I’m working on a pile of unrelated things today- the layout for Volume II of Contemporary Geometric Beadwork (we have a press date of December 15th, excitingly) and the outlines for the accompanying pattern book (for one of the regular publishers) and the interview questions for the article portion of the Love Letters project (one of my editors wants advance questions for one of our permission requests).
In the spaces, today will be a Ray Bradbury day. I know most of his stories by heart, but I know them with a child’s heart. I am reading back through them and looking for the places where information was hiding; where the answers may have been in plain view but I didn’t have enough life experience to find them. It’s like anything; you pick up what you have a frame of reference to file.
Things that don’t fit, we skip, or we hang onto as questions. Ray had a lot of questions.
It’s also a Bryan Ferry sort of day.
I heard from his manager this morning, who was unaware that I was doing this book. I consider this a positive development, as it gives me an opportunity to speak directly to him.
As you likely know if you are a regular here, I’ve spend quite some time now studying the Ferry catalogue. It’s been most enjoyable. And of course Joyce Rooks and I became quite engaged in the Beck connection as we began to look for the Roxy and Ferry samples and noteplay in Beck’s work. We found them in sufficient number to begin a list, and that started another list, of songs that we could cover in a very stark, elemental way, songs that would be, in a sense, a conversation with the composers.
At some point, the only way to speak about music is through music.
It’s like switching to French to speak of love.