It's So Classic Blog Party Tag

Olivia tagged me with this a few weeks ago and busy as we've been lately I forgot it was one of those with a deadline. Eeek! But now here we are. (Aren't ya proud of me? ;)) And I really wish I had time to hunt down some fantastically funny memes to sprinkle throughout and have you all in stitches, but (in the interest of being properly grown-up, etc.) I really can't. My kitchen and laundry room are calling. So you'll have to use your own vivid imaginations on that front. :D

*Ok, rolls up sleeves and enough with the self aggrandizing fanfare.*

The It's So Classic Tag:

Rules:

1. Link your post to Rebellious Writing (www.rebelliouswriting.com)
2. Answer the questions
3. Tag at least 5 bloggers.

~ What is one classic that hasn’t been made into a movie yet, but really needs to?

The Blue Castle by Montgomery does spring to mind, but I'm trying to keep my selections here to Weightier Great Book-ish tomes (otherwise we run the risk of wandering into the territory of Chesterton, Wodehouse, C.S. Lewis, Montgomery, Alcott, and the like, which'd easily fill up every answer here *coughs*).

The other option I can think of is Mansfield Park. I'd really like to see a newer version that actually gets it. But again, that might not count since it has been done a couple times.

Hmmm... This one kind of rides the fence as far as being an absolute classic, but maybe The Talisman by Sir Walter Scott?

~What draws you to classics?

The deep thoughts and rich metaphors. The enduring-ness.

~What is an underrated classic?

The Faerie Queene by Edmund Spenser. (At least the first book, which I've read at least three times in this edition.) LOVE IT. <3 

~What is one classic that you didn’t expect to love, but ended up loving anyway?

Maybe The Tenant of Wildfell Hall by Anne Bronte.

~What is your most favorite and least favorite classics?

Favorites: far and away, Crime and Punishment by Dostoevsky, Heart of Darkness by Josef Conrad, and North and South by Gaskell. (Jane Austen aside, that is.)

As for least favorite: The Good Earth by Pearl S. Buck. It's rich and powerful and horribly, heart wrenchingly awful and sad. I'm glad I read it, but don't really ever want to read it again. (At least, unless I was teaching it or something.)

~What is your favorite character from a classic? Or if that is too hard, one is your favorite classic character trope (e.g. strong and silent, quiet sidekick, etc.)

Haha. Yes, definitely too hard. According to the dictionary, 'trope' is officially a "figurative or metaphorical use of a word or expression." So I'll say the self-sacrificing hero. And not in a flowery way, but the very real brink-of-death sense. And that's true for both book and film. Gets. me. every. time.

~What’s a popular classic that you felt wasn’t actually that great?

This is more that I've never been able to really get into some of them (except for The Old Man and the Sea), so it's not that they're bad, it's just that I find Hemingway... difficult. Most of it's the wordiness, but I also ran across an article a while ago pointing out that he doesn't really have a sense of humor, which was a really interesting point. Not that everything has to be hilariously funny (witness my actual top favorites above), but it has to do with a deep running... balance, I guess you could say. A laughter at the edge of tears. That sort of thing. And of course, I could be completely misjudging him on that. It is true that I can vividly remember every bit that I have read of his. Persevering in the reading has just been a challenge.

Oh, and while I find her life story fascinating and absolutely love her thoughts on the discipline of writing and storytelling itself (and have had various friends who raved about her writing) I've had the hardest time getting into Flannery O'Connor.  

~Who is your favorite classic author?

Ummm, ok this one's kinda impossible to choose, honestly. But, trying to think purely of the writing styles, probably Jane Austen, Josef Conrad, or Elizabeth Gaskell. (Again, that's if we're not counting Chesterton, Wodehouse, Tolkien, Lewis, Montgomery, Alcott, Milne, Snedeker, de Angeli, etc etc etc............)

~In your opinion, what makes a classic a classic?

At the risk of sounding high falutin, it's larger than the sum of it's parts, transcending the time it was written, hitting on enduring themes... Often with a fresh tone or unexpected viewpoint. You get the idea.

~Relating to newer books, what attributes does a book need to have in order to be worthy of the title “classic”?

