Recreating the Self Through Memoir

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10 DECEMBER 2018 Recreating the Self Through Memoir

hand-325321_1920I opened the I Ching at random this morning and came up with #38, K’uei / Opposition.   The commentary says it is common for two opposites to exist together, needing to find relationship.  I realize an opposition is being set up just in the act of writing my memoir Drop Out:  my inner writer will be observing everything I do closely and recording what she finds valuable.  I’m reminded of a review of Journey into the Dark:  The Tunnelby William Gass that appeared in The New York Times Book Review:

Writers double themselves all the time in their fictions, of course.  That’s one of the reasons for writing them:  to clone yourself and set yourself out on a different path, or to reconfigure yourself as a marginal observer of your own childhood, as Lawrence does with Rupert Birkin in Women in Love, and as Woolf does with Lily Briscoe in To The Lighthouse; or to split yourself in two and reimagine one side of yourself through the eyes of the other, as Joyce does in Ulysses, and as Nabokov does in Pale Fire.

ON COINCIDENCE

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I once wrote a novel inspired by coincidences. It was great fun–though hardly original. Metafiction, fantasy, fairy tales, and any number of other genres often require coincidence. Some even delight in riffing on it. 

Often, though, we have to limit coincidence in fiction, particularly realistic fiction. Inexplicable interconnections and concurrences may seem contrived. Genre novelists—and Charles Dickens, for that matter—are routinely pecked apart for stories that are too perfect too be true, filled with dei ex machina and separated-at-birth twins reuniting on the altar or mothers rediscovering offspring on the other side of the world.

Even so, fiction often aims to tell the story of real life. And, real life is filled with coincidence, or at least what seems to be coincidence to unbelievers.

How to Write an Undramatic but Engaging Novel

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I’ve written before (in Two Ways to Write a Novel, parts I and II, in this column) about a non-cinematic kind of novel, one which tells more than shows, that prioritises interiority and language over action and dialogue. Colm Toibin’s novel The Master (2004) about Henry James, strikes me as one that exemplifies that approach. In any case, how could you make James’s life dramatic? He had no openly sexual relationships. He lived through the Civil War, and two of his brothers fought in it, but he declined to do so. He travelled in Europe and knew many famous figures, but was apparently so discreet and reticent by nature that he seldom quarrelled or even disagreed with anyone. In fact, his life seems to have consisted mainly in observing the lives of others, and using those observations as grist for his fictional mill.

When Historical Fiction Becomes Allegory: Colson Whitehead’s The Underground Railroad

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The Underground Railroad tells the story of Cora, a young slave, who escapes a Georgia plantation hoping to hop a ride to freedom on the Underground Railroad. What she discovers is that freedom’s journey has many obstacles. At the end of the story, after suffering psychological and physical harm along the way, we find her continuing her flight still hoping to reach freedom’s promised land.

This novel is an allegory of sorts. It begins offering a harsh portrait of life under slavery; but when Cora leaves the plantation, she moves into an imagined world, still harsh, meant it seems to teach the reader about the dangers of placing one’s hopes on whites.

Cora is transported north, as the title implies, on the Underground Railroad.

Book Reviews: Recent Releases Ripe for Reading

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One of the great joys of participating in the D.C. area writing community is getting to know so many of the exceptionally talented authors who call the area home. An added bonus is learning some of the backstory behind their work, including what it took to bring to publication. Here are two books from D.C. writers that were just released in October.

Carry Her Home, Caroline Bock, Washington Writers Publishing House, 2018, 218 pp.

This collection of flash fiction and longer stories, many of which are inter-related, is fully, deliciously unexpected. From the first tiny but densely meaningful story, “The Understanding”, and the second, “O, Tomato,” which reads like prose poetry, it doesn’t take long to catch the rhythm of the stories and a sense of direction, and to realize that what remains unstated carries as much weight as what is on the page.

In Pursuit – The Hunt for the Beltway Snipers

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If you lived in the D.C. Metro Area in October, 2002,  you remember the terror you felt as the Beltway Snipers killed people randomly on the street, in a store, filling gas, loading groceries into a car—17 killed  in all with 10 wounded. I was afraid, as we all were, to walk from my car to my house or anywhere else. If you were at the gas pump, you stooped to hide behind your car. You ran zigzaggedly into a store, kept your kids home from school, and prayed you wouldn’t be the next victim.

So this month I had the pleasure of being a panelist at the Mechanicsburg, PA, Mystery Book Shop. I sat next to David Reichenbaugh, also a panelist and author of In Pursuit: The Hunt for the Beltway Snipers.

THE RUSHES: INTERVIEW WITH RICHARD NATALE ABOUT HIS MOST RECENT NOVEL

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The Rushes looks into the world of film making. Its two protagonists struggle to put career ahead of romance, but the penis has a way of rising. Best friends since childhood, they get college degrees in film making and begin Hollywood careers. Their long-range goal is to make their own films together, after they get the credentials necessary from working for others, the others tending toward the tyrannical. Everyone works long hours. Sex and romance get squeezed in.

