structure

In praise of reading

August 19, 2013 | 9 Comments

Novelist Anakana Schofield’s essay in The Guardian starts with a lament about reporters’ fixation on writers as personalities and about the odd hustling landscape in which writers now dwell—

“These days, an author, especially an unknown author, must—in order to entice any readers to her work who aren’t blood relatives—write endless unpaid blogs, articles and responses for newspapers and magazines and random people creating things in basements. What results is the subsidising of publishers by outsourcing the marketing of the book to the writer, and now and again the subsidising of often giant media corporations, who in times gone by would have had to pay her.”

—and builds to a powerful statement about the primacy of reading:

“There seems to have been a shift from a reading culture to a writing culture, a diminishment of critical space for the contemplation of literature. Writing needs to be discussed and interrogated through reading. If you wish to write well, you need to read well, or at least widely. You certainly need to contemplate reading a book in translation, unlikely to be widely reviewed in newspapers, many of which are too busy wasting space on “how to write” tips and asking about an author’s personal fripperies. It’s a great deal more fulfilling to read and think about a fine book than to attempt to write one.”

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Solnit’s ‘Faraway Nearby’

August 8, 2013 | 13 Comments

Rebecca Solnit tried to leave home at fourteen, fifteen, and sixteen. At last, at age seventeen, her jealous mother and her indifferent father sent her into the world like a girl in a fairy tale:

“For that odyssey my mother would not let me take any of the decent suitcases in her attic but gave me a huge broken one in which my few clothes and books rumbled like dice in a cup. My father gave me a broken travel clock that he said was worth repairing and I kept it for years before I found that it was not.”

The Faraway Nearby opens with 100 pounds of apricots, collected from her ailing mother’s tree, ripening and rotting on Solnit’s floor, a bequest and a burden as if from another fairy tale. The fruit was a story, she explains, and also “an invitation to examine the business of making and changing stories.” So Solnit tells her own story, shows how she escaped it by entering the wider world of others’ stories, and how she changed her story as she better understood her unhappy mother.

What sent her mother’s indifference toward her into permanent rage was when she asked young Rebecca, age 13, for sympathy when she got a lump in her breast, and Rebecca, who hadn’t received much sympathy herself, failed to supply it. With effort, as an adult Solnit realizes that her mother had had a hard life, was trapped in her own story of victimhood, and must’ve cared for her before memory: “She gave me everything before she gave me nothing.”

Out of duty and from solidarity with two of her brothers, Solnit ends up tending her mother through her long decline from Alzheimer’s. The apricots arrive near the end of this sad period, which Solnit terms a serial emergency. Having hooked us with this, her story, Solnit tells us it doesn’t much interest her anymore.

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Echoing a familial refrain

June 28, 2013 | 5 Comments

Khaled Hosseini’s third novel strikes universal chords. And the Mountains Echoed by Khaled Hosseini Riverhead Books  (Penguin Group ); 404 pp., $28.95 hardback. Also available in paperback (Bloomsbury Publishing), Kindle, Nook, Audible, audiobook CD, SoundCloud, iTunes, and large-print (Thorndike Press) editions. Guest Review by Lanie Tankard “…and the place echoed every word, and when he said ‘Goodbye!’ Echo also said ‘Goodbye!’”  —Ovid, Metamorphoses, Book III (Trans. by A.S. Kline) Khaled Hosseini took a risk in his third novel. He tried a …

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Joe Bonomo on sex, spirit & implication: ‘Living is complicated.’

June 23, 2013 | 3 Comments

Memoir is made of memories, by definition; some theorists assert memoir must be about memory. Yet it’s notable how much Joe Bonomo explores memory and takes it as his subject. His new collection of essays, This Must Be Where My Obsession with Infinity Began, summons and examines a wide range of memories, expressed in often lyrical sentences. He’s had an ordinary suburban boyhood and adult life, but he makes this material interesting because—as he tells stories, and muses interestingly on their meaning—we find ourselves catching our own cast-off thoughts and doubts, thinking about our own stories.

Here’s this reflective person in the present trying to make sense of his life: what every adult does, one supposes, and it’s satisfying being privy to another’s subjective reality and party to his grappling with memory and meaning. His blog, No Such Thing as Was, its title taken from Faulkner’s remark about the past’s persistence, testifies to his steady inquiry into the memories that live inside him.

Some of his essays are strongly narrative, with personal experience dramatized in scenes; others are models of the classical ruminative approach (as run through a poet’s sensibility) and some are short prose poems. Since he’s got all the chops and deploys them artfully, slapping a label on his creative nonfiction is difficult and would be misleading.

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Lore of a gravedigger’s daughter

March 24, 2013 | 15 Comments

It takes a village to raise a child, and my village was the graveyard.—from Rachael Hanel’s memoir We’ll Be the Last Ones to Let You Down: Memoir of a Gravedigger’s Daughter by Rachael Hanel. University of Minnesota Press, 177 pp. Rachael Hanel grew up in a sleepy Minnesota town where old people “have more faith that cars will stop for them than they have in Jesus Christ.” But where her gravedigger father could joke, with a darker edge than any …

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Whither the postmodern memoir?

March 19, 2013 | 10 Comments

  Beyond ‘crazy shit’ content: stories that intrigue, inform, illuminate.  I want to believe we can think of memoir in terms of the author’s personal connection to the ideas in the book; that the form, at its best, can use personal experience to gather up the distinct threads of a book and bring them together into a narrative of thought that is more compelling and nuanced than a simple summary of the crazy shit that happened. Perhaps memoir can be …

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A cheap trick that slays readers

March 3, 2013 | 11 Comments

Jill Talbot’s braided essay & Lee Child on creating suspense. It’s difficult for most people to verbalize the ways in which they disappoint themselves and others. The personal essay and the memoir demand that it be written down, perhaps even read aloud to others. The genre, I tell my students, is not for everyone. If you’re not comfortable with looking closely at where you have gone wrong or at least trying to find out why, you’re not going to be …

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