Haiku-ption Contest #11

Mine is below. Throw your own in the comments.

Will an ostrich do?

When she wanted a pony?

Sally’s face says “no.”

From the Pen of E.L. Doctorow

We’ve still got some folks weighing in on “Wakefield” a day or two later (I told you it was a long one,) so I thought I’d share a few of the lines that really struck me as I reread the story. These aren’t necessarily beautiful or flowery masterstrokes of style- I don’t think that’s Doctorow’s M.O. (see last paragraph of this article)- but there’s something about his writing that grabs you by the shoulders and makes you look at things from an unexpected angle, something that leaves you convinced that you’ve seen the person or thing exactly how he meant you to. Reminds me a little of Eugenides in that regard:

“That’s what she did when we argued- she used the last name. I wasn’t Howard, I was Wakefield. It was one of her feminist adaptations of the locker room style that I detested.”

“She still moved like the dancer she had been in college, her feet pointed slightly outward, her head high, her walk more a glide than something taken step by step.”

“From the shadow of the garage, I beheld the back yard, with its Norwegian maples, the tilted white birches, the ancient apple tree whose branches touched the windows of the family room, and for the first time, it seemed, I understood the green glory of this acreage as something indifferent to human life and quite apart from the Victorian manse set upon it.”

“All that was wanting now was Diana’s mother, and by noon she was up from the city in her white Escalade- the widow Babs, who had opposed the marriage and was likely now to say so. Babs was what Diana, God help us, might be thirty years hence- high heeled, ceramicized, liposucted, devaricosed, her golden fall of hair as shiny and hard as peanut brittle.”

“I watched in the big mirror as, snip by snip, I travelled back in time. With each falling hank of hair, more and more of the disastrous lineaments of my previous self emerged, until, big naked ears and all, staring back at me was the missing link to Howard Wakefield.”

Bradbury Bets His Life

Saw this on Litkicks and BoingBoing. It's a 35 year-old Ray Bradbury, appearing on Groucho Marx's "You Bet Your Life."

Short Story Club: "Wakefield" by E.L. Docotorow

Welcome to short story club. It’s good to see you all after so long. Come on in and have a seat. Tucker’s just warming up some pigs-in-a-blanket and Orlando’s on the can. He’ll be out in a minute.

What did everyone think of “Wakefield?” I’ll probably be a little more negative than I typically am, but despite the criticisms that follow I thought it was a pretty compelling read.

The first time I read this story I was infuriated by the ending. I felt like punching Doctorow in the nose. He completely neglected the most interesting part of the story: what the hell would happen when Wakefield walked back through his front door.

But I'll give him credit for keeping me reading. It was a Kafka-esque exploration of an unthinkable "what if" scenario, but he managed to make it plausible. I found that fascinating. But it was the carrot of the ending that kept me going, and when I realized in the last paragraph that there was in fact no carrot... well, I felt used and dirty.

A couple more criticisms:

• his wife never called his cell-phone?
• the whole crux of the story was that he was this lucid, intelligent man, but then we're supposed to believe he survived for months on pristine table scraps from neighborhood garbage cans?
• We're supposed to believe that he did so without being noticed?
• He didn't freeze his butt off until after Thanksgiving? In a New York suburb? In real life he'd be dead by Halloween.
• The secretive aid of the mental patients was kind of hard to believe.
• At one point the mental patients all disappear, then magically reappear to give him a spongebath?
• And his own wife didn't recognize him after an absence of just 6 months or so? Really? Standing eye-to-eye?

I dunno. I'll call it a great story, and it did give me a lot to think about. I'll even say that the ambiguous ending is okay. But I think his editor failed him on a number of simple continuity errors, and I'm afraid they amount to a pretty tall tale when taken altogether.

But yeah, I actually really liked it. What did you think?

Short Story Club Returns

It’s been far too long since our last John R. Lyman Memorial Short Story Club post, but we’re going to go ahead and rectify that right here. This month’s story is a doozy- you’ve been warned- but I have to admit I was drawn into it completely.

As the autumn weather turns cold and our thoughts turn to the upcoming holidays we’ll be spending with our families, it’s only natural to read a story about a man who  decides, on a whim, to squat secretly in the attic above his own detached garage while his family copes with his supposed disappearance, right? Right.

Here’s the opening of E.L. Doctorow’s short story “Wakefield:”

“People will say that I left my wife and I suppose, as a factual matter, I did, but where was the intentionality? I had no thought of deserting her. It was a series of odd circumstances that put me in the garage attic with all the junk furniture and the raccoon droppings—which is how I began to leave her, all unknowing, of course—whereas I could have walked in the door as I had done every evening after work in the fourteen years and two children of our marriage.”

Read the rest here.   Then come back tomorrow for the discussion.   It’s on.

Cause or Effect?

Ernest Hemingway used a shotgun. David Foster Wallace used a noose of some sort. Virginia Woolf filled her overcoat pockets with rocks and walked into a river. Sylvia Plath lay down with her head in the oven and turned on the gas.

According to this wikipedia page, these famous authors  (not to mention 284 other writers) chose to end their lives prematurely through suicide. Why so many? This story in the Atlantic seems to provide some scientific background on the problem:

“When the researchers looked specifically at authors, they found that they are overrepresented among people with schizophrenia, depression, bipolar disorder, anxiety syndrome, and substance abuse problems. Authors were also almost twice as likely to commit suicide as the general population.”

