, I go back to Elmore Leonard, who explained it so perfectly by saying he just left out the boring parts. This suggests cutting to speed the pace, and that’s what most of us end up having to do (kill your darlings, kill your darlings, even when it breaks your ecgocentric little scribbler’s heart, kill your darlings.)”
The research shouldn’t overshadow the story. “If you do need to do research because parts of your story deal with things about which you know little or nothing, remember that word back. That’s where research belongs: as far in the background and the back story as you can get it. You may be entranced with what you’re learning about the flesh-eating bacteria, the sewer system of New York, or the I.Q. potential of collie pups, but your readers are probably going to care a lot more about your characters and your story.”
You become a writer simply by reading and writing. “You don’t need writing classes or seminars any more than you need this or any other book on writing. Faulkner learned his trade while working in the Oxford, Mississippi post office. Other writers have learned the basics while serving in the Navy, working in steel mills or doing time in America’s finer crossbar hotels. I learned the most valuable (and commercial) part of my life’s work while washing motel sheets and restaurant tablecloths at the New Franklin Laundry in Bangor. You learn best by reading a lot and writing a lot, and the most valuable lessons of all are the ones you teach yourself.”
Writing is about getting happy. “Writing isn’t about making money, getting famous, getting dates, getting laid, or making friends. In the end, it’s about enriching the lives of those who will read your work, and enriching your own life, as well. It’s about getting up, getting well, and getting over. Getting happy, okay? Writing is magic, as much the water of life as any other creative art. The water is free. So drink.”
vor langer Zeit eingerichtet, in erster Linie wegen des Arbeitsstipendiums in Akureyri. Es ist viel passiert in der Zeit und immer wieder wird dies kleine Blog hier stark vernachlässigt. Aber: die öffentlichen Netzwerk-Plattformen sind eben doch Moden unterworfen und eine eigene Tagebuchwebseite (die über die Dokumentation meiner Kunstproduktion hinaus geht,) wie diese, kann etwas anderes sein – wenn man will. Mal sehen, wann ich wieder etwas mehr will…
„(…) wenn man wirklich etwas erreichen will, ganz besonders in der Kunst, muss man die Courage haben, sich an innere Orte zu begeben, die man gar nicht gern aufsucht. Orte in uns selbst, die Angst und Trauer hervorrufen. Das hat nichts mit der Außenwelt zu tun.“
Die Solothurner Zeitung hat einen großen Artikel zur Ausstellung gebracht, der wohl auch in einigen Ausgaben überregional erschienen ist. Und die Kasseler HNA hat auf die erneute Ausstellung von „Roundabout“ hingewiesen, welches sie ja hier in St. Martin schon ausführlich begleitet hatten.
es ist eine schöne Ausstellung in Solothurn geworden. Die weißen Räume der ehemaligen Klosterkirche tun der „Roundabout“ Arbeit nochmal richtig gut. Meine Zeichnungen runden die Installation wunderbar ab und die Malereien von Martin Kasper im hinteren Teil des Haus der Kunst St. Josef passen hervorragend dazu! Reto Emch, der auch selbst spannende Installationen macht, hat hier als Kurator ganze Arbeit geleistet und eine tolle Ausstellung zusammengestellt. Die Dokumentation ist inzwischen auf meiner Webseite – hier noch ein paar Impressionen aus der Schweiz:
Ich freue mich, das meine Arbeit aus St. Martin in Kassel ind der Schweiz gezeigt wird, und möchte herzlich einladen: Haus der Kunst St. Josef, Solothurn, Schweiz Eröffnung: Samstag, 19. Februar 2022, 17 Uhr bis 10. April 2022 Öffnungszeiten: Do – Fr 16–19 Uhr, Sa – So 13–17 Uhr Haus der Kunst St. Josef, Baselstrasse 27, CH–4500 Solothurn www.hausderkunst.ch