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About Richard Bowker

Author of the Portal series, the Last P.I. series, and other novels

An Organic Plot (Note: This is about writing, not gardening)

I mentioned “organic plots” in this post about the novel Maine. The idea is that, in novels like Maine, the plot grows organically out of the characters and the way they interact; it isn’t a structure (or, at least, it doesn’t feel like a structure) imposed by the author on the characters.  I have never taken a writing course, so I don’t know how academics talk about plots, so this is just the way I view the matter.

My novels — thrillers, mysteries, private-eye novels — are about as far from organic plotting as you can get.  In them, plot and character have about equal weight.  Often I need to invent characters specifically to fill a role in the plot I’ve constructed.  I do occasionally rejigger the plot to fit a character, but after a certain point in the writing the plot doesn’t give me a whole lot of room for rejiggering.  So the plot and characters basically have to be developed together.

I don’t want to say that one model is better than the other.  I suppose an organically plotted novel has a better chance of being good than a highly plotted one; a plot without interesting, believable characters is worthless, but characters without a good plot will still hold my interest.  On the other hand, the most satisfying novels to me are the ones that manage to seamlessly combine both plot and characterization.  That’s hard to do!

So here’s a wisp of a novel idea that came to me during my morning run a few weeks ago.  If I were to actually write it (I’m not going to), it would have an organic plot, although it would (I think) have more structure than a novel like Maine

It’s the late 70s.  A wife gives a thirtieth birthday dinner for her new husband.  She invites three or four other couples that they know, and they talk about current events, popular music, their hopes and dreams.  In the course of the dinner we learn about the characters as seen through the eyes of the wife. At the end, exhilarated by the success of the dinner, she says: “Let’s make this a tradition!  See you all in ten years!”

We then move to the 80s, and his fortieth birthday dinner.  Same people, different point-of-view character.  We learn what has happened to them in the meantime, and we know them more deeply than we did from the first snapshot of them ten years ago.

So, we do this two more times, up to more or less the present day.  Characters die; characters are divorced and replaced.  Some are successful; others are not.  Some of the things we thought we had learned about them turn out to not be true.  Some people surprise us; some never change/  Everyone gets older.  And so on.

This is not a bad structure for a novel, I think.  It’s probably influenced by the play/movie Same Time Next Year, which I’ve never seen.  Its organic-ness is obvious, right?  The only actual events are those that take place during the dinner parties.  People talk and eat and drink and listen to music.  And the point-of-view characters remember and judge.  But by the end we know a ton of stuff about them and (if the thing is done right) we hope that everything turns out well for them.  That’s the idea, anyway.  As I said, I’m not going to write this novel — feel free to write it yourself!  But if I did, I’d have to approach it differently from the way I usually approach things.  It would have to start with the characters, and only when they were deeply realized would I start to figure out how they interact.

“Maine” and plotting

In my previous post about the novel Maine (by J. Courtney Sullivan) I was complaining about its lack of verisimilitude.  I’ve now finished the book, and things got better on that front, although she talks at one point about “Irish Need Not Apply” signs; those signs are much more typically worded “No Irish Need Apply.”

OK, not a big deal.

Sullivan does a pretty good job of recreating the famous Cocoanut Grove fire of 1942, which becomes a central incident in the narrative.  (My grandfather was a police captain in Boston back then and was on duty that night; he was worried that my mother and father (not then married) were celebrating at the nightclub, because my father had attended Holy Cross, which upset the heavily favored Boston College football team at Fenway Park that afternoon. The football game also figures in Sullivan’s retelling of the fire.)

On a scale of “threw the book across the room in disgust without finishing it” to “eagerly devoured the book and only wished it could be longer,” I rate Maine “had no problem finishing it, but wished it was 100 pages shorter.”  I don’t think the characters or, the plot justify the 500-page length.  Here’s the plot:

Three women (daughter, grand-daughter, and daughter-in-law) separately make their way up to Maine to visit the family matriarch at their summer home.  They argue about a couple of big issues in their lives.  Then they leave.

That’s about it.  It’s what I think of as an organic plot–it flows out of the characters rather than being imposed upon them.  I’m not complaining about that kind of plot, but I want more resolution than Maine offers.  The plot extends backward in the narrative as well as forward, which is also fairly standard.  A point-of-view character pours a cup of coffee and thinks about the past.  Another point-of-view character checks her email and thinks about the past.  Eventually we know a whole lot about these four people, how they think about each other and all the other people in their family, all of which informs the final confrontations.

This is all fine, except the final confrontations just don’t give us the payoff we’re looking for.  The problem is that nothing fundamental changes as a result of the confrontations.  The ending isn’t sappy, with all the conflicts of a lifetime somehow neatly resolved, but that doesn’t mean the ending is satisfying.  Take the Cocoanut Grove incident.  This turns out to be the motivating event in the matriarch’s life; everything that happens afterward–her marriage, her drinking, the way she treats her kids–flows from the secret she has held inside her about the fire.  She finally tells a priest the secret.  And then–nothing.  After 450 pages, I was looking for a bit of a payoff.  But she doesn’t change; nothing changes.

