Eudora Welty: Songwriter

Paul Simon scored a worldwide hit with his 1986 album Graceland , winning the Grammy for Album of the Year in 1987. The title track from that album, and the song that Simon has called the best he’s ever written, also won Best Record of the Year in 1988. He did it by collaborating with musicians and songwriters from all over the place: African musicians like the Boyoyo Boys, Juluka and Ladysmith Black Mombazo, as well as the Everly Brothers, Linda Ronstadt and Los Lobos closer to home.

And while the music on the album is a mash-up of different styles (World-beat, Zydeco, rock, a cappella, etc.) the lyrics are generally Simon’s own- with one exception I uncovered recently. Here’s how Simon begins the title track, “Graceland:”

 “The Mississippi Delta was shining like a national guitar”

Great imagery, right? Now here is a passage describing a train ride through the Mississippi Delta from Eudora Welty’s 1946 novel Delta Wedding :

“The land was perfectly flat and level but it shimmered like the wing of a lighted dragon fly. It seemed strummed, as though it were an instrument and something had touched it.”

Ms. Welty is not credited on the album, but we were  able to dig up the intriguing jam-session photograph you see above. It’s interesting that she was not asked to add her own vocal skills to the final cut of the record.

What Bugs Me Wednesday: The War on Style

Elmore Leonard: "My most important rule is one that sums up the 10: if it sounds like writing, I rewrite it."

Jonathan Franzen: "Interesting verbs are seldom very interesting."

Esther Freud: "Cut out the metaphors and similes."

David Hare: "Style is the art of getting yourself out of the way, not putting yourself in it."

Stephen King: "The road to hell is paved with adjectives"

You know what really bugs me? The War on Style.

Look, I get these arguments. I really do. Yesterday’s post was all about simplicity. I get as bothered as the next guy by purple, florid prose (see the Henry James passage in this post for an example. Shudder.) But when was it decided that every great piece of fiction has to read like a USA Today article? I mean, come on, if the whole point of great writing is for the writer to take themselves out of the final product, then why am I reading these authors in the first place? Why not spend my time reading the hundreds of thousands of computer-generated books out there instead? I guess I’m in the camp that says the author should bring more to the table than a compelling plot line.

Let’s look at the world of painting for an example. Can you imagine if visual artists followed an Elmore Leonard-like rule that “if it looks like painting, I repaint it?” Every art museum on earth would be chock-full of realistic, tromp l’oeil paintings that look little different from photographs. That’s cool, I guess… for a while anyway. 

But sometimes you get tired of admiring technical skill. Sometimes you want to see the artist’s imagination at work, you want to see their innermost feelings splayed across the canvas. You want to see things in a way you never could have imagined them yourself. In short, you want to see some style.

Here are some visuals to help you see what I'm talking about. What if I mentioned the names Picasso, Dali, Monet, Matisse and Van Gogh, and the only styles of painting that came to mind were the ones on the left below?

Picasso, before and after:

Dali, before and after:

Monet, before and after:

Matisse, before and after:

Van Gogh, before and after:

I won’t call any of those early, left-side paintings bad or boring. I'd give my proverbial left-nut to be able to paint like that. But isn’t the world a little richer because those same artists moved on from the technical proficiency displayed on the left to blaze the new schools of painting displayed on the right? Isn't it great that they made it okay for others like Chagall or Lichtenstein or Warhol to bypass a realistic, technically proficient phase, and head straight for their own revolution of artistic styles?

Cubism, Surrealism, and Impressionism may not be your cup of tea, but there's no denying they exhibit an entirely different pull on the human spirit than paintings done in a photographic mimicry of real-world images can. Style matters. And the fact that styles differ, matters.

So back to literature. You want to pass out writing advice? Great. The more the merrier. But let's not pretend we're not losing something significant when the drumbeat to eliminate all adverbs, adjectives, metaphors, similes and complex verbs crowds out those who were born to take a slightly (or vastly) different path. Those parts of speech may just be the otherworldly color and heavy brushstrokes that will define a new kind of literature.

