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Layers of Linguistic Meaning in Empire of Signs by Roland Barthes

December 8, 2013 by Isla McKetta, MFA 6 Comments

I’ve been writing long enough to notice some patterns in my process. Recently I’ve been in the “read big thinkers because you’re ready to take a big leap” phase. It has something to do with the morass that my second novel has become over the last three years. Enter Empire of Signs by Roland Barthes.

As a literary theorist and semiotician, Barthes writes a lot about signs, and reading his work always gets me excited about the ways we as writers, readers, and humans construct meaning. So although this book contains interesting observations about Japan, it was the meta-level reading that really interested me.

Layers of Meaning Across Languages

One of the first things I noticed when opening this book, is that it had been heavily annotated by its previous owner, Nobuko Yamasaki, a Japanese student at Cornell. What should have been clean white pages with black type were instead highlighted in yellow and underlined in various colors of pencil and pen. And there were notes scribbled in the margins. In Japanese.

As I added my own notes to the pages, all I could think about was how much Barthes would love this. Here was a book about Japan, written in French, translated to English, and then Nobuko translated some of the more difficult words back into her language. In three separate language we are using characters to assign meaning to words that then assigned meaning to a culture. And Nobuko’s notes were making me reconsider not only Barthes’ observations and the translation, but my own language as well. When she circles “infinite” and writes “So many negative words,” I see a prefix I had never even considered.

When I found reproductions of Barthes’ own translational notations reproduced inside the book, I felt a kinship for him–that Barthes, Nobuko, and I were all on equal footing in this world as we tried to make meaning and expand our understanding of the world.

I thought about the connotations of words that would be lost and gained as they were translated across all these cultures and languages, and the richness of that experience made me happy. Of course some meaning would be lost along the way, but an equal amount would be gained. A real linguistic nerd (I’m only a pseudo nerd in this area) could tell you about how the imprints the writer, translator, and readers left as we transformed objects into language are affected by our respective cultures. It’s a conversation I wish I could have with Barthes.

On Japan and Japanese Culture

Living in the Pacific Northwest of the United States, I feel like I am surrounded by Japanese culture and that I understand it. Aside from Narita Airport, I haven’t actually been, but I am surrounded by friends who have (my mom just got back from Japan a few weeks ago) and the imprints of Japanese culture from decades of immigration on Seattle abound. Reading this book, I realized that I wasn’t actually as familiar with Japanese culture as I thought I was. By looking at the country through the eyes of a Frenchman, I realized I was only familiar with other people’s interpretations of the culture. I’ve traveled enough to know that cultural understanding grows with time and direct experience, and I was grateful for that reminder.

Of course, Barthes can only recount the Japanese culture through his own eyes as well, but I found from reading his thoughts on everything from Japanese architecture to the way gifts are packaged and exchanged, I learned more about my own slanted and limited views.

Haiku

“Haiku reproduces the designating gesture of the child pointing at whatever it is (the haiku shows no partiality for the subject), merely saying: that! with a movement so immediate (so stripped of any mediation: that of knowledge, of nomination, or even of possession) that what is designated is the very inanity of any classification of the object… in accordance with the spirit of Zen” – Roland Barthes, Empire of Signs

Haiku is a form I’ve been increasingly interested in as I write more poetry. By looking at this form from a linguistic perspective, Barthes helped me understand the construction and how to write better. He showed me that I was trying to express deep emotion in a form that might not be suited for it. That doesn’t mean I won’t try, but it does change how I will play with the language.

Because of the inability to strip out our inherent cultural views, I did find myself doubting some of Barthes’ interpretations, but it doesn’t matter, because I can learn from the way he approaches the subject. I simply have to remember that we all have our cultural frames that we bring with us and not blindly accept the teachings of others as I sometimes want to do.

I realize I have told you little of the book itself. That is intentional. Although I think Barthes would have enjoyed the idea of the extra layer of meaning a reviewer adds to the work by interpreting it, I also think I’m too far from the text. Although the meaning would not get watered down (one thing I’ve learned from Barthes is that meaning like energy doesn’t dilute, instead it changes). I can signify the book, but I cannot represent it.

