Epigraphs

Originally posted on October 20, 2010

Pictograph. Bar Graph. Line Graph. Epigraph. If you’re thinking this is going to be a lesson in math, rest assured — it’s not!  :-)

Even though there is a concept of ‘epigraph’ in math, today I’m using this word very much in the context of writing.

Merriam Webster online defines an epigraph as:

            A quotation set at the beginning of a literary work or one of its divisions to suggest its theme.

Epigraphs are quotations, or phrases or poems, you find in some books at the beginning of each chapter. They are usually related to the theme of either that chapter or that of the whole book. They can be extracted from any number of sources: excerpts from a well-known book, folk sayings, or quotes of famous personalities, to name a few.

(I’m not sure why whoever coined this term couldn’t make up a more writerly-sounding word for it. You know what I mean?)

Here’s one excerpt topping chapter six of the book Rueful Death from Susan Albert Wittig’s China Bayles Mystery series. China is an ex-criminal lawyer, who has hung up her coat in favor of retiring to a small town in Texas where she owns and runs a small herb store and a tea shop. On the side, she keeps habitually happening upon dead bodies and solving the mysteries surrounding them, thus getting the necessary fix for her analytical side.

If gun-flints are wiped with rue and vervain, the shot must surely reach the intended victim, regardless of the shooter’s aim.

                            — C.M.Skinner

                             Myths and Legends of Flowers, Trees, Fruits, and Plants

On my part, as a reader, such quotations make way for delicious meanderings such as:

— Does the verb rue (which is known to have been first used in the 12^th century) as in to regret have its origin in the herb of the same name?

— Were the qualities of various herbs as legendary in the East as they were in the West?

And, whenever I come across any tidbit about the different medicinal plants, I begin to crave the latest book of the series. Isn’t that one of the better and innovative ways to make a series more memorable?

Another good example for an epigraph is from chapter ten of the fascinating O Jerusalem by Laurie King. (It is one of the books from her series: Novels of suspense featuring Mary Russell and Sherlock Holmes. If you enjoy reading Sir Conan Doyle’s Sherlock Holmes Mysteries, then this series is a must for you.)

The human body floats without exertion on the surface, and can be submerged only with difficulty; but swimming is unpleasant, as the feet have too great a tendency to rise to the surface.

                            — BAEDEKER’s Palestine and Syria, 1912 Edition

Before you shudder, the passage above is merely talking about taking a dip in the Dead Sea (or Salt Sea), which the heroine, Mary Russell, proceeds to do in the chapter crowned by the words above.

Doesn’t the phrase — delivered in a most earnest and no-nonsense manner — make you want to get your hands immediately on that edition of Baedeker’s travel guide?

Here’s another excerpt from Laurie King’s O JERUSALEM:

Epigraphs, for me, are:

• A (fun) way to get readers to think about what may or may not happen in the chapter they’re about to read.
• One means to bring out the subplot(s), obscured by the main plot line, a reader may not stumble upon otherwise.
• An inkling of the playfulness of the author.
• Tiny windows into the thought-process of the author and how he/she views the book in question. How a reader perceives a book is not always similar to how the author has envisioned it. Epigraphs help close the distance between the two.

Have you run into any good epigraphs you’d like to share?

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The Essence of a Book

Originally posted on October 6, 2010

This is one of my posts that age well. Readers, hope you enjoy it, too!

***

Ever notice that each well-written book has one quote or an instance of narrative inside it that embodies the essence of that book?

I was skimming through some books, which I recently read/re-read, paying closer attention to the authors’ style and characterization techniques, and voice and the way they played with plots and sub-plots.

It is during this exercise that I realized what true talent it takes to be able to distill the whole plot, purpose and theme of a novel into just a few short, well-chosen bouquets of words.

Here are some true gems, spoken or narrated by the (a) main character in each of the books.

• Julian smiled. “Not quite,” he said. “Let us say that I am as American as pizza pie. I did not originate here, but I am here to stay.”

                    — The View from Saturday, E.L.Konigsburg

• He liked to forget he was Luke Garner, third child hidden in the attic.

                    — Among the Hidden, Margaret Peterson Haddix

• “This case is as simple as black and white.”

                    — To Kill a Mockingbird, Harper Lee

• His father thought. “No, I don’t think so. Of course the Elders are so careful in their observations and selections.”

                    — The Giver, Lois Lowry

•  The rain is a cool kiss on my sleeve as I link my arm through hers. “We’re all damaged somehow.”

