Today on The Melbourne Flâneur, I take a flânerie around Bendigo, pausing only in my perambulations to breathe some poetic airs upon your ears in beautiful Rosalind Park.
The good burghers of Bendigo named their green space after the heroine of As You Like It, but as you can see in the video, there is something otherworldly about this ‘emerald isle’ in the midst of the city, such that it reminds one of the enchanted island of The Tempest.
It’s the perfect locale for a little poetry-declaiming, and with the rather Parisian skyline of Bendigo’s Pall Mall mansard-bristling at my back, I read you my translation of Charles Baudelaire’s sonnet “L’Idéal”, from my book Flowers Red and Black: Love Lyrics & Other Verses by Baudelaire.
There’s always an erotic edge to my writing, and like a pendulum, I oscillate between the sublimely romantic and the frankly pornographic, so it should come as little surprise that I am such an admirer of Baudelaire, or that I have translated so many of his love poems.
Though I had some slight acquaintance with M. Baudelaire beforehand, it was as a flâneur in Paris—the city of flânerie, the city of Baudelaire—that I really got to know the divine, diabolical M’sieu.
As I perfected the art of wandering the streets of Paris, the Latinate rap of Baudelaire’s high-flown rendering of low-brow subjects was a constant cicerone in my ear, directing me towards the tawdry tableaux which Paris flashes like her undergarments at the voyaging connoisseur of voyeurship.
‘Parisian life is abundant in poetic and marvellous subjects,’ Baudelaire observed. ‘The marvellous envelopes us and suckles us like air, but we cannot see it.’
Certainly I feel the same way when I set up my camera to capture those little vignettes of Bendigo, shots of rien de tout, which bracket the video above. Statues, street art, architectural details, empty vistas:—Bendigo (which bores the Bendigoans) is fecund in that surreal quality of the marvellous, the poetry which hovers behind the banality of things much-seen.
Baudelaire’s ambition was to make the Parisian see this invisible air in which he ambulated, to turn the exquisite flâneur experience of the ephemeral into a flâneur poem. In the same way, if there is any ‘poetry’ in the shots of nothing I insist on boring you with in my videos, it is the poetry of the ‘boring’ urban life which Baudelaire, lover of novelty and ennui, both wanted to escape from and escape more fully to.
Flânerie is an ‘altered state’ which reveals the invisible poetry of the visible city. Baudelaire, as the père of flâneur philosophy, was an inveterate chasseur after artificially-induced altered states which liberated the surreal poetry that is the resident spirit of the banal.
He praised the state of drunkenness as the essence of the poetic experience, and wrote a scholarly treatise on the poetic effects produced by hashish. And of course, Baudelaire was an amateur of that other intoxicating, protean substance which produces a poetic effect on men: la femme.
As a flâneur, he was a Daygamer avant la lettre, as may be witnessed by his ode to an anonymous passer-by. It’s one of Baudelaire’s most delicate and evanescent love poems, ineffably romantic and yet unmarred by any effeminate sentimentality whatsoever.
In a handful of lines, Baudelaire perfectly conveys that ephemeral experience which all men of the city know:—the lightning-flash moment when you see a woman you desperately want to approach surge forward from out of the crowd; the single second in which you clearly see a whole parallel existence with her; and the second afterwards when, jostled on by the crowd, you decline to embrace the destiny with her which you so clearly previsioned:
A bright light… then the night! Fugitive beauty
In whose glance I have been suddenly reborn,
Will I never see you again in all eternity?
Elsewhere, very far from here! too late! perhaps even never!
For I know not where you fly, and you know not where I go,
O you who I might have loved, O you who knew it!
Translating Baudelaire is not easy. As Alan Ginsberg remarked, if you can’t read him in the original, you have to take the aggregate of all the translations in English to get a sense of what he is saying.
It’s not that Baudelaire’s French is particularly difficult, although he does some vexing things with tense that English is not supple enough to elegantly convey. It’s rather that the images he manages to paint by combining a lofty, distant tone with the startling incorporation of things deemed ‘unpoetic’ produces a remarkably lucid effect with remarkable compression.
As with Shakespeare, there’s quite an unusual ‘range’ in Baudelaire’s language. He’s equally at ease with the most recherché classical allusions as he is with the slangy argot of the Parisian gutter, and he demands not only a requisite range from his English translator but a sense of how to convey in modern English the quality of ‘shock’—and even of ‘offence’—produced by this admixture of tone.
Few translators who have ‘tried their hand’ at Baudelaire have a good sense of him, methinks, for with the grotesquerie of his subject matter, it is too easy to make a schlocky parody of Baudelaire in English.
