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Currently viewing the category: "Writing"

Jimmy’s Barbershop

On February 23, 2011 By Pat Buckna
“You like Greek?” whispered Jimmy in my ear. Instead of nodding my head with Jimmy’s clippers hover­ing close to my ear, I breathed a steady yes. “Milo’s -  down the street — they have new manage­ment.” I haven’t been there for years, I told Jimmy. I remem­ber they had good lamb. “The best,” said Jimmy. I haven’t [...]

Jimmy at work in his shop

“You like Greek?” whispered Jimmy in my ear. Instead of nodding my head with Jimmy’s clippers hover­ing close to my ear, I breathed a steady yes.

“Milo’s -  down the street — they have new manage­ment.” I haven’t been there for years, I told Jimmy. I remem­ber they had good lamb.

“The best,” said Jimmy.

I haven’t been to a barber­shop, a real barber shop for years either.  Proba­bly thirty years or more. Sometime in the seven­ties or eight­ies, I began going to stylists and salons.  Started with razor cuts and shampoos.  I liked the little extra bit of atten­tion, but mostly it was because barbers never did what you told them.  If you said, don’t touch the sides and leave it long in the back, they’d just get out the electric clippers and zip it all off anyway.  And after­wards, they’d get out the comb and scissors and pretend to shape the little that was left.

Just leave the sides, I told Jimmy.

“Okay, just a little trim around the ears and the back short,” he said.  I sat back in the comfort­able chair and thought about how long it had been since I’d been to a barber, then when I’d first gone to one — with my Dad. I couldn’t have been very old, proba­bly five or six ’cause I remem­bered the uphol­stered board the barber had placed over the arms of his chair for me to sit on.  It was a three-chair shop on 11th street south-west in Calgary, just a couple of blocks from the Birkett Manor on 17th Ave where we lived.  We proba­bly walked there, Dad and I, but I don’t remem­ber that part, just him sitting in one of the chairs reading a magazine while the old guy buzzed and snipped around my head.

Jimmy reached up and removed my glasses and placed them on the shelf. How much for a trim?

“Fifteen dollars.” I asked if he took credit cards.

“No, just cash.”  I fished in my pockets. All I found was  a five-dollar bill.  I don’t have enough cash I told Jimmy.

“It doesn’t matter. Don’t worry about it.”

Jimmy contin­ued to snip and clip and I realized that for Jimmy it wasn’t about the money, or the hair, it was about being here — day after day, year after year, and chatting with the regulars and the occasional stranger like me who wandered in for a trim, or a shave or a buzz-cut.  The number of  young guys in Jimmy’s shop surprised me.  All five or six chairs were  filled with guys under thirty, most proba­bly under twenty.  While I was there, a half-dozen more came in and sat waiting.

Jimmy took his time, even though shaping the tiny amount of hair I have left on my scalp is more of an act of faith than anything else.  Jimmy stopped once to take a phone call and waved to someone passing by on the street. Unlike the stylists I had gone to over the years, he kept the chair angled away from the mirror and toward the store­front window facing the street.  Jimmy’s chair is the first one at the front of the shop.  He had the best view and I sensed he spent as much time looking out the window as I did, while he worked his clippers over my head and in my ears and behind.

“You want your eyebrows done?  They’re too long.”  Sure, I said and closed my eyes as his scissors clipped, and clipped, and clipped some more over my brows.  I heard a differ­ent,  higher pitched sound and felt Jimmy reach over and expertly trim my moustache with a couple of deft swipes, then work deeper into my ears.  I’d been in the chair now almost half and hour. He must be done soon, I thought, but then another quiet whir began as Jimmy’s hand pressed hard into my shoul­der.  He had a hand massag­ing unit on his hand and worked the vibrat­ing magic fingers across my shoul­ders, across my back and around my neck, smooth­ing out the tension like an iron smooths out wrinkles.  When Jimmy finished, he whisked my face with a soft bristled brush. He splashed a few drops of perfumed liquid in his hands and rubbed it into my hair, the used his fingers to smooth every­thing into place. He swung the chair to face the mirror, handed me my glasses and raised a hand mirror for me to inspect the back.  Looks good Jimmy, thanks.  I handed him the five dollar bill.  It’s all I have I said.

“That doesn’t matter. Don’t worry about it.

The next day it snowed a foot in Victo­ria, but on the way to work, I went to a cash machine, then stopped in to pay Jimmy what I owed him. He looked up from the head he was working on, smiled and took the money.  “Thanks,” said Jimmy.

