Tag: Ben H. Winters

Missing You

Sunday morning, and after a glorious night’s sleep I am wide awake this morning and pretty ready to give the day my best shot. The Lost Apartment needs to be cleaned, as always, and I am wanting to do some writing/editing today as well. I am going to go to the gym later today–it is my experience that going earlier wears me out, despite the endorphin high, with the end result I often don’t get any writing done. I want to work on revising and polishing a story to get it out of my hair–early submission, since the deadline is a long way’s off–and the same with another. I also want to get that Chanse story–the first one–revised and sent off somewhere as well; and in addition to all that revising I want to work on the Italy story.

My work, as it were, is cut out for me today, is it not? I’ll also probably finish watching season 2 of Versailles as well this evening.

Yesterday I got my contacts ordered and did some shopping at Target, which was lovely. I also went car shopping with a friend; he needed a ride and I took him out there. I merely sat there and read short stories from Sue Grafton’s Kinsey and Me; I finished all the Kinsey short stories yesterday, and read some others as well. I was, frankly, worn out by the time I got home but managed to finish the laundry somehow, despite being so tired; I also watched several episodes of Versailles before finally retiring for the evening once the laundry was finished. Paul moves into the hotel this Wednesday; tomorrow morning I am touring the FBI offices in New Orleans with the local Sisters in Crime chapter, and then Tuesday is my usual long day. Then of course the festivals kick into gear, and the rest of the week/weekend is utter and complete madness.

There’s also some filing needing to be done, as always. I’ve also renamed both the Italy story and the Chanse story–the Chanse title, “Glory Days”, only worked if it were his high school reunion, which I dropped from the story–and I think the new title of the Italy story is better.

Here are two of the short stories I read yesterday”

First up is “Trapped! A Mystery in One Act” by Ben H. Winters, from Manhattan Mayhem, edited by Mary Higgins Clark.

Setting

Studio L, an unremarkable rehearsal studio in a warren of unremarkable rehearsal studios, collectively known as the Meyers-Pittman Studio Complex, located on the sixteenth floor of a tall nondescript building in Chelsea, a couple blocks south and one long avenue over from Port Authority. The walls are mirrored; the floor is marked with tape; tables and chairs are clustered to represent the location of furniture on the real set.

Downstage right is a props table, laden with all manner of weaponry. The play in rehearsal is the Broadway thriller “Deathtrap” by Ira Levin, and the table displays the full range of weaponry called for in that show, viz., “a collection of guns, handcuffs, maces, broadswords, and battle-axes.”

This is an incredibly interesting twist on the short story; it’s actually a short story written in play form, and it’s also an homage to the classic thrilled play Deathtrap by Ira Levin. The play was an enormous hit on Broadway, and featured the wonderful Marian Seldes in a supporting role; she set a record for most consecutive performances by one actor in this play. Ira Levin is also one of my favorite writers. Deathtrap was made into a film; not as successfully as the play, alas; the film starred Michael Caine, a young post-Superman Christopher Reeve, and Dyan Cannon. What makes this story/play so clever is it’s a play on Deathtrap; which is a play about a play which basically tells the same story of the play–and this is a play about a murder during a production of a play about a play; complete with the requisite twists and so forth. Winters is an Edgar-winning author (for The Last Policeman), and one of my favorite novels of the last few years, Underground Airlines. if you’re not familiar with Winters, you should make yourself so. I loved this; clever clever clever.

It also reminded me of a crime short story I wanted to write about the production of a play. *makes note*

Next up is  “Fat” by Raymond Carver, from the collection Will You Please Be Quiet Please?

I am sitting over coffee and cigarets at my friend Rita’s and I am telling her about it.

Here is what I tell her.

It is late of a slow Wednesday when Herb seats the fat man at my station.

This fat man is the fattest person I have ever seen, though he is neat-appearing and well dressed enough. Everything about him is big. But it is the fingers I remember best. When I stop at the table near his to see the old couple, I first notice the fingers. They look three times the size of a normal person’s fingers–long, thick, creamy fingers.

