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Only Dull People are Brilliant at Breakfast!


courtesy of deviantart.com 

This piece features two of my favourite characters to play with from The Brew; because every misadventuring hero ought to have the acerbic wit of a spinster aunt to keep him steady. 

I wrote this quite a while ago, which is funny because between the visit to the seaside and the aunt being named 'Jasmine' - well, there's a lot of facts from present happenings that seem to have insinuated themselves into my past. I thought it fitting. This is part of the backstory, which may or may not affix itself to the beginning of the actual plot... 



In England, people actually try to be brilliant at breakfast. That is so dreadful of them! 
-Oscar Wilde-

Archie’s maternal grandparents had belonged to that incredible class of people who possessed so much practicality that they were able to conjure deeper impracticalities in a moment than any sheerly impractical person might have managed in a lifetime. They named their first daughter Charlotte, a name equipped with a sturdy sort of sweetness very like its owner, and in that they could hardly have been anything but sensible. She grew up to be a very pretty girl, with dark eyes that housed the depths of the universe and a mass of dark hair that might have easily overrun a few lesser galaxies. As soon as all was deemed judiciously proper, she fell as decorously into love as anyone of her sex can be expected to, with a wealthy, titled, landed man of few remarkable looks and many remarkable stories. Of course, she really married him more for the stories and less for the titles and land, but her parents never suspected such an impropriety. She settled at his estate in Steeple, and they did not name their first and only son “Archie,” but he soon acquired the nickname after he went to university.
The younger sister (the very aunt towards whom Archie was now bound for a visit) had a very different story. Her parents in their great quantities of practicality had somehow decided that the name “Jasmine” was altogether right and fitting, and so she had grown up with nicknames like “Jazz” and “Rasberries.” (The latter might have been her own fault more than her name’s.) It was not that Jasmine was a bad name; it simply did not suit her. Somehow, the large eyes and flowing hair escaped her, and the flat, pale-brown tones of hair and eyes never blossomed into anything beyond a passing stranger’s thought, “Well, she’s not bad to look at…” She was as different from her limpid name in personality as in looks. Pigment was not entirely culpable for a perpetually shrewish look in her eyes, and she had a way of hissing “men!” like a curse word under her breath which eligibles of said sex found quite off-putting.
Jasmine Upton’s fate was therefore sealed: a spinster and the favourite aunt. It did not matter to Archie or to her that she was the only aunt; both lived in full assurance that, had the former twenty aunts, it would not have been otherwise. She lived in her family’s comfortable estate in the wooded hills of North Chelsea, only a few hours’ ride from the northwest seashores.
The prospect of visiting the seaside was enough to delight the heart of any young man between the ages of ten and thirty, much less one living in the middle of Chelsea’s flatlands, but there existed a kinship between aunt and nephew deeper than a boy’s love for running out of doors. Such a bond sprang not wholly out of the lofty estimation of the aunt in the nephew’s eyes. Archie had somehow borrowed her unremarkable looks in spite of being the son of her more striking sister, and out of this came a maternal instinct towards her nephew on the spinster’s part. What was more, she discovered early on that the lad was clever.
Their first breakfast of this particular holiday together contained such familial conversationalisms as characterized all their dealings.
“Darjeeling—”
“Please, Aunt, my friends call me Archie.”
“Your friends—whom I have yet to meet, I might point out, though I have run into one or two stupid collegiate babes-in-arms who blithered on as if they might have some claim to acquaintance with you—may call you what they will. I, as your aunt, have not the capacity to be so disagreeable, and may call you ‘High Supreme Lord Darjeeling Falcon’ if I so please.”
Archie tried very hard to look displeased and failed. He settled for stuffing his face with marmalade and toast.
“Now, Darjeeling, what will you do with yourself after you finish this six-year spell of trying your wits in the company of dolts?”
Aunt Jasmine did not think much of the current academic system, but if that had ever bothered Archie he had come to see things her way long since. He set his teacup down carefully and fixed his aunt with a grave stare. “Thank you,” he said at last, before returning to his breakfast.
She did not blink. “You are welcome, of course, though I’ll thank you not to use my honest questions as excuses for you to play the enigma.”
Archie hastened to explain. “Thank you for asking me what I meant to do with myself. Most people ask what I mean to do with my degree, and I feel as though it ought to be some great, malleable substance, which I may turn into a grand sculpture or a set of new drains. But the depths of my organs (especially during breakfast) instinctively inform me that my degree will be little more than a piece of paper for service, and while I’m a dab hand at paper hats and  boats neither of those will do very well for keeping my head or my toes dry – let alone my belly full!”
“Really, Archie, if one didn’t know you were so clever one would think you fearfully stupid. Not that I’m certain there’s a vast difference, mind,” she added, giving him an ironic look over her slanted spectacles. She gave him those looks every now and then, the sort that made him wonder if she were not fully capable of turning him into a toad on a whim. The speculation struck him as delightful rather than frightful. “My sister is not clever enough to be less clever, and her late husband—God rest his soul!—had the same problem, and consequentially you felt bound to outclever them both. Now, if I had had the raising of you—”
“My dear aunt, if you had raised me, you would find me insufferable. I count it one of the better parts of my life that you did not have a hand in my upbringing; it has made us so much the better friends.”
His aunt contemplated the notion at the bottom of her teacup. “True,” she conceded at last. “I shan’t pry into your future. I leave it to you to rush in where angels fear to tread. Only tell me you don’t mean to go on dwelling in a state of academia indefinitely. Academics are like narcotics, or perhaps the plague. If you didn’t mean to get out sooner rather than later, I should have to disown you, which wouldn’t put you off terribly, but it would inconvenience me tremendously. A fate worse than death, really,” her face grew as grave as Archie had ever seen it before: “I would have to rewrite my will. I can’t stand the sight of my lawyer, much less the sound; he grows more portly and dead-eyed and monologue-bound by the century – not that Tetley & Sons isn’t a good firm, or the most lucrative in the country. All the same, I’m glad you did not study law.”
Archie absorbed the statement and then selected the least irrelevant of all its contents as the subject of his next statement: “I believe I’m graduating with a Tetley. He studies law and complains perpetually about working for his father’s firm.”
For perhaps the first time in his acquaintance with his aunt, she looked extremely anxious. “I hope you’re not particularly acquainted with the boy!”
“Acquainted, but there is little soul-sharing between us.”
“That’s a mercy, then, for he’s certain to be a bore after a year at his father’s firm. That is why you must never tempt me to disown you, for I don’t care to summon my lawyer to my side ‘til after my flesh really begins to decay. And then, Darjeeling, I fear you will have to suffer his presence, though I warn you to spend no more time with him beyond the reading of the will. I’ve tried to make it a sprightly document, but Tetley Sr. could make anything a frightful bore, and those things are catching!”
“Do you mean, Aunt Upton, that after ten minutes’ conversation I might find myself portly and over-fond of the sound of my own voice?”
“I am quite certain the latter is already true,” his aunt gave him a glare, the same glare she had found effective in her youth at withering the hopes and self-confidence of at least fifteen careless young men at once. Her nephew, she noted with not a little pride, seemed to find the strength of such ire supremely amusing. Still, she rallied her disgruntlement enough to add, “I don’t think there’s ever much a chance of your being portly; the proportions of your paternal line saw to that. Still, life is full of uncertainties.”
The conversation was laid to rest after that, most likely due to the fact that Archie made a point of eating two or three times his usual amount of morning feed. This did not escape the notice of the aunt, who decided that persistent valor in the face of an impending danger was one of his better qualities. She braced herself for an entertaining fortnight.   
Read More 2 Missages | scribbled by Unknown edit post