Le Mot Juste- Without a Thesaurus

In A Moveable Feast  Hemingway calls Ezra Pound:

“the man I liked and trusted the most as a critic then, the man who believed in the mot juste- the one and only correct word to use…” 

Like Flaubert, Hemingway was known to be  a believer in the ‘exact, right word’ and is widely admired for his ability to cut to the chase and deliver a punch in just a few, well-chosen words.

Yesterday’spost mentioning In Our Time  jogged my memory about one of my formative “mot juste” reading experiences. It happened while I was reading  the short story “Big Two-Hearted River” in that early collection of Hemingway’s, and it consisted of one simple sentence.

If you’ve read that two-part short story, you know it’s light on plot, but heavy on description. In minute detail, we follow the character of Nick Adams heading out, alone, on a fishing trip. Though it’s not explicitly stated, the story’s got a lot to do with coming home from war and the regenerative powers of nature. But in the midst of his lengthy descriptions of the trout visible in the clear water of the river, Hemingway delivers this short paragraph:

“His heart tightened as the trout moved. He felt all the old feeling.”

For whatever reason, that last line absolutely knocked me on my tookus. To the point that I still remember it ten years later. Hemingway didn’t even have to tell us what the feeling was  (Did Nick feel jittery? Serene? Ecstatic? Sentimental? Enthralled? In his element? Happy? What?!) He didn’t have to scour the thesaurus for just the right phrasing or color. What was it Nick felt? The old feeling! All of it. Nothing more.

How incredibly plain and simple that is, but how effective it is in showing us that this renewed connection with nature is rejuvenating and invigorating and relaxing and a hundred other things, too. It doesn’t matter what the feeling was, what matters is the effect it had on the character. And that’s what makes it exactly the right word to use. I'm in awe of that kind of finesse.

Hemingwood Anderson

In this post we mentioned Sherwood Anderson’s influence on the generation of writers that followed him and that came to dominate the 20^th century literary landscape. But it’s one thing to talk about influence, and another thing altogether to see it plain on the page. Take a look at this passage from Winesburg, Ohio , and tell me you don’t see the pared down language and short-sentence-style that is so commonly attributed to Ernest Hemingway.

"The story of Doctor Reefy and his courtship of the tall girl who became his wife and left her money to him is a very curious story. It is delicious, like the twisted little apples that grow in the orchards of Winesburg. In the fall one walks in the orchards and the ground is hard with frost underfoot. The apples have been taken from the trees by the pickers. They have been put in barrels and shipped to the cities where they will be eaten in apartments that are filled with books, magazines, furniture, and people. On the trees are only a few gnarled apples that the pickers have rejected. They look like the knuckles of Doctor Reefy’s hands. One nibbles at them and they are delicious. Into a little round place at the side of the apple has been gathered all of its sweetness. One runs from tree to tree over the frosted ground picking the gnarled, twisted apples and filling his pockets with them. Only the few know the sweetness of the twisted apples."

It’s amazing, isn’t it? I mean, that paragraph could be something right out of In Our Time.

The Writer's Voice: Bill "Pappy" Faulkner

Few literary voices are as hard for me to reconcile with the author’s actual speaking voice as William Faulkner’s. 

How could the man who penned lines like these, sound like a character right out of the Andy Griffith show? His readers may call him William, and his friends may have called him Bill, but after listening to that folksy, high-pitched twang,  I feel like we should all just call him “Pappy.”