One requires an exquisite sensibility for the sublime horror (or horrific sublimity) of everyday life to approach Baudelaire on his own terms of unquiet desperation with normal, bourgeois existence. In fine, one requires an ample dose of that quality which he himself defined (finding no better word for it in French) as good old-fashioned English ‘spleen’.
In Flowers Red and Black, the poem which most conveys this choking, stifling sense of sublime horror (or horrific sublimity) is “The Jewels”, my translation of “Les Bijoux”.
It’s the most sensual, erotic poem in the collection, and the one I am always asked to read at poetry gatherings because it’s almost like a short story: in the space of a few minutes, people feel as though they have been completely transported into the small, stuffy chamber, lit only by firelight, in which Baudelaire and his Creole mistress, Jeanne Duval, are engaged in foreplay.
The heady incense of the smoke, the play of weird lights rising from the fire, the music of Jeanne’s ‘chiming jewels’, and the way she undergoes a metamorphosis before the bard’s eyes, changing into a tiger, swan, slutty angel and classical catamite by turns, always gives people the hallucinatory sense, sans drugs, of the ‘altered state’ which Baudelaire experienced in sexual love.
And yet, because the banality of this everyday scene takes on a heightened potency and is attenuated to such an exquisite degree, there is a stifling, almost suffocating sense of sublimity into which an erotic horror enters, like the almost painful pleasure of the ‘petite mort’.
As romantic as his love poems are, there is nothing wilting and effeminate about Baudelaire, which is perhaps why women like this book. His voice is forceful and potent, and it seems to combine well with my own style as a writer, such that we make some ‘beautiful music’ together.
I’m thinking of publishing a second edition of Flowers Red and Black, revised and expanded, even including some of Baudelaire’s prose poems. But that project is some way in the future.
In the meantime, I have a very limited stock of the first edition on hand—about a vingtaine. It makes an original St. Valentine’s Day cadeau, and the dames do grok it. As I say in the video, I’ve been reliably informed (regrettably post facto) that ladies have regaled one another with my verses in bed.
I’ve also had a friend rip off my translation of “Les Bijoux” and try to pass it off as his own poem to placate a squeeze who wasn’t in the mood to be squeezed. (She saw through his play at once, which only served to further inspire her ire.)
You can purchase a copy through the Dean Kyte Bookstore, but if you want to buy a copy from me directly, you can do so either by clicking this link, or by registering your interest with me via the Contact form.
This allows me to get in touch with you to arrange payment and delivery details. It also enables me to get some particulars from you so that I can write a thoughtful, personalised message on your behalf to the lucky person you want to give the book to.
Plus, I will flourish the magic wand of my Montblanc Noblesse over the flyleaf and affix my personal seal in wax to it, so your first edition will be doubly exclusive.
They say that every person has a book in her—a painful state of affairs which, if you happen to be a writer, often feels like nursing a mental gallstone.
I’m working on my sixth book, and believe me, the process of writing and self-publishing your own books does not getting any easier after the first one. It doesn’t get any easier after the fifth, even.
But, as I say in today’s video, what sustains you through the years is the knowledge that, if you persevere, a day will come when you can literally hold your thoughts in your hands.
There’s a certain magic—which I can only equate with holding your newborn child—in the sensation of being able to weigh your words in your hands when you at last see your thoughts, the lightest and most ethereal of things, crystallized in a beautifully bound book.
I’m dreaming of that day with my next book, my sixth mental child, but maybe you are dreaming of experiencing the soul-deep satisfaction of giving birth to your first one.
You’re nursing the book within yourself and you would like to get it out. Maybe you even write in secret, but you dare not knight yourself with the holy title of ‘writer’. For you, writing is a hobby, and you feel shy about even sharing the fact that you are ‘writing a book’ with family and friends:—for everyone knows how hard it is to write a book, and you know that, behind their polite smiles of encouragement, your nearest and dearest are doubtful of your staying power.
As I say in the video above, writing and publishing a book is like ‘climbing a mental Everest’, and most of the time that you are climbing it, you still feel as though you are pottering around base camp.
The writing life is more than simply putting words on a page—and what if the words you do manage to put down are no good?
Probably the better part of writing is not writing at all but dealing with rejection—the rejection we make of our own bad writing; the slighting sneers with which our grand ambitions to write a book are greeted by family and friends; the politely deprecating rejection slips which dismiss our entire efforts.
Paradoxically, writing is a rather introverted activity, and yet it is one of the most self-exposing activities an introvert can perform—and therefore one of the most fraught with potential rejection.
