A Geography of Reading

"It is by reading novels, stories, and myths that we come to understand the world in which we live." -Orhan Pamuk

Jay Gatsby: Boat Against the Current

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the great gatsby f scott fitzgerald

Jay Gatsby is set in opposition to the other characters in F. Scott Fitzgerald’s The Great Gatsby. The harder he tries to row towards them, the farther away he gets. Where other characters are fleshed out in their foibles, Gatsby is silent on the beach against the moonlight, drawing the characters and the reader to seek him out. Fitzgerald accomplishes this through his characterization of Gatsby.

Gatsby is physically separated at his house in West Egg, across the bay from the rest of the cast in East Egg. The only other character we meet from “the less fashionable” West Egg is the narrator, Nick Carraway, who is also set apart from the in crowd. By setting these two characters (one of whom is the point of view character) across from the others, I felt the distance from East Egg and that East Egg is the lifestyle these characters desire. But even more so, I felt the desire to know Gatsby.

Fitzgerald introduces the phantasm of Gatsby on page 2 as the man who “represented everything for which I have unaffected scorn” but he doesn’t speak until page 47 where he is initially unidentified. Until then, his physical presence is an enigma in the moonlight, a man stepping from the darkness and stretching “out his arms toward the dark water.” His reputation, though, precedes him. Gatsby is frequently brought up as the hero or more often villain of endless rumors that tease the reader until I was gagging for a chance to meet the man. He is either related to Kaiser Wilhelm, has killed a man, is a German spy, a bootlegger, or an Oxford man; perhaps he is all. Even the concrete “truth” about the man is first revealed in a summary by Carraway. He is most certainly a man who picks his words with care.

In contrast, the rest of the characters have verbal diarrhea and reveal themselves all over the place, even without always speaking directly about themselves. Daisy speaks of her daughter, “I hope she’ll be a fool-that’s the best thing a girl can be in this world, a beautiful little fool.” Tom speaks of Myrtle’s new puppy, “It’s a bitch…Here’s your money. Go and buy ten more dogs with it.” Myrtle’s sister Catherine speaks of a trip to Monte Carlo, “We had over twelve hundred dollars when we started, but we got gypped out of it all in two days in the private rooms,” even the man in the library reveals himself in marveling at Gatsby’s books, “What thoroughness!  What realism!  Knew when to stop, too-didn’t cut the pages.” Daisy comes across as horribly jaded, Tom is an ass, Catherine blames the world for her circumstance, and the man in the library is a snoop though capable of change. All of them are world-weary and cynical.

Fitzgerald draws Gatsby by filling in the negative space around him. The absence of direct observation leaves the reader to accept or deny the conclusions other characters have made about him. By the time Gatsby finally starts speaking for himself, I felt his character was already all sewn up. And in many ways, he was. If he isn’t a bootlegger, he has a “business gonnegtion,” though he didn’t graduate, he did go to Oxford; I don’t know if he killed a man, but he was a soldier in World War I. What Fitzgerald shows us is that these tidbits don’t define Gatsby at all. Reaching across the water that first night was the only true thing the reader knew about Gatsby. He is defined by his quest for Daisy. Everything he appears to be and has done was created for her.

In creating a mysterious façade and giving the reader a meaty parallel story, Fitzgerald sets up a slightly shady but impervious hero. Fitzgerald hints at what he is doing. Carraway’s first encounter with Gatsby has the effect of “stimulating my curiosity,” speaking of Jordan Baker he notes “most affectations conceal something eventually,” even when Gatsby is revealing his past for Carraway, Carraway notes, “The very phrases were worn so threadbare that they evoked no image except that of a turbaned ‘character’ leaking sawdust at every pore.” Despite this, I thought I had him pegged, but when Gatsby meets Daisy for the first time, he glows and “a new well-being radiated from him.” His soft center, his Achilles heel, is revealed and he becomes an entirely different man. Because he was so distant before and because the tease was so compelling, I fell for the man and empathized with him as he is reintroduced to Daisy, loves her, loses her, and dies. Gatsby is revealed as a man with a passion for love and for life. This sets him against the cynicism of other characters and earns him Carraway’s derision

In my novel, Polska, 1994, I also have a character who exists mostly as a legend. Fitzgerald manages to make Gatsby the focus of the book even when he is not present not just through the title, but by always having him mentioned by other characters. Even when he is not present in body, he is being talked about and the reader is getting a sense at least of who he is perceived to be. By creating conflicting accounts of the man, a crook who also replaces a girl’s damaged dress, Fitzgerald keeps the reader interested and also hints at the depths of the man. It is a difficult thing to do, to draw around a character. The juxtaposition of his absence against the cloying presence of other characters is one way to make the reader hunger to know more about that character.