Mini Reviews: Pressfield, Barthes and Boyle

Here are some more quick-hit reviews to bring me up to date on my recent reading:

The War of Art , by Steven Pressfield

This is a book for anyone who wants to create something great, or accomplish some secret dream, and has had trouble getting started. “There's a secret that real writers know that wannabe writers don't and the secret is this: it's not the writing part that's hard. What's hard is sitting down to write. What keeps us from sitting down is Resistance.” He does a great job of naming the condition, and of helping you identify it in your life. And while I really liked this book as I read it, as I look back after a month or two, I’m hardpressed to remember what it was exactly that I’m supposed to do about it. This could just be a fault of mine, but maybe the solutions he provides aren’t as earth-shattering as the first read led me to believe. I guess I’ll have to take a second pass through it to make sure I didn’t just fall asleep at the wheel. But the good news is that it’s a book that would only take a couple hours to read in the first place. I liked it as a breazy, but well-written, get-your-butt-in-gear book, but it has yet to change my life so I’m going to withhold judgement.

Mythologies , by Roland Barthes

This one was at times fascinating, but at other times bordered on boring and arcane. Barthes is on a mission to uncover the real meanings behind various pop culture phenomena that interested him in the France of the mid 1950s. He might deconstruct the Tour de France, analyze a Marlon Brando movie, pick apart a French governmental policy, explain a recent court case or take a deep look at celebrity marriages. In some sections I found myself saying, “Yes, exactly! Why haven’t I ever seen it that way before.” Take this post I wrote after reading his thoughts on professional wrestling, for example. But on other topics, I found myself shrugging my shoulders and wondering, “Who really cares?” I imagine I would have enjoyed the book a lot more if Barthes and I shared the same cultural milieu, or if he was still around to  turn his attention towards the American culture of our day. But even so, when he wanders into semiology in the second part of the book (in essence, the explanation of his explanations) I quickly lost interest. It’s a pretty interesting literary touchpoint to have, though, so I’m glad that I read it. And I’ll admit that some parts were laugh-out-loud funny.

When the Killing’s Done ,  by T. Coraghessan Boyle

Before picking up this book, I had only read two stories by Boyle, “The Lie” and “ Rapture of the Deep,” both of which were excellent, and neither of which I can find for free online. So no links, sorry. I was excited to see what Boyle can do in long form. And while I can’t say the subject matter of this book was especially gripping (a battle over eradicating invasive species on the channel islands of California) it really is masterfully written and it will transport you into the clashing worlds of both environmental activists and government-employed ecologists. In doing so, Boyle does something pretty amazing: he makes you care almost equally about the protagonist and the antagonist, as he unveils the background experiences and rationale that drives each of them toward collision. I think the narrow focus of the themes keeps it from being a great, universally appealing book, but it’s certainly a good one.

      

The Real Winesburg, Ohio

Immediately upon opening the book, readers of Sherwood Anderson’s Winesburg, Ohio  are greeted by a hand-drawn map of the fictional town that is the novel’s setting:

Turns out Winesburg was a thinly veiled representation of Anderson’s own hometown of Clyde, Ohio which, like its fictional counterpart, has a Main Street that crosses Buckeye Street and some railroad tracks a little further north. If you’ve read this post or this post, you know where I’m going with this. Here is what Clyde, OH looks like today:

View Larger Map

The distances in the map of Winesburg are deceptively short (a half dozen structures fill the stretch between Buckeye and the Train tracks, a span that reaches a 1000 feet in the real world) and there’s not much in terms of landmarks that would jump out and link the two maps. Not even the train station or fairgrounds remain. But you can zoom all the way in and use Google’s Street View to at least stroll along Main and see some of the older buildings that might  have stood in Anderson’s time (Not likely, since he lived there from 1884-1896, but still worth a glance.)

Title Chase: Catch-22

We’ve all come across certain frustrating situations where you’re “damned if you do, and damned if you don’t.” Those of us born after the sixties probably came to know the term “catch-22” long before we were introduced to the book that gave its own name to these classic no-win situations. Here’s how Joseph Heller described the self-contradictory bureaucratic blooper that condemned Yossarian to an endless string of combat missions:

“There was only one catch and that was Catch-22, which specified that a concern for one's safety in the face of dangers that were real and immediate was the process of a rational mind. Orr was crazy and could be grounded. All he had to do was ask; and as soon as he did, he would no longer be crazy and would have to fly more missions. Orr would be crazy to fly more missions and sane if he didn't, but if he were sane he had to fly them. If he flew them he was crazy and didn't have to; but if he didn't want to he was sane and had to. Yossarian was moved very deeply by the absolute simplicity of this clause of Catch-22 and let out a respectful whistle.”

