Because I love the sad and beautiful truth of nothing-can-stay.
I would be brief on the day I didn’t have a lot to say or, really, had a lot to say but wanted to make the thoughts in my head all compact the way a wintertime child can take a puff of snow and squeeze it into a ball of ice, to make it all hard and small.
So yes, I’m making a beautiful bookthing. It’s that wondermental thing known as: a labour of love.
What I’m doing right now is I’m writing a thing, a beautiful thing, a bookstory thing. It’s hard going — oh god, it is — and for all the wild-ride moments of outpour, there are many many — many! — ice ages of brainfreeze. When you write a thing as a pen-for-hire, you push through the brainfreeze, because money and somebody else’s deadline are great motivators. But when you make something with joy in your heart and when it’s a collaborative effort to boot — I’m making this thing with James Cook, whose delicious photographs will join up with the words I write — you let the going be slow because you’re waiting for a strange kind of knowledge — epiphany, I guess you’d call it — waiting to see in a way you’ve never seen before, waiting to understand, waiting to make connections.
You know how much I love words and the physical act of writing, how much I love the graphemic grace of the thing that is written? Yeah, you do. And you know how much I like holding a pencil in my hand and making marks on a paper with it — marks with meaning, I mean — and also how much I like reading a paper full of writing from someone else’s hand? Well, I like all that very much, you know I do, but I like something else too:
In all the annals of object porn, there are no objects that incite greater lust in me than typewriters.