When I talked about Barry Hannah several weeks ago, I mentioned that the other writer my professor in my second attempt at taking Creative Writing wanted us to read, whose glory we should bask in, was Raymond Carver. The only texts for the course were Airships by Barry Hannah and Will You Please Be Quiet Please? by Carver. We read two stories before starting on our short stories; I was unimpressed with both writers. Several years ago I decided to repurchase the collections and try them again (I’ll talk about Hannah another time) thinking that perhaps now, as a more mature adult and reader, I might appreciate them more. It wasn’t the case with Hannah, and it certainly isn’t the case with Carver, either.

I am not sure what the point of this story is; waitress waits on a large gentleman, everyone else on staff is mean and cruel about him whereas she is fascinated in him in some way; it’s rather oblique in its meaning, and in its ending; when she says she feels like her life has changed in some way, why? Why did this man have such an effect on her? It isn’t clear and maybe that’s the intent; is it the recognition of the casual cruelty of her co-workers and her boyfriend? Why is she so fascinated by this customer and how much he eats?

It’s a very small story, and rather intimate; I like the way Carver does his writing and tells his story, yet I fail to see the genius here in the actual story itself. I learn nothing about the waitress, not do we learn anything, really, about her customer other than he is polite, well put together, and enormous. Is it about the waitress seeing, and disliking, the casual cruelty of her co-workers and her lover, seeing them in a different way in their inability to see her customer as anything other than enormously fat, that his size somehow strips him of his humanity? Is that what Carver’s intent is, to be so vague and uninvolved with the story that it’s left to our interpretation? I honestly don’t know, and what’s more, I don’t care. I don’t care about this waitress. I don’t care about her friends. The authorial distance just doesn’t work for me. I’ll keep reading his stories, though–I read “Neighbors” for the class, and I remember it fondly–although it didn’t drive me to read more of Carver’s work.

I suppose this is why I am not a literary writer, and could never be one; my purpose is writing a story is to not only to tell the story but to make the reader understand the characters, get to know them, and hopefully empathize with them; to make, in the case of anything I write, to make the inexplicable explicable. I don’t get that from either Carver or Hannah, to be honest. Ah, well.

And now, back to spice-mining.

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Reach Out Of The Darkness

It’s quite bizarre. I no longer have to work early on Tuesday mornings–I now don’t have to go in until eleven-ish, at the earliest–and I was disoriented most of the day; mainly, I kept thinking it was Wednesday and getting terribly confused. I’ve been coming in at 8 on Tuesday mornings for so long that NOT having to get up at six seems, at the very least, strange. But I am certain I can adjust to not having to get up so damned early.

And there’s a three day weekend this weekend! Woo-hoo! Maybe I’ll go see Beauty and the Beast.

I am definitely going to go to the gym, that’s one thing I am going to accomplish this weekend. STOP LAUGHING I MEAN IT.

Bastards.

I finished reading Ben H. Winters’ controversial Underground Airlines yesterday morning before I went into the office, and it was quite exceptional. He was recently nominated for a Thriller Award for Best Novel from the International Thriller Writers, and I have to say, it’s a well-deserved honor. I met Winters several years ago, at the Edgar Award banquet when he won for Best Paperback Original for The Last Policeman, the first in a highly acclaimed trilogy that blended both the crime fiction and science fiction/alternate reality genres (the trilogy is in my TBR pile, which is, as I am sure you’ve assumed by now, pretty much is my entire living room), and so I was sorry to see the criticisms leveled at him for writing and publishing this book. The book is an alternate reality novel, based on the premise that the Civil War was never fought and slavery (or, as it is called in the book, Persons Bound to Labor) still exists in only four states, known collectively as The Four: Louisiana, Alabama, Mississippi, and Carolina–the two states were combined into one. The main character is a man of color who works for the Federal Government as a slave chaser, and the book focuses on one particular case–which goes very deep, and is horrifying as you get more and more into the book and the true story of what’s going on starts to unfold.

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“So,” said the young priest. “I think I’m the man you’re looking for.”

