09 July 2014

Blues

All writers – particularly all fiction writers – are fundamentally good liars. Because it’s their – not even talent, but responsibility to make people believe things that simply aren’t true. You present a story that never happened to people who never existed and say, “This is what really occurred.” And if you do it well, your reader will be swept along without ever questioning the validity of it. The key, though, is to believe in it yourself. You as the writer have to put on that delusional mindset that tells you the stories in your head aren’t just figments of your imagination, but could have been a story on the news or something you found in a forgotten history book at Goodwill, and it’s your task to tell it to the world.

If you think about it, it’s really no wonder that creativity was associated with mental illness. Sometimes I sit back and think, “I just might be going crazy,” because I have things floating in my head that are as vivid and real to me as reality itself. The conversations I hear between two characters that I have created are just as realistic as a discussion I had with my mom the other day. I can see the kitchen table they’re sitting at, the coffee cups they’ve filled with Braveheart Scottish ale that awkwardly tastes like grapes, the dead yak in the living room they’re wondering how to get out to the woods without the neighbors catching on. That’s half the creativity that goes on in between my ears: scenes, snippets of “reality” that are completely detached from a fully fleshed-out story. Which is why I have such a problem writing fiction – who wants to read a book of scenes that have nothing to do with each other when the writer can’t figure out how to tie them all together? This is also a problem because that makes them all the more difficult to separate them from real life. Because if you think about it, life is nothing more than a series of scenes – you don’t know the full story until the very end of it, and then it’s not even you reading the full story, it’s somebody else looking back on your story and seeing a complete beginning-middle-and-end structure.

Why do I write? I’ve answered this question before and tried to be very philosophical like so many others have before me. You look up quotes online about writing (attributed to authors who probably never said such things, somebody else just thought their words would be more readily accepted if it sounded like Mark Twain or Edgar Allen Poe wrote them) and you get all this melarky about “words are the window to the soul” and “record your thoughts for future generations” and some other such nonsense. And with respect to the penners of those words (whoever they may be), that’s bullshit. What pompous turd sits down with his leather-bound volume (only really posh people write in leather-bound volumes) and quill pen (again, only the really posh people) and says, “I’m going to write something today that is so profound, so groundbreaking, that people generations from now, long after I am dead and entombed somewhere, will still be misquoting it on the internet and inspirational classroom posters.”

Nobody – and I mean nobody – thinks like that. Do you know how much pressure it is to sit down in front of a blank piece of paper and try to fill it up, much less fill it with something profound? No, thank you.
Other than the above universal statement that I have no right to deliver, I can’t speak for other writers. For me, though, the whole point to writing is to catch the bees of genius that constantly buzz through my brain and pin them down in a paper shadowbox. Not for anybody else to examine, not for future generations to look to for wisdom, not for people to see “the real me.” It’s simply a housekeeping procedure. How the hell am I supposed to be a contributing member of society and get done all the tasks I need to in a day when my head is surging with creative ideas that are neither productive nor helpful to me or anybody else? I have journals packed full of midnight rants, loose pieces of paper with conversations, my own quotations in the notepad app on my phone, sticky notes with ideas of stories that I will probably never write. Because if I don’t capture them when they flutter onto the tip of my nose, they’ll fly away and be lost to me forever. And my imagination, to me, is too colorful and interesting a place to let things like that slip past – like the little chip in a Magic 8 ball – without being acknowledged, even if they’re never used.


I am baffled, intrigued, frightened, confused, marveled, concerned, leveled, amazed by the things that float in an out of view in my own head. 