If you want to return to the source material, pick up a copy of Empire of Signs from Bookshop.org. Your purchase keeps indie booksellers in business and I receive a commission.

The Road Home Asks: Who Are We On the Inside?

September 29, 2013 by Isla McKetta, MFA Leave a Comment

I understand why we use stereotypes. They are easy shorthand in a world where we don’t want to take the time to look deeply at the people around us–beyond their clothes and their gender and the color of their skin. But running around judging each other based on these exterior factors means we miss the richness of the lives around us. Rahul Gandotra’s short film The Road Home beautifully exposes this paradox.

The film starts with a young boy running away from boarding school in the Himalayas. And it’s easy to assume from his brown skin that he belongs there, but his blue polo and nattily knotted sweater stand out. It soon becomes clear that this boy, Pico, doesn’t speak Hindi at all and he’s running home to England. He hires a local cab driver (Kuldeep) to drive him to New Delhi but Kuldeep hassles him about not knowing his heritage so Pico decides to walk the rest of the way. Along his journey, we start to see how out of place Pico really is–both in India and the world.

“But I Don’t Feel Indian Inside”

Director Gandotra is a true third culture kid having grown up in eight different countries and the screenplay (co-written by Gandotra and Milja Fenger) captures that feeling of being from everywhere and nowhere.

That third culture kid feeling (or as Pico Iyer calls it, The Global Soul) is one I share but not one I talk about very often because I feel like there are so few people who truly understand it. My family is white and I was born in Idaho, but I spent time in Chile growing up and my brother learned to read in Spanish before English. I crave hard white rolls from a certain German bakery and when I say Neruda speaks to my soul, I mean something slightly different than a lot of people do. When I read Isabel Allende’s memoir of exile, My Invented Country I felt that I too had invented Chile, at least in my memories. And then there’s the time I spent in Poland…

I am an American and I mean that in the richest possible way. And sometimes I feel like I have more in common with the Somali girls giggling in the mall in their half-traditional, half-American outfits than I do with the woman at the pretzel shop. But I suppose I don’t know her story either. I never thought to ask.

What Does “Worldly” Mean to You?

In The Road Home when Pico has to be taught how to eat daal by a French woman named Marie, I felt for him and how out of place he was. Then we learn that Pico’s father has sent him away so that he’ll have the proper credentials to get into the London School of Economics and later Harvard so that he can become an international businessman. There was something so elite about it all and yet it rang true. Pico’s experience abroad was a check box for admissions, but he wasn’t ever going to be expected to mix with the locals just as we sometimes travel abroad and have drinks at the Hilton where the bartender speaks our language.

I thought for a moment that I hadn’t aimed high enough with my own admissions process, but I didn’t want to see the world from that pinnacle either, I wanted to be part of it.

When Pico runs into a British couple on holiday. They assume that he’s local and the man tries to speak to him in Hindi. It’s only when the woman addresses him in British English and Pico replies with an accent that’s much more posh than hers that we see he doesn’t fit in in England either–at least not where the couple comes from. He is out of place everywhere.

“What’s So Wrong With Being Indian?”

As I’m writing this, it’s been barely a week since the first Indian American Miss America debacle. If you don’t know what I’m talking about, just imagine a group of people who can only see “other” and how that must terrify them. Poor knowledge of geography and racist comments aside (not that it’s easy to ignore either), these events reminded me how one-dimensional we ask the people around us to be, and I wonder how far we can really get as a world when we fail to see the richness of experience and heritage in other human beings.

So when Marie asks Pico, “What’s so wrong with being Indian?” and in return he asks, “What’s so wrong with being English?” what’s important is that Pico isn’t either. He’s both, and the beauty of this film is how he starts to find that unique blend of his own identity. I’ve spoiled most of the major plot points for you, but this film isn’t about what happens, like the best literary fiction, it’s about how the moments are portrayed. Go watch it. You might be surprised how much you can learn about yourself in only 23 minutes.