My guess is that the author fell in love with the outsized multi-generational Irish-American family whose story she was telling, and ultimately she couldn’t impose enough order on that story to make us care as much as she did.

But then, I’m a guy, and this is a book about women.  Maybe a couple of strong male characters would have changed my mind, but they pretty much don’t exist in Maine.  Sullivan should stretch herself and try a male point-of-view character in her next novel.  I’d give it a read!

The Senator debates his opponent — and becomes unglued

The first presidential debate is coming up in a few days.  The experts say that the debates really aren’t terribly important–they happen too late in the election cycle to change people’s minds.  But on a personal level, they are high drama–the candidates at last facing each other on stage.  They are a natural for a political novel, so of course I included one in Senator (there’s one in Replica as well, but it’s too central to the plot to talk about here).

In Senator, the protagonist is under all kinds of pressure as the day of the debate arrives.  His marriage is crumbling, the DA is getting ready to charge him with murder . . . and then, the afternoon of the debate, his father wrecks his car and ends up in the hospital.  The senator arrives at the debate with little time to spare, and his advisers quickly prep him . . .

**************

Sam Fisher paced along one end of the conference room. “Maybe you can use this as a human-interest story,” he suggested. “You know, they ask you about health care, the elderly, so on, work in about how you just came from visiting your aged father in the hospital, you saw what wonderful care he was being given, and your reforms to the medical system would provide every senior citizen with the opportunity for the same kind of care.”

I rolled my eyes. “I’ll keep it in mind,” I said.

“You’ve got to stay personal,” Sam warned. “You have a tendency to come across as a know-it-all. People can’t digest strings of statistics in a debate; they like anecdotes.”

“Welfare mothers using food stamps to buy heroin,” I said. “OSHA inspectors shutting down pro football ’cause it’s dangerous to the employees.”

“And don’t be a wiseass. You can be witty, but don’t get nasty, and don’t go over people’s heads.”

“And above all, be myself,” I said.

“Well, that goes without saying,” Sam replied, and I wasn’t sure he got the joke.

“Perhaps we could go over the main points one last time,” Harold said.

The debate, we figured, would be the campaign in a microcosm. Each candidate had his themes; they’d been tested on countless focus groups and honed to a fine edge by master political craftsmen. They didn’t have a great deal to do with policies and issues, which made some op-ed types gnash their teeth, but they weren’t entirely devoid of content. We both stretched the truth in support of our themes, but they were close enough to reality (they had to be) that people wouldn’t notice or care if we fibbed a bit.

Bobby Finn’s main theme was that he was in touch with the people of Massachusetts. Their concerns were his concerns. He was the guy you could go have a beer with and talk about your sewer bill, your car insurance rates, your kid’s drug problem. He wasn’t the handsomest or wittiest politician around, but he understood how to make government work for the average citizen.

The corollary of this was that Jim O’Connor was out of touch with people. Out of touch philosophically, since many of my positions were not shared by the majority of voters. And out of touch as a senator, hobnobbing with the rich and famous and planning my run for the presidency instead of taking care of the voters’ business. Bobby Finn wanted to be senator so he could serve the people, not so he could gratify his own ego.

Our main theme, on the other hand, was that I was the candidate who had the stature to be the United States senator from the Commonwealth of Massachusetts. I had the leadership skills; I had the experience; I had the intelligence; I had that extra something that made me a worthy representative of the Bay State in the world’s greatest deliberative body. You might not always agree with Jim O’Connor, but don’t you feel proud that he’s your senator?

Our negative theme, therefore, was that Bobby Finn was just not “senatorial.” He hadn’t done a good job as governor, and he wouldn’t do a better job as a senator. You might go out for a beer with him, but can you imagine him debating the great issues of the day on the floor of the Senate?

Our debate would be a contest to see who would do the better job of getting across his themes. I would stress my accomplishments and try to project my senatorial image—without sounding too intellectual—while portraying Finn as just another local politician who was in over his head. Finn would try to come across as the friend of the workingman—without sounding too inarticulate—while portraying me as distant, uncaring, interested only in my own career. And the one who had the edge might see a spurt in his tracking polls, and that spurt, if properly nurtured, might be enough to win the race.

I listened to all the advice as Harold led the last-minute strategy session, but I didn’t pay much attention. Harold, of course, noticed. He cornered me in the men’s room afterward. “You’re not here,” he said.

“I’m on my way,” I responded.

“Would you please make sure you show up? I mean, I’m sorry about your father, I’m sorry about your marriage, but this is important. This is crucial.”

He knew about my marriage then; Marge had probably told him that she had given away the secret about Liz and Roger. “Doing my best, Harold,” I murmured. “Honest.”

He gazed at me, helpless. A campaign manager can take care of a lot of things, but he can’t step out in front of the TV cameras for his candidate and debate the opposition. We flushed in unison and washed our hands, and it was time to go.

* * *

The debate was held at the John F. Kennedy Institute of Government at Harvard University. More or less neutral territory, since I was a Harvard grad and Finn claimed to be a JFK Democrat. My entourage pulled up at a side entrance, and we made our way to the auditorium. A burly Cambridge cop was guarding the stairway to the stage. He beamed when he saw me. “Hey, Jim, good luck tonight!” he said as we approached.