But despite its introverted nature, there’s a certain ‘performative’ aspect to writing. Indeed, being a published ‘author’ is the performative side of a writer’s life.
Your book is the stage upon which you enact all the parts, so it’s perfectly reasonable that you should feel a little ‘stage fright’ when you turn up to the blank page. If you’re feeling ‘writer’s block’, it’s simply the writer’s stage fright, the dread of giving a bad performance.
Fortunately, self-publishing allows you the greatest latitude to control your stage and your performance. In the video I state my earnest belief, which has attended me since my earliest days as a writer, to wit:—that the book (to borrow Richard Wagner’s term) should be the ‘Gesamtkunstwerk’—‘the total work of art’ of its author.
To continue the Wagner analogy, self-publishing allows you the scope to make your book your Bayreuth—not just a stage, but a whole theatre devoted to you, one in which you can control every aspect of the production.
But the problem with having such scope for total control is that most writers don’t have the requisite skills to handle it well. Despite its venerability, the printed book is still the most technically complex analogue knowledge technology humanity has ever produced. As any writer who sets sail on the hazardous seas of self-publishing for the first time will attest, the number of things you have to consider, the number of choices you have to make when publishing your own book is intimidating.
There’s the editing and revising and proofreading, the layout and formatting of the text and illustrations, graphic design and typesetting. Dealing with the vexing issue of the cover alone will take you almost as long as writing the book—and is just as important as the words behind it.
Indeed, the two categories of problem which the virgin authorpreneur typically faces may be filed under two heads: ‘words’ and ‘images’.
As an Associate Member of the Institute of Professional Editors (IPEd), I can handle the words, bien entendu. But what makes the Artisanal Desktop Publishing service I provide to my clients original is the instinct I have for the visual, for the ‘readability’—(as important as the legibility of the words on the page)—associated with good graphic design.
It would seem in life that one is either more orientated towards words or towards images, but rarely are the two combined. Yet the ability to think about a book visually, in terms of its graphic and material design, is key to the successful communication of its ostensible content—your writing—to the reader.
As I explain in this video, I’ve been making books since I was a little boy. It’s what I always wanted to do, so it’s perhaps natural that I should be able to think in both dimensions. And certainly sharing your work in a supportive environment with an editor who is not just a fellow writer, but is someone who understands the total process of self-publishing your book thanks to long experience of his own, gives you confidence that all aspects of your performance will ultimately do you justice.
I’ve been to the summit of that mental Everest five times now, and I’m slogging my way up the slope for a sixth pass. As a genuine introvert and someone with a reputation for being a ‘perfectionist’ when it comes to grinding out diamond-cut words, what I find the most ‘performative’ aspect of being a writer is releasing my inner Flaubert momentarily, swallowing my stage fright and allowing you to see inside my Artisanal Desktop Publishing process in some of my videos.
In Brisbane and at Docklands I shared with you a couple of excerpts from my current work in progress, words which are less than perfect by comparison to future versions of same I may share with you in revised drafts. But I think it’s interesting as a document, particularly in the video format, to see how those impalpable and ethereal things, words, evolve into a plastic object you can hold and weigh in your hand. I plan to bring you a third instalment shortly, exposing yet another sin-tillating aspect of the erotic (mis)adventure I’ve been tantalizing you with.
What do you think? Do you find it hard to share what you are working on? Do you feel as though you will never get to the summit? Or are you looking forward expectantly to the day when you can finally hold your thoughts in your hand?
I look forward to hearing how you’re going with your own writing in the comments below.
Do you crave the personal, intimate experience of curling up with a good book? How much does the tactility of a book, the pleasure you get from turning its pages, wafting their peculiar perfume, add to the intimacy of hearing its author’s voice whispering in your ear?
How much more connected do you feel to the author when you see his signature on the flyleaf and a personalised message to you in his handwriting? This book—your personal copy—has passed directly from his hands to yours.
Suppose you knew, moreover, that, in addition to all this, not just the words you are savouring, but the very book you are holding—right down to the choice of the fonts, format and layout—was the effort of one mind and one pair of hands:—How much more intimate and authentic would the experience of enjoying that book be?
Well, when you purchase a book by Dean Kyte, you experience this additional frisson—the delicious knowledge that you are purchasing an ‘artisanal book’ directly from its author, one that comes with an implicit guarantee of ‘artistic authenticity’.
As a writer, my approach has always been to work by hand: as I explain in the video above, I not only write my books by hand, but in my Artisanal Desktop Publishing service, I transform the self-publishing process into a handcrafted one—the craft of making books.