                    — A Great and Terrible Beauty, Libba Bray

• “Ever since I was little,” Mullet Fingers said, “I’ve been watchin’ this place disappear – the piney woods, the scrub, the creeks, the glades. Even the beaches, man – they put up all these giant hotels and only goober tourists are allowed. It really sucks.”

                    — Hoot, Carl Hiaasen

• I don’t make up lies for no reason. I just move the truth around a little when it gets in my way. What’s the big deal about that?

                    — Notes from a Liar and Her Dog, Gennifer Choldenko

• “It’s less a matter of looking the other way than of closing our eyes to what we can’t stop from happening.”

                    — Memoirs of a Geisha, Arthur Golden

• Finally, I’m a grown-up! Finally, I’m a child.

                    — Deliver Us from Normal, Kate Klise

• “A woman’s place – our place, Roshan – is behind the veil, behind the zenana’s walls, and if you want to do anything at all, do it here, in this space. But,” Jahanara added, unable to be kind to a sister she did not like, “you can do little, Roshan, you are but a second daughter. Stay away from the jharoka.”

                    — Shadow Princess, Indu Sundaresan

Do you have a favorite quote from a book?

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What is a Topical Book?

As with any industry, buzzwords emerge in publishing also every few years.

From what I’ve observed, one of the buzzwords currently making the rounds in publishing is: topical.

“Writers! Make sure you write the best story possible. A story that comes from your heart. A story that grabs you by the throat, because that’s what will grab the reader by the throat, too.

“Only, make sure your story is topical.”

Got it!

But, wait…what exactly does that word mean?

Merriam Webster defines topical as:

referring to the topics of the day or place: of local or temporary interest

// topical references

// a topical novel

(Ha! Looks like the dictionary has caught on to the trend, too. ;))

Write a topical story. Okay, it’s not bad advice as advice goes.

But therein also lies the catch: the word topical in its very essence means “temporary” or “local.” (Let’s focus on the latter for now.)

Which means, what is topical to the US might not be topical to the rest of the world and vice versa.

And, even more alarming, what is desperately topical for a minority/marginalized group of people might not be topical for the majority. Does that mean their stories shouldn’t be told? NO!

No writer—all said and done—sets out to write a book that’s non-topical. When she sets pen to paper, she has a point to make. A story to tell. Why? Because it is topical for her. But does that mean that same topic will grip you, me, and every reader the same way? Most likely not!

Why?

Because we’re all humans with different (subjective) tastes, lifestyles, perspectives, and opinions. So, what is topical to me might not be topical to you. Heck, what is topical to me today might not be topical even to me tomorrow!

So, it boils down to this: “topical” is a label. Another gate. A gate that keeps many writers and stories outside.

(Similarly, whenever I hear in publishing circles the call for more “diverse” books, I cringe. Because while that call is advocating for a much-needed change of mindset, it’s still shining a light on diversity as “other.” As though it’s a trend, a buzzword that needs to be championed. But that’s a topic for a whole ‘nother set of posts.)

I understand why labeling even exists (in publishing): publishing is one of those singular industries that are equal parts business and art. Yep. Not a very harmonic partnership, but it is what it is. So, every story that gets published should be stellar in terms of its features as art, BUT it should also be a lucrative venture for the company that is (in the simplest of terms) printing copies of the book and releasing them into the market.

This places publishing in a rather precarious position. I know. Trust me, I know.

Which is also why I understand it isn’t practical to expect the gates (and the walls that hold them) to crumble overnight. But that doesn’t mean we should do nothing.

Nothing’s stopping us from resolving to take one step—even if a small one—to widen those gates.

The onus is on the publishing industry: let writers write what is topical to them; create an atmosphere where there is no fear of writers being ignored or rejected for telling stunning stories from their hearts. From their lived experiences. From their status quo. Let the readers decide whether those stories are topical without someone else making those decisions for them.

You, my dear reader, don’t get off easily either. You have a duty here, too. You need to be right there, alongside the publishers, to shove those gates wide open. For every three books you read about people who look/think/behave like you, pick up at least one book that is about people whom you’ve never met, about people who have a lifestyle that’s different from yours, and especially about people who don’t look anything like you.

Let’s—all of us—do better!

Only then we might see a positive change: the definition of what is “topical,” in terms of the books we want to read, beginning to turn on its head.