“Thanks very much,” I replied with an automatic smile.

“I’ll never forget you writin’ those book reports for me in high school. Sure saved my ass.”

I stopped and looked at his name tag. Doherty. “Billy?” I said.

He grinned. “Been a long time, huh, Jim?”

“Sure has.” Since that gray dawn when you punched Paul Everson in the face and might have killed him with your nightstick if I hadn’t kindled some spark of human feeling in your soul. Do you remember, Billy? Or have you conveniently forgotten—like Danny, rewriting the past to make it fit what he needs to survive the present? “Gee, it’s good to see you, Billy,” I said. “You’re looking great.”

“Ah, I’ve put on the weight. Too many beers. But we’re all rootin’ for you, Jim. You’re doin’ a great job.”

I shook his hand. “I appreciate it, Billy. We had some good times in the old days, didn’t we?”

“Sure did.”

“Senator,” Kevin murmured.

“Gotta go, Billy. Give my regards to the family.”

I went onstage, to cheers from my half of the audience. Bobby Finn was there already, along with his wife. They were talking to the moderator, an anchor emeritus at one of the Boston TV stations, which trotted him out for important occasions like this. Gobs of makeup made him presentable on camera, but in person they couldn’t disguise the passage of time; he seemed tired and bored, as if he had attended one too many of these things in his career. Mrs. Finn looked cool and handsome in a navy blue silk dress and pearls. She also looked psyched up for the big event; I was glad I was debating her husband instead of her.

Finn’s forehead was already beaded with sweat, and his palm was moist when he came over and shook hands with me. He made no secret of his dislike of debates. “Don’t worry, Senator,” he said with a tense smile, “I’m gonna go easy on you tonight.”

“No, no, gimme your best shots,” I replied. “We don’t want people upset because they gave up reruns of The Cosby Show to watch us.”

Finn shook his head. “Okay, you asked for it.”

I looked around for Liz. She was already in the audience; Kathleen waved to me, and I waved back. Liz didn’t want to come up onstage, and I didn’t blame her.

So we killed time chatting with the moderator and the panelists, who were going to ask the penetrating, provocative questions to which we would respond. We went over the ground rules. We tried to control our nerves. It felt like a prizefight; it felt like a trial. The difference was that there was rarely a clear-cut winner in a debate. Finn would win if he did better than people expected; I would win if I came up with better sound bites or if he said something outrageously stupid. The polls might show something, but most likely the message would be mixed. And the battle would continue until election day.

The director started giving orders. The audience quieted. I went over behind my lectern, where Kevin had arranged my notes. Everyone waited. Then the red light over the camera came on, and the debate began.

* * *

I gave the first opening statement. “Six years ago you elected me to the United States Senate. It was the greatest honor of my life. Not a day has gone by since then that I haven’t reflected on the responsibilities that go along with that honor. Not a day has gone by that I haven’t tried to live up to the trust you have placed in me…”

I could tell immediately that I wasn’t right. I had hoped that my personal problems would take an hour off while I did my job; they had generally cooperated in the past. But instead I felt the way I had on the Senate floor when making my futile speech in favor of my amendment. The words were all there, but the passion was missing. I couldn’t focus on what I was saying. Instead I saw my father in his hospital bed, or Liz in Roger’s arms, or Amanda dead on her kitchen floor. I wondered if Melissa and Danny would survive their latest crisis; I wondered if I would share Liz’s bed again; I wondered how much all this was hurting Kathleen. I tried to banish such thoughts, but apparently I was no longer in control.

Would the voters notice? Would the pundits and the spin doctors? Perhaps not. I was a professional, after all, and my opening, no matter how absentminded, was still smoother than Finn’s; Bobby stumbled a couple of times and looked as if he’d rather have been single-handedly battling the entire North Vietnamese Army. And this was the easy part for him: just say what he wanted to say, without having to respond to some tricky question. So maybe I would be all right, at least by comparison.

The first question was about crime. Doesn’t matter what the specifics were; reporters spend hours crafting their questions trying to trip us up, and then we go ahead and answer the unasked question we feel like answering. Finn over-praised his own record and belittled mine. For all my tough talk, what had I accomplished as a senator? He brought up the failed amendment. All talk, no action; that was Jim O’Connor. I gave my standard response, ticking off all that I had done and all that Finn had failed to do. Too many facts, Sam would say. Well, did he want me to bring up Amanda?

The next reporter brought her up for me. Did I think her death and my relationship with her should be a factor voters should consider in deciding whether or not to vote for me?

We had figured out how to handle this one. “Her tragic death is an issue,” I said. “But so is every other murder in this state.” And then I simply ignored Amanda and laid into Finn again.

Finn gave a careful response, which indicated to me that his people still didn’t know how to handle the situation. The matter was under investigation, it would be inappropriate to comment on the case until the investigation was complete, blah, blah, blah. If Cavanaugh had something on me, wouldn’t Finn at least have dropped a hint?

And so it went. Neither of us was particularly effective, I thought. Finn made a moderately controversial statement about taxing Social Security, but I failed to follow up on it. He garbled his syntax, but I tossed off too many statistics.

