on the wrong side of sunrise

Tag: contemplation

The Tree of Knowledge

I knew a man who had a complicated relationship with his father. I should give him a pseudonym—we haven’t talked in years and I don’t know if he would appreciate me writing about him without asking first—but what could I substitute to make it hit the same way when I tell you that his pastor father named him Adam?

Adam’s father died this summer. I learned the way I learn most things these days: online, by accident. I started to type something into the address bar, and my browser autocompleted to Adam’s website. He must’ve let it expire; the URL now belongs to a Chinese patent agency. I googled his name and found the obituary on the second page.

I never met Adam’s father, but I disliked most of what I knew about him. The complex trauma of that family cut deep, and I could see it in Adam and the stories he told me—stories that gradually let me feel like a fly-on-the-wall observer in a sepia-toned flashback, an invisible member of the household in retrospect. One winter, we drove twelve hours to his childhood home, now abandoned. We slept in the car, huddled against the New England cold. The next day, we climbed the nearby mountain so he could recapture the view from his youth, but the fog was dense at the top, so thick I might have lost sight of him if I had wandered too far.

Grief is a tricky thing, rogue-like in its ability to catch you off guard with a knife to your throat and a whispered directive to act normal and follow its instructions. Sometimes it keeps things simple and drives the blade between your ribs—or, simpler still, lifts your wallet and makes its escape before you notice anything missing. I was the one who cut Adam out of my life, but self-inflicted pain still hurts. Last I heard, he and his father weren’t speaking, a point of tension among his siblings. I don’t know if I hope they were able to reconcile.

The Gobi Desert (or, by the end of this post, you’ll be glad I chose the camel image)

Edith Wharton, late in her writing career, wrote:

What is writing a novel like?
1. The beginning: A ride through a spring wood.
2. The middle: The Gobi Desert.
3. The end: A night with a lover.
I am now in the Gobi Desert.

I’ve been working on my novel-in-progress for just over a month, and just over 31,000 words. It’s hard to predict exactly how long it will turn out to be, but I can safely say that I am out of the spring wood … and I think I would know if I’d reached the night with an unidentified lover.

So this must be the Gobi Desert.

I don’t often watch survival-type shows—you know, Man Vs. Wild, Survivorman—because I am easily squigged out by survival. I can’t even think about 127 Hours (which I never saw) without having the impulse to curl up in the nearest corner and watch YouTube cats until the bad thoughts go away. But on the occasion I do end up watching something survival-related, a common theme shows up: keep moving. It makes sense. Unless you have the resources to set up long-term sustainable camp where you are, the longer you take, the more you expend.

This, I’ve found, holds for the novelist’s Gobi Desert, too.

It’s all about momentum, about keeping the story and the characters fresh and alive. Stagnation—true stagnation—has never helped anything. That’s not to say I subscribe to the write every day, without fail philosophy, because I don’t; I think stepping away to contemplate can be, at times, just as productive as actually putting words on the page. Sometimes we need to pause and think things through, because if we don’t, we might well end up with days, weeks of wasted work we could’ve avoided if we’d taken that time for thought.

I don’t need to write every day to make my way through the Gobi Desert, but I do need to have the writing on my mind every day. Even a few minutes, just to keep it present.

Of course, three hours of thought rarely gives the same satisfaction as three hours of writing, because there’s something wonderful about seeing that quantifiable progress. It often feels more valid, too. I can post on Facebook, I wrote two thousand words on my novel today! and my internet friends will understand at least to a point what that means, maybe even leave me little Yay! comments. But if I said, I spent two hours drinking tea and talking to my cats about my novel, I’d be lucky to get a lol.

It’s hard to measure the worth of contemplation, and I think that makes it easy to brush aside as a form of procrastination (which, don’t get me wrong, it sometimes is). But when you’re making your way through that Gobi Desert, you don’t do yourself any favors by charging boldly onward without stopping now and then to make sure you still have a sense of where you’re going and how you’re going to get there.

After all, what good is a night with a lover if you retire to the bedroom, begin to undress, and discover that your toes are purple with frostbite?

Transitions: felonies, decomposing corpses, and love

This March, I had the opportunity to attend the Association of Writers and Writing Programs conference in Chicago. One session was called The Long and Short of It: Navigating the Transition between Writing Novels and Short Stories, featuring Bruce Machart, Hannah Tinti, Melanie Thon, Erin McGraw, and Kevin Wilson. While some of the panelists’ remarks were less helpful than others (as a writerly friend points out, if trusting our instincts was enough, we would be successful writers already), some had interesting perspectives. Wilson, for instance, suggested a short story is stealing a car and crashing it into a tree, whereas a novel is stealing that same car but resisting the urge to crash it.

This transition—novel and short story—has always vexed me. I remember becoming serious about writing in fifth grade, coming home from school every day and sitting down at my family’s computer, listening to the same Dar Williams CD on repeat and eating Gardetto’s and writing for some indeterminate span of time, and even then, I was writing an eleven-year-old’s version of a novel. It ended up around two hundred pages, give or take. I entered it in our local 4-H fair’s fiction category. The year after that, they instituted a ten-page limit (at which point I took the first chapter of my new novel project, single-spaced, and shrunk the font down until it fit in ten pages, thus driving them to institute further restrictions).

I have, as far back as I remember, preferred novels to short stories, as a reader and a writer. Sometimes I think I know the reasons for this, and sometimes I don’t, but it’s pretty consistent.

The problem is, short stories are a practical form. Looking ahead to MFA programs, I recognize that stories tend to be stronger samples than novel excerpts, and it’s much easier to publish in journals than it is to publish a novel, making short stories a faster way to begin building a writerly resume.

This transition, then, is one I would like to learn to navigate. I can appreciate a good short story, but I have never fallen in love with a short story the way I have with select novels. Even the best short stories don’t have the same payoff for me, which I suspect is why I have trouble getting really excited about them.

Right now, I’m between projects. I have a loose concept for a possible short story collection, but I don’t yet love it like I’d hoped I would (though this could be due to a lack of clarity about the project as much as anything else). I got coffee with a friend today to discuss my paralysis. At one point, I remarked that I had once known how much force it takes to bite off your tongue but couldn’t remember.

“That,” my friend said, “is what you should be writing about. You know all these weird things—you should have a collection called Weird Fucking Shit.”

The title might not be a winner, but it’s a fair point. We each have a unique set of interests and passions and perspectives we bring to the page (or keyboard) with us, and we do ourselves no favors when we don’t take advantage of them.

I don’t know what I’m going to write next. This friend suggests a story about a body farm, so perhaps I’ll follow that. I want to be able to love short stories to the point I honestly want to write them, as opposed to viewing them as a necessary exercise, like an audition tape or application essay; I just haven’t found out how to develop that. Maybe body farms are the way to go. After all, who doesn’t love a good body farm?

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