As I read, I wondered how the author knew so much about the film industry. I learned he wrote and directed The Green Plaid Shirt, a 1996 romance/drama about life during the initial onslaught of AIDS.

Question: Carson’s big break into Hollywood comes when he’s hired by Zach, a producer who later berates him with a gay slur.

THERE ARE GREAT NOVELS AND THEN THERE ARE CLASSICS

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At a recent book club meeting, one of our members remarked that because the club had such mixed feelings about the novel Exit West, it likely wouldn’t become a classic. “A classic,” he said, “has to have good writing, characters we care about, a good story, and a deeper meaning.” Since we couldn’t agree about the characters or the writing, Exit West fell short.

A lot of scholars, writers, editors, and others in the literary world have defined “classic literature,” and doing a little research on the subject, I found that most of the definitions are similar to what my book club member suggested. Mark Twain had the most succinct definition—“a book which people praise and don’t read”—but assuming novels are read, I think the true standard for classic is that the novel has stood the test of time.

A Book for Now: Behold the Dreamers by Imbolo Mbue

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Imbolo Mbue’s novel Behold the Dreamers has been on my mind as I’ve read about the thousands of migrants from Central America walking the long miles toward the United States. The fictional story about Jenda Jonga, an immigrant from Cameroon, could be the story of so many people who see America as the promised land. One of America’s central myths is that of the poor immigrant who amasses riches. Mbue’s take on it is powerful and original.

Mbue herself is the embodiment of the immigrant success story.  In 1998, an aunt sponsored her to come from her native Cameroon to study at Rutgers University. She went on to get a master’s degree from Columbia University. Behold the Dreamers, her debut novel, landed a million-dollar advance.

THE POWER OF AN HOUR: WRITING ROUTINES

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For decades I’ve been preaching it to myself and others: writing routines don’t have to be long. Devote just an hour every day to writing, even if you cannot get beyond a few words, or you’re writing nonsense. If you can’t write a word, at least read or think about your writing.

Don’t underestimate the power of an hour.

Just do it.  It works. I wish I practiced what I preached more regularly. But I fully believe it nonetheless.

Cast a Spell Over Chaos With Your Writing

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1 NOVEMBER 2018 Cast a Spell Over Chaos With Your Writing

One of my novels in progress is an attempt to cope with fear and chaos in our current political climate. Without revealing too much, it envisions a near future when a certain political figure and that person’s supporters have been effectively (but non-violently!) neutralized by virtue of magical spell. The stakes and conflict of the story derive from the threat that this enchantment will come undone.

It’s a kind of absurd story, by design. It may be a little silly, a little satirical, and a lot wish fulfillment. Sadly, I’ve been working on it for about a year, now, and am only half way through the first draft. I’m not a full-time writer, alas. When I am discouraged in my progress, or distracted by my day job, I have to find ways to motivate myself.

A Reader and Writer’s New Year’s Resolutions

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Confession: The last resolution I made that I stuck to was about seven or eight years ago, when I resolved to stop buying clothes that needed dry cleaning. I’ve been very happy with the way that turned out, as all the clothes in my closet are now hand or machine washable—which saves time, money, and is better for the environment. Usually though I don’t make New Year’s resolutions because I believe if you want to change something, change it now. Research shows the resolutions you make on New Year’s Eve usually don’t last.

Yet this year I’m ready to make a New Year’s resolution, even though I’m two months early. My first New Year’s resolution is to buy books only by small and university presses, and my second resolution to buy books through my local bookstore Starline Books or directly from the publisher. 

Are Men Finished in Fiction?

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Speaking in a BBC interview recently, Fay Weldon described the current publishing market, emphasizing that it was dominated by women readers, who demanded women protagonists—and, increasingly in the #OwnVoices era, women authors. Ms. Weldon’s advice for male writers: use a feminine pseudonym.

As far as I could tell, this wasn’t a joke. It’s somewhat ironic, surely, after the prejudice against women writers prevalent in the nineteenth century—consider Jane Austen, George Eliot, and Charlotte Bronte, who all published anonymously or with masculine pseudonyms—that the exact same prejudice has returned, apparently, in reverse. (In spite of the much-vaunted inclusivity and diversity that we all value nowadays: maybe it doesn’t include men?) In case you think that Ms. Weldon is exaggerating the difficulty faced by men getting their fiction published, or even read, consider this: one of my male writer friends has told me that he intends to adopt a feminine pseudonym (independently of me bringing up the subject) and another is considering submitting his next novel with a woman as co-author.

Thriller, Mystery or Ghost Story: How Should We Label Elizabeth Brundage’s All Things Cease to Appear?