I’m not sure that statistic surprises anyone who reads it, but I think it reveals more about the virtues of writing than it does about how occupational choices affect our mental health. It’s a classic question of cause and effect: Are writers more likely to suffer from mental health woes because they’ve chosen a particularly painful career path? Or are those who suffer mental health woes more likely to choose an occupation like writing because it helps them process their thoughts, make sense of the world, and even escape from reality from time to time? I tend to think it’s the latter.

At least I hope so... because, ya know,... of this.

First Line Friday: Breaking the Fourth Wall

Whaddya say, shall we break the fourth wall today?

Do what with the which now, you ask? Break the fourth wall- that imaginary barrier between the actors on a stage and the audience in the theater (or for our purposes, between characters in a story and the reader turning pages.) Oftentimes, narrators and characters don’t even acknowledge the reader’s existence. Other times they step right up and introduce themselves. “Call me Ishmael,” says Hermann Melville in Moby Dick.  “In a sense, I am Jacob Horner,” says John Barth in his lead off to The End of the Road. 

In both cases you’ve got a first-person narrator, so it’s somewhat natural to address the reader directly, or make personal asides. Still, it’s an interesting choice to shake hands with the reader rather than launch into the story or kick off some tension-building plot point. I happen to like it.

And look at the amount of character info you can convey in just one sentence packed with dialect and mannerisms and tone:

“You don't know about me without you have read a book by the name of The Adventures of Tom Sawyer; but that ain't no matter.” —Mark Twain, Adventures of Huckleberry Finn

“If you really want to hear about it, the first thing you'll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don't feel like going into it, if you want to know the truth.” —J. D. Salinger, The Catcher in the Rye

But you don’t necessarily need a first-person protagonist to make this work. Before he tells us “Billy Pilgrim has come unstuck in time,” Kurt Vonnegut presents the reader with all sorts of personal vignettes, dirty limericks and the like in  his novel Slaughterhouse-Five.  How does that one begin?

“All this happened, more or less.”

And Italo Calvino’s If On A Winter’s Night A Traveler  speaks directly to the reader because, well, it’s the reader that is the protagonist of that book. He makes that pretty clear in his famous, fourth-wall-breaking first line:

“You are about to begin reading Italo Calvino's new novel, If on a winter's night a traveler.”

There are plenty of other examples, too. This kind of opener can set tone, introduce a character or frame the main story:

“This is the saddest story I have ever heard.” —from Ford Madox Ford, The Good Soldier

“For a long time, I went to bed early.” —from Marcel Proust, Swann's Way

“I had the story, bit by bit, from various people, and, as generally happens in such cases, each time it was a different story.” —from Edith Wharton, Ethan Frome

As it turns out, I don’t mind in the least if an author breaks the fourth wall. If anything it personalizes what I’m about to read, puts me on an equal footing with the author and treats me like I’m worth their story-telling time. Anybody else a fan? Anybody hate it?

Mark Twain: 1909 (One year before he died)

What Bugs Me Wednesday: Deus ex machina

-"Swing away, Merrill! Deus ex machina's got you covered!"

This may be somewhat related to last week’s complaint, but you know what really bugs me? Deus ex machina.

That’s right, the plot device of last resort (it should be, anyway-) when a character paints themselves into a corner, or finds themselves in a hopeless situation, and some outside force or event swoops in to save their bacon. It’s maddening. You don’t often find it in so-called “high literature,” but it rears its ugly head every now and again. Take Cormack McCarthy’s The Road,  for example.

I loved that book. I loved how McCarthy pulled off ‘post-apocolyptic’ while remaining completely apolitical. That, in itself, is pretty refreshing. But given the bleak existence of his father and son duo in that book, their amazingly good luck in a couple of tight spots laps right up against the borders of Deus ex machina.

Literally starving to death in a scorched landscape where all food sources have been picked clean by raiders, they happen upon an untouched underground cache filled with everything you could imagine. Awfully convenient. Later on, and in similarly dire straits they discover a pristine cistern of crystal clear water under a layer of rain gutter scum. Finally, with his father dead for two days, the boy ventures back out to the road and meets, not another marauding gang or cannibalistic maniac, but one of the last remaining ‘good guys’ who promises to protect him. McCarthy pulls it off because he’s that good, but it still strikes me as a little too convenient when it’s all said and done.

I’ve mentioned Guiraldes’ Don Segundo Sombra  before. In that classic of Argentine literature, the main character works his way up as a gaucho, earning his stripes, not to mention a nice little nest egg that he then blows on an ill-advised cock-fight bet. Gone is his hope for the future, gone is his dream of owning “a string of ponies all of one color” ….  Until he inherits his own ranch out of nowhere, that is. Deus ex machina strikes again. And yeah, it kind of bugs me.

The Food of San Francisco

“In the window I smelled all the food of San Francisco. There were seafood places out there where the buns were hot, and the baskets were good enough to eat, too; where the menus themselves were soft with foody esculence as though dipped in hot broths and roasted dry and good enough to eat too. Just show me the bluefish spangle on a seafood menu and I’d eat it; let me smell the drawn butter and lobster claws. There were places where they specialized in thick red roast beef au jus, or roast chicken basted in wine. There were places where hamburgs sizzled on grills and the coffee was only a nickel. And oh, that pan-fried chow mein flavored air that blew into my room from Chinatown, vying with the spaghetti sauces of North Beach, the soft-shell crab of Fisherman’s Wharf- nay, the ribs of Fillmore turning on spits! Throw in the Market Street chili beans, redhot, and frenchfried potatoes of the Embarcadero wino night, and steamed clams from Sausalito across the bay, and that’s my ah-dream of San Francisco.”

-from Jack Kerouac's On the Road