Tag Archives: Tolstoy

A Conversation with Roz Morris, Pt. 4: Not Just a Teacher – Making Time for Your Own Writing

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Roz Morris: We’re both writers. We’ve both taught and mentored authors as well. I find it’s a double-edged sword. Getting involved in another person’s creative process can be draining because you want to do your best for them.

Garry Craig Powell: It’s incredibly hard not to be drained by it—and that’s one of the best arguments I can think of not to become a creative writing teacher.

RM: Do you find it’s a struggle to protect your own creative mojo?

GCP: It’s a constant struggle, and most teachers fail to do so. During term-time, my own creative and intellectual energies were almost entirely absorbed by my students’ work. Sometimes, especially when working with highly-motivated, talented graduate students, that was worthwhile.

The World Needs Your Novel, and Other Lies

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(Another Dyspeptic Powellian Rant)

The catchphrase of the hideously-named NaNoWriMo, ‘the world needs your novel’ is one of the more egregiously fatuous mottoes of commodified literature. Let’s dismiss it at once. The world doesn’t need your novel. There are thousands of brilliant ones already, far too many for anyone to manage to read all of them. So why should we need more? Are you going to outdo Dostoyevsky and Tolstoy? At best, if you’re immensely talented, you’ll manage to say what the greats have been saying for millennia, in a new or newish way.

That brings me to a concomitant lie: that every writer (every human being) is special, and has something unique to contribute. It’s true that each of us is slightly different, but the similarities between us are far greater, and growing greater all the time in this era of groupthink and social media.

The Writer as Superman

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The Writer as Superman or Superwoman

Naturally I also admire artists and writers who are unexceptional at anything but their art. Nevertheless, the lives of people who do nothing but write or paint or make music, often seem barren or bleak. Who would want to live Kafka’s life, or Woolf’s, or Joyce’s? I have long been fascinated by multi-faceted geniuses like Leonardo, Michelangelo or Goethe, and those who performed great physical feats. Heroes live full lives. And by ‘heroes’ I don’t mean that we must approve of everything they did. But it’s useful to reflect on those artists who live on a grander scale, who consciously or unconsciously try to live as supermen or superwomen.

What Writers Can Learn from Tolstoy’s Novellas

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Lev_Nikolayevich_Tolstoy_1848I’m shocked when I read lists of favorite novels and see that most, and sometimes all, are American. There may be a leavening of British authors too; that’s something. Still, I think, haven’t you read the Russians or the Germans? You really think Toni Morrison or Jonathan Safran-Foer are better than Tolstoy or Musil? Anglo-Saxon culture is lamentably insular, and American culture is not merely insular but downright provincial these days. The greatest weakness of the writing done by creative writing students—graduates as well as undergraduates—is that it’s so rarely informed by wide reading. And however unfashionable it may be, my remedy is to send them to the canon. Not “back to the canon”, sadly, because most of them aren’t familiar with it in the first place.

The Buried Giant: Ishiguro’s Masterpiece?

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 Good art, Tolstoy said, is of two kinds: either religious or “universal”, which he defines as conveying “the simplest feelings of life, such as are accessible to everyone in the world.” I quibble with his use of the term “religious”, although I would accept the broader “spiritual.” About the universal, it’s hard to disagree. The question I ponder here is whether a novel set in Dark Ages Britain, with elements of fantasy including ogres, a dragon, a knight of the Round Table, and a constant mist that causes amnesia, could possibly fall into that category.

Does Fiction Need Philosophy?

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Does Fiction Need Philosophy?

American writers rarely seem to have any formal philosophical training, wrote David Joiner to me recently (I am paraphrasing). Reading Flanagan’s biography of Yukio Mishima, he had been struck by how strongly and consistently the Japanese novelist’s work had been infused with his ideas, which amounted to a coherent philosophy concerning beauty, purity, and honour. Joiner, who is himself an accomplished novelist (Lotusland, Guernica Books, 2015), speculated that all great fiction probably has an underpinning of philosophy.

A (Less Insular) Reading List for Students

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Having taught in an American university writing program for a dozen years, I am convinced that what my students need more than anything is to read more, and to read differently. Many of them do read a lot, but they are reading American writers and very little else. Recently I discovered that two of my most gifted graduate students had not read Graham Greene, which flabbergasted me. And this is not their fault–it’s the fault of the professors who keep feeding them the same predictable stuff. The obvious weakness of the contemporary fiction scene in the US (and of “Program Fiction”) is its homogeneity and its insularity.

9-23-15 YOUR TEST OF CHARACTER

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23 SEPTEMBER 2015 9-23-15 YOUR TEST OF CHARACTER

9-23-15 YOUR TEST OF CHARACTER(S)9-23-15 ROBINSON C

This is only a test—a test of characters. There’s only one question with multiple answers to chose from. I hope you’ll have to think about your answer before you read mine. The question: Can you name a novel that has only one character? Choose one answer from among the following:

1. Life of Pi by Yan Martel

2. Anna Karenina by Leo Tolstoy

3. Robinson Crusoe by Daniel Dafoe

4. The Wall by Marlen Haushofer

5. Downtown by Ed McBain

In Praise of Women of Genius

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3/26/15  IN PRAISE OF WOMEN OF GENIUS  After my last essay, “On Talent and Genius”, whose examples of genius were mostly or—ahem—entirely male, one of my readers archly asked if I might be biased, even subconsciously. Of course one can affirm confidently that one is not biased consciously, but the charge of subconscious bias is unanswerable. The only way I could disprove it is by taking a psychological test. (And even then…) However, I do have a couple of responses to the accusation: first, my examples were male not because I believe that no women of genius could have been exercising those arts, but that in fact few did, until quite recently, because of societal pressures.

Talent or Genius? Is There a Difference?

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TALENT or GENIUS?

What is genius? How is it different from talent? Is it a matter of degree, or is it something altogether distinct?
In the past week on Facebook—admittedly not the most elevated forum, though I like to think that most of my friends are fairly bright—I have read that the following people are geniuses: JK Rowling, Prince and Stevie Wonder. I also read that Taylor Swift is extremely talented: she must be, said my friend, an intelligent person, because she is so widely popular. (I had perhaps foolishly, and certainly thoughtlessly, given the opinion that she was ‘completely talentless.’)

For a number of reasons, these comments disturbed me, and forced me to consider—yet again—whether it is possible to make any objective evaluation of the talent of an artist—Aesthetics 101—and also, if it’s possible to discuss the subject without simply getting into a curmudgeonly rant about declining standards, whether there is such a thing as genius, and if so, whether we might be able to define it

On Rereading Anna Karenina

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7 JULY 2014 On Rereading Anna Karenina

7/7/2014 — WHY YOU SHOULD REREAD ANNA KARENINA — AT LEAST ONCE A DECADE

untitledI have a confession to make. I don’t read long books—not even after e-books eliminated two of my complaints (hard to hold in bed and painful if dropped on a toe). The problem is that too many long books just aren’t worth the investment of time, often because of authors who don’t know what to leave out or editors too submissive to cut. I did try to read The Goldfinch to see what the fuss was about, but the laborious writing and the abuse of the semicolon (my favorite mark of punctuation) led me to give up after five pages.

Of course there are exceptions to my big book phobia—beginning with almost everything Tolstoy and Dickens wrote.