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

Don DeLillo: The Man behind the Curtain in Mao II

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A novel is a fiction, necessarily orchestrated to form a cohesive story. In Mao II, creates a fictional world structured around specific historical events. The reader suspends disbelief and goes along with the author on the journey he set in motion. However, DeLillo seems to resist the submission by the reader to the story. He creates a world that feels cinematic instead of authentic. Then DeLillo slips in moments that feel so true, they pull back the curtain, show the two-dimensionality of the façade, and remind the reader of the fictional contrivances of the rest of the book.

Cinematic Fiction

DeLillo crafted one scene in the book so masterfully it felt cinematic. When Brita is photographing Bill in his writing room, DeLillo writes: “Bill looked for matches now, clearing papers off the desktop.” Through this action, I could see exactly the jumble of his room and the mess of his thoughts. Then DeLillo goes on: “[h]e struck the match and then forgot it.” It was beautiful. I was enthralled. I knew Bill completely through that one gesture. I could see him distractedly cogitating on his relationship with the world outside his house. I felt like I was watching the scene on screen and I didn’t mind that it felt cinematic rather than real. But then DeLillo takes it too far as Brita is taking the last pictures of Bill: “[Brita] moved in closer and refocused, she shot and shot, and he stood their looking into the lens, soft eyes shining.” DeLillo has carefully placed the reader in the position of seeing Bill through the lens of that camera to further the point he is trying to make about images. But at the same time, he is forcing the reader to step outside of the narrative and help construct the fiction. He took me from my seat in the theater and put me behind the camera. I felt forced to participate in the contrivance of the image.

A Series of Unlikely Events

DeLillo also kept me on the outside of the book looking in by throwing together too many unlikely events. If it were just the story of a man (Scott) who is led by fate (we are to believe) to his reclusive idol’s (Bill’s) doorstep, a photographer (Brita) who has sought out this idol, and the idol and his relationship with his editor (Charles) and family, I can weave together the threads and follow the story without complaint. But DeLillo ads in a myriad of disparate and improbable characters: a girl (Karen, a girl so spaced out she knows Warhol’s hair color but can’t remember his name) who was married at Yankee Stadium by the Reverend Moon and who somehow runs into Scott; Arafat; and a poet who was kidnapped at exactly the right moment to become a vehicle for Bill’s come-back. The story was too big for me, and even with a strong belief in fate, I had difficulty making the leaps DeLillo wanted me to make to believe that these characters could ever come together at precisely the right times without divine intervention. It felt like he was reminding me this was a fiction.

Moments of Truth

In sharp contrast to the contrivances DeLillo presented, there were two moments in the book that felt heartbreakingly true. One was when Bill is speaking about his childhood: “I used to announce ballgames to myself….I was the players, the announcers, the crowd, the listening audience and the radio. There hasn’t been a moment since those days when I’ve felt nearly so good.” Having read enough DeLillo to recognize his fascination with baseball, I felt like this was him ascribing his own childhood to Bill. It was so humbly written and so shockingly revealing of an author’s desire to be an entire world, this moment stood out glaringly from the rest of the text. I felt for the first time that I was reading something true. The other sentence where I felt like I could touch the author was: “[a] woman knows how to want something.” It was so cryptic and yet so universally applicable. It seemed like one of those moments where an author throws in an observation he has made that speaks more to a greater truth than to the characters. Again, I felt I was taken out of the narrative, but this time by truths rather than fictions.

I enjoyed the book. I was caught up in the breadth of the story and the seamless way DeLillo panned back and forth between the thoughts of various characters. The book felt important. He was talking about big ideas and trying to make a point beyond the flow of the story. I liked the thrust of all of that. But in trying to make his point, DeLillo forced the situation (I have to believe consciously) and as a result, the story rang tinny. I think he was making a point about the fallacy of images, but I would have preferred to have the story. DeLillo reminded me that the reader can innately tell the difference between fact and fiction. And if I lie to them, whatever story I am trying to tell or whatever meaning I am trying to get across becomes tainted. I don’t mean that I will write nonfiction–I mean instead that I have to carefully consider whether the characters’ actions and my situations ring true. My novel must be a carefully crafted world, but I have to avoid the feeling of contrivance.

