Professor Guerrero's Blog

mguerrero@google.com

Co-author of East of Tiffany's, 13 short stories of a Latino immigrant's success in USA; a journey from West Harlem to Sutton Place and Park Avenue. Check out the reviews in Amazon.com and in Barnes and Noble.

on KINDLE on NOOK

My best sellers are my translations of La Dame aux Camelias and Madam Bovary

Professor Guerrero's Blog: Becoming a Writer: Joseph Conrad's Writing Manifesto Professor Guerrero's Blog: Book Reviews, Human Interest Articles, Accounting Lessons, and Writing Techniques

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Sentence Openers Book: FREE Lessons

Jane Austen  

Boethius: Consolation of Philosophy

How to Become a Writer  

Personal Finance  

Self Help, Wealth, & Learning

Greeks Romans Trojans  

Feminism  

Great Gatsby: Is Nick Gay?

All my books are now in NOOK

Ideas About the Novel is a prophetic book that all writers must own.

Ideas About the Novel by Ortega y Gasset - my translation $0.99


Next to Cervantes, Benito Perez Galdos is the most beloved Spanish writer of all times.

Torquemada at the Stake by Perez Galdos- my translation $0.99

Lazarillo of Tormes - my translation $0.99
Read it in contemporary English -- No Thous, Thees, or King James' Bible language. Transliterated into easy language for enjoyable reading pleasure. Because The Lazarillo of Tormes pointed a new direction, European and American literature benefited with titles that today are considered classics: Cervantes’ Rinconete and Cortadillo; Daniel Defoe’s Moll Flanders, Henry Fielding’s Tom Jones and Joseph Andrews; Tobias Smollett’s Roderick Random, and Peregrine Pickle; Voltaire’s Candide; Charles Dickens’ David Copperfield. And many others to include American works ranging from Mark Twain to Saul Bellow.

Dehumanization of Art by Ortega y Gasset - my translation $0.99
The Dehumanization of Art— is now a constant in music, literature, aesthetics, and philosophy, having come to mean that in post-modern times human-shaped mimesis (representation of the human) is irrelevant to art. According to Ortega, the arts don't have to tell a human story; art should deal with its own forms—and not with the human form.

Sentence Openers
How writers open their sentences makes prose agile, interesting, and athletic. This e-book teaches how to break the pattern Subject-verb-object--and discard openings that begin with nouns, articles, and pronouns.

East of Tiffany's - bestseller $5
With the city as its backdrop "East of Tiffany's" is filled with earnest tales of love, loss, faith, success and morality. While business terminology is interwoven throughout these short stories, it's not business lessons that I take away with me, but life lessons. The circumstances and the characters' profound humanity are relatable despite their zip code . "Luke, Postmodern Man" offers a new vista into faith, suffering, and love of neighbor. Way after you read this book you'll find yourself thinking about the various characters throughout the series of stories and will find solace in their unwavering faith. The narrators' ability to reflect on their hardships with such serenity is inspiring.



My writing was as flat as a sidewalk. And then I downloaded ...

Mary Duffy's Toolbox for Writers
After I purchased Mary's e-book I started to get 'A's in my essays and term papers! Every page is filled with great writing tips, training lessons, and wonderful useful writing skills! Not only do I write essays for college, but also short stories!
--IVONNIE Indrawan
College student
Sentence Openers on KINDLE

Sentence Openers on NOOK













All my books are now in KINDLE


Ideas About the Novel by Ortega y Gasset - my translation $0.99
Torquemada at the Stake by Perez Galdos- my translation $0.99
Lazarillo of Tormes - my translation $0.99
Dehumanization of Art by Ortega y Gasset - my translation $0.99
Sentence Openers
East of Tiffany's - bestseller $5


The most beloved short story from Spanish literature
All my books are in NOOK $0.99 or in Amazon KINDLE $0.99








All my books are now in NOOK

Ideas About the Novel is a prophetic book that all writers must own.
Ideas About the Novel by Ortega y Gasset - my translation $0.99

Next to Cervantes, Benito Perez Galdos is the most beloved Spanish writer of all times.

Torquemada at the Stake by Perez Galdos- my translation $0.99

Lazarillo of Tormes - my translation $0.99
Read it in contemporary English -- No Thous, Thees, or King James' Bible language.

Dehumanization of Art by Ortega y Gasset - my translation $0.99
The Dehumanization of Art— is now a constant in music, literature, aesthetics, and philosophy, having come to mean that in post-modern times human-shaped mimesis (representation of the human) is irrelevant to art.

Sentence Openers
How writers open their sentences makes prose agile, interesting, and athletic.

East of Tiffany's - bestseller $5
With the city as its backdrop "East of Tiffany's" is filled with earnest tales of love, loss, faith, success and morality.



