Final Fridays (24 page)

I like to warn such aspirants that down their own roads, some of
them
will be saddled with this not-unpleasant responsibility. I trust they'll learn from it, as I did, to be wary of all generalizations about how fiction and poetry ought to be written or its author's life lived, since what's good advice for one writer may be counterproductive if not downright disastrous for another (
there's
a generalization they can trust). I hope further, I tell them, that those fortunate enough to one day find themselves
being introduced
instead of doing the introduction will likewise heed that advice about Advice: What worked for Emily Dickinson would not likely have served Lord Byron; Proust,
Kafka, Henry James, and Hemingway would in all probability not have flourished in one another's
milieux
.

It has been my happy case to be both introducer and introducee—so often the former that I once considered, half-seriously if only briefly, perpetrating a book to be called
Introductions to Contemporary Literature
, comprising my “takes” on (to name an alphabetized few) Edward Albee, Paul Auster, the brothers Barthelme (Donald, Frederick, and Steven), Ann Beattie, Jorge Luis Borges, Richard Brautigan, Italo Calvino, Raymond Carver, Robert Coover, José Donoso, Umberto Eco, Stanley Elkin, Ralph Ellison, Louise Erdrich, William Gass, John Gardner, John Hawkes, Joseph Heller, Larry McMurtry, James Michener, Joyce Carol Oates, Grace Paley, Richard Powers, Mary Robison, Anne Sexton, I. B. Singer, Robert Stone, William Styron, Anne Tyler, John Updike, Mario Vargas Llosa, and Kurt Vonnegut. In the second capacity—doing reading gigs myself as well as sitting in on fiction-writing workshops all over the republic—I often find myself quoting one or another of those introducees on some particular aspect of writing, usually though not invariably because they made their point so memorably; sometimes because, while memorable, their aphorisms seem to me to need a bit of qualifying, or at least glossing; and other times because I respectfully but firmly disagree and wouldn't want their recommendations or pronouncements taken as gospel.

 

WORKING BACKWARDS THROUGH those three categories: I remember Kurt Vonnegut's smiling, shrug-shouldered, but not unserious admission that “like all writers,” he writes his fiction “in the secret utopian hope of changing the world,” and my wanting to differ, politely: “Not
all
of us, Kurt; some of us just want to get a story told.” I quite allow, however, that if like Vonnegut I had been a prisoner
of the Nazi
Wehrmacht
in World War II and by the merest fluke had survived the Allied bombing of Dresden during my captivity, I might well approach the fictive page with the same “secret hope” as his.

In a similar humor, Donald Barthelme acknowledged to the room his private ambition to write “a book that will change literature forever.” No objection there, especially as Barthelme was neither generalizing nor prescribing, only confessing—but I'd want it pointed out that ambitions of that sort belong to the general aesthetic of Romanticism, which, while not to be sniffed at, is by no means the only viable aesthetic: Virgil, for example, probably didn't intend his
Aeneid
to change either literature or the world, only to demonstrate that he and Rome and the Latin language could hold their own with Homer, Hellas, and classical Greek—no small ambition itself.

And then there was Grace Paley's spirited credo
²
—when one of my coachees asked her, back in Vietnam War days, how she managed to get any writing done amid her tireless anti-war protesting and occasional consequent jail-time serving—that “Art isn't important.
People
are important;
politics
is important.” To which one wanted to demur, “Well, yes, of course, Grace, but . . .” But one held one's tongue, out of respect for such principled, selfless courage as hers. As one did likewise when Raymond Carver summed up his literary aesthetic for our Hopkins fiction-writing students in two words: “No tricks.” One knew what that excellent realist-minimalist meant: no O. Henryish trick endings or suchlike jokers in the dramaturgical deck; no stunts; nothing fancy/flashy. Much as I admire Carver's plainspoken down-to-earthiness, however, I admire at least equally François Rabelais' unbuttoned verbal and imaginative excesses, and that brilliant trickster Laurence Sterne's
Tristram Shandy
;
what counts, I told those students later, is the quality and relevance of a writer's “tricks,” not their presence or absence as such. For that matter, to the extent that “no tricks” may be taken to mean “no artifice,” mightn't it be objected that Carver's finely-honed narrative simplicity, like Hemingway's, is as much artifice as Faulkner at his most incantatory or Henry James at his most syntactically baroque? Apprentices especially (I wanted to protest but did not, just then) should be encouraged to acquaint themselves open-mindedly with the literary corpus's whole bag of tricks while working out for themselves their own next-stage aesthetic.

