Tag: The Prince and the Pauper

Ooh Baby Baby

Sunday morning and it feels cold here in the workspace again. I slept later than I’d intended (getting up at my usual time for work is going to be horrific tomorrow), but we’re still getting back to normal around here. I drove uptown yesterday to get the mail, and most of the snow is gone (bits here and there that haven’t melted yet). I made groceries, too, but I was right about the store being picked over; no deliveries had been made yet, but I didn’t need to get much in the first place, which was great. I was still exhausted when I got back home, so I settled in and watched the US Figure Skating Championships with Paul before we moved on to season 2 of The Night Agent, which is fun enough (I remember loving the first season, but am not loving the second as much as the first. but the main character, played by Gabriel Basso, is very sexy). I didn’t write anything yesterday because I was so tired, and my brain was a bit too fried to read anything. My shoulder was also very sore, and it feels tight and uncomfortable this morning, so I might push today’s gym visit to either later on today or later in the week. I’ll probably try to read some more this morning, and I’ve pretty much zeroed in on She Who Was No More as my next read because it’s French, so completely different (most likely) than most crime novels, especially those of its time. And my next read, methinks, won’t be in the crime family; I have books by Celeste Ng, Jami Attenberg, Valerie Martin, and Ann Hood in the stack, so general fiction next rather than genre.

I also read this marvelous thread about Huckleberry Finn that reminded me that 1) I’ve never read it, and 2) I really should. I was never really interested in Mark Twain as a writer when I was growing up; we were force-fed The Adventures of Tom Sawyer in junior high, and I absolutely hated that book; Tom was an asshole and thoroughly unlikable (I’ve always read books and watched film/TV with this perspective: would I like them in real life? I hated Tom, and the only character in the book I actually cared about was Huck, because he seemed decent–certainly more so than Tom, which was an interesting early lesson in how there’s no reward in life for virtue; Tom was acceptable to people as an orphan being raised by his aunt–whereas Huck was “trash”, despite his bad circumstances of having a criminal father and very poor and from the outside of “society.” The only thing I really took away from reading Tom Sawyer was that society, and it’s thoughts and opinions, were really stupid and required behaving towards people based on a caste system that did not tell whether someone was actually a good or bad person, and how wrong castes in a civilized society are–and really, how unAmerican society can actually be (I’ve always hated snobs, mainly because I am usually the one on the receiving end of their scorn)…which, fifty years later, can concede was a pretty good lesson. But I couldn’t get over how the teacher was trying to push Tom on us as a comic hero–which seemed to encourage that kind of behavior–and never liked Tom and have had no desire to revisit the book, and it also kept me from reading more Twain (we also had to read the jumping frog story, which I also hated) for well over a decade–and it’s why I also have never read Huckleberry Finn.1 When I did come back to Twain in my mid-twenties, I read the lesser known books–Pudd’nhead Wilson, The Prince and the Pauper, A Connecticut Yankee in King Arthur’s Court, and the essay collection Life on the Mississippi2—but never got around to Huck; maybe because it was praised so highly? I should probably correct that this year, and I should probably finally read A Confederacy of Dunces, too. Sigh. I know, I know, I’ve never read the great American novel or the great New Orleans novel. Maybe this year.

The NFL conference championship games are today, and I only care because I’d really enjoy seeing Jayden Daniels go to the Super Bowl and make history as a rookie; one of the great pleasures of this past football season is seeing the Washington fans–and the NFL, really–fall in love with LSU’s Heisman Trophy winner. I don’t know if they’ll beat the Eagles today or not, but hey, when was the last time the Commanders3 made it this far? I won’t watch another team in the play-offs–feels too much like cheating on the Saints–but I look forward to hearing the scores later on today.

I’m actually looking forward to going back to work this week, believe it or not. This unexpected weather-related week at home was a lovely and pleasant surprise, but at the same time I like having structure to my life. Yeah, it’s very easy to not be motivated when you’re at home and have things to do, but if it was a permanent condition I’d do better with it.