And then came the easiest question of them all. “Could you each recount for us one incident from your early life that helped form the person you are today?”

Finn went first. As usual he didn’t answer the question; instead he talked about how important his family had been to him. Good old middle-class Democratic family values. Big deal. While he blithered, I thought. My standard response to this sort of question was to talk about the time my grandmother had been mugged, beaten up by a couple of punks for about seven dollars in cash. She lived for a few years after that, but she never left the house again, except to go to a nursing home to wither away and die. The punks were never caught.

But I didn’t feel like talking about Gramma. God love her, I had gotten enough mileage out of her suffering. What then? Just one-up Bobby Finn on families? Mine was more working-class than yours, so there! I could bring in my poor dead mother and probably my injured father—Sam Fisher would be pleased—but I didn’t feel like doing that either.

What about the time Danny scored the touchdown off me and made me cry? Not very senatorial, unfortunately. But I wasn’t feeling especially senatorial. I was feeling… strange.

Something was happening inside me as I stood at my lectern and listened to Bobby Finn—some shifting of my internal continents, some rearrangement of my constellations. It had started when I talked to Carl Hutchins in the cloakroom and realized that I didn’t know if my amendment was worth passing, or perhaps it had started even before that, when I found out about Roger and Liz, or when I saw Amanda’s body on her kitchen floor.

I don’t know when it started. I only know that at that moment I felt reckless; I felt reborn. I felt as if true wisdom were within my grasp if only I could recognize it.

Finn had stumbled to a finish. “Senator O’Connor,” the embalmed moderator intoned.

I opened my mouth, and I swear I had no idea what was going to come out.

“One morning in April 1969 I was present when the police evicted a group of demonstrators from University Hall in Harvard Yard,” I heard myself say. “This was at the height of the antiwar movement, when campuses across the country were in turmoil. The police cleared out the hall without much trouble, and then some of them proceeded to riot in Harvard Yard, indiscriminately bludgeoning helpless onlookers. I saw fellow students, male and female, with blood streaming down their faces. I saw a boy being dragged from his wheelchair and beaten with a nightstick. I saw the fierce, unreasoning eyes of the police as they attacked these kids who despised them.”

So what did that teach you, Senator? How did that form the person you are today? It had better be something good, or you’ve just thrown away the election. “It would have been easy enough,” I went on, “to become a left-wing radical as a result of that experience, to mindlessly despise all authority, to see everyone in uniform as the enemy. That’s what happened to many of my classmates. But I think that eventually I learned some deeper lessons. First, that all authority must be tempered with restraint. It must not simply please the majority; it must be absolutely fair to the minority, or else authority will become tyranny. Second, that you must give the people in authority the tools and the training and the support to do their job effectively; otherwise you risk having them lose control the way the police did that morning. And finally I learned the importance of tolerating diversity, of seeing someone else’s point of view. I was a student, but I was also a local boy; those cops were my neighbors. So I was pulled in two different directions. But in life I’ve found that you can be pulled in many more directions than that. You choose the path that you think is right, but you always have to keep in mind that there are other paths, and other people who firmly believe that those paths are correct.”

I stopped. Had that been ninety seconds or ninety minutes? I felt as if the whole world were staring at me with its mouth open; Bobby Finn certainly was. Was that Jim O’Connor, the Jim O’Connor, talking about a “police riot”? About them beating up a kid in a wheelchair, for God’s sake? Had my explanation of the lessons I had learned saved my skin or just dug me in deeper? And had I really learned those lessons, or was that just the politician in me talking?

The next question arrived, and I answered it on automatic pilot. Everything else was an anticlimax now. The TV stations had their sound bite; the columnists had their angle. And I had one more problem to add to my list. Before long I was making my closing remarks, and then Bobby and I were shaking hands as the moderator declared the debate history.

“You kinda surprised me there, talking about the police,” Finn said.

“I’m full of surprises.”

“You don’t think you shot yourself in the foot?”

“Just wait and see, Bobby. Just wait and see.”

Then it was time to greet the family, who were obliged to come onstage as the closing credits rolled. “I thought you were great, Daddy,” Kathleen said, giving me a hug.

“I’ve been better,” I said.

Liz was looking at me oddly. “You never talked about that incident in Harvard Yard before,” she said.

“Saving it up for the right moment.”

“It was very moving,” Kathleen said.

“See? I’ve clinched the fourteen-year-old vote.”

On the way offstage I saw Billy Doherty staring at me. We didn’t speak.

* * *

Sam Fisher kept on pacing. “They don’t know what to make of it,” he said, referring to the pundits. “Some of ’em think it’s a cynical ploy to get the liberal vote. Most of ’em think you’re off your rocker, although they’re afraid to say so.”

“It reminded me of one of those Saturday morning cartoons,” Marge said. “You know, where the stupid lumberjack saws off the limb he’s sitting on?”

“I think it’ll go over well,” Kevin said. “It’ll make the senator appear more human, less—less…”

“Arrogant?” I suggested. “Cocksure? Condescending? Isn’t that what you wanted, Sam?”

Sam threw up his hands. “I wasn’t suggesting that you spit in the face of your core constituency.”

“Just what were you thinking of, Jim?” Marge demanded.