07 July 2014

Plebians

I have 246 books in my little room. My four bookcases are jam-packed – I had to built another one and shove it in my closet. I have books everywhere: lining the back of my desk, books lying sideways on top of upright books, books in stacks on top of my ancient typewriter, books hidden behind other books. And trust me: there is a system. Novels are over the desk and dresser. The staunch-looking hardbacks are set aside on the desk (I’m particularly proud of the 1936 edition of Robin Hood addressed to “Eugene” from “Uncle Hubert and Aunt Helen” on Christmas Day 1957, a 1942 copy of Great Expectations, and a combined copy of Kidnapped and Dr. Jekyll and Mr. Hyde from 1937). Biographies are in the closet with the seven Bibles I’ve accumulated since my first black KJV, issued to all new kindergartens at Middletown Christian. Textbooks (the ones that aren’t novels – English majors’ “textbooks” are more fun than everybody else’s) are next to my own meager attempts at literary genius.

Certainly there is overlap. Some of them were purchased before I realized we had a copy hidden somewhere in the house. I bought my own copy of The Da Vinci Code when I was in Paris because 1) I ran out of things to read on a “mission trip,” and 2) how can you not visit the Louvre and then read the book that takes place largely in those hallowed halls? I accumulated a Dickens here and there before my parents gave me a GORGEOUS set of Penguin editions for Christmas last year. And I received a copy of Gone with the Wind as a birthday present a few years before one of my closest friends gave me another edition for a graduation gift: it’s a little battered and one of the pages is missing, but the fact that she introduced me to the story in the first place and the first page bears a handwritten note from her, that beaten-up paperback is as special to me as if it had been signed by Maggie Mitchell herself.

Once while I was drying my hair I went around and counted how many of those I’ve read. 117. One hundred and seventeen. The rest of the ones I’ve read in the last seven years (how long I’ve been keeping track) have been borrowed, rented out, or given away to someone else who would appreciate them as much as I did. I can look at almost every one and think of what I was doing, where I was, what was happening in my young life as I turned the pages. I read most of Huckleberry Finn out loud, mulling over each of Mark Twain’s accents to an audience of none in my bedroom. Charlotte’s Web was the first novel I ever read, and Peter Pan was the first novel I ever read in a day. A Tale of Two Cities took me three days, Les Miserables three years. I’ve blazed through Prince of Tides three times; the first time I read Water for Elephants, I finished it in a day on the way to a Florida wedding and had to get No Place Like Home from Walmart to tide me over for the rest of the trip. Captains Courageous, Treasure Island, and The Sea Wolf are the exhilarating sea stories I love so much, each one bearing a different tone that makes them whimsical, riveting, and sinister in their turns. The first three of the four Robert Langdon escapades were amazing, while the last one fell flat and was an unwelcome weight in my backpack in England. The Road and Life of Pi were philosophical and deep and made you read them upside-down to catch the meaning lurking just beneath the surface – a far cry from A Liar’s Autobiography which you have to read upside-down to catch the fact that it has no meaning at all. My Last Days as Roy Rogers, The Divine Secrets of the Ya-ya Sisterhood, and A Tree Grows in Brooklyn only in the summer (just because it’s summer doesn’t mean you have to read beach quiki-mart shiterature); Little Women and Oliver Twist only in the winter; and Extremely Loud and Incredibly Close and The Kite Runner only if you feel like abusing your heart.

My brother found me six hundred pages into Gone with the Wind the other day and said he couldn’t see how I could read all the time. And honestly, I don’t either: how can anybody be content staring at a piece of paper with the same old words for hours? And I do mean hours: between a two-hour car ride and sixteen hours on an airplane I flew through nearly 800 pages of detail about the biggest bitch in all of literature. (I despise Scarlett O’Hara. Almost as much as I despise anything Jane Austen dreamed up: who wants to slog through three hundred pages of walking from room to room gossiping?) And I don’t like the Pinterest graphics that call reading an escape from reality, a chance to get away from your world to delve into another one. For me it’s merely an exercise for the imagination. Look at it from a writer’s perspective: the only way to get better at your craft is to write (no shit) and to look at other writers’ work. One of my writing profs told me last semester, “Don’t try something new with your writing: look at what other writers prove works and do that.” How the hell can you do that if you don’t look at examples of what works?


And when it comes right down to it, I do love a good story.