PHOTOGRAPH OF MY FATHER IN HIS TWENTY-SECOND YEAR
October. Here in this dank, unfamiliar kitchen
I study my father’s embarrassed young man’s face.
Sheepish grin, he holds in one hand a string
of spiny yellow perch, in the other
a bottle of Carlsbad beer.
In jeans and denim shirt, he leans
against the front fender of a 1934 Ford.
He would like to pose bluff and hearty for his posterity,
wear his old hat cocked over his ear.
All his life my father wanted to be bold.
But the eyes give him away, and the hands
that limply offer the string of dead perch
and the bottle of beer. Father, I love you,
yet how can I say thank you, I who can’t hold my liquor either,
and don’t even know the places to fish?
The poem is true in its particulars, except that my dad died in June and not October, as the first word of the poem says. I wanted a word with more than one syllable to it to make it linger a little. But more than that, I wanted a month appropriate to what I felt at the time I wrote the poem—a month of short days and failing light, smoke in the air, things perishing. June was summer nights and days, graduations, my wedding anniversary, the birthday of one of my children. June wasn’t a month your father died in.
After the service at the funeral home, after we had moved outside, a woman I didn’t know came over to me and said, “He’s happier where he is now.” I stared at this woman until she moved away. I still remember the little knob of a hat she was wearing. Then one of my dad’s cousins—I didn’t know the man’s name—reached out and took my hand. “We all miss him,” he said, and I knew he wasn’t saying it just to be polite.
I began to weep for the first time since receiving the news. I hadn’t been able to before. I hadn’t had the time, for one thing. Now, suddenly, I couldn’t stop. I held my wife and wept while she said and did what she could do to comfort me there in the middle of that summer afternoon.
I listened to people say consoling things to my mother, and I was glad that my dad’s family had turned up, had come to where he was. I thought I’d remember everything that was said and done that day and maybe find a way to tell it sometime. But I didn’t. I forgot it all, or nearly. What I do remember is that I heard our name used a lot that afternoon, my dad’s name and mine. But I knew they were talking about my dad. Raymond, these people kept saying in their beautiful voices out of my childhood. Raymond.
On Writing
Back in the mid-1960s, I found I was having trouble concentrating my attention on long narrative fiction. For a time I experienced difficulty in trying to read it as well as in attempting to write it. My attention span had gone out on me; I no longer had the patience to try to write novels. It’s an involved story, too tedious to talk about here. But I know it has much to do now with why I write poems and short stories. Get in, get out. Don’t linger. Go on. It could be that I lost any great ambitions at about the same time, in my late twenties. If I did, I think it was good it happened. Ambition and a little luck are good things for a writer to have going for him. Too much ambition and bad luck, or no luck at all, can be killing. There has to be talent.
Some writers have a bunch of talent; I don’t know any writers who are without it. But a unique and exact way of looking at things, and finding the right context for expressing that way of looking, that’s something else. The World According to Garp is, of course, the marvelous world according to John Irving. There is another world according to Flannery O’Connor, and others according to William Faulkner and Ernest Hemingway. There are worlds according to Cheever, Updike, Singer, Stanley Elkin, Ann Beattie, Cynthia Ozick, Donald Barthelme, Mary Robison, William Kittredge, Barry Hannah, Ursula K. Le Guin. Every great or even every very good writer makes the world over according to his own specifications.
It’s akin to style, what I’m talking about, but it isn’t style alone. It is the writer’s particular and unmistakable signature on everything he writes. It is his world and no other. This is one of the things that distinguishes one writer from another. Not talent. There’s plenty of that around. But a writer who has some special way of looking at things and who gives artistic expression to that way of looking: that writer may be around for a time.
Isak Dinesen said that she wrote a little every day, without hope and without despair. Someday I’ll put that on a three-by-five card and tape it to the wall beside my desk. I have some three-by-five cards on the wall now. “Fundamental accuracy of statement is the ONE sole morality of writing.” Ezra Pound. It is not everything by ANY means, but if a writer has “fundamental accuracy of statement” going for him, he’s at least on the right track.
I have a three-by-five up there with this fragment of a sentence from a story by Chekhov: “… and suddenly everything became clear to him.” I find these words filled with wonder and possibility. I love their simple clarity, and the hint of revelation that’s implied. There is mystery, too. What has been unclear before? Why is it just now becoming clear? What’s happened? Most of all—what now? There are consequences as a result of such sudden awakenings. I feel a sharp sense of relief—and anticipation.
I overheard the writer Geoffrey Wolff say “No cheap tricks” to a group of writing students. That should go on a three-by-five card. I’d amend it a little to “No tricks.” Period. I hate tricks. At the first sign of a trick or a gimmick in a piece of fiction, a cheap trick or even an elaborate trick, I tend to look for cover. Tricks are ultimately boring, and I get bored easily, which may go along with my not having much of an attention span. But extremely clever chichi writing, or just plain tomfoolery writing, puts me to sleep. Writers don’t need tricks or gimmicks or even necessarily need to be the smartest fellows on the block. At the risk of appearing foolish, a writer sometimes needs to be able to just stand and gape at this or that thing—a sunset or an old shoe—in absolute and simple amazement.