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

The Language of Culture in Their Eyes Were Watching God

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Zora Neale Hurston - Their Eyes Were Watching God

In Their Eyes Were Watching God, Zora Neale Hurston writes in a language so rich it is sometimes nearly unintelligible. The dialogue is expressed in dialect and the imagery is culturally specific which immerses the reader into a fully-realized world.

Appreciating the Small Things

When the protagonist Janie is leaving the home of her first husband, a man she never loved, to follow smooth-talking Joe, the narrator observes: “The morning road air was like a new dress.” The image is striking in that it pulls together two simple but disparate items, air and a dress. This simile gives the reader a completely fresh image which is difficult to do, and the originality is intoxicating. The image also gives the reader a better understanding of Janie’s world. These are not rich people and a new dress is a fine, rare thing. The newness of the dress also points to the possibility that lies ahead for Janie as she leaves what was a stifling relationship. In passing through that morning road air, she is shedding her old clothes and moving into a new life—maybe even a life where she can have new things.

After Janie has spent years of her life as Joe’s wife working in his store and stifling herself when he wants her to, the narrator comments: “The years took all the fight out of Janie’s face. For a while she thought it was gone from her soul.” This reminds the reader that fight was once in her face and that she was a spirited woman. It also implies that submission is a bad thing and that Janie had to give up a part of herself, even if only temporarily, to be with this man. In Janie’s world submission equals being worn down which means that the fighting spirit is something of value.

Local Vernacular

The characters are African American and large portions of the story are set in Florida during a time when segregation was de rigueur. Most of the people are poor and barely scraping by and they are not by and large educated. This is reflected in their dialogue as in this segment from a conversation between two peripheral characters: “‘Ah’m uh bitch’s baby round lady people.’” For a white, educated, northern ear, it takes a concerted effort to completely understand the meaning behind the sentence. A bitch’s baby would be a puppy. Does that mean the character is lagging around behind women like a puppy?  And although this imagery is less fresh that the new dress, it is colorful and descriptive. I didn’t necessarily understand everything the characters spoke of during the dialogue in the novel, but Hurston’s way of rendering speech gives insight into the world Janie lives in. I could hear the characters in their native tongue. Because the diction is unusual, I understood more fully the differences between the world in this novel and my world.

Free Indirect Style

Hurston also uses free indirect style, breaking away from the narrative slightly to slip into a comment that sounds like it is coming from Janie. This happens as Janie is considering Tea Cake’s advances: “Must be around twenty-five and here she was around forty…Fact is, she decided to treat him so cold if he ever did foot the place that he’d be sure not to come hanging around there again.”  For a moment we are inside Janie’s head and she is sassy. She is judging herself but she is also intrigued by this young man. The sentences are not complete and the syntax is Southern with the “if he ever did” and the “treat him so cold.”  This gives the reader a fresh take on the inner workings of Janie, but it is also a bridge between the dialect of the dialogue and the clearer diction of the narrator.

Language is specific to culture and reveals everything that is important about everything worth talking about. For my novel, Polska, 1994, I worked with the language of my characters to denote their backgrounds and their experiences. Language can also be a barrier to understanding. I used some Polish words in my novel and I thought long and hard about each one. In some cases, the Polish was the best possible word because there is not an English equivalent. In others, I wanted the feeling of the Polish word, as with Jacek. I used more Polish in introducing Jacek than I had with other characters because of his intense nationalism. In either case, I rarely translate the word and some understanding will be lost for the non-Polish reader. Hurston’s rich language easily sucked me into her world, but often, especially during passages of dialogue, I was lost in terms of what was going on. I had to spend additional time looking at the language and it took me out of the story and took away from my experience of it. I personally have difficulty understanding novels written in dialect, but I understand is different for every reader. Some readers will find my novel more difficult too. But I hope even in the difficult reads they can love it as much as I loved Their Eyes Were Watching God.