My writing was as flat as a sidewalk. And then I downloaded ...

Mary Duffy's Toolbox for Writers
After I purchased Mary's e-book I started to get 'A's in my essays and term papers!
--Ivonnie Indrawan
College student
Sentence Openers on KINDLE

Sentence Openers on NOOK





Available in KINDLE $0.99


Available in KINDLE $0.99

Wednesday, September 7, 2011

Becoming a Writer: Joseph Conrad's Writing Manifesto

Joseph Conrad's  tableImage by Ana Pinta via Flickr

JOSEPH CONRAD (1857-1924)

Born JosefTeodor Konrad Korzeniowski on December 3, 1857 in the Polish Ukraine.

Ranked as one of the greatest English-language writers, Conrad did not actually learn the English language until the age of twen­ty (while serving in the British merchant navy). Only when he was well into his thirties did he begin to write fiction. So confident was he of his acquired writing skills that he left the navy to become an author.

His first novel, Almayer's Folly, was published in 1895, followed shortly thereafter by An Outcast of the Islands, The Nigger of the 'Narcissus,' and his most famous work, the novella Heart of Darkness. Originally printed in Blackwood's Magazine as a three-part series, Heart of Darkness was the story that inspired the 1979 successful film Apocalypse Now, and remains one of the most widely read and highly respected works of fiction in the English language. 