I shrugged. “I don’t know. It seemed like the thing to do at the time. Maybe I was wrong. Do you people want a real live candidate or a robot?”

“A robot, of course,” Marge replied. “Especially if the real one is going to start reminding people that he was a draft-dodging police-bashing Harvard pinko while Bobby Finn was over in Vietnam heroically defending his country.”

Harold glanced at me. I smiled at him. He looked away.

“This is bad,” Sam muttered. “This is very bad.”

“Well,” Kevin said, trying desperately to look on the bright side, “things can’t get much worse.”

The Real News comes out tomorrow,” Harold said.

I stood up. “I guess we’ll have to have another meeting tomorrow then,” I said wearily.

No one replied, so I left the conference room and went home to sleep on my couch.

Should we be worried that Jonah Lehrer’s ebook has melted into air, into thin air?

. . . and leaves not a rack behind?

Jonah Lehrer, you may recall, is the young author who made up some Dylan quotes in his book Imagine and was caught self-plagiarizing on his New Yorker blog and elsewhere.  See here and here.  It’s not a good time to be Jonah Lehrer.

Imagine, not surprisingly, has been withdrawn from the market, without any online explanation of what happened.  Now an Atlantic writer worries that the disappearance of the ebook from ebook shelves is a bad thing.

There are now links to used copies on both Amazon and Barnes & Noble; original links to the items are still inactive, and at the original time of writing, there were no links at all, used or no. Lehrer’s author site on Amazon still does not link to any of the marketplace vendors.

She connects this situation to the time Amazon disappeared copies of some editions of Orwell novels from readers’ Kindles because of copyright violations.

When Orwell pulled a Kindle disappearing act, David Pogue called Amazon’s actions, “ugly for all kinds of reasons.” Even though (as far as I know) no purchased copies of Imagine have disappeared off of electronic readers, the ugliness is just as strong in the current reaction to Lehrer’s missteps. It is worrisome that the book has virtually disappeared from the most prominent online retailers—and the publisher itself. A simple note saying that sales have been halted pending further verification, or something to that effect, would have been a much more honest, transparent solution. When contacted for comment on the specifics of the decision, Amazon stated simply that, “At Houghton Mifflin Harcourt’s request, we halted sales of ‘Imagine’ in all formats.” No reply was made to the specific issue of how the request was handled. HMH did not provide a response, nor did Barnes and Noble.

To me, this seems like much ado about nothing (to bring Shakespeare into the post again).  Imagine is still easily available as a used hardcover on the Internet.  No one has removed the existing ebooks from peoples e-devices.  So Imagine is certainly leaving a rack behind. (In this sense a rack, the Internet tells me, is a fast-moving cloud, a vapor.)

I suppose in some ways it’s easier to disappear ebooks than to destroy physical books, but as readers at Andrew Sullivan’s site point out, in other ways it’s much easier to save an ebook, if you think it’s worth saving:

Jonah Lehrer’s book was bought and downloaded by thousands of readers before it was recalled. The tools to remove an e-book’s DRM encryption are freely available and trivial to use, even for a low-tech buyer with a cheap PC. Once the book is decrypted, it’s just another file on a computer, as easy to copy and send around as any photo or Microsoft Word document. E-book files are tiny compared to other commonly-pirated media like movies and music; most are under 10 megabytes, which is small enough to send as an email attachment. And if they’re stripped of their fancy formatting and converted into plain text, they get even smaller. Project Gutenberg’s entire collection of over 40,000 public-domain titles would fit comfortably on an average iPod.

And then there are the increasing numbers of ebooks (like mine) that don’t even have DRM.  I’m basically trusting that most people aren’t jerks.

And here’s another angle: I wonder if Lehrer would have any difficulty getting the rights to Imagine back from the publisher.  If he did that, he could get rid of the made-up stuff, write a new introduction explaining that the devil made him do it, mistakes were made, or whatever, and sell the ebook for $2.98 or some other fraction of the publisher’s original ebook price.  I’m sure he’d sell a bunch of copies!  Step 1 in his rehabilitation.

When I started my ebook venture, I went looking for an unpublished novel of mine that I thought might be worth self-publishing as an ebook.  Couldn’t find the hardcopy.  Could only find softcopy of the first draft.  Yikes!  I vaguely remembered sending a copy to my friend Jeff, so I dashed off a desperate email.  Twenty minutes later I had my novel back.

Computers are our friends.

“Maine,” “Sunrise,” and Verisimilitude

Verisimilitude is tricky.  I find myself caring deeply about how realistic a work of art is in some contexts, not at all in others. A couple of evenings ago I watched the silent film Sunrise, then started the contemporary novel Maine, and I had completely opposite reactions to their lack of verisimilitude.

Sunrise, subtitled A Song of Two Humans, came in fifth in the recent poll of the greatest movies of all time.  It was made in 1927 by the director F. W. Murnau (working in Hollywood for the first time);  Murnau also directed the silent vampire film Nosferatu.  Sunrise is a sweet love story; it is also completely bonkers.

The characters have no names.  The man has fallen in love with the Woman from the City.  Following an unbelievably awesome tracking shot, he meets her by the shore.  She wants him to come to the City with her.  But what about his wife?  Well, you should drown her!