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

Love in The Winter Vault with Anne Michaels

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I’ve been thinking about what I could say about The Winter Vault by that would express how much I loved it. The only way to start is with my own story. Five months ago I married the man I have loved for sixteen years and I thought marriage would be a capstone on our relationship. I didn’t realize our marriage would be the beginning of a new phase of love. Reading about Jean and Avery falling in love, I saw a closeness and intimacy that mirrored ours. I remembered what it was like to fall in love with my husband so long ago and that helped me understand the beauty and fullness of what was happening in this new phase of our relationship. I’ve heard it said that no marriage in literature can be a happy one, and Avery and Jean are confronted with a loss that divides them, but it does not divide the book and the ways they continue to relate and to love are an equally important part of the story.

Building on recurring themes of creation and simulacra in the wake of destruction, this novel created for me a sensation of deepening understanding as I encountered loud thematic echoes and subtler inferences throughout. Even tiny technical details of the transplantation of Abu Simbel, though woven into a beautiful story, reinforce these themes.

Michaels is first a poet and she re-imagines each sentence so that it is at once unique and seemingly effortless. It is a joy to read about new and familiar subjects and to follow her curious mind as she describes the genesis of wheat and the varieties of palms.

Portions of this book and the general structure recall Fugitive Pieces, which I also loved, but The Winter Vault is in most ways a very different story and perhaps one with a wider audience. This is a good book for the curious mind and for anyone who has ever loved deeply and lost. I’m not ready to part with it yet. Perhaps as I read it again I will fall even more deeply in love. If so, I’ll spare you the details.

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

Family Secrets in Faulkner’s Absalom, Absalom!

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hit on a truth about Southern families in Absalom, Absalom! Through both the story and the way he tells the story, he demonstrates the ways sensitive information is withheld and talked around but never fully concealed. As Mr. Compson said, “’It just does not explain. Or perhaps that’s it: they dont explain and we are not supposed to know. We have a few old mouth-to-mouth tales; we exhume from old trunks and boxes and drawers letters without salutation or signature.’”

Controlling Information

It takes a lot of control for a family to create secrets and there is often tension with the human desire to reach out and share one’s experience. Because of this there is often double-talk around the secrets and moments of slippage where you can’t maintain the secrecy anymore. Faulkner shows this beautifully when he has Judith give her letter to Quentin’s grandmother. She speaks of it like sharing the letter makes it like something happened, “something that might make a mark on something that was once for the reason that it can die someday.” Judith is reaching out and trying to communicate. She is trying to “make a mark” of her own and write her own history outside the history that is prescribed by her family.

After rambling about herself and her relationship with the family, Rosa slips in the vital piece of information that something is living in the Sutpen house only when Quentin’s attention has slipped away from the conversation. It is as though she was trying to get at telling him that all along but he wasn’t getting what she was saying. She then calls his attention directly to it. This is similar to what Faulkner is doing with the structure of the novel as the reader is immersed in oceans of details and familial relationships that are difficult to pin down. Eventually at the end he turns the story over to Shreve and Quentin and their conjecture to sort out the details and tell the reader the “truths” that have been obscured by the many layers of detail that drip from the story like Spanish moss.

Calculated Slips

Faulkner reveals only small dribbles of information at a time. For example, he has Mr. Compson tell Quentin, “’Henry had to kill Bon to keep them from marrying,’” but gives no hint as to why Henry would want to kill Bon. It’s enticing but maddening to read and puts the reader in the position of Quentin who has enough information to be fascinated with this family but not enough information to really understand what happened to them.

We see Henry acting like Bon’s younger brother well before the reader is told this truth. Mr. Compson says, “’Bon who for a year and a half now had been watching Henry ape his clothing and speech, who for a year and a half now had seen himself as the object of that complete and abnegant devotion which only a youth, never a woman, gives to another youth or man.’” Everything has two meanings because while Faulkner is telling the reader that Henry looks up to and adores Bon, he is also telling the reader that Henry looks to Bon like an older brother. He is simultaneously building the character of Henry and conveying hints about the truth of their relationship.

I come from a Southern family and am astounded at how well Faulkner captured the “I’m not going to tell you but the information will slip in anyway” way difficult information is conveyed in the South.

Polska, 1994 revolves around one central family secret: why Magda’s mother left the family. Magda has one answer that she believes to be true, but her instincts are leading her to dig deeper into the story. I found writing around important information to be difficult in terms of knowing how much to withhold and when and am working on my own relationship with doling out information to maintain suspense.

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