And on that note, I am heading into the spice mines. Cleaning to do, coffee to drink, and lots of writing and reading to get caught up on, so I am going to bid you adieu this morning and…may be back later. One never can be sure, after all. Have a lovely Sunday!

  1. When books are overhyped to me, I end up being disappointed by them. ↩︎
  2. The essays are actually kind of brilliant. ↩︎
  3. I’m also really tired of the racist fans who won’t let go of the old team name. You lost, get over it. ↩︎

King of My Heart

I went down a wormhole thought pattern of sorts this morning, triggered by reading a Crimereads essay about spy novels, and their genesis; it mentioned that Rudyard Kipling’s Kim was one of the first spy novels, and I also realized that only had I not read Kim, I’m not entirely sure I’ve ever read Kipling; however, a quick Internet search just not has reminded me that I have, indeed, read Kipling: Rikki-Tikki-Tavi, The Jungle Book, Captains Courageous, but I really don’t remember anything about them (let’s be honest, all my memories of The Jungle Book are naturally from the Disney animated film). I may have also even read Just So Stories, but am not entirely sure. I’m sure Kipling’s work does not stand the test of time–just the title of the poem “The White Man’s Burden” made my eyes almost pop out of my head when I came across it this morning–as they undoubtedly reflect the white supremacist view of Imperialism and the need for the British Empire.

On that same note, I feel relatively certain that the M. M. Kaye novels I once enjoyed (Shadow of the Moon and The Far Pavilions) probably wouldn’t hold up well, either.

I always read for pleasure and for enjoyment; to escape the world in which I found myself inhabiting and feeling like a changeling for the most part; I still do, for the most part. I haven’t been paid to write a book review in over a decade; I’ve always felt that as an author myself, there was a conflict of interest in accepting pay to read and critique another author’s work, and there was always, inevitably, the possibility that an honest view on something that didn’t work for me as a reader would be seen as a vindictive move on my part to torpedo another author, out of jealousy or spite or both. There are any number of these reviewers being employed, and paid quite handsomely, by major newspapers, and I don’t want to be one of them. I don’t like writing negative reviews, and if I am reading something I don’t care for, having to finish reading it because I am being paid to write about would inevitably make me resent the book and its author and would thus color the review.

I generally read things I think fall under my purview as a writer–mostly crime novels, some horror now and then, and maybe something every once in a great while, that would be considered literary. Often these are books by writers I already have discovered, or new ones recommended to me by others whose tastes I respect–The Coyotes of Carthage came to me in this way; Lisa Unger was recommended to me by numerous friends; and yes, Paul Tremblay came to me as a recommendation from a friend. I know I need to expand my horizons to improve as a writer, which is why I am not only committed to the Diversity Project (books by marginalized writers) but also to the Short Story Project. The Diversity Project has been a terrific learning experience, and the Short Story Project has helped me become a better short story writer. I’ve been trying to read New Orleans history lately–with a dash of Louisiana thrown in for flavor–in order to get a better sense of the city and state, so that I can write about them both more knowledgeably; plus there is so much inspiration in reading about the past of both city and state! It’s also incredibly humbling to know how little of that actual history I did know, and even though I knew how rich that history was, I had no idea just how much of a gold mine of inspiration and ideas it would prove to be.

Like I said, I tend to read things I think I will enjoy, and if I am not enjoying the experience, I inevitably stop reading. I have started things and put them aside, only to go back to them again and greatly enjoy them; Paul Tremblay’s A Head Full of Ghosts being the best and most recent example of this I can remember; I started it, got several chapters in, and wasn’t feeling it. I went back to it months later and couldn’t put it down, and frankly, after The Cabin at the End of the World, Tremblay is becoming one of my current favorite authors.

So, I’ve been wrong about books before, and I’ve also been wrong about authors before. Hence the dilemma in being a book reviewer, and why I have chosen for many years now to seek extra income by reading for reviews. I enjoy writing about books I enjoyed on here, my blog; that’s part of its reason for existence, and I also curate what I read and write about here. No one chooses for me what I read or what I write about; and I will only review something negatively if the writer is, frankly, long dead; and even then, it’s simply an explanation of why the book didn’t work for me (an example of this latter type was Night Has a Thousand Eyes by Cornell Woolrich; I appreciated the book but there were things about it I didn’t like, that I felt didn’t “play”, but since he is long dead–over fifty years–I wasn’t overly concerned about hurting his feelings….and I have enjoyed other works of his).