Some months back, in the New York Times Book Review, John Barth said that ten years ago most of the students in his fiction writing seminar were interested in “formal innovation,” and this no longer seems to be the case. He’s a little worried that writers are going to start writing mom-and-pop novels in the 1980s. He worries that experimentation may be on the way out, along with liberalism. I get a little nervous if I find myself within earshot of somber discussions about “formal innovation” in fiction writing. Too often “experimentation” is a license to be careless, silly or imitative in the writing. Even worse, a license to try to brutalize or alienate the reader. Too often such writing gives us no news of the world, or else describes a desert landscape and that’s all—a few dunes and lizards here and there, but no people; a place uninhabited by anything recognizably human, a place of interest only to a few scientific specialists.
It should be noted that real experiment in fiction is original, hard earned and cause for rejoicing. But someone else’s way of looking at things—Barthelme’s, for instance—should not be chased after by other writers. It won’t work. There is only one Barthelme, and for another writer to try to appropriate Barthelme’s peculiar sensibility or mise en scène under the rubric of innovation is for that writer to mess around with chaos and disaster and, worse, self-deception. The real experimenters have to MAKE IT NEW, as Pound urged, and in the process have to find things out for themselves. But if writers haven’t taken leave of their senses, they also want to stay in touch with us, they want to carry news from their world to ours.
It’s possible, in a poem or a short story, to write about commonplace things and objects using commonplace but precise language, and to endow those things—a chair, a window curtain, a fork, a stone, a woman’s earring—with immense, even startling power. It is possible to write a line of seemingly innocuous dialogue and have it send a chill along the reader’s spine—the source of artistic delight, as Nabokov would have it. That’s the kind of writing that most
interests me. I hate sloppy or haphazard writing whether it flies under the banner of experimentation or else is just clumsily rendered realism. In Isaac Babel’s wonderful short story “Guy de Maupassant” the narrator has this to say about the writing of fiction: “No iron can stab the heart with such force as a period put just at the right place.” This too ought to go on a three-by-five.
Evan Connell said once that he knew he was finished with a short story when he found himself going through it and taking out commas and then going through the story again and putting commas back in the same places. I like that way of working on something. I respect that kind of care for what is being done. That’s all we have, finally, the words, and they had better be the right ones, with the punctuation in the right places so that they can best say what they are meant to say. If the words are heavy with the writer’s own unbridled emotions, or if they are imprecise and inaccurate for some other reason—if the words are in any way blurred—the reader’s eyes will slide right over them and nothing will be achieved. The reader’s own artistic sense will simply not be engaged. Henry James called this sort of hapless writing “weak specification.”
I have friends who’ve told me they had to hurry a book because they needed the money, their editor or their wife was leaning on them or leaving them—something, some apology for the writing not being very good. “It would have been better if I’d taken the time.” I was dumbfounded when I heard a novelist friend say this. I still am, if I think about it, which I don’t. It’s none of my business. But if the writing can’t be made as good as it is within us to make it, then why do it? In the end, the satisfaction of having done our best, and the proof of that labor, is the one thing we can take into the grave. I wanted to say to my friend, for heaven’s sake go do something else. There have to be easier and maybe more honest ways to try and earn a living. Or else just do it to the best of your abilities, your talents, and then don’t justify or make excuses. Don’t complain, don’t explain.
In an essay called, simply enough, “Writing Short Stories,” Flannery O’Connor talks about writing as an act of discovery. O’Connor says she most often did not know where she was going when she sat down to work on a short story. She says she doubts that many writers know where they are going when they begin something. She uses “Good Country People” as an example of how she put together a short story whose ending she could not even guess at until she was nearly there:
When I started writing that story, I didn’t know there was going to be a Ph.D. with a wooden leg in it. I merely found myself one morning writing a description of two women that I knew something about, and before I realized it, I had equipped one of them with a daughter with a wooden leg. As the story progressed, I brought in the Bible salesman, but I had no idea what I was going to do with him. I didn’t know he was going to steal that wooden leg until ten or twelve lines before he did it, but when I found out that this was what was going to happen, I realized that it was inevitable.
When I read this some years ago it came as a shock that she, or anyone for that matter, wrote stories in this fashion. I thought this was my uncomfortable secret, and I was a little uneasy with it. For sure I thought this way of working on a short story somehow revealed my own shortcomings. I remember being tremendously heartened by reading what she had to say on the subject.
I once sat down to write what turned out to be a pretty good story, though only the first sentence of the story had offered itself to me when I began it. For several days I’d been going around with this sentence in my head: “He was running the vacuum cleaner when the telephone rang.” I knew a story was there and that it wanted telling. I felt it in my bones, that a story belonged with that beginning, if I could just have the time to write it. I found the time, an entire day—twelve, fifteen hours even—if I wanted to make use of it. I did, and I sat down in the morning and wrote the first sentence, and other sentences promptly began to attach themselves. I made the story just as I’d make a poem; one line and then the next, and the next. Pretty soon I could see a story, and I knew it was my story, the one I’d been wanting to write.