 

 

 

Striking a balance

On December 1, 2010 By Pat Buckna
Most of us would agree that order and chaos are on the opposite ends of a contin­uum. Orderly behav­iour tends to equate with stabil­ity while erratic behav­iour is chaotic. These opposites could be described as formal versus ad-hoc, rigid or flexi­ble, dicta­to­r­ial as opposed to anarchic. When it comes to writing, predictable and unpre­dictable seem [...]
Order and Chaos

Black­berry Festi­val Powell River Pat Buckna photo

Most of us would agree that order and chaos are on the opposite ends of a contin­uum. Orderly behav­iour tends to equate with stabil­ity while erratic behav­iour is chaotic. These opposites could be described as formal versus ad-hoc, rigid or flexi­ble, dicta­to­r­ial as opposed to anarchic. When it comes to writing, predictable and unpre­dictable seem to be useful terms.

What are expect­ing when we read a book? Predictable outcomes or unexpected ones? If the text is too predictable we get bored, or even worse, annoyed. We give up. Too many plot twists or charac­ter shifts produce the same results. Either way, the author seems to be trying to be too clever, or too boring, too obscure, too distant, too aloof. Too…awful.

How can a writer strike a balance? Moving away from order means creat­ing varia­tion — chang­ing sentence lengths or struc­ture, shift­ing points of view, alter­ing scenes, unexpected situa­tions — are all ways of creat­ing inter­est. Betsy Warland, poet, mentor and manuscript consul­tant I worked with during and after The Writer’s Studio at SFU has written an superb book Breath­ing the Page: Reading the Act of Writing that examines many of the funda­men­tal techniques and consid­er­a­tions that writers must come to terms with if they are to success­fully engage readers. Proxim­ity is a term she uses to explain how a reader feels positioned to the writing. Has the author drawn me into the scene almost as a partic­i­pant, or have they made me feel like a detached outside observer? Do I have a gut reaction to this charac­ter, or do I feel distant from them? As Warland  points out, these experi­ences of proxim­ity are not random responses, but rather something a writer has consciously created during the act of writing.

“Respect your reader,” writing instruc­tors often tell their students. What they mean is pay atten­tion to how a person will read your work. If a reader is on page two of your book, all they know for certain is what you’ve told them thus far. Based on what you have (or haven’t) told them, most readers will have made  several assump­tions already, assump­tions about where the story is headed, or who is telling the story, or what this or that charac­ter it like. As the writer, you know much more about your story and charac­ters than the reader does at this point, but if you’re not careful, your reader may not stay with you long enough to find out. You may forget to tell them some impor­tant detail that they need to make the shift into the next chapter, or added some extra extra­ne­ous infor­ma­tion in a scene that confuses them. Like Anton Chekov said, “One must not put a loaded rifle on the stage if no one is think­ing of firing it.”

What keeps readers engaged? Setting up a regular rhythm with not too many or too few shifts can work. But above all we must avoid repeti­tion; readers can smell a formu­laic approach miles away. There’s no doubt readers tend to like (and even need) consis­tency and reliability.When one charac­ter is talking (or think­ing)  we (as readers) need to be certain we know who we’re listen­ing to. Too much varia­tion in a character’s speech patterns or point of view, and it’s game over. One of the first things we do when we start a new book is to try to get (pardon the pun) a read on a charac­ter and an author. We demand certainty about whoever is telling us the story. I there is any waver­ing in our belief in that voice, our guard is up and the author is in danger of losing us.

Unfor­tu­nately too much consis­tency will turn a reader just as quickly. A few unexpected words in a sentence, or a surpris­ing event or action can pique a reader’s inter­est — but only if that reader find it credi­ble. If not, red flags go up. This is one of the many dilem­mas all writers face — how to put ourselves in the minds of all poten­tial readers out there at once.  Seems hopeless, but all good writers have figured out how to do it.

Complexity Theory and Writing

On November 30, 2010 By Pat Buckna
I’m in the middle of a four-day online project manage­ment train­ing course. The topic is Leading Complex Projects, but I’m finding it also has a lot to do with writing and writing projects. Back in 2003 when I enrolled in the SFU Writer’s Studio, one of my goals was to write a major [...]

I’m in the middle of a four-day online project manage­ment train­ing course. The topic is Leading Complex Projects, but I’m finding it also has a lot to do with writing and writing projects. Back in 2003 when I enrolled in the SFU Writer’s Studio, one of my goals was to write a major work, either a memoir or a novel. I wasn’t sure which, but I was confi­dent in my ability to write, and had over twenty years experi­ence planning, manag­ing and control­ling projects behind me. How diffi­cult can this be? Well, seven years later, as my unfin­ished manuscript attests, major diffi­cult. Read More

Posted a ton of new travel photos on my website. Check 'em out http://t.co/gr7mK0au  — @starbuckna
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