Tag Archives: Editing

A view from behind a church on the Greek island of Santorini.

On Simplicity

On Simplicity – Wednesday Blog by Seán Thomas Kane

This week, how the greatest wisdom is simple in nature.—Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane—Sources:Photo by Elizabeth Duke.[1] Nikos Kazantzakis, Zorba the Greek: The Saint’s Life of Alexis Zorba, trans. Peter Bien, (Simon and Schuster, 1946, 2014), 81.[2] “Elephant Tails,” Wednesday Blog 5.24.[3] “Asking the Computer,” Wednesday Blog 5.26.[4] “On Political Violence,” Wednesday Blog 5.17.
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This week, how the greatest wisdom is simple in nature.

Over the last several weeks I’ve written about forms of knowledge and knowledge collecting. Knowledge is easier to identify, as it is empirical in its core. Yet on a scale even beyond knowledge lies wisdom, the cumulative sum of humanity’s understanding of the underlying character of human nature. It’s very easy for me to get bogged down in words, words, words and tie myself in knots which I find nigh unbreakable and even more undecipherable. Yet amid all those layers of paint there are often gems which merely need good editing to illuminate. This is what fills my days today, a big edit which I hope will signal the beginning of the end of my years of doctoral study.

In these years, while I’ve devoted my days to reading histories of the Renaissance intersections between the Americas and France, I’ve made a point of reading for fun all the same. I need to read things not related to my research for the escape they provide. At times these fun readings have been more thoroughly connected to my research, as in my recent choice of Jason Roberts’s Every Living Thing, yet in Binghamton I spent many happy evening hours reading Star Trek anthologies and novels while returning to my vocation each day. Of the stories that I’m drawn to, I enjoy reading books and watching films with characters that embody a certain lived experience that begats wisdom. Recently, this desire for such a character led me to read Peter Bien’s new translation of Nikos Kazantzakis’s Zorba the Greek: The Saint’s Life of Alexis Zorba. This is phronesis. Zorba’s wisdom is one that’s been gathered over the sixty years of his life and funneled toward living a good life as he sees fit. His is a simple wisdom which recognizes the physical limitations of the body in opposition to the limitless potential of the soul. I loved the first dance scene in Zorba the Greek in which the old miner erupted upward from his dinner and began to leap about. Kazantzakis describes it as though his soul could not be contained by his body and that it was that spiritual essence which spoke so fervently and wordlessly of its own joy. Kazantzakis can make even the simplest of scenes appear elegant and luminous. His description of the passage of time on the Mediterranean reaching up from Africa to the southern shore of Crete is one of my favorites. Here, I quote from Bien’s translation with the affection that beautiful prose deserves:

“The immense sea reached African shores. Every so often a warm southwest wind blew from distant red-hot deserts. In the morning the sea smelled like watermelons; at midday it vented haze, surged upward discharging miniature unripe breasts; in the evening, rose pink, wine red, eggplant mauve, dark blue, it kept continuously sighing.”[1]

The wisdom inherent in Kazantzakis’s prose lies in his ability to evoke the variable texture of nature, the changing face of it with the passage of the day. I remember once in Binghamton I have the idea to take a selfie once an hour throughout the day to see how my face, hair, stubble, and what not changed as the hours passed. I know for instance that if I want to have a lower register in my recordings of this Wednesday Blog that I need to record first thing in the morning when my tenor is closer to a baritone. This week, owing to a general sense of exhaustion, I haven’t gotten around to writing this essay until nearly 90 minutes before when the podcast normally publishes. Rather than force myself to write something earlier in the day I waited and gave myself the time to think of something good.

Wisdom is knowing that worrying won’t get you anywhere; it lies in the peace of mind and heart that keeps us happy and healthy. This evening, while I was having dinner with one of my best friends and his wife and young son, I brought up my particular conundrum of the day. Jokingly, the suggestion that I write about simplicity was made. I shrugged, thinking of William of Ockham, one of Bill Nye’s favorite history of science examples to use, and decided to run with it. After all, often the wisest people that I’ve met are the ones who embrace the simplicity of living a life embracing their own nature. The wise know that they are going to grow old and die and don’t worry about it. I find myself thinking of this as I watch without much resource as my hair recedes. I’ve joked that my particularly follicly impaired genes may require an eventual investment in a variety of hairpieces for different degrees of formality. I’ve grown in my own comfort with taking care of myself, applying sunscreen before going out on walks around the neighborhood now to mitigate the inevitable that comes from having largely Irish genes and living in the far sunnier Midwestern climate than my ancestors’ rain soaked home soil in Mayo. In his Saint’s Life, Alexis Zorba often doesn’t worry about these things and expresses frustration and even anger when the narrator, his boss, frets about the things he cannot control. I’m better at this than I have been, which is reassuring in some ways of looking at things, yet I still have room to grow.