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Delightful Rabbit Holes and Deliciously-Meandering Lanes

The last few weeks have been different: I’ve started reading just for the pleasure of it again. After a long time. Let me explain.

In the past few years, since I started writing seriously, I have somewhat lost my way around reading. Writing takes up a lot of my time and energy, which means I have that much less of both to put into reading (serious readers know that even if reading is something we cherish, it doesn’t always happen without conscious time and effort on our part). So, I read less than I did before I began to write.

The two-fold irony of the situation doesn’t escape me. I’m acutely aware that: a) I became a writer because I’d been an avid and eclectic reader my entire life and b) one of the habits that adds depth and body to my writing is reading regularly and voraciously across all genres.

Be that as it may, reading had eventually become work. Well, sort of. I read—fiction, nonfiction, craft-books—to “learn” (what NOT to do as much as what to do), or “improve” (my craft), or “critique” (in case of my CPs’ work) or “build” (up my writing muscles and keep them flexed). In all this—even though I was aware that it was happening and bemoaned the fact in one of my earlier blog posts—I’d lost my best friend of decades: reading just for the joy of reading.

And then a few weeks back, I woke up to a new day, shiny as a freshly-minted penny. Having just finished a major revision and packed off the WIP to my agent, I was a bundle of nerves and energy. So, idly, I picked up a book my daughter had read and recommended: SHE WOULD BE KING by Wayetu Moore. And I promptly plunged into a rabbit hole of the most pleasant, multi-pronged and diverse kind possible.

The book had all the qualities that I adore: a well-written historical with a touch of magical realism, but its best feature? It introduced me to a time period in the history of a region (West Africa) I hadn’t read much about before. I devoured that book in a couple of days and haven’t looked back since.

(If you’re interested in exploring the history and narratives of the various West African countries through fiction, I also highly recommend HOMEGOING by Yaa Gyasi and PURPLE HIBISCUS by Chimamanda Ngozi Adichie, though I must warn you, reader, each of these books will rip your heart into little pieces and then put it back again bit by bloody bit. But be prepared for the grief and heartache—and horror from the depravity of humankind against its own—to pulse just beneath your skin’s surface for a long time.)

Next up on my immediate TBR pile: THINGS FALL APART (a masterpiece set in Nigeria) by the lauded Chinua Achebe, UNTIL THE LIONS (retelling of the MAHABHARATA, one of the most acclaimed epic texts from India, from the viewpoint of its hitherto minor or sidelined female characters and in such stunning verse that the book demands more than one read) by Karthika Nair, REALM OF ASH (the second installment in the fantastical and fantastic BOOKS OF AMBHA series, also set in India) by Tasha Suri, and more.

(Can you see me drooling yet? 😊)

Wish you all, my readers, a very happy and contended (by your own definition) year ahead.

May you all find compelling rabbit holes into which to tumble headfirst—or to paraphrase Jane Austen: find more lanes hereabouts in which you may lose your way again to-day—willingly and willfully.

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Travelogue: How to Befriend a City–Philadelphia

Each time I re-visit Philadelphia, I fall deeper in love with the city. It’s because the city does something very right, something I wish more cities in the US did: Philadelphia celebrates its past with an almost reverent abandon while it has its feet firmly planted in its present, all the while focusing a steady gaze at its future.

Here’s a brief chronicle of the impressions and memories I gathered the few times I’ve been in the city.

–0–

If you want to explore the different facets and histories of a city, there’s no better way than to go directly to its honest (and unvarnished) roots. And how do you do that?

• By seeking out the varied and mouth-watering local produce and homemade goodies in its farmers’ market(s)

• Or walking through the hallways of its long-standing monuments or along the well-worn cobbled streets in its residents’ shoes (or in their ancestors’ attire, as the case may be 😊)

Chinatown Friendship Gate

Last Surviving Colonial Tavern

Elfreth’s Alley: America’s Oldest Residential Neighborhood

Independence Hall

• Or adding your own colors (not literally, of course) to the murals of its walls that bear a silent and detached testimony to the changing times and mores

• Or delighting in the hidden gardens you happen upon, which you didn’t know existed

• Or…the best avenue yet: losing yourself in its quaint independent bookstores bursting at their seams with treasured books. I’ve lost my heart to these rare gems of bookstores at first sight and will definitely re-visit them whenever I’m in their neighborhoods
  
  

  

  

  House of Our Own Books

  

  

  

I look forward to adding more pages to my continued discovery of this wonderful city.

