- Endurance and the Long Distance Writer
2004 or 2005 — living in Japan as an English teacher I had a sudden ephiphany of the major novel I would someday write. I was living in a gaijinhouse very much like the one described, thinking similar thoughts as an early-draft David.
(Now, like a complex kombucha or brandy, there are many layers built around each character. Each is a part of observed experience, rather than a part of me per se).
2006 or 2007 — Came back to the US and studied trade policy. I see where all this China stuff is heading, oh wait, I saw that a decade ago. This informed the latter half of Arisugawa Park, which involved international matters, rather than local accidents of fate.
(The book is a little more like a thriller than I would write it, if I wrote it today. I could have stayed with the strictly local and never run out of stories. As it is, like LeCarre, at least none of the stories in Arisugawa Park will ever be traced to any one source).
2014 — Having struck out in finding an agent for three years, and having discovered a passion for wood flute and travel, I earned the Book Passage Mystery Writer’s Conference scholarship for the first five pages of Arisugawa Park. Sitting at the table with Isabel Allende and Martin Cruz Smith seemed a rare honor. As I recall, The House of the Spirits profoundly influenced my conception of literature in high school and Gorkey Park was a movie memorably watched on my first flight, to Switzerland in 1984. The scenes of tundra and dogs permanently changed my understanding of what a thriller is, or could be.
This led to my meeting superagent and local literary luminary Kimberley Cameron, who had expressed interest in the manuscript two years earlier, but declined to take it on. Kimberley somehow did wind up taking me on this time, at her intern Josey Gist’s behest.
Having an agent always felt a little weird, if quite an honor. In one sense, securing one of the 250 reputable literary agents left in the country is like procuring a ticket to Mars.
On the other hand, it is quite an obligation, because it seems to connote selling something. The transference of intellectual property through the mills of commerce. That has limited a fair few artists in our time.
late 2014 — -
Josey: Kimberley is off in Paris. She forgot your name but I reminded her … No worries, I think the book is rare these days… not many people read the long, multi-layered works. Yet I read every word with interest. Here are some specific suggestions (attachment: five pages of applicable notes).
mid 2015 —Kimberley: Soho isn’t interested, I am going to try a few other big publishers in New York — no worries, I think we just need to find the right home for it.
late 2015 —Kimberley: I can’t talk, off to auction Barbara Boxer’s memoir in New York…
Could you mention my work to an editor while you are talking with the dealmakers?
Oh no, that’s not how it’s done… (over-the-phone eye roll)
late late 2015 — Kimberley: I mentioned to you a year ago, it’s too long. We could have sold it a long time ago if it was 100 pages shorter.
Holds tongue (was told no such thing). By the way, I have a couple other interesting projects, Testcut, Cowachunga… I’m even starting to play flute in Tulum... are these things that interest you?
No, publishers would only be interested in a sequel to Ari… how do you pronounce that again? Park. And by the way, the title should probably still be changed… (Tokyo Blues, she had suggested). But I think we should still keep trying. You have real talent as a writer.
Early 2016 — Kimberley, have you ever actually sat down and mentioned my work to an editor?
That’s not the way things are done these days, it’s all email.
2017 — if 10 billion Internet hits equals a living salary, I am far behind.
May, 2018 — revisited Arisugawa Park for the first time in years, found a lot to like about it and decided that this would be a nice writing challenge while experiencing Boracay in closure mode. Medium had created a paywall in the time I have been waiting for them to. This seems to indicate that they are getting their act together and placing numerical value on longform content. I have also come up with a novel “cloud novel” serial strategy of publication.
August, 2018. Boracay still closed, blinders coming off. Deep-editing a section of the novel each day or two, publishing same day. Have faith that there will be an “Authors” header and organizational system for accessing specific authors’ content on Medium soon.
Supporting the local economy and working with tatoo artist Peng on the iPad Procreate generated art for each section. This is fun, reminds me of playing with Mac’s super cool art program on Grammy’s computer in the 1990s.
Fabric arrangements for Summon These Days coming along, and settling on new tunes for Save The Dance Hall Society. Oh wait, and filming the trailer to kickstartable Great Pacific Garbage Patch (Boracay Closure, Ed.)
Fabric — SERIES on MEDIUM
Clicking on the indexed links below gets you to 1) the first entry in the series, which includes a 2) series-specific contents list, like the one for Arisugawa Park below. Think of these links as a blog contents page that allows the entire ecosystem of Damon Arvid writing to be searched in seconds. A workaround necessary on a platform designed for feed, rather than author-specific searches.
All my content is real writing, of a level that was repped to the big publishers, who passed, because, well… Robert Johnson, Jack Kerouac, Jimi Hendrix, Vincent Van Gogh, Edgar Allen Poe and so many unsung who never got the official nod and made often better art as a result.
- Arisugawa Park (late-stage cloud novel)
- fabric, explained
- What I Learned on the Internet (WILOTI)
- Great Pacific Garbage Patch ( film)
- EVEN (cloud novel)
- Cowachunga (early-stage cloud novel)
- The Bearded Man and the Muse (ditto)
- Medium and the Missing….
Arisugawa Park — Contents
1.1 — Evena Falls
1.2 — Window Seat
1.3 — Apparition
1.4 — Ridealong
1.5 — Rock Garden
1.6 — Steve’s Notebook
1.7 — Projector
1.8 — Alive
1.9 — Ramen Shop
1.10 — Husk
1.11 — Paperweight
1.12 — Scissor’s Flash
1.13 — Empathy
1.14 — Pops & Crackles
1.15 — Kitchen Table
2.1 — Evena Wakes
2.2 — Landing
2.3 — Purpose
2.4 — Confession
2.5 — Notes on a Desk
2.6 — Backside Entry
2.7 — Small Mercies
2.8 — Backside Exit
2.9 — Double Rainbow Gambit
3.1 — Undertow
3.2 — Frustration
3.3 — Subterranean Journey
3.4 — Pocket Lint
3.5 — Crossing the Rubicon
3.6 — Tectonic
Copyright © Damon Arvid 2018
With an equal focus on the visual, auditory, and written, Damon Arvid is an artist who has shared bits and pieces of the total vision on various skins and mediums. This is the current public skin, along with the Youtube playlist Fabric — Summon These Days.
STOP clicking. Relax. Listen very closely, something is being said. Organic, loosely tied to the future, based on a coherent ecosystem of sound + content.
A toast… for the fabric music that melds musicians learning and composing on the spot with painstaking arrangements of sounds that are… original, not copied or altered beats, rhythms, and chords.
A toast… for doodles that uncover new tomorrows and only afterward self-evident truths.
A toast… for the cloud novel ecosystem that manifests in several works that lead to life on Mars.
Endurancewriter blog defunct and discontinued. My apologies. 20,000 views a month and no payoff, no human anything. Rap-a-tap… but Arisugawa Park, Cowachunga, et al. continue.
Medium is simply a ledgered host for the material, a month’s earnings were .02 cents — ultimately this material will be exported to a platform that values original content in a curated and rationally compensated way. IP is getting there, because…
All for one and one for… fabric.