Drown your wife, already!

Er, isn’t there a less drastic approach?  Like, er, divorce?  And, er, what about the man’s baby?  No matter!  He must drown his wife!  So he trudges around thinking about drowning his wife.  Apparently Murnau made the actor wear lead weights in his shoes so he’d look like a man thinking about drowning his wife.  Not that his wife notices.  She tells her maid: “Yay!  We’re going out for a boat trip!  Don’t wait up for us!  Someone else will do the chores on the farm!”  And so on.

But, you know, it’s a great movie.  I wouldn’t put it in my top ten list, but many images from it are going to stay with me.  I haven’t watched a lot of silent movies, but Netflix and Turner Classic Movies are helping to remedy the gap in my education.  The ones I’ve seen seem much like grand opera — big emotions, very static, and completely unrealistic.  (I love it in opera when you get big arias from characters who have just been suffocated, as in Aida and Rigoletto.)  You just have to go with the flow.

And then there’s Maine.  It’s a big, realistic novel about three generations of an Irish-Catholic family with a summer home in Maine.  The structure is to alternate chapters from different points of view among four female characters representing each of these generations.  You see each character in the present, but their memories fill in seventy years or so of family history.  A reasonable structure.  And the characters draw you in–it doesn’t take long for you to want to find out how everything turns out, even though the point-of-view women characters are either jerks or idiots.  But in a novel like this, verisimilitude counts for a lot.  There isn’t much plot–there is just life as it is lived.  And here, the author makes enough mistakes in the parts of life that I know something about that it really interferes with my enjoyment of the novel.  I don’t know about vermiculture in California, or the life of young singles in Manhattan (two areas that the novel covers), but I do know about Irish-Catholic families around Boston, and here I think the author just doesn’t have things quite right.  A few examples:

  • She has the grandmother going to daily 10:00 Mass in her summer home.  But parishes don’t have daily 10:00 Masses anymore.  (And it just takes you a minute to look this up on the Internet.)
  • The grandmother’s parish in her hometown of Canton, MA has closed, so she goes to Mass in Milton, instead.  That’s nuts.  Why would she drive all the way to Milton to go to Mass?  There are plenty of Catholic churches closer to Canton than that.  (The church she would be attending in Milton was the church where I was married.)
  • The grandmother’s son is supposed to have graduated sixth in his class from Notre Dame.  But I’ve never heard of any university publishing a rank in class like that.
  • One of the daughters complains that the son got sent to an expensive private school, while they had to go to public school.  Presumably they went to Canton High–a pretty good school!  And the son went to B. C. High–also a good school!  But not that much better, and actually not that expensive–I happen to know that tuition was $400 per year in the time period when this took place.  Anyone who lived in Canton could easily afford it.

And so on.  OK, all this stuff is trivial.  But it’s more annoying than the more idiotic lack of verisimilitude in Sunrise, because Sunrise doesn’t even pretend to be realistic.  I don’t think these glitches make Maine a bad novel, but the author could have done a little more research and made it a much better one.

Help! I need a title!

And it can’t be Revenge of the Fluffy Bunnies, because that’s already taken, dammit.

For those of you just tuning in: I’ve got a sequel to my post-nuclear-war private eye novel Dover Beach; it is tentatively titled Locksley Hall.  I’m not convinced that the title Dover Beach ever did me any favors, and I’m even less convinced that Locksley Hall will be any better.  This post explains.

The hero of both novels, Walter Sands, is a bookish guy, so it makes sense that he would come up with a bookish title.  Locksley Hall, a poem by Alfred Tennyson, surely qualifies as bookish.  But I’m pretty convinced that no one is going to want to read a book with that title, unless maybe it’s a Regency romance.  On the other hand, I don’t want to give the novel a boring, self-explanatory title, like Walter Sands’s Second Case.

Locksley Hall is a weird poem in which the narrator is trying to come to grips with being dumped by his beloved.  He ends up getting past his personal unhappiness and giving a typical Victorian paean to the future and its wondrous possibilities.  Here is a couplet from near the end of the poem:

Not in vain the distance beacons. Forward, forward let us range,
Let the great world spin for ever down the ringing grooves of change.

I have made this the epigraph of the novel. You will notice that, in the context of a novel that takes place after a limited nuclear war that has made a mess of everything and everyone, the Victorian optimism of the couplet is absurdly ironic. On the other hand, as we see by the end of the novel, it is not completely ironic; after many setbacks and a lot of self-doubt, the hero has solved his second case and is finally starting to feel good about his personal future, even if the world he inhabits is still a mess.

So how does the title The Distance Beacons strike you?  The first thing that you might notice about the title is that the grammar is misleading.  The tendency is to think of “beacons” as a plural noun–so what the heck are “distance beacons”?  Is that confusion bad?  Sometimes a title that grates on you a little is a good thing.  Think of The Sun Also Rises, which is a quote from the Bible that really doesn’t make a whole lot of sense until you really ponder the novel.  What is that “also” doing there?  (OK, OK, I’m no Hemingway.)

I’d love to know what you think.