It’s as close as you can get to owning a ‘bespoke’ book, since I do all the work by hand, and there is only one imagination, one pair of eyes, and one pair of hands doing all the work associated with writing, illustrating, designing and publishing the book you hold in yours.
When something is ‘bespoke’, it’s made for one person alone. Our richest reading experiences feel like this:—it’s as though the writer is crafting a bespoke experience for you alone, fashioning a rich article which clothes your vision to such an extent that when you look up from the page, for a moment you seem to see the world within yourself draped over the world without.
Why is the artisanal approach so important for me as a writer? Books have always been luxury items. For centuries, bookcraft was artisanal production, whether the book was a Medieval manuscript illuminated by monks or a Japanese scroll calligraphed by a scholar.
Writers are the noblest mastercraftsmen in that they fashion two objects simultaneously: an abstract æsthetic object, such as a novel or a poem, which also has a tangible, æsthetically pleasing form which human beings have enjoyed for centuries. Books are perfectly designed to hold words the way a vase holds water.
If you’re a Melbourne writer who wants to know how to publish your own book in an æsthetically pleasing way, I can give you the benefit of my experience, bespoke to your needs, with my Artisanal Desktop Publishing service.
A few months ago in Brisbane, I shared an extract with you from the book I am writing. This week on The Melbourne Flâneur, I flâne around Docklands, taking advantage of the warmer weather to sit by the Yarra and read you a new extract.
At this stage, I am approximately 60 per cent of the way through the second draft of the book—which is where the ‘real writing’ occurs. I don’t write so much as rewrite.
I use a lot of metaphors to describe my approach to writing. Sometimes I think of it as ‘architectural’, other times as ‘musical’, or even ‘painterly’. But oftentimes when I think about my process of writing and publishing a book, I compare it to ‘sculpting’.
As demonstrated in the video above, ultimately I am writing thought. The action of the scene is simple enough: walking downhill at night. The thoughts that take place on that flânerie, however, are not simple to describe or make intelligible to the reader.
Michelangelo (some of whose sonnets I have translated), said that ‘every block of stone has a statue inside itself’, and that ‘to free the captive / Is all the hand which obeys the intellect may do.’
It is as though I am ‘hewing’ my thoughts out of a block of dense fog in my mind, and it takes several passes with the chisel and the file over successive drafts to sculpt those thoughts into their final, perfect form in words.
If you work from a plan or outline for your book (and you always should), this is like a sculptor’s maquette: it is a skeletal, bare bones structure which represents all the parts of your book and their relations to each other.
Writing your first draft is like modelling in clay: it’s a time to get your hands dirty and play. I always write the first draft by hand because it allows me to explore the lineaments of my thought, probing and shaping its first vague outlines.
The second draft, as I said, is where the ‘real writing’ takes place. It is the longest and most difficult part of the process because you have to ‘carve out’ what is vague and implicit in the first draft.
The second draft is about maximal amplification and clarification, so I rewrite my entire book, carving out every detail that I passed over lightly and summarily in the first draft until I’m satisfied that my thought is fully explicated.
In the extract I share with you in the video above, this is the point you find me at with regards to that walk downhill: all the implicit thoughts in back of that simple action are now explicit.
It’s perfectly acceptable to ‘overwrite’ in your second draft: as Michelangelo said, sculpture is the art of subtraction, of ‘taking away’—but you can’t take away words you haven’t written to begin with.
The third draft is about subtracting the inessential, and if you are writing a book for the first time, this is the point where you may consider engaging a professional editor to help you decide what to take away.
All editors have different methodologies, but as you might imagine, with my Artisanal Desktop Publishing service, I tend to regard your words as though they formed an object in space, something I can see ‘in the round’, like a sculpture, and I’m very good at discerning what is inessential and what is core to the structure of your book.
If you enjoy this video and would to see more ‘episodes’ in the future, as I update you on the progress of my next book, taking you inside my Artisanal Desktop Publishing process, I’d appreciate it if you like the video on Vimeo or leave an encouraging comment. You can also share your own steps to writing a book with me in the comments below.
I want to thank all my friends who have accepted the invitation to follow my adventures on The Melbourne Flâneur vlog. As I commence my enterprise, offering a bespoke, artisanal approach to document preparation, it means a lot to me to have your support.
It’s also an honour and responsibility to produce online content for an audience who has committed to watch it.
In thinking about how to produce online content that is meaningful, engaging and valuable without bombarding or overwhelming you, I was influenced by Jasmine B. Ulmer’s article, “Writing Slow Ontology” (2017).
