Monday after Easter Sunday, and I hope everyone had the kind of Sunday/holiday they needed to prepare them to head into this week full bore ahead.
The good news is that I reread Mississippi River Mischief yesterday and it most definitely is not the shitty mess I originally thought it was. It needs work, to be sure, but not nearly as much as I had feared, thank you Jesus, pass the ammunition, amen. The work isn’t going to be easy, either, but the framework can remain primarily intact with some reorganization and changing. (It didn’t help that I was rereading my manuscript after spending some time with Margot Douaihy’s brilliant debut, Scorched Grace, which is so good I am making notes of some of the sentences because they are so fucking smart; but I also wasn’t thinking rank amateur God how bad you suck at writing when there are people like Margot turning out such amazing work, which is saying something for me.) I also reread Festival of the Redeemer and Never Kiss a Stranger yesterday, and they aren’t bad, either. Maybe I don’t completely suck at this writing thing, who knows?
We spent most of yesterday bingeing The Last of Us, which is a really good show. I was reluctant for a long time–I’ve kind of had my fill of dystopian tales, although my fellow Americans don’t seem to feel the same way. But one can never go wrong with Pedro Pascal, and there was an episode where I said out loud, “this show is basically the same as The Mandalorian” and felt really smart. It’s very well done, though, and we’re obviously sucked heavily into it. The gay couple episode almost broke us both–so beautifully written and acted; so heart-wrenching and beautiful at the same time, maybe one of the most well done gay romance/love stories I’ve seen on either film or television–and I was sad last night when we had to turn it off because I had to go to bed. There are, of course, similarities to other dystopian stories like The Walking Dead and The Stand, but that’s only to be expected. I also was reminded of my own ideas for a dystopia, and reminded somewhat of Cormac McCarthy’s The Road (I have not read McCarthy, and felt a disclaimer was needed; but everyone knows the story of The Road).
I’ve always found it interesting that dystopic fiction is so popular, and have always wondered what precisely that says about our culture and society. I think my first dystopic fiction was the Planet of the Apes film series (I also read Pierre Boulle’s book, which the first film was very loosely based on), and the next was Richard Matheson’s novel I Am Legend and the movie loosely based on it, The Omega Man (interesting that the former and the latter both starred Charlton Heston). (I am a big fan of Matheson’s, who isn’t as known as he should be in my opinion; I feel the same way about Robert Bloch as well.) I myself have had ideas for dystopic fiction, as I mentioned before; I have several ideas about that I would love to try to write some time, but I am not so good at fantasy and science fiction (or at least it’s outside of my comfort zone because I don’t know anything much about science and especially not physics); which is why they were futuristic ones set in North America after the fall of the United States (which is the kind of alternative future story I love).
So. Many. Ideas.
But, basically I came away from the weekend feeling like I can get everything under control again; whether that is true or not remains to be seen. But I do know that I need to get back to work on the book, and work hard for a while. I need to get my taxes done and I need to get my emails answered. I’m looking forward to finishing Scorched Grace, which is absolutely amazing, and there’s still some cleaning that needs to be done around here. I managed to get most of the filing done so my desk area doesn’t look like a tornado zone, which is always a plus; just a few more things to file and put away and it’ll be almost completely under control. And the way things are going, I should even have a couple more completed manuscripts by the end of the summer! Woo-hoo!
And on that note, I am heading into the spice mines. You have a great day, Constant Reader, and I will check in with you again tomorrow.
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.
Queer and Loathing in America 