"As soon as we express something, we devalue it strangely. We believe ourselves to have dived down into the depths of the abyss, and when we once again reach the surface, the drops of water on our pale fingertips no longer resemble the ocean from which they came. We imagine we have discovered a treasure trove of wonderful treasures, and when we get back into the daylight again, we see we have brought up only fake gems and pieces of glass. Nevertheless, the treasure shimmers in the darkness unchanged." ---Franz Kafka

Friday, May 18, 2012

First Date with Russell Banks


One of my goals for 2012 is to read more novels by Russell Banks. I have only read The Sweet Hereafter, but my memories of it are very strong. Elegant but simple prose, a story that engaged at the deepest levels, a straightforward, haunting quality. I’ve been looking forward to reading his most recent release, Lost Memory of Skin, and this week, I finally had time.

I did not love the book. If my reading experience could be compared to a first date, it would go something like this:

Guy walks in, looks great, all indications of a tight physique and practiced manners. We order drinks and he begins to talk about himself. Soon, my attention begins to wander. Appetizers are brought; he’s still droning on. He’s telling me all sorts of things about all sorts of people and places, with lots of detail about each thing but me with no clear idea of where it’s going. The main course: like the instruments in an orchestra, the lines of his story begin to come together and I feel optimistic. Momentum builds. But then, as the preliminary parts did, the crescendo goes on for much too long. It's ambiguous, frustrating. A final twist feels forced, gimmicky, like an overly-sweet dessert. I begin to nod off before the coffee arrives…

In the following days, I have grown to appreciate some of the poignancy of his themes and the scope of his story. I've continued to think about it and that says something. There were moments of tenderness and desperation, and the ending seemed right. Because of this and because he did, after all, look good coming in, I’ll go on a second date. Next up, Continental Drift.

Thursday, May 10, 2012

Vaccination


"I had pushed the sleeve of her shirt up to the shoulder so I could see her vaccination scar. I love this, I said. This pale aureole on her arm. I see the instrument scratch and then punch the serum within her and then release itself, free of her skin, years ago, when she was nine years old, in a school gymnasium."
                                                --Michael Ondaatje, The English Patient


I woke up thinking about this quote, this image, one that has stayed with me for over twenty years since I first read The English Patient. I have read it over and over, from a frayed notebook, my book of inspirations, as I plod through life and try to write a bit about it. And it seems to me that everything important about life is in these three sentences: love and imagination.

For me, writing is the crossroads between past and present, between what is real and what my mind can dream up, and the ability to do this, to use my imagination, is one big reason why it’s fulfilling to be human in the first place.

He loves this woman. He loves her now, he loves the thought of her as a girl, he loves transposing her experiences onto his own past to see how snugly they fit. The scar gives her history, and vulnerability, and weight. It’s a small, pinkish thing—childish, perfect, sexual. He knows something about her, everything about her, nothing about her, when he sees it. And it sets them in a time and place, because most people over a certain age have this scar from the smallpox vaccination, right on their shoulder, if you look for it.

A small thing, leading to so much. Past, present, dreams, truth, rushing love. All from a single image, imagined.

Monday, April 30, 2012

A Perspective on Perspective



I read a lot of books and I watch a lot of movies. And because I create stories, I spend a lot of time thinking about the ways books and movies tell stories. The ways they are different, the ways they can be the same. I’ve always felt one of the strengths of novels is that they can expand and present a character’s perspective in ways impossible to do in a film. A broader canvas, I guess, with more possible dimensions.

It’s no surprise that some of the movies that have struck a chord with me recently did amazing things with perspective. In Black Swan, my favorite from 2010, the camera follows a ballet dancer, Nina, and what we see is what she sees. We’re not sure if she’s entirely sane or if her perspective is colored by past incidents or current obsessions, yet isn’t that the case with any single person’s perspective? The movie has some of the most immediate, encompassing dance scenes I’ve ever seen, and this has to do with the camera work too, making the viewer feel as though she’s on the stage. My favorite film from last year, The Tree of Life, gets its power from the vivid universality it portrays, from the scenes that plod along like heartbeats and make you feel you can almost hear the characters’ breaths beside your own. Another notable film dealing with perspective: Take Shelter is slow-paced and suspenseful like Black Swan, and its main character’s mental stability is also in question, so that dream sequences and “real” scenes start to meld together for the viewer as they do for the man who thinks the world is about to fall victim to a storm of biblical proportions.