How do you make friends with a new city? Please share!

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Critique Group

Posted originally on April 21, 2010, but the content has since been slightly edited for better context.

 

The art of writing — though on some days, writing feels more like a science experiment gone wrong — is a slippery slope. The faster you try to scale the incline, the faster you lose your foothold and scramble downwards.

I believe writing is something that you discover, experience and learn over time and with patience and perseverance.

As I gather information about literary agents, editors, submission guidelines et al, I keep hearing two words – loud and clear – again and again. Critique Group. That seems to be the mantra today in the writing business, and rightly so!

As the publishing industry stands today, most of the houses are refusing to accept unsolicited manuscripts. In plain speak, they are not accepting manuscripts that come directly, if they are not exclusively requested by them, from the author. They will only look at manuscripts that reached their tables through a literary agent. This guarantees, for them, that the manuscript has gone through at least one round of checking for marketability and viability, along with some editing.

Literary agents, I hear, in turn want to make sure that the manuscript that they consider has at least been objectively reviewed. And this is where our two magic words come in.

A critique group consists of, as its name suggests, a group of people (writers in this case) who come together to critique each other’s work, objectively. Now, that last word is key. So, who constitutes a good critique group for you? A group of writers who are serious about writing, and are willing to be interested in your work enough to be critical about it.

Choose a group that fits your personality and your expectations of the level of critique. This is very important, or you’d be left being part of a group that does nothing for your learning process. It also helps to have the various members of the group writing for different age groups and in various genres. This provides for a better scope of learning.

I have been part of a face-to-face critique group for several years — I’ve been lucky enough to find peers (now my dear friends) who enhance my writing experience in all aspects. This may not always be the case. In which case, try different groups until you can find one that suits your needs.

Online critique groups are in now. And why not? They have some advantages (along with disadvantages, of course) over the traditional group. They eliminate the need for meeting in person at a fixed time – you can work at your own pace and time. The same point may also sometimes work as a drawback. Due to lack of a restriction in meeting time, others things may bump critiquing down the list when your plate is full.

It is also advised that you belong to more than one group in order to get as varied and in-depth an input on your work as possible.

This is what my critique group has been for me when it came to my writing:

–          My support group

–          My coaches

–          My cheering squad

–          My fellow-students

–          The harshest critics of my work

And I wouldn’t want them any other way. I have been fortunate enough to find a group where everyone is serious about writing and is committed to the mutual growth of every member as a writer.

In short, your critique group is a big part of your writing family.

Here are some basics that my group follows implicitly:

When you are offering a critique:

• Begin the critique you’re offering with positive feedback.

• Any comments (even the negatives you bring up) can and should be made constructively. This doesn’t necessarily mean that you have to wear kid gloves every time you offer a negative comment, but it doesn’t hurt to modulate it.

• Offer your opinions as such and not as hard facts, because they are just that – your opinions.

• Critique the work and not the writer. Refrain from using words like: “You said here…”. Instead, say, “This character sounds older than his age.” etc.

• Remember that if a character expresses debatable opinions, that does not necessarily mean that the author subscribes to those opinions.

When you are receiving critique:

• Be open-minded. You are asking for feedback, so be prepared to hear both positive and negative comments. In fact, be hopeful that you will receive more of the second kind, which will help you better your work.

• Remember you are not your work – learn to effectively divorce yourself from your writing. This will allow you to receive comments/critiques much more openly.

• Be respectful of others’ opinions. You have asked for them.

• Finally, week after week, if all you hear is “Wonderful work”, “Nothing amiss” etc., then it is time to look for another group.

Did you notice something?

The principles above do not necessarily apply to only writing. They hold equally well to any other situation in life.

Consider the following scenarios, for instance:

–          You are required to review a technical document written by a peer.

–          You are discussing right and wrong with your child.

–          You are trying to pitch a new idea to your boss.

–          You are bargaining for a car at the dealership.

Aren’t the above rules relevant to these settings, too?

I think that’s the beauty of belonging to any group that thrives on the principle of give-and-take. It provides you with the discipline needed not only to have a better life in a particular field, but a better life. Period.

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The Essence of a Book

Originally posted on October 6, 2010

Ever notice that each well-written book has one quote or an instance of narrative inside it that embodies the essence of that book?

I was skimming through some books, which I recently read/re-read, paying closer attention to the authors’ style and characterization techniques, and voice and the way they played with plots and sub-plots.