“Oh, I hope so,” I said to him. “Oh, Lord, I do hope you are.”

I knitted my fingers together and leaned forward across the table. I was aware of how I looked: I looked pathetic. Eager, nervous, confessional. I could feel my thin, cheap spectacles slipping down my nose. I could feel my needfulness dripping from my brow. I took a breath, but before I could speak, the waitress came over to pour our coffee and hand out the menus, and Father Barton and I went silent, smiled stiff and polite at the girl and at each other.

Then, when she was gone, Father Barton talked before I could.

“Well, I must say, Mr. Dirkson–“

“Go on and call me Jim, Father. Jim’s just fine.”

“I must say you gave LuEllen quite a start.”

I looked down, embarrassed. LuEllen was the receptionist, church secretary, what have you. White-haired, apple-cheeked lady, sitting behind her desk at that big church up there on Meridian Street, Saint Catherine’s, and I suppose I behaved like a wild thing in her tidy little office that afternoon, gnashing my teeth and carrying on. Throwing myself on her mercy. Pleading for an appointment with the father. It worked, though. Here we were, breaking bread together, the gentle young priest and I. If there’s one thing they understood, these church folks, it’s wailing and lamentation.

I understand why this book set off warning bells for people, and as a white man, maybe I’m not the best judge as to whether it’s offensive or not; but I thought it was amazing. Well-written, completely believable yet horrifying at the same time because of that believability; a stinging indictment of the horrors of systemic racism by showing what kind of desperate measures desperate times can call for. I highly recommend it; I greatly enjoyed it even as it deeply unsettled me.

And now, back to the spice mines.

 

 

La La (Means I Love You)

Good morning. It’s a lovely Sunday morning in New Orleans, as I look at the start of a relatively easy and short week for me at work. Good Friday is a paid holiday for me, so I only have four days to get through, and I have short days on both Monday and Thursday (horrifying long days on Tuesday and Wednesday, of course), so it’s kind of a ‘win some lose some’ kind of week. I ended up not writing much yesterday; instead I read Underground Airlines (which I am enjoying) and when Paul got home from his errands, I made dinner and we watched Rogue One and then the first two episodes of Five Came Back, a wonderful documentary about five Hollywood film directors (Frank Capra, John Ford, John Huston, William Wyler, and George Stevens) who spent World War II making documentaries about the war rather than directing films in Hollywood. It’s narrated by Meryl Streep, and is based on the book of the same title by Mark Harris (who also wrote the documentary). It’s very well done; and it does a really good job of capturing the era it’s about, while at the same time not only exposing how easy it is for film to be used as propaganda, but raising questions about the ethics of making propaganda during a time of war. As we as Americans are currently wrestling with the notion of news as propaganda, and how to tell what is real and what is not–a horrifying place to be, quite frankly–and how the news was controlled for the American public during the Second World War to keep them behind the war effort (which was prodigious) as well as buying war bonds to finance it, it raises difficult questions about truth, ethics, and the media. I cannot recommend it enough; I’m really looking forward to viewing the final episode.

I will undoubtedly spend today in a mix of cleaning, writing, and reading. My friend Stuart is in town, and hopefully we’ll get to have lunch or an early dinner together today, if not, it will be tomorrow.

Underground Airlines, like The Underground Railroad, is not an easy book to read. I’ve never read much alternate history (Philip K. Dick’s The Man in the High Castle being one of the few exceptions), and that’s what this book is; alternate history, and one that, as you learn more about the ‘history’ of the United States and its ‘peculiar institution’ the deeper you get into the book, is terribly disturbing because you can see how it might have gone this way.

American history, as it pertains to questions of race and equality, is difficult; and the truth of American history, as opposed to the deeply sanitized version we are taught in public school (or at least, the deeply ‘rah-rah-rah’ version I was taught in the 1960’s, predicated on the manifest destiny of white Europeans to take dominion over the Americas while eradicating the natives and enslaving Africans, required a lot of unlearning; I told one of my co-workers the other day that I’ve spent most of my adult life unlearning everything I was raised to believe while re-educating myself on the truth), is actually kind of ugly. I remember reading James Michener’s Centennial when I was in my teens, and realizing everything I’d been taught, read, or seen in movies about the native Americans, and their clash with white Europeans, was actually incredibly biased against the native ‘savages’. (If you’re interested in re-educating yourself on American history, please read Howard Zinn’s histories of the United States, starting with A People’s History of the United States.)