Obviously, there are many. A new favorite: Martha Marcy May Marlene, which I watched the other night and can’t stop thinking about. The film follows the story of Martha, who has just left a cult. Parallel stories are told in a back-and-forth fashion: first, her first days in the cult and what happened there over two years’ time; second, her reunion with her sister and the attempt to transition back to “normal” life. At first, the cult doesn’t seem that bad, just hippie types farming the land and lying around together. There’s a tension with the sister from the start, allusions to past troubles and family secrets. And as the movie progresses, flashing from one reality to the next, the story of each begins to emerge and the broader story of Martha and how she came from one world to the other and back again crystallizes. The pacing is deliberate and I thought, masterful. The tension slowly ratchets up and at times, you’re not sure which of the two settings is more uncomfortable or comforting, which one will be the one she eventually chooses. Because we’re getting the story from Martha’s perspective and she is confused and pulled in both directions.

A good representative clip from the movie. Now streaming worldwide!



Monday, April 16, 2012

On The Spectrum: Interview on KUCI for The OC View

Last week, I was interviewed by the incomparable Dr. Mary for her radio show on KUCI, The OC View. During her weekly broadcast, Dr. Mary discusses all things Orange County, attempting to dispel stereotypical views of life here behind the Orange Curtain, and interviewing a sample of residents from our varied and accomplished citizenry.  And then there's me, talking about my life as a stay-at-home mom and more recently, published author. We talked about my novel, The Qualities of Wood, the inspiration(s) for it, and what I've been working on recently. I had a great time with Dr. Mary and realized that if this writing thing doesn't work out, radio is another job where you can come dressed in your pajamas.

Have a listen below (do not skip warm-up tune--great chance to get your groove on):

Wednesday, April 4, 2012

A Turtle By Any Other Name...

These days, when I’m not consumed with the business-y tasks of having a book published, or writing short pieces, or reading, or obsessively editing my most recently finished novel, or indulging in other human tasks like eating, drinking, or entertainment... for fun, sometimes I work on my story collection. The idea came from a Willa Cather quote (she has the BEST quotes), and it goes like this:

“There are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before; like the larks in this country, that have been singing the same five notes over for thousands of years.”

And so I started thinking about what those stories might be, those archetypal frameworks for fiction, and I came up with things like Boy Meets Girl or Boy Grows Up. I began these stories to use the archetypes but upend them in modern settings. The stories build and relate to each other in ways that also will build as the collection progresses. But I’m stuck on a turtle. Specifically, naming a turtle. Usually when I can’t name a character, I just let it sit for a while and something eventually comes. For this turtle, nothing seems to fit. I’ll tell you about him. He is old, reliable and slow. He is the sole and best companion for an elderly woman. He is brownish and wrinkled. He is loved.

So here’s the first few pages of the story and please, if you have any suggestions for a name, send me a note.