Far-Flung Echoes of Long-Forgotten Tales

I'm in the process of packing up and moving across town. This means dragging out every article of everything that I own and deciding whether to take it or leave it. Among the rubble behind my bed was a packet of letters and scribbles, some of them pages taken from journals that I have since (apparently) discarded. I don't know why I kept them, but among these I found stories and notes from events long since forgotten:

October 28, 2005

Calvin comes limping into the garage door, crying pitifully, face streaked with a mixture of dirt, tears, and blood. (Churchill would be proud.) To any general assessment, he has just gotten into a big fight... one wonders what the other guy looked like. 

His story? 

"I sawed Greg flipping on the swing, an' I tried it, an' I did it, but oncet I falled!" 

(And Ben choruses from the background: "He can do really good flips!") 

I washed off his face - the bloody nose, bloody lip, bumped noggin slightly abrased - not to mention all the dirt in his mouth, nose, lips, and hair! Ah. And then he had to change his shirt, which was FILTHY disgusting... 

April 09, 2007

John Flavel says:

"When you go to God in any duty, take your heart aside and say, 'O my soul, I am now engaged in the greatest work that a creature was ever employed about; I am going into the awful presence of God upon everlasting moment. O my soul, leave trifling now; be composed, be watchful, be serious; this is no common work, it is soul-work; it is for eternity; it is work which will bring forth fruit to life or death in the world to come. Pause awhile and consider your sins, your wants, your troubles; keep your thoughts awhile on these before you address yourself to duty." -Keeping the Heart 

Today, I find it ironical,

that in an event I do not recall and a book I do not remember reading, two common practices (that of dealing with dirt and blood, and that of self-dialogical writing) would surface so strongly. I don't know why I kept those papers. It's kind of cool. 
Read More 0 Missages | scribbled by Unknown edit post

Figs for Thought


Then the word of the Lord came to me: "Thus says the Lord, the God of Israel: Like these good figs, so I will regard as good the exiles from Judah, whom I have sent away from this place to the land of the Chaldeans. I will set my eyes on them for good, and I will bring them back to this land. I will build them up, and not tear them down; I will plant them, and not pluck them up. I will give them a heart to know that I am the Lord, and they shall be my people and I will be their God, for they shall return to me with their whole heart. 