Wisdom is trusting the people around you to do what they feel is best. If the simplest solution is often the best, then why aim to make things overly complex? Complexity requires forethought, or sometimes is the result of a lack of forethought. Last summer I delighted in writing several essays for the Wednesday Blog attempting to adapt chaos theory to explain human behavior.[2] We need both complexity and simplicity to understand ourselves and the world in which we live. Think about it: we cannot narrow things down to binary options. More often, the binary is one of a series of binaries which together form a logical thought or series. I marvel at the fact that computers most fundamentally work in the binary language of 1s and 0s, and that in this manner language and thought are boiled down to so rudimentary an interpretation. It’s for this reason that while I’m concerned by the rise and development of artificial intelligence and its misuse, I feel a sense of assurance that it is still limited by its basic functions and limited by the abilities of its artifice.[3] The human brain is a wonderous and ever complicated organ which evolved to fulfill its own very particular needs. On the simplest level the brain thinks, it sends directions to the rest of the body to keep the body operating. In a theological framework, I’ve argued that the brain may be the seat of the soul, the consciousness that is at the core of our thought. My earliest memory that I’ve written about here was the first time I recognized that particular voice of my own consciousness, which occurred sometime when I was 3 years old.[4]

Wisdom is intangible, it’s something that you have to learn to recognize. This is perhaps the most complex tenant that represents something simple. In order to truly become wise, one must understand that wisdom isn’t something you can buy off the shelf or write your way into. For all the words which Zorba’s boss writes, allowing them to consume him, he remains feeling unfulfilled in life. It’s why the narrator of the novel struck out from his books and sought to live among ordinary people, buying a stake in a lignite mine on the southern shore of Crete. On his way there in the Piraeus he met Zorba, the man who within a few pages became his foreman and the one who’d realize his idea of finding wisdom in the living world. The simplest explanations are often best. Zorba lives to enjoy the life he has, and when things go wrong––as they often do––he finds something to build upon and start over again.

A couple of months from now I’m going to be contributing my own experiences to a tacit knowledge panel at the History of Science Society’s conference in New Orleans about how I’ve been able to maintain a full research load and writing all year round with hardly any funding at all. I recognize that the circumstances of these past few years have been marked by my own poor decisions and mistakes that I’ve made along the way. Yet in spite of those, and bad luck in many respects, I’ve been able to continue with my work and to produce historical studies that are beginning to make a decent contribution to the history of science in the Renaissance and specifically to the history of animals in that same period. I’m looking forward to that panel, and to the two papers I’m presenting during the same weekend. Maybe, like Zorba, when things feel like they are about to go well I’ll feel the need to rise to my feet and leap into the air as though my soul were attempting to escape from my body. Simply put, for all the trouble that life has brought, joy is overpowering when pure.

[1] Nikos Kazantzakis, Zorba the Greek: The Saint’s Life of Alexis Zorba, trans. Peter Bien, (Simon and Schuster, 1946, 2014), 81.

[2] “Elephant Tails,” Wednesday Blog 5.24.

[3] “Asking the Computer,” Wednesday Blog 5.26.

[4] “On Political Violence,” Wednesday Blog 5.17.

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On Editing

On Editing – Wednesday Blog by Seán Thomas Kane

This week, I want to write to you about the revealed joys found in the experience of editing. — Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane
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This week, I want to write to you about the revealed joys found in the experience of editing.

I spent most of last Thursday editing a chapter I’m contributing to a new book about Shakespeare’s play The Tempest. My contribution argues that the bard was inspired in his descriptions of Caliban and the play’s island setting by André Thevet’s accounts of Tupinambá beliefs and the role of magic in their society, and the sense of Brazil as the archetype of the insular natural world across the sea at the turn of the seventeenth century. There’s a lot in its 32 pages, and it’s been a good effort on my part since I first saw the call for papers for this book two years ago. I wrote the first draft between March and June of this year both here at home in Kansas City, and while I was on my European trip this June; I spent most of my time in the San Francisco International Airport G Concourse United Club writing paragraphs for this chapter. 

Until last Thursday, I’d only edited it on my computer. This is a far faster way to edit text, it allows me to work as I’m reading through the draft. This method is still relatively new to me, I feel fortunate that I was taught to write by hand first and to edit with pen and paper. That’s been more challenging with my dissertation, in Binghamton I didn’t own a printer and because I could never figure out how to use the university printers, I relied heavily on the local print shop across the road from the University to print anything I needed. That meant then that up until the sixth or seventh draft I never saw it on paper, always on the computer screen for both economical and environmental reasons.

