Monday, November 11, 2013

Association Two: Aftershocks


After I spent the last post discussing when associative devices really work, I’d like to go back to passages I’ve encountered that, to me, really don’t. 

Perhaps you have seen this series of mystery novels by Monica Ferris, in which needlework shop owner Betsy Devonshire solves crimes in the suburban, lakeside town of Excelsior, Minnesota, which in this universe has a murder rate roughly equivalent to Detroit:



Yes, these books are just as goofy as they look.  I have read several of them.  The less said about this, the better*. 

*Okay fine I know I’m acting super elitist about this series, so to make up for it I have to admit that they are not without their own comforting, whimsical charm; like spending the afternoon gossiping with your grandmother over coffee and almond cookies.  

Wednesday, October 30, 2013

Association: When a Thing is Like a Sort of Like Another Thing

Continuing from the last post on description, I want to work further with the type of descriptive device Victor Hugo employs.  Metonymy, the use of an association to create an impression, is one of my personal pet devices, and one of my favorite avenues for creativity in a work of fiction (or non-fiction, if you’re into that sort of thing).  Hugo, as I described before, brings in Classical allusions to paint Fantine as the archetypical pastoral girl.

To read an association used to wildly different ends, I’ll turn a wildly different writer.  Raymond Chandler still is, I believe, the master of noir, and perhaps as well the master of establishing atmosphere in a narrative (Digression note: I’ll dig into this for real in a future post, but I believe the keystone of the “noir”, whether in literature or film, is the bleakness of the atmosphere.  Chandler’s ability to cultivate atmosphere is, I find, a large part of the reason why he is the standard by which all others are judged.  /Digression).  He uses several instruments to create a setting of vague, disengaged despondency; association helps prop it up:

“The noise of the traffic from the boulevard came in waves, like nausea.”
(Farewell, My Lovely, Chapter 13)

Saturday, October 26, 2013

The Ways and Means of Description: Or, Why Fantine's Hands Make Me Swoon


For the first actual-content post of this little blog, I’m going straight into one of my favorite sentences in all of literature, courtesy of the great Victor Hugo. 

“Her long, slender fingers were those of a vestal stirring the ash beneath the sacred flame with a rod of gold.”
(Les Misérables, Part One, Book Three: “Four and Four”.  Translation by Norman Denny.)

For the completionists, here is the original French:
Fantine avait les longs doigts blancs et fins de la vestale qui remue les cendres du feu sacré avec une épingle d’or.

I was nearly moved to tears the first time I read that sentence. 

Perhaps you think this description of Fantine’s hands isn’t the most world-breaking, face-meltingly staggering sentence I could have found in literature.  Perhaps it isn’t even the most staggering sentence in Les Misérables.  You may be right; but I value this sentence so highly for a reason.  It changed the way I understand the craft and art of description. 

Friday, October 25, 2013

Starting Out: Or, When You May as Well Steal from the Best

I enter the courts of ancient men, where, lovingly received by them…I am not ashamed to speak…and they, in their humanity, respond to me.”[1]

I can’t say why it is that I write.  It’s a constant, unwavering urge, to wind up stories and fight to turn them into real works.  I’m the baboon waving its ass at kids visiting the zoo; I just feel compelled. 

When I was six years old, my parents gave me a six-inch stapler with a plastic yellow cover.  I scribbled words and crayon sketches on notepads and stapled the pages together.  At age nine, I had started to realize that my childhood dream—of being Minnesota Twins centerfielder Kirby Puckett—was probably not realistic.  Instead, I admitted to myself that I loved reading more than baseball, and that I never felt as vigorous as when I was creating those little books out of notepad scribbles.  At that point, I was determined to become an author. 

As I grew into a teenager, I dreamed of being like Minnesota’s most celebrated writer, Scott Fitzgerald.  I wanted to run off to France and live in a state of excess and semi-dissipation, writing astounding novels that brought not (necessarily) fabulous wealth, but enough to maintain a modest flat with a fridge full of liquor in a European capital.  Some more years passed and I came to terms with the facts that a) this lifestyle generally leads to depression, ill-health, and an early death, and b) to actually live it, I’d need a hell of a lot more supporting talent.  I moderated my expectations and set myself up for a more mellow career, but I haven’t given up writing. 

Thus, I’ve committed myself to continuous work and continuous improvement.  However, I’d like to think I’m not going at it alone. 

I’ve had several great writing teachers whose lessons still shape the work I do every day.  However, my single greatest source of instruction—and the most inexhaustible—has been other authors.  I’ve loaded up two bookshelves with the best writing teachers there are. 

That is my goal for this blog; to highlight excerpts of great writing, and unpack the lessons within.  Diction, syntax, detail, or character creation; hence, the title of this blog: Slova, Russian for “words” (слова).  I’m looking out for words that work, and finding out why. 

A few disclaimers before I close.  My biases and preferences will probably become obvious before long.  I read a lot of noir and hardboiled works—and do most of my work in that genre—so consider yourselves warned.  I read very few contemporary authors, with the exception of Umberto Eco.  I will almost certainly write a piece about hockey before too long.  I want to write a blog that helps me, and anyone else, understand good writing. 




[1] Letter from Niccolò Machiavelli to Francesco Vettori, 1513. Translated by Wayne A. Rebhorn.