Anyway, when Underground Airlines was released, there was some controversy, given the subject matter and that author Ben H. Winters was white and writing from the perspective of an African-American who worked as a runaway slave catcher. Questions of cultural appropriation often dog the work of white people who write from outside their own experience; yet at the same time there is also a clamor for diversity within fiction and there has long been a Twitter hashtag #weneeddiversebooks. I don ‘t think–and I could be wrong–that the problem is so much cultural appropriation as it is that authors of color do not have the same easy access to publishing that white people do; it’s easier for a white author to get a book published with a person of color as the main character than it is for an author of color to do so. I’ve personally enjoyed seeing the progress made by film and television to cast people of color; when I was a kid I would have loved to find books or television shows or films where gay men weren’t tragic figures doomed to die, or the butt of the joke, or figures of contempt; I can only imagine the positive impact this is having on young minority children to be able to see characters like themselves on films and television shows, or finding them in books.

This is not a bad thing.

The book is very well-written, and I am enjoying it tremendously, but it’s not an easy read, as I said earlier. I had always, as I’ve said before, intended to read it and The Underground Railroad back-to-back, to get a sense of comparison and to see how the differences between how an author of color deals with the issues of race and white supremacy vs how a white author does. Both books have made me think about these issues–the racial divide/conflict that is so deeply woven into the fabric of our society and culture, and how it always has been there from the very beginning.

That’s not a bad thing. Being made to think, to reexamine your values and beliefs, to unlearn things you were taught that are wrong and to reeducate yourself is never a bad thing. I think we, as a country and a society and a culture, can do with some reexamination.

Heavy thoughts for a Sunday morning before I head back into the spice mines.

Here’s a happy Sunday morning hunk for you, Constant Reader.

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I Wish It Would Rain

Saturday morning in the Lost Apartment and it looks lovely outside. I may clean the windows today. I have to get the mail, pick up some prescriptions, make a grocery run, and I also want to get the car washed, and of course, as always, there is laundry to do. I also want to spend some time reading today, and cleaning the kitchen and living room. Yes, I am feeling rather ambitious today; we shall see how it turns out.

I forgot my book (The Nest) at the office on Thursday night; I worked at the other office yesterday and it’s French Quarter Fest, so getting down to Frenchmen Street would be a nightmare and would make me tired and cranky, so I decided to just start reading another book–Ben H. Winters’ Underground Airlines, recently named a Thriller Award nominee for Best Novel. I’d always intended to read The Underground Railroad and Underground Airlines back-to-back for comparison sake; I forgot and started reading something else when I finished reading the Whitehead. The Winters book was controversial when it was released; it, like the Whitehead, is sort of magical realism/alternate history; Winters’ premise is that the Civil War was never fought as yet another slave-owner appeasement compromise was reached in 1860 that prevented secession and the war; and other compromises were reached over the years since. It’s an interesting concept, and at the time the book was released there was some controversy; the main character is a free man of color who works as a slave-catcher. I’m not very far into it, but it’s well-written and I’m enjoying it thus far.

I also got a lot of work done on “Quiet Desperation” this week; the story is now well over four thousand words. I stopped working on it the other day (Thursday, to be exact) because I felt that I was getting impatient and rushing the ending, so I decided to pull back from it for a few days and then get back to it over this weekend. I also think the story may have meandered a bit. The goal is to finish it and the chapter of the new Scotty I’ve been working on, so I can really get going on both the Scotty book and another short story next week. Ambitious goals, yes, but do-able.

And I want to get to the gym tomorrow morning.

A truly ambitious plan for the weekend, no?

We’ll see how it all works out, won’t we?

Here’s a hunk to see you through your Saturday.