Exploring The Global Soul with Pico Iyer

June 23, 2013 by Isla McKetta, MFA 2 Comments

Readers of this blog will know that I almost never write about nonfiction, but in reading My Bookstore, I fell for the writing of Pico Iyer and I wanted to know more about his jet-setting lifestyle. The Global Soul: Jet Lag, Shopping Malls, and the Search for Home did not disappoint. In fact, the book, like the very best literature, helped me understand something fundamental about who I am. More on that later.

What is the Global Soul?

Iyer posits that globalization is turning us into transnational villagers. It’s certainly true of him, a man of Indian descent, born in England, raised in the US, and living in Japan. Plus he travels widely. What Iyer seems most interested in are these amazing confluences of culture like LAX where not only do peoples from all nations exist at one moment as they travel through, but it’s also a place where Ethiopians from opposite sides of a civil war can find themselves working together.

Iyer is also interested in how travel and motion are breaking down the traditional national barriers. He introduces us to his friend who rests in Hong Kong but seems to live in transit between European, American, and Asian offices.

All of these people are global souls, according to Iyer, but I wondered often what was the difference between them and my Ukrainian and Welsh great-grandparents who came to live in America. Certainly travel is faster now, but this mixing of cultures is not new. But either way, the sociologist in me enjoyed his stories of how cultures come together and how the way people look is no longer a good indicator of where they come from.

My Global Soul

“I begin to feel increasingly at home in big cities… Perhaps because big cities have become the place where people of different backgrounds tend to congregate.” – Kazuo Ishiguro

Born in Idaho, I lived in Chile for all of second grade. I remember thinking before we traveled there that everything was going to be exactly the same as at home, except for upside down. I was neither wrong nor right about that. In Chile I met people who were like me but not and I learned another tongue. Because I was with my family, it all felt like home. I did feel somewhat different in that I was blonde and we were privileged under the dictatorship by our American nationality.

“Almost any immigrant who arrives today at the place he’s hoped for will find it’s become somewhere else.” – Pico Iyer

Later, when I lived in Poland on high school exchange, I also felt at home even though I was with a new group of people in a new country and speaking a new language. This opportunity to see people in their own cultures made me accept a wide variety of norms instead of looking at them as alien. I learned to observe and interpret instead of judge, something that I pride myself on now.

“A true cosmopolitan, after all, is not someone who’s traveled a lot so much as someone who can appreciate what it feels like to be Other.” – Pico Iyer.

I settled in Seattle and we’ve chosen for a lot of reasons to stay here for now. Sometimes the world calls to me and we travel, but I have this sense that home is inside of me. I was talking with my dad about it as he visits this weekend and about whether home really is where the heart is, but some of my closest friends live in Asia or Australia or Europe or the Middle East. The people I love live in Seattle. They also live in Moscow and Boise, Austin, DC, Denver, Rochester, Portland, and somewhere in Maine. You can even find one or two in LA, Boston, and Richmond. So I can’t say that having my people around me is what makes a home for me. That would make my home the Internet, but I don’t accept that. I really do think that home is a sense of self and that can be on any continent or even in transit.

“One curiosity of being a foreigner everywhere is that one finds oneself discerning Edens where the locals see only Purgatory.” – Pico Iyer

Bodies Rest and Motion

That said, we are in constant motion and I wonder whether that activity more than anything keeps us from feeling restful and settled. I read portions of this book in Cal Anderson Park and in the Frye Art Museum. I turned some of the 300 or so pages in various rooms in my house, on the bus, and in the car (nasty habit I should stop). Even as a fast reader, I couldn’t find a few hours of peace to just read this book in one place. I realized as I started counting the locations I read this book how important those solid blocks of time are for me, no matter what continent they are on. Some of the best moments of my life were walking through Rovinj, Croatia with my husband when we had nowhere to be.

“The unhappiest people I know these days are often the ones in motion, encouraged to search for a utopia outside themselves.” – Pico Iyer

I learned from this book about how much home is inside of me. I learned about other cultures that share values with me that don’t quite conform to American norms (particularly the Japanese sense of private passions and public face). And I learned that I like my life.