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When Stephen King writes a blurb for a novel, readers take notice. When a book is reviewed in the New York Times Book Review section, readers take notice. Let’s look at how Elizabeth Brundage’s fourth novel, All Things Cease to Appear, which was published in 2016, is being received by the reading public.

All Things has earned over 7,000 ratings and 1,000 reviews on Goodreads. That is very good, yet the book scores only 3.72 (out of 5)––not what one might expect. On Amazon, it does a little better with a 4.1 score, but from only 300 reviews.

What are the chief objections to the novel among Amazon and Goodreads reviewers? First, and least important in my opinion, is that she does away with quotation marks.

GUEST BLOGGER DAVID LEDDICK: I’M NOT FOR EVERYONE. NEITHER ARE YOU.

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“This is a work of genius, a metaphor-studded treasure chest filled with wisdom for anyone willing to go look,” says author and entrepreneur Seth Godin of David Leddick’s little gem  I’m Not for Everyone. Neither Are You.  A few chapter-ette titles will give you the idea. “There is no lasting comfort in a safe landing. Better to stay in flight…and embrace impermanence.”  “In confrontation, never answer the way people expect you to.” “He was a man and I like that in a person.”  (Leddick is gay, remember.) “He doesn’t want to give up everybody for somebody.” This chapter-ette begins by saying, “This applies more to men than to women. And not just gay men.”  “A child says nothing matters, but it takes an adult to say it doesn’t matter that nothing matters.”

Historical Research: Mining for Gold

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I am sometimes asked to speak on historical research for writers because of my two historical novels, Shadow of the Rock and In Rembrandt’s Shadow. I visited libraries and special collections, traveled to sites in Florida, St. Thomas, Morocco, and Gibraltar, consulted maps and long out-of-print books, and interviewed historians and others to collect the information I needed. It was quite an adventure.

So I pay attention to the resources used in offbeat research and not necessarily by academics. Recently, a slim book called Finding the Little Klondyke Gold Mine: Grandpa’s Last Nugget by John Cox Williams crossed my desk. It’s the author’s story of searching for and finding his grandfather’s gold mine. He started with a vague memory of his mother showing him a nugget from the mine.

Welcome to Gasoline Lake: An Interview with Steve Davenport

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Steve Davenport is the Associate Director of the Creative Writing Program at the University of Illinois. He’s the author of two books of poetry: Uncontainable Noise  (2006) and Overpass (2012). His “Murder on Gasoline Lake,” published first in Black Warrior Review and later packaged as a New American Press chapbook, is listed as Notable in Best American Essays 2007.  His chapbook Nine Poems and Three Fictions won one of The Literary Review’s 2007-2008 Charles Angoff Awards for Outstanding Contributions in a Volume Year.  Steve’s literary criticism includes work on Jack Kerouac and Richard Hugo.

Ron Cooper: Nice to see you again, Steve. Tell us a bit about where you grew up, were educated, etc.

Steve Davenport: Glad to be here, Ron.

A Reader’ Evolution: How Annie Oakley & Wonder Woman taught me to read!

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9 OCTOBER 2018 A Reader’ Evolution: How Annie Oakley & Wonder Woman taught me to read!

girl-flying-on-book-2970038_1920As a pre-TV child (television arrived in Calgary in the early 50s, about ten years after it appeared in the U.S.), radio dramas fed my imagination: Boston Blackie; Suspense Theatre; and The Green Hornetcome immediately to mind. Though they provided the plot and dialogue, I was able to supply the images myself, far more dramatic than what any TV director could create. In my young mind, Boston Blackie was the white knight in spite of a name that implied otherwise. Evenings spent shivering in front of a radio, shivering from glorious fear and not cold. The room crackling with drama—suspense. And I was an important participant: the program needed myimagination to give it life.

At some point in those early years, someone sold my parents a set of the Books of Knowledge.

McEwan’s The Children Act: The Novel or the Movie?

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I’ve never been eager to see movies based on books, mostly because they never live up to the original, but I’m willing to make an exception when Emma Thompson is the star. That’s how I found myself at a showing this week of The Children Act, an almost-excellent film based on the novel of that name by Ian McEwan.

The film and the book both come to life in the opening scenes. We meet Fiona, a British High Court judge in the Family Division, wrestling with multiple cases that defy easily solutions, even as she’s confronted with a crisis in her marriage. Her husband of 35 years, frustrated by Fiona’s lack of interest in sex, has just demanded that she let him have an affair with a younger woman.

THE ATLANTIC JOINS THE INTERNET ERA

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The Atlantic's New Special Section on BooksIn the movie The Wife, a jaded middle-aged female novelist takes aside a talented young writer at a Smith College reading and says to her: “Don’t do it.” The aspiring student writer stands her ground, insisting that “a writer needs to write.” The older woman sighs. “A writer needs to be read,” she says.

I understand both sentiments. A writer does need to write. But, oh, how often it feels pointless, when publishing is so hard, when all-too-soon even the published book feels as impactful as a rock settling to the bottom of the sea!