Well, in short, it has to stick. But I'd apply the same criteria listed for the last question. 

Quick note: focusing on the two ends of the spectrum, I realized I left off quite a few that I've enjoyed and definitely still count as favorites to varying degrees and/or impacted me -- like Jane Eyre, Far from the Madding Crowd, David Copperfield (& Co), The Divine Comedy, a number of George Eliot's books, and I, Claudius (which was really interesting, also somewhat crazy and odd, and should come with somewhat hefty adult level reading proviso stickers, IMHO).

But such is the nature of list making and different titles are highlighted at different times. :)

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And... since I'm kinda just getting back into the blogosphere I'm not sure I know five bloggers to tag who are still active (or haven't already done it) + I'm doing this at the end of the challenge and all that, so I'll skip that part, but if you'd like to just go for it feel free! :) Here's a link to a clean copy of the questions. I'd love to see your answers!

Tolkien Party Tag 2016

Believe it or not, I’ve actually been thinking of this post ever since last September. Hamlette’s (always splendid) Tolkien party was the week before our wedding and I actually wrote out all my answers for her tag ahead of time, but then (what with finishing my wedding dress and *coughs* all sorts of Wonderful People Arriving in Town ;D) I ran out of time to put my pictures in. :) :) But I’ve been thinking about it ever since and am now curled up on my couch across the country and able to dig through Pinterest again… so here we are!

(And oh this is making me want to read the books again.)

~     ~     ~ 

1. How many books by J.R.R. Tolkien have you read? ~ Hmmmm, let us see… The LOTR (Fellowship of the Ring, Two Towers, Return of the King), The Hobbit, and Farmer Giles of Ham. Once upon a time I also started reading Leaf by Niggle.

2. Have you seen any movies based on them? ~ No.

3. Are there any scenes/moments that make you cry? ~ Well this part always gets me choked up:

*SPOILERS*

“The old man was too quick for him. He sprang to his feet and leaped to the top of a large rock. There he stood, grown suddenly tall, towering above them. His hood and his grey rags were flung away. His white garments shone. He lifted up his staff, and Gimli’s axe leaped from his grasp and fell ringing on the ground. The sword of Aragorn, stiff in his motionless hand, blazed with a sudden fire. Legolas gave a great shout and shot an arrow high into the air: it vanished in a flash of flame.

‘Mithrandir!’ he cried. ‘Mithrandir!’

‘Well met, I say to you again, Legolas!’ said the old man.

“They all gazed at him. His hair was white as snow in the sunshine; and gleaming white was his robe; the eyes under his deep brows were bright, piercing as the rays of the sun; power was in his hand. Between wonder, joy, and fear they stood and found no words to say.” - TTT

4. Are there any scenes/moments that make you laugh? ~ I do dearly love the scene with Merry and Pippin as sentries, lying at their ease and smoking on the thrown down stones of the gates of Isengard.

5. Have you ever chosen a Middle Earth name for yourself? If so, what is it? ~ Lady of Anorien. ;)

6. Who would you want to party with/marry/fight to the death? (pick three characters, one for each) ~ Partying: probably Merry or Pippin. Fighting to death (not my thing), but I’ll say one of the Southrons/Haradrim. As to marrying… Well, with humor and honor and thoughtfulness and leadership (and an enjoyment of manly pursuits) my Very Own Man has some personality traits akin to a number of the characters; Sam, Gimli, Faramir, and Aragorn springing first to mind. (I know, that’s four, but I’m really describing my own knight. ;))

7. When was the last time you visited Middle Earth, via books or movies? ~ Officially, about two years ago.

8. Do you consider Gollum to be a villain? Why or why not? ~ *spoilers* Yes, but (like a LOT of the greatest villains), he’s most definitely conflicted – pulled to the goodness he sees – but then in the end ultimately turning and giving himself completely to the power of the Ring. Incidentally (and this really used to bother me, but I think I’m starting to see what Tolkien was after), he really mirror images Frodo. The only thing in the end that creates a difference is divine intervention, if you will. It’s a fine line, but, in my opinion at least, that little moment at Mount Doom is the high water mark of all that ultimately tips the entire story into the realm of complex types and shadows and away from the realm of allegory. (If you're interested, I shared some of my thoughts on Frodo here a few years ago.)