Here, by the way, is the scene where Walter discusses titles with his friend Art, proprietor of Art’s Filthy Bookstore.  Walter is taking refuge there after being shot and chased by Federal soldiers.  “TSAR” is a shadowy group that calls itself “The Second American Revolution”.

**********

My friend Art is a pleasant-looking little old man with a long white beard. He is also a smut-peddler, but everyone’s got to eat. His store is filled with books and magazines that let people fantasize about a world they can never experience. He has his own fantasies, but they aren’t sexual: he dreams of literary soirées, of long philosophical discussions over a glass of sherry in faculty lounges, of a world where people can contemplate great ideas and meditate on the mysteries of life instead of brooding about the past (like Henry) or struggling just to stay alive. He feels that I am a kindred spirit, and I think he may be right.

“Walter!” he cried out when I staggered inside. “What happened to you?”

“Long story,” I mumbled. The prospect of finally getting some relief made me realize how exhausted I was.

He led me through the bookstore and into the back room where he lived. I lay down on his cot and closed my eyes while he bustled about, trying to find something he could use to bandage my arm. “I should tell you that you might get into trouble if the Feds find out I’m here,” I said. “They aren’t happy with me at the moment.”

I’m sure this didn’t please Art, but he was brave about it. “Then we’ll just have to keep the Feds from finding out,” he replied. He sat down next to the cot and began tending my wounds. “Now tell me everything,” he said.

I summarized for him the case so far. He shook his head in wonder as I described what I’d been through. “Why don’t you write about these things instead of living them?” he asked.

That had been Henry’s advice, too. “Maybe I will, if I ever get the chance. But right now I’ve got to figure out how to find Gwen before sunrise, or else TSAR says they’re gonna kill her.”

This was the kind of reality that made Art uncomfortable. It didn’t make me feel very good either. “But what can you do, Walter?” he asked. “How can you find her?”

I tried to think. I had no more theories. The only thing I could do was to find out what Gwen’s theory had been. How had she managed to find TSAR when no one else could? But to find out Gwen’s theory I had to somehow get to the Globe. “Have you got a bicycle, Art?”

“Well, yes, but—”

I struggled dizzily to my feet. “I’ve gotta go to Dorchester and talk to Gwen’s editor.”

“Don’t be a fool, Walter. You’ve got to rest. You won’t help Gwen if you collapse on the way—or if the Feds capture you again.”

I supposed he was right. “But I can’t just stay here,” I said.

“Look,” Art said. “Why don’t I send someone over to Bobby Gallagher’s place? Mickey can come pick you up and drive you to Dorchester.”

Bobby and Mickey once again. I decided to buy my own car once this was over and learn how to drive. Couldn’t I accomplish anything without help? “I dunno,” I said. I took a step; it wasn’t a very steady one. I sighed. “All right.”

“Good. Now rest.”

I sank back onto the cot and rested.

* * *

Art got a teenaged boy who lived next door to make the trip to South Boston for us. His payment was an ancient copy of Playboy, which sounded like a pretty good deal to me. While he was gone, Art cooked me some food and tried to keep my spirits up. “Have you thought about a title for your case yet?” he asked.

A title. When I had started on the case, I hadn’t thought it deserved one. Now, well—a title couldn’t hurt. But I sure was in no mood to come up with one. “Any suggestions?” I asked.

Art brought some scrambled eggs over to me, and I wolfed them down. He sat on a wooden chair next to the cot and considered. This was the sort of thing he enjoyed. “Your case really starts with the president and her dream, right?” he said after a while. “She thinks the referendum is the start of a great new age for America and the world.”

“I suppose so.”

“Then how about Locksley Hall for a title?” He smiled and quoted from the poem. “‘For I dipped into the future, far as human eye could see,/Saw the Vision of the world, and all the wonder that would be.'”

“That’s some serious irony,” I said. I quoted from another part of the poem. “‘Heard the heavens fill with shouting, and there rained a ghastly dew,/From the nations’ airy navies grappling in the central blue.'”

“Irony is good in titles,” Art pointed out, and he topped my quote. “‘Till the war drum throbbed no longer, and the battle flags were furled,/In the Parliament of man, the Federation of the world.”‘

The Parliament of man, the Federation of the world. The president was having some difficulty with her vision of the world. All we had gotten so far was the ghastly dew.

“It’s a bit obscure, don’t you think?  We’re probably the only two people in Boston who know that poem.”

“Why should that matter, Walter?  It’s not like anyone is going to read the book.”

“That’s a very good point.”

I finished my eggs, and we waited for Mickey.

 

Empathy, Good Writing, and Mitt Romney

Beyond basic writing skill, the quality fiction writers need most is empathy.  You need to get deep inside the characters you write about and understand what makes them the way they are. This doesn’t mean that all your characters need to be sympathetic.  You can have villains–but villains without interesting, understandable motivations belong in comic books.

And of course the goal is to make your readers understand what you understand, feel what you feel. Here‘s the novelist Jane Smiley recently in the New York Times:

Reading fiction is and always was practice in empathy — learning to see the world through often quite alien perspectives, learning to understand how other people’s points of view reflect their experiences.