-Jeremiah 24:4-7     


don't stop the madness, 
don't stop the chaos, 
don't stop the pain inside of me: 
do whatever it takes to break my heart, 
and bring me to my knees.
-Tenth Avenue North-

Read More 2 Missages | scribbled by Unknown edit post

Dusting of the Pen: A Few Pale Threads of Varying Ambiguity


(these paragraphs are not chronologically or necessarily connected in any way)

He looked at the little weapon, shining with all the marks of carefully crafted deadliness. It had been gifted him when he took his oath as an inspector, and he had sworn to use it in the service of bringing criminals to justice. “I have taken vows to my King, Inspector," he said a little hoarsely, and the words (though certainly true) seemed to smell a little like a long-dead thing coming from his mouth. “I am bound by duty to carry it in the pursuit of justice, for a little longer at least.”


It was one of those mornings where, upon waking up, things were plainly Not Quite Right. Nothing so innocuous as everything being Totally Wrong - just the slight off-set to the way things Ought To Be, like a sentence that presents an otherwise grammatically correct front amidst a blur of Moderately Unsettling Misapplication of Otherwise Acceptable Standards of Grammar. Even when Nurse poured the milk into Lady Jane’s tea, though she poured exactly the proper amount and neither a drop more nor less, she seemed to be pouring it backwards. The perplexing indefiniteness of the Not Quite Right state of things only contributed to the state of things, and by the time half-ten had come Jane was beside herself with that worst sort of anxiety that knows neither cause nor effect, but does quite well at being there nonetheless. 

She gave him a look in her good-natured manner of disapproval. “I’m glad you didn’t rush to my rescue,” the reply conveyed not a little relief. “Such a scheme, if it didn’t get all the wrong people killed, would at least have certainly gone straight to your head—which would have been an unhappy ending enough for any night.” And then, quite unexpectedly, she buried her face into the lapels of his coat (which she was somehow now wearing) and began to cry. 


"A sentence is but a cheveril glove to a good wit; 
how quickly the wrong side may be turned outward!" 
-Twelfth Night-



Read More 2 Missages | scribbled by Unknown edit post

A Nice Derangement of Epitaphs

I think, after such an undeniably long absence from my own shabby art of blogging, that a bit of rambling and ranting on the miseries of the Dread Writer's Block'd'arts would be justifiable. But I'm not going to talk about that; instead, I'm going to talk about why I'm not talking about that, and thus probably spend more time talking about it than I would if I weren't not talking about it.

Clever, clever. I know.

There is a part of me that is inclined to dispute that such a thing as writer's block exists at all - or at least, that it is a phrase tossed around too often without any clear meaning. It seems doubtful whether or not that part of a person which makes them a writer (if such a part exists, and one is not merely writer) can be somehow temporarily cut off from functioning. If I may tediously make an analogy, the mark of the mother is her deeply-rooted share in the affairs of her household and its members, and though the household would surely fall apart if the functional acts of caring for the house and its occupants did not take place, she does not cease to be a mother when she sits down for five minutes' rest.  

Similarly, I suspect that what makes one person a writer has more to do with his share in the literary and less to do with the actual, functional part of setting words onto paper. The latter is important, of course, but it is not complete. Back to the tedious analogy, one does not say a woman has "mother's block" in those moments when she is too disorganized and weary to decide what needs to be done next. One may say that she is being lazy, or that she does not possess the skills to maintain her home, but those are very different things than saying that she is "blocked." Put in those terms, the idea of a "block" seems a very passive sort of excuse. 

(Here one gets a little too close to treading on one's own toes for comfort... )

Taking the role of writer to mean something closer to one who has an appetite for words literarily set to paper than one who has an appetite for literally setting words to paper, I then suspect that nine times out of ten when the word "blocked" leaves my mouth, it is not only a passive excuse but something unduly blamed. If a writer has merely ceased to produce words, it does not necessarily follow that a full block has set in. Now, if a writer ceases to write and read, and simply mucks about in a stew of mediocre thoughts and reality television, then I suppose he may fairly refer to his whole writing self as effectively blocked. But, once again, a little change in habits will quickly fix that, without trusting to the return of fickle inspiration. He may turn off the television and begin to read again, trusting that his appetite will return shortly. 