And how hold one's tongue when a bellicose John Gardner, fresh from his kneecapping treatise
On Moral Fiction
, repeated in my seminar his distinction between what he called Primary Fiction (“fiction about life”) and Secondary Fiction (“fiction about fiction”), and made it clear that for him this was not mere taxonomy, but a value-judgment? “King Priam weeping over the bloody corpse of Hector!” Gardner thundered, pounding the seminar table: “
That's
literature, damn it! The rest is bullshit!” Really, John? I wondered: What about the same bard's famous extended description, in Book 18 of the same opus, of the elaborate scenes forged by Hephaestos on Achilles's shield—scenes that bear poignantly upon the epic in progress and are a literally classic specimen of art about art? Or the fine reorchestration of that riff in Book 1 of Virgil's
Aeneid
, where refugee Aeneas sees in the unfinished frescoes of Queen Dido's Carthage-under-construction not only scenes from the Trojan War and its similarly unfinished aftermath, but the figures of his fallen comrades and even his protagonistic self? Art about art, for sure; fiction about fiction, including the Homeric fiction with which Virgil's epic-under-construction is very self-consciously in the ring—but
it's also so affectingly “about life” that Aeneas (his own epic labor likewise far from finished) weeps at the spectacle, and his author is moved to the famous line
Sunt lacrimae rerum
: “there are tears in things”—even in so-called Secondary Fiction. Insofar as all the world's a stage and even our selves themselves may be said to be essentially the stories we tell ourselves and others about who we are—our Center of Narrative Gravity, as the “neurophilosopher” Daniel C. Dennett puts it—great literature (I wanted to say to the now-late Gardner then and there, but, being his host, did not until a later occasion) can be regarded as being Seldom Simply but Always Also about itself. In that sense, at least,
all
fiction is secondary fiction, and all “fiction about fiction,” even the most programmatically and/or tiresomely “metafictive,” is also fiction about life.

Got that, John? (Not every neuroscientist, I should add, agrees with Professor Dennett that human consciousness has evolved to be essentially a scenario-making machine; but we storytellers are likely to nod Yes to that proposition—always allowing for the venerable device of the Unreliable Narrator.)

I conclude this first category of my fellow scribblers' wisdom-pearls with the grand declaration made by Richard Brautigan at the close of his “reading” at SUNY/ Buffalo toward the end of the high 1960s. The author of
Trout Fishing in America
,
The Revenge of the Lawn
, and
In Watermelon Sugar
was at the peak of his literary fame then, a hippie icon warmly received on a campus that prided itself, in those years of anti-war sit-ins and tear-gassing riot police, on being “the Berkeley of the East,” and various doomsayers were declaring the print medium moribund in the “electronic global village.” In that spirit, after my introduction, Brautigan said hello to the packed hall, pushed the Play button on an old reel-to-reel tape recorder beside
the lectern, and disappeared into the auditorium's projection booth, from where—as we-all sat for a
very
long three-quarters of an hour listening to our guest's recorded reading—the invisible author projected slides of giant punctuation-marks: five or ten minutes each of a comma, a semicolon, a period, entirely without bearing on the taped recitation. Had it been anybody but Brautigan, that audience would never have sat still for it—but still we sat, until when the eye-glazing hour was done at last, the shaggy, beaming author reappeared from the projection booth, gestured grandly toward the tape machine, and declared, “There you have it, folks: the Twentieth Century!” Whereat one of my seriously avant-garde graduate students sitting nearby turned to me and muttered “Yup: about 1913.”