9. How would you sum up what Tolkien's stories mean to you in one word? ~ Momentous. (That didn’t seem quite strong enough at first, but I googled the definition to be sure and the meaning’s even bigger than I thought and absolutely fits.)

10. List up to ten of your favorite lines/quotes from the books or movies. ~ For a summary:

#1: “I wish it need not have happened in my time," said Frodo. "So do I," said Gandalf, "and so do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given us.” – FOTR

#2: “All that is gold does not glitter,

Not all those who wander are lost;

The old that is strong does not wither,

Deep roots are not reached by the frost.

From the ashes a fire shall be woken,

A light from the shadows shall spring;

Renewed shall be blade that was broken,

The crownless again shall be king.” – FOTR 

#3: “P.P.S. I hope Butterbur sends this promptly. A worthy man, but his memory is like a lumber room: thing wanted always buried. If he forgets, I shall roast him. Fare Well!” – FOTR

#4: “Day was opening in the sky, and they saw that the mountains were now much further off, receding eastward in a long curve that was lost in the distance. Before them, as they turned west, gentle slopes ran down into dim hazes far below. All about them were small woods of resinous trees, fir and cedar and cypress, and other kinds unknown in the Shire, with wide glades among them; and everywhere there was a wealth of sweet-smelling herbs and shrubs. …fronds pierced moss and mould, larches were green-fingered, small flowers were opening in the turf, birds were singing. Ithilien, the garden of Gondor now desolate kept still a disheveled dryad loveliness.

 

“South and west it looked towards the warm lower vales of Anduin, shielded from the east by the Ephel Dúath and yet not under the mountain-shadow, protected from the north by the Emyn Muil, open to the southern airs and the moist winds from the Sea far away. Many great trees grew there, planted long ago, falling into untended age amid a riot of careless descendents; and groves and thickets there were of tamarisk and pungent terebinth, of olive and of bay; and there were junipers and myrtles; and thymes that grew in bushes, or with their woody creeping stems mantled in deep tapestries the hidden stones; sages of many kinds putting forth blue flowers, or red, or pale green; and marjorams and new-sprouting parsleys, and many herbs of forms and scents beyond the garden-lore of Sam…

“The travelers turned their backs on the road and went downhill. As they walked, brushing their way through bush and herbs, sweet odours rose about them. Gollum coughed and retched; but the hobbits breathed deep, and suddenly Sam laughed, for heart’s ease not for jest.” – TTT

#5: “Then came the voice of Faramir close behind. ‘Let them see!’ he said. The scarves were removed and their hoods thrown back, and they blinked and gasped.

“They stood on a wet floor of polished stone, the doorstep, as it were, of a rough-hewn gate of rock opening dark behind them. But in front a thin veil of water was hung, so near that Frodo could have put an outstretched arm into it. It faced westward. The level shafts of the setting sun behind beat upon it, and the red light was broken into many flickering beams of ever-changing colour. It was as if they stood at the window of some elven-tower, curtained with threaded jewels of silver and gold, and ruby, sapphire and amethyst, all kindled with an unconsuming fire.” – TTT

#6: “…As he went by the cave-mouth he saw that the Curtain was now become a dazzling veil of silk and pearls and silver thread: melting icicles of moonlight.” – TTT

#7: (My seventh selection is a long one, rather too long to write out in it’s incredible, gorgeous entirety--but it’s Sam’s thoughts on heroic deeds and great tales while sitting on the Stairs of Cirith Ungol.)

#8: “You did indeed!” said Gandalf, laughing suddenly; and he came and stood beside Pippin, putting his arm about the hobbit’s shoulders, and gazing out the window. Pippin glanced in some wonder at the face now close beside his own, for the sound of that laugh had been gay and merry. Yet in the wizard’s face he saw at first only lines of care and sorrow; though as he looked more intently he perceived that under all there was a great joy: a fountain of mirth enough to set a kingdom laughing, were it to gush forth.” – ROTK

#9: “Gandalf did not move. And in that very moment, away behind in some courtyard of the City, a cock crowed. Shrill and clear he crowed, recking nothing of wizardry or war, welcoming only the morning that in the sky far above the shadows of death was coming with the dawn.