CONRAD'S MANIFESTO
In this brief and passionate piece, Conrad expounds upon the nature of art, what literature must accomplish to become art, and how the writer should approach his craft to achieve this end.
A work that aspires, however humbly, to the condition of art should carry its justification in every line. And art itself may be defined as a single-minded attempt to render the highest kind of justice to the visible universe, by bringing to light the truth, manifold and one, underlying its every aspect. It is an attempt to find in its forms, in its colors, in its light, in its shadows, in the aspects of matter and in the facts of life, what of each is fun­damental, what is enduring and essential-their one illuminating and convincing quality-the very truth of their existence. The artist, then, like the thinker or the scientist, seeks the truth and makes his appeal. Impressed by the aspect of the world the thinker plunges into ideas, the scientist into facts-whence, presently emerging, they make their appeal to those qualities of our being that fit us best for the hazardous enterprise of living. They speak authoritatively to our common sense, to our intelli­gence, to our desire of peace, or to our desire of unrest; not seldom to our prejudices, sometimes to our fears, often to our egoism-but always to our credulity. And their words are heard with reverence, for their concern is with weighty matters; with the cultivation of our minds and the proper care of our bodies; with the attainment of our ambitions; with the perfection of the means and the glorification of our precious aims.
It is otherwise with the artist.
Confronted by the same enigmatical spectacle the artist descends within himself, and in that lonely region of stress and strife, if he be deserving and fortunate, he finds the terms of his appeal. His appeal is made to our less obvious capacities; to that part of our nature which, because of the warlike conditions of existence, is necessarily kept out of sight within the more resist­ing and hard qualities-like the vulnerable body within a steel armor. His appeal is less loud, more profound, less distinct, more stirring-and sooner forgotten. Yet its effect endures forever. The changing wisdom of successive generations discards ideas, questions facts, demolishes theories. But the artist appeals to that part of our being which is not dependent on wis­dom; to that in us which is a gift and not an acquisition-and, therefore, more permanently enduring. He speaks to our capac­ity for delight and wonder, to the sense of mystery surrounding our lives; to our sense of pity, and beauty, and pain; to the latent feeling of fellowship with all creation; and to the subtle but invincible conviction of solidarity that knits together the loneli­ness of innumerable hearts: to that solidarity in dreams, in joy, in sorrow, in aspirations, in illusions, in hope, in fear, which binds men to each other, which binds together all humanity ­the dead to the living, and the living to the unborn.
It is only some such train of thought, or rather of feeling, that Conrad's Manifesto can in a measure explain the aim of the attempt made in the tale which follows, to present an unrestful episode in the obscure lives of a few individuals out of all the disregarded multitude of the bewildered, the simple, and the voiceless. For, if there is any part of truth in the belief confessed above, it becomes evident that there is not a place of splendor or a dark comer of the earth that does not deserve, if only a passing glance of wonder and pity. The motive, then, may be held to justify the matter of the work; but this preface, which is simply an avowal of endeavor, cannot end here-for the avowal is not yet complete.
Fiction—if it at all aspires to be art-appeals to tempera­ment. And in truth it must be, like painting, like music, like all art, the appeal of one temperament to all the other innumerable temperaments whose subtle and resistless power endows pass­ing events with their true meaning, and creates the moral, the emotional atmosphere of the place and time. Such an appeal, to be effective, must be an impression conveyed through the senses; and, in fact, it cannot be made in any other way, because temperament, whether individual or collective, is not amenable to persuasion. All art, therefore, appeals primarily to the senses, and the artistic aim when expressing itself in written words must also make its appeal through the senses, if its high desire is to reach the secret spring of responsive emotions. It must strenu­ously aspire to the plasticity of sculpture, to the color of paint­ing, and to the magic suggestiveness of music-which is the art of arts. And it is only through complete, unswerving devotion to the perfect blending of form and substance; it is only through an unremitting, never-discouraged care for the shape and ring of sentences, that an approach can be made to plasticity, to color; and the light of magic suggestiveness may be brought to play for an evanescent instant over the commonplace surface of words: of the old, old words, worn thin, defaced by ages of careless usage.
The sincere endeavor to accomplish that creative task, to go as far on that road as his strength will carry him, to go unde­terred by faltering, weariness, or reproach, is the only valid jus­tification for the worker in prose. And if his conscience is clear, his answer to those who, in the fullness of a wisdom which looks for immediate profit, demand specifically to be edified, con­soled, amused; who demand to be promptly improved, or encouraged, or frightened, or shocked, or charmed, must run thus: My task which I am trying to achieve is, by the power of the written word, to make you hear, to make you feel-it is, before all, to make you see! That-and no more: and it is every­thing! If I succeed, you shall find there according to your deserts: encouragement, consolation, fear, charm-all you demand; and, perhaps, also that glimpse of truth for which you have forgotten to ask.
To snatch in a moment of courage, from the remorseless rush of time, a passing phase of life, is only the beginning of the task. The task approached in tenderness and faith is to hold up unquestioningly, without choice and without fear, the rescued fragment before all eyes and in the light of a sincere mood. It is to show its vibration, its color, its form; and through its move­ment, its form, and its colour, reveal the substance of its truth ­disclose its inspiring secret: the stress and passion within the core of each convincing moment. In a single-minded attempt of that kind, if one be deserving and fortunate, one may perchance attain to such clearness of sincerity that at last the presented vision of regret or pity, of terror or mirth, shall awaken in the hearts of the beholders that feeling of unavoidable solidarity; of the solidarity in mysterious origin, in toil, in joy, in hope, in uncertain fate-which binds men to each other and all mankind to the visible world.
It is evident that he who, rightly or wrongly, holds by the convictions expressed above cannot be faithful to anyone of the temporary formulas of his craft. The enduring part of them ­the truth which each only imperfectly veils-should abide with him as the most precious of his possessions, but they all: Realism, Romanticism, Naturalism; even the unofficial senti­mentalism (which, like the poor, is exceedingly difficult to get rid of); all these gods must, after a short period of fellowship, abandon him-even on the very threshold of the temple-to the stammering of his conscience and to the outspoken con­sciousness of the difficulties of his work. In that uneasy solitude the cry of Art for Art itself, loses the exciting ring of its apparent immorality. It sounds far off. It has ceased to be a cry, and is heard only as a whisper, often incomprehensible, but at times, and faintly, encouraging.
Sometimes, stretched at ease in the shade of a roadside tree, we watch the motions of a laborer in a distant field, and, after a time, begin to wonder languidly as to what the fellow may be at. We watch the movements of his body, the waving of his arms; we see him bend down, stand up, hesitate, begin again. It may add to the charm of an idle hour to be told the purpose of his exertions. If we know he is trying to lift a stone, to dig a ditch, to uproot a stump, we look with a more real interest at his efforts; we are disposed to condone the jar of his agitation upon the restfulness of the landscape; and even, if in a brotherly frame of mind, we may bring ourselves to forgive his failure. We understood his object, and, after all, the fellow has tried, and perhaps he had not the strength-and perhaps he had not the knowledge. We forgive, go on our way—and forget.
And so it is with the workman of art. Art is long and life is short, and success is very far off. And thus, doubtful of strength to travel so far, we talk a little about the aim-the aim of art, which, like life itself, is inspiring, difficult-obscured by mists. It is not in the clear logic of a triumphant conclusion; it is not in the unveiling of one of those heartless secrets which are called the Laws of Nature. It is not less great, but only more difficult!
To arrest, for the space of a breath, the hands busy about the work of the earth, and compel men entranced by the sight of distant goals to glance for a moment at the surrounding vision of form and color, of sunshine and shadows; to make them pause for a look, for a Sigh, for a smile-such is the aim, difficult and evanescent, and reserved only for a very few to achieve. But sometimes, by the deserving and the fortunate, even that task is accomplished. And when it is accomplished-behold! all the truth of life is there: a moment of vision, a Sigh, a smile-and the return to an eternal rest.
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Professor Guerrero's Blog

Co-author of East of Tiffany's, 13 short stories that will warm your heart - See 101 reviews in Amazon.com and 37 in Barnes and Noble.

on KINDLE on NOOK

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