The week before last Thursday, when I returned to my Tempest chapter after finishing several other major projects, I found myself thinking that it could benefit my editing if I printed this document out at least for my last full read through before sending it off to the editor. So, returning to it just before noon on Thursday, I decided to print draft 4 of the full document, all 34 pages of it. As it turned out, there was something heartwarming about editing this chapter with pen and paper. Sure, I knew I’d save myself time by editing it while I was reading it on my computer, but I’ve found more and more that if I really need to work on a sentence, I’ll have to copy it out of the draft and into a separate document where I can look at it on its own separate from the rest of the text. This works, and this is what I often end up doing, but it’s not a problem I have reading lines on a printed page. I find I can read faster when reading something printed rather than something digitized, and now that I’m doing so many more things than just writing and editing my dissertation, moving towards these postdoctoral projects, I’m finding that I’m returning to how I read and wrote before I fully adopted all this technology.

Even though I now edit using more review bubble comments and review tracking on Microsoft Word or Google Docs than the old shorthand symbols that I learned in my elementary school English classes, I could still return to them with an ease that felt native to my sensibilities and origins as a writer and a reader. I even left the odd marginal note on draft 4 of my Tempest chapter should anyone else ever find this printed copy to see some of the things I was referencing in the additions and changes I made to this draft.

One of the greatest lessons I’ve yet learned about writing came from a policy writer who at the time worked for the offices of the European Union in Brussels. He came to the University of Westminster for a couple of days in March 2016 to run a policy writing workshop for all of us who were interested. I joined in and wrote a brief about a hypothetical crisis along the Danube between Hungary, Croatia, and Serbia (I think). While I’m less likely to become a professional political policy writer anytime soon, the most impactful thing he taught us was to leave whatever it is we’re writing aside once we’re done with a draft and return to it later. Like a good dough, our writing needs to rise for a while before we return to it and work on it some more. I took a week between finishing draft 4 and returning to it to complete the edits that make up draft 5 of this Tempest chapter, and I’m certain the finished draft benefits from that gap. It’s something I do here with the Wednesday Blog on those weeks when I’m able to write things in advance. The words you’re reading, or hearing, now were written on Thursday afternoon about an hour after I sent draft 5 off to the editor. I’ll return to them sometime on Tuesday, October 15th, and read through them again when I record them for the podcast.

The Wednesday Blog podcast actually grew out of my editing sessions for the blog. You see, I traditionally edit by reading my writing aloud; if it doesn’t make sense to my ear then it needs to be rewritten. Nearly three years ago then, at the end of November 2021, I decided one night after dinner to start recording those read-throughs and release them as a podcast version of my blog. Of course, the version you get in your podcast player each week is more polished than the first draft, but with these essays I usually don’t need to do as many edits. This is a different style of writing than my academic work, less formal, and more personal.

Editing also reminds me to express what I’m thinking in a clearer way. An early lesson in teaching that I received, and nearly all of my lessons in teaching have been on the job while I’m teaching, was to speak to my audience in their own language. This is a no-brainer when it comes to speaking French in Paris, or German in Vienna, yet what I mean here is speaking to your audience in a way that they’ll understand. I like to use the words they’ve just used in my answers. This is a grammatical thing in Irish where instead of having words for yes or no we instead say the positive or negative of the verb in question. I’ve begun doing this in my English too: responding not only with a yes or a no but with a yes, I do or yes, I can, or no, I don’t understand. Clarity is the best friend of writing and good communication. A common comment I get from editors is that what I’m trying to say is just under the surface or not quite clear yet. This is a symptom of how I developed my writing voice first in poetry and plays and later in short stories and now factual and highly researched non-fiction blog posts and academic essays. It’s been a weakness in my writing up until now that I’ve had a hard time getting over, but I think I may have figured it out by closely reading what I’ve already done with those comments up on a screen where I can clearly see them as I read.

Sometimes the thesis or plot of what I’m writing will change significantly in the edit. There are times where my original argument simply doesn’t work, and I need to adjust drastically to save the essay or story. This happened early on with this Tempest chapter, and I’m glad I saw the flaws in my original approach as early as I did because it made the chapter I’ve written in the five drafts since all the stronger. While that may be frustrating at first, I love the way that things work when all the pieces of the story or all the sources behind the thesis line up. I love how a good edit can inspire me to keep writing and get closer to my record average of writing 1000 words per hour. This is more possible outside of my academic writing where I often stop to consult a source to make sure I’m getting it right, but even there when I can write with a great fluidity, and I know what I’m trying to say it reminds me why I do what I do.

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Correction: in my initial publication of this blog post I miswrote my average writing speed as “1000 words per minute,” when I meant to say “1000 words per hour.” I’m not Lt. Cmdr. Data.