The book is a bit dated, it was written in 2000 and the Hong Kong he visited was British Hong Kong, although not a lot had changed when I visited eight years later. But a lot of the principles of the book hold true. We are still in motion. We are still converging, even if we always were. I am grateful that our lives converge, dear readers, in person and over the Internet. I’m glad that we can share our love of books.

I think you’ll enjoy reading about how Canada is striving for a mosaic rather than a melting pot. You’ll be intrigued by the parallels between refugees and businessmen and perhaps concerned by shopping malls that contain so many facets of daily life you never need to leave them. You might even find a mini essay on what makes Ondaatje so enjoyable.

If this review made you want to read the book, pick up a copy of The Global Soul from Bookshop.org. Your purchase keeps indie booksellers in business and I receive a commission.

Reinventing Language with The God of Small Things

January 20, 2013 by Isla McKetta, MFA 2 Comments

The God of Small Things by Arundhati Roy - Cover

Of The God of Small Things by Arundhati Roy, John Updike wrote, “A novel of real ambition must invent its own language, and this one does.” This quote alone is neither complimentary nor derogatory, but after reading this gorgeous book, I am awestruck at how Roy’s small tweaks to spelling, capitalization, and compound words captured both my attention and the essence of the characters and setting. The language she invents for this book is only the beginning of her ambition and every word on every page is worth the read.

Discovering the True Grammar of a Story

Roy shows from the very beginning of this book that she is doing something different with her language and that to get the most out of the story, the reader will have to trust her. Her wordplay begins subtly as she joins adjectives and nouns into unfamiliar compound words like “dustgreen” and “mossgreen.” It’s a hint of what’s to come, but it’s so gentle that it’s not at all off-putting.

Then Roy begins to emphasize words with unexpected capitalization, as when she writes, “[W]hen life was full of Beginnings and no Ends, and Everything was Forever.” Because much of the story centers around children, these capitalized words bear the weight of a mother’s emphasis—they become words and lessons even when we don’t yet have the context for them. These capital letters also show us how characters see each other. For example, Sophie Mol is often described as “Sophie Mol, hatted bell-bottomed and Loved from the Beginning” in contrast to Rahel whose birth forever marred her mother’s life.

Roy also creates weight around words by intentionally misspelling them. For example, Estha is given “pocket money” at a movie theater to fetch a soda. The Orangedrink Lemondrink Man, who will go on to molest Estha in a few moments, calls this “porketmunny” instead, which denotes both that he comes from a lower caste than Estha and also that he is teasing him. The scene that ensues between them is an important one and this linguistic variation (denoted through the varied spellings) adds a nuance to the moment that could have easily been overwritten if the differences between the two characters had to be described instead.

I’m glad I surrendered my copy editor’s eye to the way Roy was using language. I’m certain this book was a nightmare during the galley correction stage, but the end product is wonderful.

Piecing Together a Fractured Narrative

Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings. They don’t surprise you with the unforeseen. They are as familiar as the house you live in. Or the smell of your lover’s skin. You know how they end, yet you listen as though you don’t. In the way that although you know that one day you will die, you live as though you won’t. In the Great Stories you know who lives, who dies, who finds love, who doesn’t. And yet you want to know again. – Arundhati Roy, The God of Small Things

True to the above quote, Roy reveals early that the young Sophie Mol will die and that her death changes everything for the family. The author shifts easily backward and forward in time as she describes the aftermath of Sophie’s death (spanning decades) and the events leading up to it. Clues are nestled throughout the novel, and yet when we come to the actual death it is both satisfying to finally know and unsatisfying that one event could have such a devastating effect for generations of a family. In this way, the art of the story imitates the justifications we seek in life for terrible events that occur, even though the answers offer no solace.

Some Books Deserve a Quiet Weekend Alone

A book this carefully constructed demands your full attention. I recommend holing up somewhere without distractions so you can fully surrender to Roy’s language and follow the emotional logic of her narrative.

Are there other books you’ve encountered that use subtle wordplay as artfully as The God of Small Things? Please tell me about them in the comments below.

If this review made you want to read the book, pick up a copy of The God of Small Things from Bookshop.org. Your purchase keeps indie booksellers in business and I receive a commission.

