Content Tagged ‘Jane Smiley’

The complexity of purity

February 4, 2016 | 11 Comments

6 years of unused blog posts

July 23, 2014 | 2 Comments

After six years of blogging, I count 66 items in my “To Be Posted” folder. Duds. Unused quotes, started essays, finished posts. Stuff I forgot or abandoned. Yet I’ve run with many a notion and hated it. Or uploaded flops.

No need to pick scabs here. Well, maybe one—my February 2014 post “Art and Suffering,” in part concerning Philip Seymour Hoffman, which helped me decide I disagree with its implication. I doubt his tough roles contributed to his emotional burden and thus his death from a heroin overdose. Writing can be clarifying if only in that way. State something and see if you agree with it.

Yet I can’t abandon completely the sense that there’s often some relationship between troubles and talent. (What about the sensitivity that made Hoffman an actor in the first place? What about all his money and his acres of down time?) All the same, I heard a writer say this recently about a poet who took her own life:

“Writers don’t kill themselves. People kill themselves. Writing is what kept her from killing herself for years.”

My conflict about this old issue, explored at book-length in Edmund “Bunny” Wilson’s classic The Wound and the Bow—the title refers to the gifted Greek archer Philoctetes, who suffered from an unhealed wound—caused me to abort a similar effort after the Hoffman post because it depressed me too much. And I figured readers would hate it.

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Time to call ‘In Cold Blood’ fiction?

February 10, 2013 | 20 Comments

Why Truman Capote’s slippery masterwork keeps making news. Everyone acknowledges that true stories can never be fully known—too many details lack corroboration, too many witnesses disagree about what really happened.—Jane Smiley, Thirteen Ways of Looking at the Novel Reading the excellent new writing book Good Prose: The Art of Nonfiction, by Tracy Kidder and Richard Todd, I was a tad surprised to see Truman Capote’s In Cold Blood extolled on page five for its magisterial opening. Capote’s start is gorgeous, with …

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