Human Stories, Number Three                                                       
Woman Suffers Loss of Friend
            “Goddamn, disgusting pigs.” Mrs. Hallowicz bent to retrieve an empty beer bottle from the place where it was wedged between two soggy fence posts. Clutching the glass until her knuckles turned white, she peered through the gaping hole at the Gleesons’ house.
            “No time to mow the lawn,” she growled. “Grass knee-high in some places, chairs covered in soot.” She walked around to where her garbage containers were kept, near the front gate on a cement slab. “Workmen here for three weeks, pounding and yelling, running that goddamn saw all hours, and for what?”
            A silver car paused at the Moores’ house, three down from Mrs. Hallowicz’s, then continued down the quiet street. The scene caused a momentary pause in Mrs. Hallowicz’s diatribe. Curiosity always trumped complaining, the latter something she had ample opportunity for, the former piqued very infrequently.
            Her gravelly voice picked up where she had left off. “To finish the garage, she says. For parties, for our kids and their friends. Loud-mouthed brats, all of them. Finish your yard work, I say!”
            The bottle made a loud thump at the bottom of the trash container, which gave Mrs. Hallowicz some meager sense of satisfaction. Slowly she walked to her backyard, touching the side of the house occasionally for reassurance and support.
            “Those women with their plates of food, all those loud meetings during the day. Baseballs over my fence for years, kids yelling. Goddamn Gleesons.”
            One corner of the yard was enclosed with chicken coop wire, a project Mrs. Hallowicz’s only son had completed twenty-six years ago, before he moved to New Mexico. Who moves to New Mexico, Mrs. Hallowicz wanted to know at the time, and over the years, she still hadn’t found an adequate answer to her question.
            From her apron pocket, she pulled a sheath of cool lettuce leaves. Folding the leaves in half, she pushed them into one of the openings in the wire and waited.
            A grayish snout followed by a long, wrinkled neck. Finally, the shiny eyes, full of wisdom and patience.
            “Hello, you old thing,” Mrs. Hallowicz said.
            The turtle was faded and slow, the color of dirt. He meandered towards the lettuce, which she had dropped in the corner of the pen, where the grass had expired from the constant grabbing and chewing. Then, inexplicably, he stopped. This was one of the things she appreciated most about him, his unpredictability. He raised his head, extended the wrinkly neck, its skin so similar to her own, and turned from side to side, listening, Or smelling. She couldn’t be sure. She only knew, after years of watching him, that he was very, very smart.
            “What is it?” she asked, craning her own neck towards the Gleesons’. “Did that racket keep you up?”
            The turtle turned his snout towards her, the retracted a bit into his shell.
            “I know,” she said, her voice low and purring. “I know.”
            She sat for a while then, listening to the distant voices of her neighbors, watching the turtle as he remained motionless and then, after some time, continued his slow trek towards the sheaths of lettuce. When he finally lowered his gray head and his mouth gaped to take in the watery offering, she exhaled with relief. 
            “That’s a good boy, ­­­­­­­­­­________.”

Monday, March 26, 2012

Good Character, Bad Character


Recently, I re-read one of my favorite books from childhood, Harriet the Spy, in order to share it with my son Satchel, age nine. I wasn’t sure if he’d like the book. It was written in the 1960s, after all, and the main character is a spectacled girl who walks around Manhattan writing notes about people in her secret spy notebook. He loved it, and I loved it again, reading as an adult. Yesterday, I finished Harriet Spies Again, a sequel penned in 2002 with permission from the author’s estate. The book ends with this:

“She thought for a moment about bad things and good things and how there were always so many of each, and how sometimes they happened in a heap. And then the mixture of things could be rolled up in a rubber band, and it would always be there—in your toy box or your memory or your heart—so you could examine it whenever you wanted, in absolute privacy, wearing your pajamas, or sometimes in the company of an understanding friend.”

And it seemed to me the author got something wrong here, in the closing thoughts of her Harriet. Because what was so memorable for me about Harriet the Spy wasn't the things that happened but the people involved, and my own process of writing is the exploration between the good and bad in people, the probing of character, and this is the rubber-band-wrapped thing I examine in absolute privacy.

Harriet is rude and demanding. She speaks out of turn. She does things she knows are wrong and she feels badly afterwards. She can be very self-assured or painfully awkward. She’s going through a tough time, yet enjoys moments of genuine joy. In other words, she’s human.

Many types of books make clear right away who is the “good guy.” They follow a formula, or maybe have a very entertaining story with many twists and turns. But I’d argue that even books heavy on story give us characters with problems, even stock characters, those prototypes we’ve seen a million times—many of those are based on a good/bad dichotomy.

- The streetwise cop (or ex-cop) in crime novels. You know the guy—failed marriage, erratic behavior. He makes mistake after mistake but deep down, his heart’s in the right place.
- The thirty-ish single girl in chick lit. She can’t maintain a relationship, chooses the wrong guy continually, and doubts herself. In the end, she’s stronger than she thinks.
- The sexy vampire. He’s attractive and mysterious but let’s face it—he’s got a nasty habit and a long life ahead of him.

Nobody wants to be around someone who won’t show weakness; nobody wants to hang out without a person who’s horrible all the time. But a loyal friend with a little mean streak, a parent who’s made a mistake but still loves you unconditionally…well, these are the types of people we all know. And they make memorable characters in novels.