“And as if in answer there came from far away another note. Horns, horns, horns. In dark Mindolluin’s sides they dimly echoed. Great horns of the north wildly blowing. Rohan had come at last.” – ROTK

#10: “…Suddenly Faramir stirred, and he opened his eyes, and he looked on Aragorn who bent over him; and a light of knowledge and love was kindled in his eyes, and he spoke softly. ‘My lord, you called me. I come. What does the king command?’ ‘Walk no more in the shadows, but awake!’ said Aragorn. ‘You are weary. Rest a while, and take food, and be ready when I return.’” – ROTK
(And if you'd like to hear more of my thoughts on this particular, tingly passage, you can read more here. ;))

Well there we are! Do chime in with any of your thoughts, I'd love to hear them! Do we have any similar answers?

Of Deep Story & Beauty ~ Cinderella

Cinderella has always been one of my three favorite fairy tales, but over the last few weeks, I’ve started trying to figure out exactly why. Unlike the more obvious Sleeping Beauty or St. George, what is it about Cinderella particularly that makes it one of my greatest heart stories?

As is the way with most true fairy tales, I don’t even remember where I first heard it. I didn’t grow up with the 1950 film version and there wasn’t a particular picture book version that I read to bits. (Those all came much later. ;))

So what is it? Then about a week ago, it all clicked together.

With beauty of heart and hand, Cinderella is definitely the hardest working of any of the traditional princesses, which creates room for some amazing character development.

There’s her shining loyalty, her forgiveness -- her patience and kindness. 

There’s her hope even in the direst of circumstances, a hope that doesn’t deny darkness and despair and heart-wrenching pain. 

There’s her resilient fortitude and perseverance.

And there’s her courage. To quote C.S. Lewis, “Courage is not simply one of the virtues, but the form of every virtue at the testing point, which means, at the point of highest reality. A chastity or honesty or mercy which yields to danger will be chaste or honest or merciful only on conditions.” 

Some of these qualities are fleshed out/developed much more in good retellings and/or films, but they’re all there at the heart of the original story.

And found in cultures all over the world, spanning the centuries, woven into the very fabric of creation itself -- pointing to and mirroring the Deepest Story of all -- Cinderella is the only fairy tale that (as in the original story itself) has ever actually made me cry.

For it brings a glimpse of joy. To tie together two more quotes from C.S. Lewis, “Joy is distinct not only from pleasure in general but even from aesthetic pleasure. It must have the stab, the pang… The experience is one of intense longing… This hunger is better than any other fullness; this poverty better than all other wealth.”

Cinderella’s character is beautiful, but the second definitive element -- the golden nut at the heart of the fairy tale, making it different -- is her prince, her prince caring for and taking her for who she is. 

This is unconditional love; love akin to Christ’s love for His people (which, of course, goes infinitely beyond, as He loved us when we were unlovely). 

And -- since we’re dealing with deep story here -- it also runs multiple ways. It’s a picture of what He has done and what He’s still doing. This is an ongoing story and we’re right smack dab in the middle of it.

In Cinderella, there’s the ball, then there’s a separation, and then -- hunting the length and breadth of his kingdom -- the Prince comes seeking his bride. Meanwhile, she’s right back where she was, continuing to live faithfully in her wretched circumstances -- living out further good deeds done in good faith. 

Cinderella is found shining in the dirt and grime necessarily associated with her calling and place. She’s not afraid of getting her hands dirty in faithful service. 

And when her prince finds her, he isn’t frightened by any of it.

On an eschatological scale, this is the church awaiting the final consummation and marriage supper of her King. He has won our hearts -- holding them securely. Winning them, He has, too, our full allegiance and love, and we are now able and called to joyfully do or die in His service. 

And… keen and passionate, our Prince loves the beauty of His bride.

A Writing Tag

Anne-girl has just started a new writing blog at A Half-Baked Plot so here are my answers to her tag:

What is your favorite kind of cake? If you don't eat cake {because of gluten issues or allergies or diet or whatever} what is your favorite dessert? ~ Ice cream cake with either Oreos or crumbled brownies!

