Aaron Belz (born September 27, 1971) is an American writer and poet.
I don't really want to write fiction at all. I don't see why fiction is necessary when we have real life already confusing enough.
We just watch anything speed by. To stop and really ponder what a product label says, or the tagline on a TV commercial, might be inherently silly. Those are things that are almost designed to be thrown away.
Writing essays and teaching composition have helped me immensely in writing poetry, because they've forced me to focus on the structure of ideas.
The brand is lying about something, or at least misrepresenting it. When I read a bottle of shampoo or moisturizer or other beauty product, I always perceive a dark subtext. The words haunt me. It comes across as humorous to the readeraudience, but in fact the words really do make me a little bit queasy. Nothing is as easy or natural as consumer brands want us to think - no problem is as resolvable. Your hair will fall out, eventually. Yet we do have these brands, and we line our shelves with them. There's an inherent irony.
Negative space is important. When I teach students to read critically I advise them to look for what the author isn't saying just as carefully as for what he or she is.
Surprise keeps the reader awake. The only alternative is to continue saying what the reader is expecting. What fun is that?
Humor and absurdism are inevitable. If you look at our current massive flow of consumer products and digital communication and related media from a sort of astute perspective and carefully state what you see you can't help but sounding like you're joking.
Poetry is a way for me to explore a tingly feeling, to let it play itself out, and also to map it. I feel like I'm making little star maps when I write poems.
Nothing is as easy or natural as consumer brands want us to think - no problem is as resolvable. Your hair will fall out, eventually. Yet we do have these brands, and we line our shelves with them. There's an inherent irony.
I want to leave my readers with a sequence of ideasphrases that makes them question something they'd taken for granted. Or that confuses them to the point that they laugh, but contains one or two phraseslines that stick in their minds.
The brands with which we surround ourselves prop us up, make us feel sexy and beautiful, when in reality we're pretty dumpy creatures.
After the first few readings in comedy venues I did begin to write for laughs. There's something so gratifying about stimulating laughter.
The language itself is what gets me interested in writing. It's weird to me that words exist. Never a dull moment with words. They're a layer between our minds and the physical reality around us, obviously, but the layer seems like it's always in flux, like an asteroid belt, constantly moving.
I gravitate toward the larger worldview questions such as, Why are we here? What are we supposed to be doing? What does it mean to know another person? To love someone? Of course, those questions are sort of in the background as I'm playing with language in the foreground, but those are the informing questions.
Whenever I do a comedy show I still just read poems, some of which are intentionally funny and some of which are just bizarre. The mix seems to work well.