Douglas Barone
Douglas Barone
A Post-postmodernist writer, fighting to catch up with his art after serving time as a capitalist oppressor of the people
Doug Barone retired from corporate life after 20 years in the finance industry, and is fooling everyone into thinking he is a writer. Having been a corporate strategist, finance executive and IT executive, he’s found almost nothing of use to him from those years except the zany people and crazy stories that no one in their right mind could have made up.
He has a B.A. from St. Lawrence University, and a graduate degree from Loyola. He’s studied with Sharon Mesmer, Sidney Offit, Josh Gaylord and Justus Rosenberg in The New School’s writing program, and since 2009, in Pulitzer Prize winner Phil Schultz’s Writers Studio. In 2010 he was selected to attend the New York State Writers Institute at Skidmore at the masters level, where he studied with Rick Moody. Somewhere along the way he learned to write about himself in the third person.
His work, his prose fiction, is focused on power, its entanglement with emotional fulfillment, the impact of institutional concentrations of authority, the ontological-deontological tension of existence in a post-postmodern world, one filled with ideas re-emerging as vastly powerful things, even in the simple acts of everyday life, and the creation of long periodic sentences to explain it all.
Sometimes his work allows just a bit of the mystical to cross over into reality, breaking the barriers of perception, heightening a sense of the possible.
Since this is all antithetical to the held narrative of our time, he fully expects to be pilloried by the academic left as well as the religious right, and looks forward to every lashing.
Shifting Mediums
Of all the artists, we writers are uniquely beset with the chore of dealing with the piles of stuff we produce, and making sure it doesn’t get lost in some tornadoing swirl of trash papers, dog eared towers, or misnamed folders, never to be seen again.
This is not to disparage my friends who are visual artists, they too have vast quantities of stuff, paints, easels, those funny little wooden figures with articulated joints, but their problems are different. A thirteen foot canvas is not likely to just up and disappear overnight, while a 10,000 word story can fall into some crevasse of a hard drive and go missing for years.
I’m also not speaking ill of my friends the performing artists, who’s work is basically geographical. Their biggest organizational issue is making sure they show up at the right place, at the right time, on the right day, hopefully without forgetting their Strad, or Gibson in the cab on the way to the hall.
But we writers, our burden is the crap load of words we have to wrangle. Even if you only do the Anne Lamott, Bird by Bird 300 words a day minimum quota (or the 3,500 I seem to average) a writer can easily develop a whole attic of text, mounds of little stories, herds of ideas, notes, quips and quotes from observation or reading, and it’s easy for stuff to slip off on the wind, which is a shame because that cloud of pages heading over the hill has good stuff in it.
Ah, the trade offs of the different vocations…
When I flip through the files in my writing folders I invariably trip over a little gem, something I forgot, something valualble. The other day I found a wonderful description of a feeble old man stumbling off down a hall, he was fragile and vulnerable like he was made of spun candy, along the way he had to stop and remember where he was going. He was a perfect model for a director in my book.
The natural question is how to keep something like that from being lost...