But did you know that this circular puzzle was originally known as Catch-18? Here’s what wikipedia has to say about why it was so hard to land on just the right title:

“The opening chapter of the novel was originally published in New World Writing as “Catch-18” in 1955, but Heller's agent, Candida Donadio, requested that he change the title of the novel, so it would not be confused with another recently published World War II novel, Leon Uris's Mila 18 . The number 18 has special meaning in Judaism (it means Alive in Gematria) and was relevant to early drafts of the novel which had a somewhat greater Jewish emphasis.

“The title Catch-11  was suggested, with the duplicated 1 paralleling the repetition found in a number of character exchanges in the novel, but because of the release of the 1960 movie Ocean's Eleven, this was also rejected. Catch-17  was rejected so as not to be confused with the World War II film Stalag 17, as was Catch-14 , apparently because the publisher did not feel that 14 was a "funny number." Eventually the title came to be Catch-22 , which, like 11, has a duplicated digit, with the 2 also referring to a number of déjà vu-like events common in the novel.”

I think Catch-22 has a nice ring to it, but come on, calling the number 14 unfunny? 14 is a hilarious number: the glottal stop right there in the middle? The only “teen” without an e or an i sound?… Catch-14  would have been comedy gold.

In the nose with CaptainYossarian

I’m making my way back through Joseph Heller’s Catch-22 and wanted to get a better handle on the layout of the B-25 bomber that Captain Yossarian and his squadron fly on an ever-increasing number of combat missions.

Several times we get references to how Yossarian, as the bombadier in the nose of the plane, shouts instructions to the pilot and navigator in the cockpit in order to avoid incoming flack from the anti-aircraft guns below. I couldn’t quite grasp why the pilot would be blind to this danger, but this picture clarifies it a bit:

It also helps you understand why Yossarian wouldn’t be able to squeeze through the tiny passageway into the nose while wearing a parachute (and why he would be so angry with Aarfy after the latter sneaks into the nose behind him to calmly smoke his pipe.) Here are another couple diagrams showing where the rest of the crew would be stationed, and where poor Snowden would have been, alone, in the back of the plane.

First Line Friday: Stage Directions

Here’s another way to open your novel: Just start throwing stage directions around. Don’t worry about giving us a verb- just start naming stuff. Describe things. Give us a flavor for the stage set.

Take the opening of Theodore Dreiser’s An American Tragedy . I read the first three or four “sentences” of this book and couldn’t find a verb that addresses any of the subjects anywhere .

“Dusk- of a summer night.

“And the tall walls of the commercial heart of an American city of perhaps 400,000 inhabitants- such walls as in time may linger as a mere fable.

“And up the broad street, now comparatively hushed, a little band of six,-a man of about fifty, short, stout, with bushy hair protruding from under a round black felt hat, a most unimportant-looking person, who carried a small portable organ such as is customarily used by street preachers and singers. And with him a awoman perhaps five years his junior, taller, not so broad, but solid….”

It’s kind of a strange effect. You feel less like a reader than you feel like a studio executive getting pitched a new movie concept. But it doesn’t have to describe setting, this kind of opening can just as easily show you what’s inside the narrator’s brain, like this classic first line from Nabokov’s Lolita :

“Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta.”

Nabokov’s done this elsewhere, of course. Here is the opener from Bend Sinister :

“An oblong puddle inset in the coarse asphalt; like a fancy footprint filled to the brim with quicksilver; like a spatulate hole through which you can see the nether sky. Surrounded, I note, by a diffuse tentacled black dampness where some dull dun dead leaves have stuck. Drowned, I should say, before the puddle had shrunk to its present size.”

What do you think? Do stage directions work for you? Or do you just want the author to get on with the story?