I like it when there is some feeling of threat or sense of menace in short stories. I think a little menace is fine to have in a story. For one thing, it’s good for the circulation. There has to be tension, a sense that something is imminent, that certain things are in relentless motion, or else, most often, there simply won’t be a story. What creates tension in a piece of fiction is partly the way the concrete words are linked together to make up the visible action of the story. But it’s also the things that are left out, that are implied, the landscape just under the smooth (but sometimes broken and unsettled) surface of things.
V. S. Pritchett’s definition of a short story is “something glimpsed from the corner of the eye, in passing.” Notice the “glimpse” part of this. First the glimpse. Then the glimpse given life, turned into something that illuminates the moment and may, if we’re lucky—that word again—have even further-ranging consequences and meaning. The short story writer’s task is to invest the glimpse with all that is in his power. He’ll bring his intelligence and literary skill to bear (his talent), his sense of proportion and sense of the fitness of things: of how things out there really are and how he sees those things—like no one else sees them. And this is done through the use of clear and specific language, language used so as to bring to life the details that will light up the story for the reader. For the details to be concrete and convey meaning, the language must be accurate and precisely given. The words can be so precise they may even sound flat, but they can still carry; if used right, they can hit all the notes.
Fires
Influences are forces—circumstances, personalities, irresistible as the tide. I can’t talk about books or writers who might have influenced me. That kind of influence, literary influence, is hard for me to pin down with any kind of certainty. It would be as inaccurate for me to say I’ve been influenced by everything I’ve read as for me to say I don’t think I’ve been influenced by any writers. For instance, I’ve long been a fan of Ernest Hemingway’s novels and short stories. Yet I think Lawrence Durrell’s work is singular and unsurpassed in the language. Of course, I don’t write like Durrell. He’s certainly no “influence.” On occasion it’s been said that my writing is “like” Hemingway’s writing. But I can’t say his writing influenced mine. Hemingway is one of the many writers whose work, like Durrell’s, I first read and admired when I was in my twenties.
So I don’t know about literary influences. But I do have some notions about other kinds of influences. The influences I know something about have pressed on me in ways that were often mysterious at first glance, sometimes stopping just short of the miraculous. But these influences have become clear to me as my work has progressed. These influences were (and they still are) relentless. These were the influences that sent me in this direction, onto this spit of land instead of some other—that one over there on the far side of the lake, for example. But if the main influence on my life and writing has been a negative one, oppressive and often malevolent, as I believe is the case, what am I to make of this?
Let me begin by saying that I’m writing this at a place called Yaddo, which is just outside of Saratoga Springs, New York. It’s afternoon, Sunday, early August. Every so often, every twenty-five minutes or so, I can hear upwards of thirty thousand voices joined in a great outcry. This wonderful clamor comes from the Saratoga racecourse. A famous meet is in progress. I’m writing, but every twenty-five minutes I can hear the announcer’s voice coming over the loudspeaker as he calls the positions of the horses. The roar of the crowd increases. It bursts over the trees, a great and truly thrilling sound, rising until the horses have crossed the finish line. When it’s over, I feel spent, as if I too had participated. I can imagine holding pari-mutuel tickets on one of the horses who finished in the money, or even a horse who came close. If it’s a photo finish at the wire, I can expect to hear another outburst a minute or two later, afte
r the film has been developed and the official results posted.
For several days now, ever since arriving here and upon first hearing the announcer’s voice over the loudspeaker, and the excited roar from the crowd, I’ve been writing a short story set in El Paso, a city where I lived for a while some time ago. The story has to do with some people who go to a horse race at a track outside of El Paso. I don’t want to say the story has been waiting to be written. It hasn’t, and it would make it sound like something else to say that. But I needed something, in the case of this particular story, to push it out into the open. Then after I arrived here at Yaddo and first heard the crowd, and the announcer’s voice over the loudspeaker, certain things came back to me from that other life in El Paso and suggested the story. I remembered that track I went to down there and some things that took place, that might have taken place, that will take place—in my story anyway—two thousand miles away from here.
So my story is under way, and there is that aspect of “influences.” Of course, every writer is subject to this kind of influence. This is the most common kind of influence—this suggests that, that suggests something else. It’s the kind of influence that is as common to us, and as natural, as rainwater.
But before I go on to what I want to talk about, let me give one more example of influence akin to the first. Not so long ago in Syracuse, where I live, I was in the middle of writing a short story when my telephone rang. I answered it. On the other end of the line was the voice of a man who was obviously a black man, someone asking for a party named Nelson. It was a wrong number and I said so and hung up. I went back to my short story. But pretty soon I found myself writing a black character into my story, a somewhat sinister character whose name was Nelson. At that moment the story took a different turn. But happily it was, I see now, and somehow knew at the time, the right turn for the story. When I began to write that story, I could not have prepared for or predicted the necessity for the presence of Nelson in the story. But now, the story finished and about to appear in a national magazine, I see it is right and appropriate and, I believe, aesthetically correct, that Nelson be there, and be there with his sinister aspect. Also right for me is that this character found his way into my story with a coincidental rightness I had the good sense to trust.
Call if You Need Me: The Uncollected Fiction and Other Prose Page 10