In the spirit of the ‘Slow’ movement (as in Slow Food, Slow Cities, etc.), I want to propose a ‘Slow’ approach to producing online content, one that does not bombard you with volume or overwhelm you with fast pace, one that is, as Ulmer says, ‘not unproductive’ but ‘differently productive’.
As opposed to the consumptive and disposable model of online content production that predominates, I won’t spam your inbox with clickbait. You won’t hear from me often, but I hope that when you do receive notification of a new post, you will look forward to the content I offer.
To my mind, online video should open a space in which to breathe for the viewer, not fill a hole hungry to consume. In line with the bespoke, artisanal value promise of my enterprise, I want whatever leaves my hand to be the best that I can make it.
I called my vlog The Melbourne Flâneur because I wanted to bring a more ‘pedestrian’ pace to producing online content, introducing Paul Schrader’s notion of the transcendental style in film to online video.
In the video above, you’ll notice my love of ‘leveraging boredom’—holding on shots of ‘nothing’ at the beginning and end, moments of ‘ventilation’ which encourage you to pause, breathe and observe with me in my flânerie.
The fast-paced, high-volume approach to content generation is opposed to the bespoke æsthetic of the handcrafted, artisanal products and services I promote. To write and publish even a slender volume like Brazen Gifts for Gold took more than a year of my life.
Writing is a true ‘manual labour’, but, as Ulmer observes, it is also a labour of time and being in which we don’t just ‘do’ writing but ‘live’ writing. To be a writer is to live an artisanal lifestyle.
Value emerges from this condition of artisanship: all the being and ‘life/time’ of the writer is imbued in the bespoke, handcrafted book, not merely in the words he sweats over to make perfect, but in the total ‘livery’ of his libello.
Likewise, in the video content I offer you on this vlog, in which places are allowed to be and breathe, I hope you enjoy a vicarious oasis of valuable respite from the overwhelming pace of our amped-up existence.
How does a ‘Slow’ approach to creating online content resonate with you? Do you agree that we could benefit from a more thoughtful, deliberative pace to online video production? I’m interested to hear your thoughts in the comments below.
Melbourne transforms itself into a foreign wonderland at night. Armed with my Pentax K1000, I venture forth after-hours to capture ‘a Brassaï moment’—the moment when Highlander lane, between Flinders street and Flinders lane, reminds me of the square Caulaincourt in Paris—the setting of my first book, Orpheid: L’Arrivée (2012).
As a writer, I move from obscurity to clarity. For me, writing is a flânerie through the chiaroscuro of consciousness and unconsciousness. I enjoy the frisson of venturing into dark places which are foreign to me—like alighting from a taxi in a cosmopolitan European locale late at night, not sure where you are, barely speaking the language, some menacing silhouettes in the milieu to greet you.
Before I was ever a Melbourne Flâneur, I was a flâneur in Paris, the Mecca of flânerie. In L’Arrivée I wrote about my experience of feeling both fearful and fearless, arriving alone, late at night, in a small Parisian square in Montmartre. Despite barely speaking the language, I had a strange sprezzatura, a strange confidence in myself—in my mission and message as an artist—going forward.
Do you speak the language of the land? If you are a writer in French, Italian or Spanish, can you make the obscurity of your message clear to readers in English, combining the formal and the vernacular with the bravura of the native-speaker?
With my Bespoke Document Tailoring service, I can help you translate the complexity of your experience into words which allow you to feel heard and understood by your readers.
To explore how I can help you communicate your message with a bespoke approach which complements your literary voice in your native tongue perfectly, go to my Contact form to arrange a discreet and private measure with me.
Persuading a client or investor to share your vision is like seducing a woman: you have to paint a clear picture by using vivid and evocative language which appeals to the emotions of your reader.
In this video, Dean Kyte demonstrates how to paint a vivid picture with words as he reads an extract from his latest work in progress. Still in Brisbane, the Melbourne Flâneur paints an impressionistic snapshot of his thoughts and feelings before Rupert Bunny’s Bathers (1906) in the Queensland Art Gallery, making the painting come vividly to life.
As Dean demonstrates, by tailoring the language of your message precisely to your intended reader, you can make even a restricted format like a text message as vivid and evocative as haïku, striking your reader with an emotional impact which allows her to enter into your experience and share your vision in a way which provokes her to enthusiastically respond.
To find out how Dean can help you distil your message to the same point of vivid clarity with his Bespoke Document Tailoring service, fill out the Contact form to arrange a discreet and private measure with him.