It is during this exercise that I realized what true talent it takes to be able to distill the whole plot, purpose and theme of a novel into just a few short, well-chosen bouquets of words.

Here are some true gems, spoken or narrated by the (a) main character in each of the books.

• Julian smiled. “Not quite,” he said. “Let us say that I am as American as pizza pie. I did not originate here, but I am here to stay.”

                    — The View from Saturday, E.L.Konigsburg

• He liked to forget he was Luke Garner, third child hidden in the attic.

                    — Among the Hidden, Margaret Peterson Haddix

• “This case is as simple as black and white.”

                    — To Kill a Mockingbird, Harper Lee

• His father thought. “No, I don’t think so. Of course the Elders are so careful in their observations and selections.”

                    — The Giver, Lois Lowry

•  The rain is a cool kiss on my sleeve as I link my arm through hers. “We’re all damaged somehow.”

                    — A Great and Terrible Beauty, Libba Bray

• “Ever since I was little,” Mullet Fingers said, “I’ve been watchin’ this place disappear – the piney woods, the scrub, the creeks, the glades. Even the beaches, man – they put up all these giant hotels and only goober tourists are allowed. It really sucks.”

                    — Hoot, Carl Hiaasen

• I don’t make up lies for no reason. I just move the truth around a little when it gets in my way. What’s the big deal about that?

                    — Notes from a Liar and Her Dog, Gennifer Choldenko

• “It’s less a matter of looking the other way than of closing our eyes to what we can’t stop from happening.”

                    — Memoirs of a Geisha, Arthur Golden

• Finally, I’m a grown-up! Finally, I’m a child.

                    — Deliver Us from Normal, Kate Klise

• “A woman’s place – our place, Roshan – is behind the veil, behind the zenana’s walls, and if you want to do anything at all, do it here, in this space. But,” Jahanara added, unable to be kind to a sister she did not like, “you can do little, Roshan, you are but a second daughter. Stay away from the jharoka.”

                    — Shadow Princess, Indu Sundaresan

Do you have a favorite quote from a book?

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Writing Lessons at a Cutting Board

I wrote this article a few years ago, when I first embarked on my writing journey. When I re-read it a few days ago, having just resurfaced from a fabulous writers conference (another topic for another post!), I realized it applies perfectly even today. So, here goes….

Posted originally on March 28, 2011

The other day, I was watching “Chopped Champions” on Food Network. (“Chopped” is a show where four chefs compete against each other; one chef is let go–or chopped–per round of cooking, based on the criteria of judging they have.) In the episode I was watching, four winners from previous rounds came back to butt heads with each other for bigger stakes.

As the kitchen in the show grew hotter, I began to realize the uncanny similarities between cooking and writing. I took away some basic lessons from that one episode–lessons that are not new, but ones we tend to take for granted.

• Take time to prep your ingredients: The judges tasted grit in the dish one of the contestants had prepared. The chef had neglected to clean the main ingredient–sea urchin–thoroughly. Instead of impressing the judges, her dish turned them off. She was “chopped” instantly.
  • Lesson: It is important to sweat the basic stuff. When writing a new novel/story, research the period and place as much as you can. This will add authenticity to your world-setting and your characters will feel real.

• Depend on your dish: One contestant got promoted to the second round even though his dish did not meet the judges’ approval. This happened only because one of the other chefs had left dirt in her main ingredient. However, in the very next round, that guy got chopped because he didn’t season his dish very well.
  • Lesson: Do not depend upon others’ failure/success to give you a boost. It only goes so far. When it comes to writing, do not concentrate on the existing trends or non-trends in the industry. By the time you finish writing your book those same trends may be out of fashion or more likely would have jaded the readers. Write about a subject you are passionate about, that you believe would make a fascinating read.

• Seasoning is important: The chef who got chopped in the second round had forgotten to season his chicken. From what I deduced by then, this chef was not bad to begin with (he had to be good to have been titled “champion” in a previous tussle), but then he had probably begun to coast along rather than letting his passion for cooking to come through in his dishes. This apathy had cost him his advancement to the next round.
  • Lesson: However good a writer you are, if your story is missing the seasoning–a heart–then it won’t go anywhere. You, the writer, has to believe in the story before the reader will.