How long have you been writing? ~ I’ve been telling stories ever since I can remember, but I think my earliest typed up tales date to when I was about seven or eight. ;-)

Do you read books and blogs about writing? If so what are some of your favorites? ~ I do (very selectively!), and my favorite books are The Christian Imagination edited by Leland Ryken (beautifully covering the entire creative reading and writing process as a whole), The Elements of Style by William Strunk, Jr. and E.B. White (quite pertinent and indispensable), and Outlining Your Novel by K.M. Weiland (striking a perfect balance between structure and flexibility). My favorite writing blog is Weiland’s: Helping Writers Become Authors.

Do you believe it's important to study writing as an art form? Why or why not? ~ I heartily concur in that I think good writing is art, so—yes—it most definitely merits study into all its wonderful depths and complexities! As to a particular level of study: everyone’s learning process is different. Some writers seem to be tremendously helped by in-depth “how-to courses”, etc.—while others prefer to “do their own thing”. Both can do excellent work.

Who's writing has influenced yours the most? ~ It would be hard to pick a single author, but looking at my current WIP: I think Jane Austen, Elizabeth Gaskell, G.K. Chesterton, Caroline Dale Snedeker, Margaret Leighton, J.R.R. Tolkien, and Joseph Conrad are all playing a part. Quite a mix!

Do you consider writing more important than food? Why or why not? ~ When I first read this question I actually got thinking about it along rather deep lines… Because, Biblically speaking, I think there’s actually a strong connection between the two—that is, between word and food. So I’m not sure I could pick. :-)

Tell us the thing you are most excited about with your writing. ~ Metaphor. I love crafting with metaphor and studying its incredible ability to tie different plot threads together while adding depth and meaning to a story.

What are you dreading most in your writing? ~ Starting new chapters! Story openings haven’t been tremendously hard thus far, but I have a dreadful procrastination habit when it comes to figuring out the opening scene of a chapter.

Would you rather have people love your book now or be considered a genius after you are dead? ~ I would be thrilled if people loved my writing now (it’s such an encouragement!), but then—again—there’s the long term perspective. Part of what makes something worthwhile and classic is having it stand the test of time.

Thank you, Anne-girl! Good questions!

Redemption, Damnation, and Metaphor

A bit of groundwork for a book review I'm hoping to post next week...

 ~

All good story is really either about redemption or it's antithesis–damnation. And oddly enough often done unintentionally on the author's part (another of those fascinating quirks of the creative process). But an honest author–even if he is rebellious–cannot avoid it. It just happens. As part of the way in which God has made the world it is the vast pattern by which everything else is shaped–the deep running vein in the rock of creation.

Granted, sometimes the message is skewed, i.e. the characters seem to “achieve” the redemption through their own merits or actions. Though this interpretation can sometimes itself be a little skewed. In other words, “achievement of redemption” is often just that, a reverse image of reality, but sometimes, on a careful rereading, it can turn out to be something quite different–particularly taken on a symbolic level. Still, in the best stories, the redemption comes from outside the character–a lightning stroke, an unexpected act of grace and mercy.

Now, in real life, no man can save his brother or give a ransom for him, but within the confines of a story's world every character carries a burden of meaning greater than himself. Because of this–and because of metaphor–brother can pay for brother. The imaginary world of the story shows us the tangible grace in ours–helping open our eyes not only to transcendent realities, but to the small mercies given us every day by those around us. And of course, ultimately, in a well-written story (returning to the great pattern and transcendent realities) it gives us a glimpse of Christ–the friend who spent his life, the brother who paid the costly ransom, the bridegroom who redeems his bride. In flying from damnation, redemption often confronts us in odd, startling, unforeseen ways.

All of this is played out in concrete time and space and as an ongoing process; ultimate redemption and ultimate damnation taking place in the actions and decisions of everyday characters. And in the best stories they are played out side by side. Safety is not seen as safety when danger is non-existent or invisible. Redemption comes into its fullness when the alternative stands, in all its terror, immediately opposite.