Joan Silber: A World of Voices in The Size of the World

October 21, 2012 by Isla McKetta, MFA Leave a Comment

In The Size of the World, Joan Silber relates six linked stories from the first person point of view of six different narrators. Using word choice, tone, and sentence length, Silber provides insight into the character through the distinct sounds of their voices.

Toby

Toby is an engineer in Arizona who is sent to Viet Nam to explore defects in the guidance systems of fighter planes during the war. He speaks very directly using short sentences like: “I liked getting lost in projects.” His sentences are often six or seven words long and rarely more than two linked clauses. This gives him the clipped sound of someone who works with data but who is a loner. He uses clichés: “Ernst slept like a baby” which makes him seem like an unlikely narrator—like words are unimportant to him. He works with a man named Ernst who is even more removed (someone comments that he may have Asperger’s) and has his own terse phraseology, often speaking in two or three word sentences: “‘Can’s gone’…‘as in dead.’”

Kit

Kit was Toby’s high school girlfriend. He thinks she is vacuous and dim. Her initial voice indicates that she is not a serious person and she uses alliteratively comical phrases like, “sanctimonious sharpie.” After running into Toby, she asks herself many questions: “The world wasn’t all sex, was it?” and “[a]nd what did I want from Toby anyway?” which makes her sound uncertain and lost with a bit of self-loathing peppered in. After being manhandled by the police in Mexico, her voice loses most of its brightness: “I was oozing money, and his country was a hobby to me.” And this tone follows her throughout the rest of her section as she flounders through life never really regaining the lightness she started with.

Corinna

Corinna is older than Kit and Toby, though she is first presented in her youth. Her voice is prim and her phrases like: “the sort of boy” and “quite decently” sound proper like those of someone from her generation. She is actually a very free spirit who moves to Siam after losing her parents and falls for her brother’s Malay guide. But when she speaks, she is very candid about even risqué subject matter such as having premarital sex in the woods, but she is roundabout with her phrasing: “I still bled every month” instead of saying she wasn’t pregnant. She is a woman confined by her generation not by her spirit.

Mike

Mike is a professor who is divorced and meets his high school sweetheart later in life and has a second chance at love. He is full of regrets but resigned to his life as in the following passage: “I suppose I always thought I would have a family, though not so fast” and “[b]ut later I was sorry I hadn’t gone.” He uses “but” and “though” over and over as a sort of “if only…” and the reader understands that his life is not what he wanted to make of it if he had travelled, if he had slowed down, if…

Annunziata

Annunziata is another older woman who was born in Sicily and immigrated to the U.S. after World War II. Her voice loops back on itself as she introduces a topic, e.g. hating America when she was young and then engages in a long digression only to come back to the original point she made. This gives the reader a rich understanding of her background but it also takes on a feeling of her living in the past because she is always delving into the history of what brought about the events. She comes off as richly interesting rather than efficient and interested in moving forward.

Owen

Owen is Kit’s brother. When we first meet him, he is still living in Siam although he is starting to feel used up. His tone is caustic, even when addressing his sister either telling her about his latest adventure: “‘The whole cold-blooded enterprise’” or responding to her attempts to lighten the mood: “‘Don’t be suave and brittle, please’…‘Now is not the time.’” When he comes home he is depressed and it shows in the lack of enthusiasm in his language as he describes, “unspeakably dull dinners.” His life is unsatisfactory: “I was not what I’d once been” and he describes having “humiliated myself” during his Depression-era job search. This is a man who held himself high and above others. When he comes home he is faced with the reality of who he is. He becomes a salesman, and struggles even at that. His self-image of the independent adventurer is dashed if it even was ever true.

By giving each character a unique voice, Silber is saying more about them and in a more palatable way than if she had simply outlined the characteristics of these characters. The characters are fully realized in their narration and when they engage in dialogue. She even portrays the individual voices of more minor characters. Silber has created a very rich world of characters and at the end I felt like I understood a little of the individual natures of each of them.

If this review made you want to read the book, pick up a copy of The Size of the World from Bookshop.org. Your purchase keeps indie booksellers in business and I receive a commission.