Never Say Cicada

Day 182 of the "What are you reading, and why?" project, and Patrick is going to be reading a lot of books, because he wanted to use his credit card and he'd come in for Walden ($3) and Daniel Quinn (which we didn't have), and we only take credit cards for $5 and up (because of the annoying charges) so I said, "Have you looked on the Select New Arrivals shelf?"

He found great stuff. Because he had wanted Quinn, I pointed out Life of Pi, by Yann Martel, for its amazing blend of philosophy and circumstances, as reported to me by Gary, Tony, and other happy readers. It is in a yet-to-read stack here in my house.

I asked if he'd read Fahrenheit 451, by Ray Bradbury, because there it was, a classic we have trouble hanging onto, and, sure enough, he hadn't. He had read two Vonnegut books he liked a lot--Slaughterhouse Five and Cat's Cradle--so when he saw Jailbirds and Breakfast of Champions, he snapped those up, too!

When I asked why he wanted to read Thoreau's Walden, he said he'd seen the film Into the Wild, and wanted to see why someone would want to go into the wild. In the book by Jon Krakauer about Chris McCandless, we learn that Chris was reading Thoreau before he went on his own discovery of wilderness and self.

Odd, how a little technology hassle should lead to an armful of books. Don't worry, no one forced him. He chose them all himself and had time to change his mind. Boss was on the phone, so I couldn't use the credit card machine till he got off. (Hmm, unfortunate phrasing, perhaps.) Anyhoo, that technology glitch gave Patrick time to think it over, and he wanted the whole stack.

And now for the cicada. Billy Collins famously announced in his introduction to The Best American Poetry 2006 that he couldn't make it past the word "cicada" in a poem, even though his poem "The Student" in The Trouble with Poetry (Random House, 2005) of course has the word "cicada" in it. I always see the fondness, subtlety, and depth in Collins, as well as the humor, and actually enjoyed his snippiness in Ballistics. He has a right to be snippy; people are always sniping at him. But, as I am writing prose at the moment, I have no fear of cicadas, alive, in language, or as empty shells.

Last night, just before we surrendered to air conditioning, I was enjoying the bit of breeze coming in my window from an area with an evergreen bush and a flower bed that provide a little privacy screen in my cool, sunken office space. Suddenly something crashed against the glass window above the screen. A bat? A transformer moth? A persistent possum? No, of course it was a cicada! A Dog Day Cicada, here in the dog days of August.

Not So Random Strangers

Day 89 of the "What are you reading, and why?" project. A not-so-random stranger--that is, a young man who is familiar to me, because he comes in the store often--is reading some Daniel Quinn. I'm pretty sure the book he chose this time was The Story of B, sort of a sequel to Ishmael, because I remember the snail cover and the subtitle, An Adventure of the Mind and Spirit, but I might be mistaken, as I have been looking at the Daniel Quinn page at Amazon, and now all the covers are vaguely familiar.

Like all the people in my town! It's nice to live in a place long enough that all the people look familiar and not like strangers. Oddly, this happens when I return to Chicago for a visit, too. Everybody looks familiar, as do the houses, neighborhoods, and flowers in the median strips, and it's like I never left. Then, say, at the zoo, I will see somebody who looks super familiar, and it will turn out to be somebody from the small town I live in now.

I have not yet read Ishmael, borrowed from my dad because he is modeling a novel structure on it--that is, the kind of novel that is a way to present the author's philosophical ideas. I think it is OK to say that, as I think that is exactly what the both of them are doing, or want to do, and I think my dad is up front about that.

Me, I am 1) not a novelist, though 2) I have the usual novel-in-progress that many writers keep in a drawer/computer file, and 3) every time I look it over, I think, "Hey, I want to know what happens next!" which is 4) probably a good thing, and might mean I actually finish it someday, but 5) probably not, because 6) I no longer believe in linear time, and most people do, and 7) poetry uses a different part of the brain. 7 seems a good place to stop this paragraph.

But I have been musing on that novel as thinly-disguised-autobiography thing again. I hate that! I mean, it's OK, and I am always interested to learn the "where I got that novel" story behind a novel, from the novelist, but thinly disguising one's autobiography, especially when used to snipe at people, just annoys me and seems to lack imagination. Plus, it confuses people, especially aspiring writers, who then think that "Write what you know" just means write a story or novel that is thinly-disguised autobiography. It also confuses readers, some of whom think that every single novel ever written is actually real life with the names changed.

Tony keeps calling In Cold Blood a novel, and Truman Capote is surely a self-absorbed author who did that sniping kind of thing, but he openly sniped, in other works, and In Cold Blood is "a non-fiction novel," a new thing in journalism at the time, about things that really happened, in places and with names that are not fictionalized.

That this kind of thing exists, a hybrid form, surely led the way to the recent confusions involving "fictionalized memoirs," or whatever we should call them--fictions presented in the form of memoirs, because the sensationalism of real life...sells. Sigh.

That said, I notice that Salinger has a persistent dead brother in the background in his fictions, and John Irving, likewise, has motifs of loss and wrestling, and plot patterns, etc. that probably relate in some way 1) to his real life and 2) to bestseller status (repeat what sells), and both of them had to find a way to 1) make a living and 2) live with themselves (or not) while doing it.

I was even reminded at the recent discussion of The Scarlet Letter in Chicago that Nathaniel Hawthorne may have had a dalliance with a woman stikingly like Hester Prynne...which makes him, what, as measly and weak and eloquent and angelic and hypocritical as the Reverend Arthur Dimmesdale? But I can prefer to think that while feminist Margaret Fuller may indeed have been a model for Hester's character, there didn't have to be a dalliance for that to be so.

I can also prefer to believe, about "The Custom-House," the essay that precedes The Scarlet Letter, that Hawthorne really did find a folded-up fabric letter "A," and that this really was the inspiration for the novel! I can prefer to believe almost anything.

More Swedish Mystery

Day 30 of the "What are you reading, and why?" project.

Jo is now reading The Inner Circle, by Mari Jungstedt, set on Gotland, an island off Sweden. It is an Inspector Anders Knutas mystery, and, as it is the third in a series, I have to assume she is reading it because she read the first two!! And also, as she told me, because she is interested in the location, the research, the history--it's about an archaeological dig.

Julie, who discovered she liked A. S. Byatt by reading Possession, is now reading Byatt's The Game, a book about sisters. She found it at Babbitt's, where we also found some of the books in Byatt's trilogy that begins with The Virgin in the Garden. Still Life is my favorite in that trilogy, also, at first, about sisters.... The trilogy "ended" with Babel Tower...but then resumed with a fourth book, A Whistling Woman, which I mentioned here earlier as I'd passed it on to my dad, who is writing a novel, and he has now passed on to me the novel Ishmael, by Daniel Quinn, which, I take it, is his preferred novel "model."

I've heard lots of stories about writers not being able to let go of certain characters, coming back to them in later books. Likewise, I've heard about readers not being able to let go of certain characters, and demanding that writers bring them back....sometimes back from the dead!

Where do you stand on reviving characters for later works?