(I can’t really keep up with Jane Smiley’s output, but I can really recommend Moo and A Thousand Acres. Ten Days in the Hills, not so much.)

As a writer, I have thought a lot about politicians in my time, and it seems clear to me that a successful politician also needs to be empathetic.  Or, at least, he (or she) has to be really good at faking empathy.  This is somewhat tricky at the presidential level, where the candidates tend to be wealthy, accomplished, and far removed, at least in their personal lives, from the problems that confront everyday voters.  But of course presidential candidates are also supposed to be pretty good politicians.

Mitt Romney’s speech to campaign donors is shocking because it is such clear proof that he is utterly lacking in empathy for ordinary, struggling people. Here is Ezra Klein:

The problem is that he doesn’t seem to realize how difficult it is to focus on college when you’re also working full time, how much planning it takes to reliably commute to work without a car, or the agonizing choices faced by families in which both parents work and a child falls ill. The working poor haven’t abdicated responsibility for their lives. They’re drowning in it.

Way before this latest incident, The New Yorker commented on Romney’s empathy problem:

But it’s getting harder to escape the conclusion that there’s a pattern to Romney’s behavior, that he has a real problem understanding and caring for those with whom he can’t easily identify. As Amy Davidson writes, “This story [of bullying a gay kid] is resonant because one can, all too easily, see Romney walking away even now, or simply failing to connect, to grasp hurt.” That may or may not be a fair conclusion—we are none of us mind readers—but given what we know about him, it’s certainly a reasonable one.

The additional problem that Romney faces is that he’s such a bad politician that he can’t even convincingly fake the empathy when not talking to his rich donors.  And we (most of us, anyway) are so easy to deceive–especially if we want to be deceived!   President Reagan was known at the Great Communicator, but recall the essay by Oliver Sacks in The Man Who Mistook His Wife for a Hat, recounted here:

In the mid-eighties, Sacks studied the reaction of people with aphasia as they watched a televised speech by the actor-turned-president. Despite being unable to grasp the skillful politician’s words, the patients were convulsed with laughter by his bogus expressions. As Dr. Sacks explains,

“One cannot lie to an aphasic. He cannot grasp your words, and so cannot be deceived by them; but what he grasps, he grasps with infallible precision, namely the expression that goes with the words, that total spontaneous, involuntary expressiveness which can never be simulated or faked, as words alone can, all too easily.”

“It was the grimaces, the histrionics, the false gestures and, above all, the false tones and cadences of the voice which rang false for these wordless but immensely sensitive patients. It was to these (for them) most glaring, even grotesque, incongruities and improprieties that my aphasic patients responded, undeceived and undeceivable by words.

This is why they laughed at the President’s speech.”

Conversely, Sacks remarked on a woman with tonal agnosia who was also watching the address, but sat in stony-faced appraisal. Emily D., a former English teacher and poet, could have no organic emotional reaction to the speech but was able to judge it from a neural vantage point. Emily summed Reagan up thusly:

“He does not speak good prose. His word-use is improper. Either he is brain-damaged or he has something to conceal.”

Tell me about it! Sacks goes on to explain the implications regarding soothsayers and politicians:

“We normals, aided, doubtless, by our wish to be fooled, were indeed well and truly fooled. And so cunningly was deceptive word-use combined with deceptive tone, that only the brain-damaged remained intact, undeceived.”

I’d be interested in seeing the reactions of aphasics to a Mitt Romney speech.

Listening to Joe Biden give a speech literally makes my head explode

I liked Biden’s speech at the Democratic National Convention.  But he should leave the ad-libbing to Bill Clinton.  His prepared text, which you can read here, is fine.  But his ad libs showed a strange, almost obsessive penchant for the word literally. As a blogger for the Washington Post put it:

At the beginning of the speech, which went on only slightly less long than it seemed to go on, Joe spoke about his love for his wife. But as the speech went on it became clear where his true affections lay: nestled around the word “literally.”

Here is the text as delivered.  I count ten occurrences of literally. Sometimes he used it correctly; sometimes he used it incorrectly.  It didn’t seem to matter to Joe.  It served as an all-purpose intensifier with which to punch up the speech.  At one point the text says:

My fellow Americans, we now find ourselves at the hinge of history. And the direction we turn is in your hands.

But here Joe doubled down on his favorite word and said: “And the direction we turn is not figuratively, is literally in your hands.”  Yikes.  (By the way, double down has become a trendy political term.  Here is an article on Romney doubling down on his initial response to the latest trouble in the Middle East. At least it doesn’t say that Romney was literally doubling down.)

Of course, complaining about the misuse of literally is just pedantry, as well as a lost cause.  Here is xkcd, as usual making the point perfectly:

About that Patriots game…

One of the advantages of being a sports fan is that you’re entitled to opinions about stuff you know nothing about.

Ont of the advantages of having a blog is that you can express those opinions to the entire world.

So I’d just like to say that I have no idea what Bill Belichick thought he was doing at the end of today’s game.  Why are you moving the ball to the center of the field when you have time to run a couple more plays and get the ball closer for the field goal?  Especially after the penalty put them five yards further back.

Also, real referees would not have called a hold on Woodhead’s touchdown run.

There, I feel better now.  Thanks for listening.