I often talk about how my education in what the Academy considers to be classic American literature (British, too, for that matter) is sorely lacking. It’s something that I occasionally wonder about; should I go back and read these so-called classics as decided by a group of people whose opinion I generally don’t respect very much? It’s entirely possible, I know, that books I was forced to read as a teenager in high school and college were actually better than I thought at the time because I loathed being forced to read anything and I despised the way they were taught by pompous pseudo-intellectuals with tenure (I really enjoyed mocking that world in my story “Lightning Bugs in a Jar”, and will probably mine it again at some point as story fodder).

But I can honestly say I went back twice to reread The Great Gatsby only to discover that I loathed it even more than I remembered loathing it the first time; I also spent some time in my twenties trying to read other works by the writers I was forced to read and found that I did, in fact, enjoy some of them. I hated Sinclair Lewis when I was forced to read Main Street in college; I later went back and enjoyed both Elmer Gantry and It Can’t Happen Here very much. I disliked Fitzgerald’s This Side of Paradise very much, and I loathed the Hemingways I was forced to read (The Old Man and the Sea, A Farewell to Arms) so much that I just can’t bring myself to read anything else of his. I was very surprised, actually, to find myself enjoying Faulkner quite a bit, and I keep meaning to go back and reread both The Sound and the Fury and Sanctuary–but there are also a lot of other Faulkner novels I’ve not read, and probably should. I also despised Tom Sawyer and the other, celebrated Mark Twain short stories I was forced to read; but as an adult greatly enjoyed Puddinhead Wilson, The Prince and the Pauper, A Connecticut Yankee in King Arthur’s Court, and Life on the Mississippi.

But I am not someone who became a writer because I wanted to have a legacy, or be lionized; I became a writer because I wanted to tell stories, and I wanted to tell the stories that I wanted to tell. I never had any desire to have my work be taught in colleges, or for students to be forced to write papers about my work. I always say that sort of thing isn’t up to me to decide, and it’s never been my aim. If I’m forgotten after I die, well, I won’t be the first.

I justify to myself not reading a lot of literary fiction by saying there simply isn’t enough time for me to read everything that I actually want to read, let alone find the time things people think I should read. But I also have this sense in my mind that perhaps I am missing out on something; I know I’ve read books that have gotten critical acclaim that were more on the literary side and liked them very much and learned from reading them. Colson Whitehead, for example, is simply brilliant while also writing genre fiction–The Nickel Boys and Underground Railroad were stunningly brilliant; I really need to read more of his work–and thinking about Colson Whitehead led me to thinking about, of all people, Cormac McCarthy. I’ve not read McCarthy, but from what I have gathered from what I have heard about his work is it technically is also genre fiction; The Road is a post-apocalyptic dystopian novel, after all–a friend whose opinion I respect read and hated the book, so I’m probably not going to go there–so I started going through his canon on the web and I finally settled on one to add to my TBR pile at some point, Outer Dark, because it too sounds like genre fiction. We shall see how that goes, shan’t we?

Laura Lippman often says that genre fiction is literature, and by claiming literary classics as genre (the most common is, of course, Crime and Punishment) we are demeaning the great genre work, which stands on its own without the necessity of claiming Dostoevsky or Faulkner’s Sanctuary as crime fiction (although I do believe Sanctuary is pulpy noir of the best kind). I do agree with her to some degree; as I said, I do think Sanctuary is noir, and an argument could be made that An American Tragedy by Dreiser is as well. (I’ve also pointed out numerous times that The Great Gatsby is really a murder mystery told in reverse) But her point is spot on: genre fiction doesn’t need to claim classics from the Academy in order to be recognized as literature, and claiming those books does make it seem like trying to make fetch happen.

I also like to believe that my best work is still ahead of me.

Of course, that means I actually need to do it.

And on that note, tis back to the spice mines.