On the value of transcribing…

I have a habit of transcribing recorded conversations and passages from books as a way of gleaning a more in-depth understanding of a subject. There’s something about transcribing for me that aids in the digestion of certain concepts that enter my brain in that specific manner.

There’s a chapter in Kurt Vonnegut’s book, Cat’s Cradle, wherein the narrator asks a “vacantly pretty” woman of twenty named Francine Pesko—who is introduced to him by a Dr. Breed as the secretary for a Dr. Nilsak Horvath, a famous surface chemist “who’s doing such wonderful things” with films—the question: “What’s new in surface chemistry?”

“God,” she said. “don’t ask me. I just type what he tells me to type.” And then she apologized for having said, “God.”

“Oh, I think you know more than you let on,” said Dr. Breed.

“Not me.” Miss Pesko wasn’t used to chatting with someone as Dr. Breed and she was embarrassed. Her gait was affected, becoming chickenlike. Her smile was glassy, and she was ransacking her mind for something to say, finding nothing in it but used Kleenex and costume jewelry.

Since Cat’s Cradle was published in 1963, we can say that Miss Pesko’s attitude was not unusual for the era, but the excuse just doesn’t hold up for me when I think of my grandmother, who was a medical transcriptionist in 1963 and forty-one years old at the time.

My grandmother soaked in the knowledge she gained from transcribing and decades later, when I was an adult, she would rattle off medical facts in conversations that made her sound like she, herself, was a seasoned medical professional.

I’m very much like my grandmother in that way. In fact, I consider myself a knowledge junkie. And, I don’t understand how people can affect an attitude of willful ignorance about things with which they are in daily contact.

There’s no excuse to remain ignorant when most of us have access to a tremendous body of knowledge at our finger tips.

Practicing the art of writing microfiction: The drabble

Microfiction has gained notable popularity among early 21st-century writers. This trend might be attributed to the shortened attention spans of modern readers who multitask on smartphones and tablets. Alternatively, it could be that microfiction presents a compelling challenge for writers to hone their skills in crafting concise narratives.

Personally, I relish the art of writing concise compositions. Crafting polished prose within a strict limit of 336 words is a joy, but I also find pleasure in creating even more concise pieces, such as fifty-word mini-sagas and one-hundred-word drabbles.

For those unfamiliar, a drabble is a vignette precisely one hundred words long. The term was coined by the whimsical minds behind Monty Python’s Flying Circus. As described in Monty Python’s Big Red Book (1971), it originated as a word game for 2–4 players where the first to write a novel would win. Given the absurdity of completing a novel in such a short span, the drabble was conceived as a miniature novel to make the game feasible in real-time.

In the realm of drabbles, the author is permitted up to fifteen additional words for the title and their name.

I add my twist to the drabble by pairing it with an image, creating a rich tapestry of visual and textual storytelling. For example, here is a piece inspired by a Chagall painting:

PARIS THROUGH THE WINDOW 2013-1913

By Richard La Rosa

I rush into my SoHo apartment, glancing briefly at the clutter of masterpieces bathed in murky light, before fixing my gaze on the Chagall on the bricked-up window.

Stolen for my art-forger brother a hundred years ago it was created, like all the other paintings, with an extraordinary oil paint made by a Hungarian witch.

A witch whose genetic imprint is stamped in my own art-thief eyes.

Focusing my eyes on the painting, actually my escape hatch, I reach into Chagall’s 1913 Paris to take my brother’s hand.

The past becomes present just before the future unbecomes.

***

Richard La Rosa is an American writer.

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