Content Tagged ‘Ernest Hemingway’

Collateral damage

January 15, 2014 | 12 Comments

My father’s first heart attack when he was 49, on Thanksgiving Day 1968, marked one of those before and after divisions in a family’s life.

The orange-and-white ambulance in our driveway heralded Dad’s long hospitalization and Mom’s palpable fear—her lecture about having to prepare him a special diet was itself a scary rift to me at age 12—and then his Schwinn for exercise that replaced our family boat. A new nomenclature, too: angina, myocardial infarction, dietary cholesterol, building collateral blood vessels, congestive heart disease. Dad suffered another heart attack in 1979, as a hurricane hit our county in Florida. In 1984, up in Illinois, my half-brother, age 44, sustained his own infarction. In 1989, Dad, his scarred heart barely beating, succumbed at age 71.

No help from Mom’s genetics. She got bypass surgery for four blocked arteries in 1993. “The Rounsaville blood,” she told me, “is like sludge.”

With my family’s doom-laden cardiovascular history, reading Thomas Larson’s new book was a visceral experience. As a good memoir will, The Sanctuary of Illness: A Memoir of Heart Disease makes real one person’s inner and outer experience—gives you that experience. It both inspired me as a writer and animated my natural desire to escape, for as long as possible, the saving but cold ministry of the medical establishment.

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Joshua Cody’s book [sic]

January 8, 2014 | 15 Comments

The first two times I opened [sic]: A Memoir, I was impressed by Joshua Cody’s sentences—cool, syntactically complex, allusive. But I didn’t keep reading it because was working on my own book and sensed immediately that his high-flying persona was at odds with my attempt at a sincere one.

Late in 2013 I made it through [sic] and admired it, so refreshingly different from my own writing—or almost anyone’s. I wouldn’t try such a performance and couldn’t sustain one for long if I did. A possible cost of Cody’s approach is that I always felt distanced from him. How much “knowing” and liking a memoirist matters to you is intensely personal, but partly because of this, at times reading [sic] my mind wandered. Cody’s memoir showcases not only the rewards but the risks of a flamboyant (some would say egoistic) persona.

American reviewers generally raved [sic] (see the appreciative review in the New York Times Sunday Book Review), while it got a cooler reception in Europe—the Guardian’s review’s headline: “Joshua Cody’s postmodern memoir of terminal illness is too busy being clever to engage the reader’s feelings.” Guardian reviewer Robert McCrum called Cody “too cool for school” and said, “Part of the essential vanity of this publication is that Cody has been horribly overindulged, and allowed to lard his manuscript with illustrative material. [sic] is a book about sickness that should have been sent to the script doctor. It’s a mess; worse, it’s a pretentious mess. Descended from that great Victorian exhibitionist, ‘Buffalo Bill’ Cody, it’s almost as if he’s genetically programmed to perform to the crowd.”

But the pervasive gut-level response of Amazon’s crowd of readers was rage.

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‘Works Cited,’ a stealth memoir

August 27, 2013 | 12 Comments

My summer’s most happy reading surprise was Works Cited, a well-written memoir with a structure both clever and pleasing. Brandon Schrand hit upon the idea to tell his coming-of-age story by listing alphabetically the authors he was reading as he came to manhood, from high school through graduate school. You know, like an MLA Works Cited list. What might have been a story too mundane or too urgent with authorial desire to move us emotionally becomes, instead, a truly affecting stealth memoir by a guy who knows he escaped his fate by the skin of his teeth.

All you really need to know about Schrand, who grew up in the working-class sticks in Idaho, is that his stoner-electrician father’s nickname for him was “Bird-Turd.” He was a goofy kid, a heavy metal punk, and an awful student. But he had one great asset that saved him: he was a reader. Although he blew off assigned books, even in college, from which he dropped out and had to fight his way back, he kept finding great books and reading them. His priorities were often wrong, but they were pure.

Here he is, having blown his last $10 on a collection of Hemingway’s short stories:

“Who was that young man in that coffee shop that afternoon, and what was he feeling? A strange creature, lean and quiet, he is apologetic in his countenance. It’s a tricky business cracking open our younger selves for a peek inside, especially in vulnerable moments . . . There I sat, broke, with a copy of Hemingway’s stories. The college flunky. The dropout. It’s a wonder I bought the book at all. It’s a wonder I took the time to read it. It’s a wonder how I fell into those pages. But I did. First in that coffee shop, and then in the days and weeks and months and years that came afterward.”

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Lee Martin: artists must risk failure

April 10, 2013 | 16 Comments

Celebrated novelist & memoirist discusses how he became an artist. In the beginner’s mind there are many possibilities; in the expert’s mind there are few. . . . This is also the real secret of the arts: always be a beginner. Be very very careful about this point.— Suzuki Roshi, Zen Mind, Beginner’s Mind I’m trying to learn from Lee Martin whenever and however I can, as a writer and teacher. I haven’t yet made it to his celebrated fiction—one of …

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Ernest Hemingway’s incantatory prose

August 31, 2012 | 8 Comments

My posts about prose stylist Verlyn Klinkenborg made me think of Ernest Hemingway. Here’s the first paragraph of Hemingway’s 1926 story “In Another Country”: In the fall the war was always there, but we did not go to it any more. It was cold in the fall in Milan and the dark came very early. Then the electric lights came on, and it was pleasant along the streets looking in the windows. There was much game hanging outside the shops, …

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Klinkenborg’s hymn to prose

August 26, 2012 | 15 Comments

Verlyn Klinkenborg’s long poem celebrates short sentences. The Rural Life by Verlyn Klinkenborg. Back Bay Books, 224 pp. Several Short Sentences About Writing by Veryln Klinkenborg. Knopf, 224 pp. “You’ll make long sentences again, but they’ll be short sentences at heart,” writes Verlyn Klinkenborg in Several Short Sentences About Writing. Is that wise and poetic or opaque and unhelpful? This passage from Klinkenborg’s The Rural Life, 2003, may show what he means: The Fourth of July steals over a small …

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Woolf’s ‘A Sketch of the Past’

December 14, 2011 | 11 Comments

From it all I gathered one obstinate and enduring conception. That nothing is to be so much dreaded as egotism. Nothing so cruelly hurts the person himself; nothing so wounds those who are forced into contact with it.—Virginia Woolf, writing about her relationship with her father in “A Sketch of the Past” Having posted so much lately on scenic narrative, I do penance by featuring Virginia Woolf, a most reflective writer. Toward her I feel a kinship, which for some …

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