 

ON TO MY second category: visiting writers'
obiter dicta
to which I readily nod assent and find myself often quoting, but not without some amplification or qualification. I like Dylan Thomas's (sober, but playful) assertion, for example, that “all trees are oak trees—except pine trees”: It serves to remind early-apprentice writers especially that to say
Patsy paused under a tree
or
Just then Fred's car zipped by
is almost always less effective than specifying what sort of tree and automobile were involved—specificity being one component of sensory texture, and sensory texture being usually a literary plus (but not invariably, I remind them: Don't forget Beckett). Whence one goes on to suggest—they having in revision paused Patsy under a Norway maple and zipped Fred into a milk-white Camaro—that it were well if those specifications turned out to be not only specific, but
relevant
. Why a Norway maple instead of a weeping birch? Why a “milk-white Camaro” (Mary Robison) instead of a “gamboge Cadillac” (Frederick Barthelme) or a “high, rat-colored
car” (Flannery O'Connor, the mother of automotive specificity in American literature)?

Into this same middle category go the contradictory recommendations of Joseph Heller and E. L. Doctorow regarding dramaturgical advance planning. Heller declared to our seminar that he always wrote his novels' closing chapters first: How would he know how to get there, he asked rhetorically, if he didn't know where he was going? Mind you, he went on, these first-draft last chapters were proposals, not binding contracts; by the time he re-reached them, small or large changes might well be in order. But he could no more begin a novel without knowing how he meant to end it than he could launch into a joke without knowing its punch line. Doctorow, on the contrary (not in my seminar, but in one of his at Sarah Lawrence College decades ago, whence one of his students later came to us and retold the tale when I retold Heller's) is alleged to have said that a novelist “needn't see beyond [his] headlights”—which I take to mean that knowing the direction of the next plot-turn is navigational data enough; that bridges farther down the road may be crossed when one arrives at them. All very well, perhaps, I warned my seminarians, for a veteran professional like Doctorow with doubtless well-established work habits and seasoned intuitions, but dangerous advice indeed for apprentice novelists, a fair number of whom I've seen write themselves into all but inextricable cul-de-sacs. Something between Doctorow's improvisatory insouciance and Heller's to-me-unimaginably-detailed advance planning is probably soundest for most of us yarn-spinners: The aforecriticized John Gardner—by all reports a first-rate coach despite his wrongheadedness, by my lights, in certain areas—wisely observes (in his treatise
On Becoming a Novelist
) that most novels culminate in some sort of all-hands-on-deck Big Scene, and that it
were well for the author to have at least
some
advance notion of that scene's lineaments. Something may be said for putting off the crossing of bridges until one reaches them, but it helps to know ahead of time that there's a bridge or two to be crossed, and whether it looks to be a footbridge or the Golden Gate.

 

I'VE SAVED FOR last that first category of authorial
obiter dicta:
observations about writing made by visiting authors that I find myself quoting without need of comment. With a sigh I recall a reluctant, taciturn, and very weary-looking John Dos Passos in Hopkins's Gilman Hall back in the early 1950s (he lived nearby then, a widower saddened further by the indignation of many liberals at what they saw as his turncoat right-wingery during the McCarthy era) warning us starry-eyed aspirants that writing was “a bad job.” More cheering was Norman Mailer's reply when I reported to him, two decades later, Dos Passos's gloomy remark: “Granted, the pay's not so hot—but you can't beat the hours.” Mailer, by the way, when he visited us at Buffalo just after publishing
Why Are We in Vietnam?
, preferred not to be introduced at all: At his request, we sparred or shadow-boxed or something for a few seconds in the lobby of the auditorium—my first and only experience of that alarming exercise—and then he sprang to the podium and introduced himself.

I like to repeat too Larry McMurtry's declaration (back at Hopkins again) that the reason he got along well during his Hollywood scriptwriting period was that he didn't give a damn whether his screenplays were finally produced or not, as long as he got paid; the main purpose of screenplays anyhow, he declared, is to give the producer some idea of how many locations are involved, for budget-and-logistical purposes. Stanley Elkin, too, after a stint in LaLa-Land, waxed eloquent
on the inferior status of
words
in film as opposed to prose fiction: We writer-types, he said, are in the habit of thinking that stories are told with lines like Proust's “For a long time I went to bed early,” or Joyce's “Stately, plump Buck Mulligan. . . .” Movies, on the other hand, said Elkin, tell stories
this
way—and he launched into hilarious extended wordless sound-effects: car screeching to a halt, doors slamming, footsteps approaching, other obscure but portentous noises.... Not easy for a wordsmith to adjust to.