I fear I have set my thoughts toward a conclusion on my Unwritingness that is more to my own shame than anyone else's. I have read, but I have little more to show in writing from the last three months than a few scraps of sentences far-flung among my many battered notebooks. And yet I have not simply been too busy to look at my sundry Word documents of ill-promise; I can recall several instances over the last few weeks, at least, where I spent quantities time scrolling through them and ... for what? 

Pecking without promise - that is how I would describe ventures into my stories of late. Opening a document with the intentions of scrolling to the end and moving forward, and somehow always finding myself lost in a sentence somewhere in the already-written portion, chipping away towards some ideal of perfection as if that sentence were the only sentence in the story. I have not written very much, and still I could spend hours in editing. I write, but I do not move forward; surely this is classifiably blockage. 

But I have gone too far in the paragraphs beforehand to leave it at that, and I begin to think (uncomfortably) that "writer's block" is simply another name for a far less excusable condition. If I look at my so-called block, I find that lack of inspiration cannot be blamed. Too often I am unable to write because the story might not be good enough for me to have written it, and unable to read because I do not wish to be still and contemplate the fact that someone else might be God. There - behind every tale of my writer's-block woe - there it is. When I am blocked, it is merely that same unbelieving pride that felled humanity, now speaking in me: "I am only a writer when I put something forth, not when I receive." This same pride must make something of itself now, must write the story now, must not be called upon to wait and to listen. Not having something to say cannot be a divinely-granted privilege to be still and know that He is God. I must be allowed to write; I must be allowed to produce; I must be allowed to follow my Christian calling and construct something worthy of my own approval... 

And I wonder if, buried in all this dissection of distasteful negativity, one might find the true calling of a Christian writer: beyond simply not writing smutty books (though this is important), and beyond even the production of excellent writing with beautiful themes of truth. I do not deny the value of clean, excellent, meaningful writing; I think I must deny its wholeness as a calling. They are but a handful of words from one sentence in a story of which I am not the author. To treat them as the most important sentence, and to spend a multitude of hours editing and re-editing my presentation of symbols and themes as though it were the summary of my calling as a Christian writer - as if I, who have been given everything that is anything, must somehow forge my own worth when it comes to my craft.... 

What is the job of the Christian writer? Is it not to spy the roots of unbelief and pride which (though dead) still linger in the fiber of who I am as a writer and not wall myself off from the reality of them with red herrings of a supposed "block?" Can I call myself a 'Christian' writer if in the act writing I persist in seeing falsely, forgetting that in all things literary or otherwise I am called first and foremost not to do something for God, but to revel in the works of another on my behalf, and so kill sin and love Jesus? Is this not the true calling of a Christian (writer): more than sacrifices and burnt offerings, more than dedications in the front of books naming the name of Jesus, and far more even than stories that depict Christian values and redemptive themes in an excellent manner? 

In a job that is often centered on mystery and imagination and the ability to produce catchy, exciting things, it is all too easy to fall back on the folly of Digory's Uncle Andrew and proclaim that "ours, my boy, is a high and lonely destiny." Pagan writers and movie-makers, believing this, have produced plotlines exalting people with similar destinies, and these are the tales of our generation: thousands upon thousands, tributes to the bent nature of twisted selfishness and blind anarchy that seem to ever only ape greatness and never reach the mark. The self-made writer with his glorious 'Christian' calling may evade such follies in writing, but in being he joins Uncle Andrew and the pagans. What if he gains a whole book, and loses his soul? 

Let us be as kind as we can. Let us take this Christian writer with his brash ideals and aspirations of Christian writing, and set him alongside the sons of Thunder, asking it be given him to sit beside Christ in glory. And then the trouble with a self-made destiny becomes clear. The flaw is not that it is too high or too lonely; rather, that our self-conceived destinies are bound too close to the earth by the weight of sin, and so too crowded by sins and miseries. We cannot be high or lonely enough. It is not within the powers of our imagination or creativity to transcend such a weight as the pride of unbelief - not when the desire to do so originates in that same pride. The Christian writer has only to bind Micah 6:8 across his forehead and about the doorposts to his heart, and then be still and know that Christ is God. Because then Jesus will certainly turn and ask if this bold scribe is ready to drink of His cup, as indeed it will be given to His own to drink: a far higher and far lonelier destiny than anything dreamed of by Uncle Andrew or the pagan storytellers or the sons of Thunder, telling the tale of foolishness that shames wisdom and weakness that shames strength. 

"But indeed, words are very rascals
since bonds disgraced them."
-Shakespeare-
Read More 1 Comment | scribbled by Unknown edit post
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