• Your previous dish won’t speak for you: The lady who was let go because she left dirt in her food entered this competition as a favorite. I could tell that the judges were almost reluctant to let her go, but the mistake she made was not a simple one to overlook. 
  • Lesson: You are only as good as your latest product. Even a successful writer can rest on his/her laurels for only so long.

• Cook to the best of your ability and then stand back: The chef who won in that episode was the least experienced of the lot. However, he cooked passionately and to the best of his abilities. This finally proved to be the best strategy.
  • Lesson: It is better to be constantly improving and growing in your trade than to be a flash in the pan. Don’t aim to be a one-book wonder. It’s important to realize and accept the fact that not all writers are created equal. However, one doesn’t need to be über-talented to be a good writer. Keep up your passion for writing and your work will shine as a result.

• Concentrate on showcasing your best dishes: Two of the contestants kept getting worked up by peeking at others’ prep work during the cooking rounds. The third one kept his nose to the grindstone, so to speak, and concentrated only on creating his best dish every single time with the given ingredients. He won.
  • Lesson: Don’t let others’ success or talent intimidate you. Everyone has their own slot in every field. Keep on the lookout and you’ll find your groove.

• Use the ingredients you know to the best effect: In one round, as I already mentioned, the contestants were given sea urchins as the main ingredient. One of the chefs had never worked with it before, and he was nervous about it. In the end, though, he took the best route possible: among the rest of the ingredients he had, he chose the ones he knew best and paired them with the sea urchin and created a sauce. He was basically faking it. It worked. That sauce blew away the judges.
  • Lesson: If you have to fake it, then do it confidently. It is good, even paramount, to do a lot of research before you embark on a new novel or story. However, sometimes, no amount of research will seem to be enough. For example, if your story takes place in the next millennium, chances are high that your imagination goes the extra mile than real, hard research. In such a case, remember you are the one with the most expertise when it comes to the world you are building.

What lessons (about life, writing, painting, sewing or anything at all) would you like to share with the rest of us today?

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Caution: Use with Care

We all know that the same word when taken out of context or even juxtaposed within a slightly different context takes on a different connotation. But recent developments in America have made me appreciate something even more subtle when it comes to words and their usage. 

A word is considered offensive when a person belonging to one race uses it, but the same word can be seen as harmless when used by a person of a different race. And what’s more, it’s used in the same context in both the cases.

What am I referring to? Yes, the word thug. This word has made serious headlines in recent weeks.

Merriam-Webster Dictionary defines thug as:

Thug

noun \ˈthəg\ : a violent criminal

 Full Definition of THUG

:  a brutal ruffian or assassin :  GANGSTER, TOUGH

Seems like a straightforward definition, on the face of it.

However, the word “thug” used by Caucasians (like Maryland’s governor and others) and perhaps by people in power like President Obama  and Baltimore’s mayor—who are both African American, incidentally—to describe the rioters in Baltimore incited anger and hurt in the black community. So much so that the word had to be retracted in some cases with apology. However, when the same word is used by someone within the black community, it isn’t considered objectionable. In fact, it might even take on a slightly positive and affectionate patina.

Here’s an interview on NPR if you would like to dig some more into the history of how the word got to be this racially charged. The Racially Charged Meaning Behind the Word ‘Thug’.

(An interesting aside: this word originated in India. In Hindi, the word thag means swindler or deceiver. It snuck into the English language as thug during the British-Raj time in India.)

Isn’t it fascinating, how the use or misuse of a single word—which might be harmless when it stands by itself—can muddy our perceived intentions?

Now, go to your bookshelf and pick up your favorite book. An average 300-page novel contains 75,000 to 80,000 words. Consider the care and caution that the writer has put into each one of those words so as to string them all together to get her point across to you, the reader. Don’t you love the book that much more now? I thought you would. :)

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The Power of Words

Has there been a time when you were feeling out of sorts and then you happen upon a phrase or hear a snatch of a song, and violá, your mood improves?

Wherever I am, whatever time of the day, all I have to have is Louis Armstrong crooning to me, “What a wonderful world!” and I begin to see colors brushed into the air around me.

When I hear Simon & Garfunkel asking, “Are you going to Scarborough Fair?” the concrete walls around me fall away, and I step into fields of parsley, sage, rosemary and thyme.

The Indie Rock band American Authors tells me: “This is gonna be the best day of my life.” Suddenly even the most mundane day turns into something memorable.

Isn’t the power of words amazing?

Which words pick you up and make your feet tap out a rhythm? Please share!

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