Adding A New Voice to The Argument, or: Raising The Din

Today I read an article by Farhod Manjoo called “Buying books on Amazon is better for authors, better for the economy, and better for you.” Frankly, I can’t remember the last time I read a more backwards post about the topic of literary culture. The basic line of thought in the article (as is hinted by the title) is that Amazon.com is doing more for books, authors, and readers than any other organization. Throughout the article, we hear these arguments in favor of corporate shopping and participation over local, independent shopping experiences. The most brilliant part of the article is not the arguments in favor of “corporate culture,” but the word choices used by the journalist to create a sense of rhetorical unity with those already supporting his position as well as striking a patronizing stance toward independent bookstores, dismissing them as something blase and remnant of a time long past. In this post, I’ll be analyzing both the rhetorical choices made by the author, as well as contesting the false claims made by the author.

The first paragraph of the essay by Manjoo shows him creating a bond between the consumers upset by Amazon’s latest “bonehead” move of giving discounts to folks to who essentially turn spy at their local bookstore and report the cost of items back to Amazon. Manjoo then concludes his paragraph with an act of full disclosure by announcing that the magazine for which he writes is an Amazon affiliate and as such it gets a cut of Amazon’s profits when a customer clicks on an Amazon link on Slates page and buys something.” Here we see Manjoo lining up on the side of those upset with Amazon, apologizing for Amazon’s attempt at a short con, while in the next breath and paragraph he is preparing us for an even longer con by adding parenthetically that the Amazon promotion that had upset so many people only lasted for one day. This is a subtle rhetorical move used by Manjoo–though he is very upset by what Amazon did and believes “it deserves all the scorn you want to heap on it,” he is very subtly saying that what Amazon did is not that bad because it only went on for one day. The reason it only happened for one day, Manjoo fails to mention, is that the promotion offered by Amazon was a sort of corporate/retail trial balloon, if you will. In politics a trial balloon occurs when an idea is floated (from unspecific sources) that says that a political mind like the President is considering doing X–the reaction for/against that idea is then measured in order to gauge how angry the public would be if such a measure were to be made permanent. Amazon obviously registered a negative reaction and decided to down its balloon before things got too out of hand.

In the second paragraph, we get that Manjoo is generally in favor of price comparison, but that he also understands physical retailers’ fears of the promotion that Amazon offered widespread. After this, he subtly shows how price-comparing is already in the works by presenting a hypothetical situation where a customer goes to Best Buy, has an employee show him a big-screen TV, and then goes home and purchases it for less on Amazon. This hypothetical situation is another way of lessening the pressure on Amazon by showing how they already create an atmosphere of price-comparison without needing to offer discounts to customers who report back with their findings, so what’s the big deal, really? Then Manjoo switches tone in the next sentence by saying that he gives quite a bit of money to Amazon, but is that any reason to be so “wantonly  callous about destroying its competitors?” The see-sawing effect of the second paragraph enables Manjoo to keep his good rapport with those who disagree with Amazon’s aformentioned policy (as well as their attempts to avoid taxation) while still allowing him to make little references to the idea that Amazon is really not doing any harm, thereby setting up his next paragraph where he shows the true target of this piece: Amazon’s competitors.

Beginning his third paragraph by saying how he was “primed to nod in agreement” with novelist Richard Russo’s New York Times piece taking on Amazon, Manjoo criticizes Russo’s argument against Amazon by saying that Russo made a critical and common mistake by not focusing “on the ways that that Amazon’s promotion would harm businesses whose demise might actually be a cause for alarm (like a big-box electronics store that hires hundreds of local residents), Russo hangs his tirade on some of the least efficient, least user-friendly, and most mistakenly mythologized local establishments you can find: independent bookstores.” Here, Manjoo’s true target comes into view. His target is not the big electronics stores. The target of this article appears to be the independent bookstore. Manjoo, while appearing concerned about all the employees of big-box electronics stores, fails to note those employed by local independent booksellers and seems little concerned for their well-being. Instead, he zeroes in on the attack by characterizing bookstores as inefficient, user-antagonistic and mistakenly mythologized. The first mistake Manjoo makes is that he seems to believe that independent bookstores and Amazon are dedicated to the same things. They aren’t. And this is revealed in the arguments that Manjoo makes. Manjoo characterizes independents as inefficient–what he means by this is that everything is not easy and customers can’t do everything by themselves. This may be a cause for concern if all you are after is turning a profit. However, independent bookstores are not built on profit–rather, they generate profit by creating connections between themselves and those in the community and by helping the customers who walk through their doors find what they need. The second critique leveled at independent bookstores is that they are not user-friendly. If by user-friendly, Manjoo means that customers can’t do everything themselves and that nothing is instant, then he is correct. But the literal meaning of “user-friendly” finds itself heavily on the side of independent booksellers. Can any book-buyer say that he was given better customer service by a computer screen than by a real, live bookseller? Independent bookstores and booksellers thrive on relations with customers and as such, they see the customer in front of them as the most important person in the world–everything else goes by the wayside to find them that one book that they are looking for. Is that inefficient? Yes. Is that splitting and wasting resources? Maybe. Is that customer-friendly? You bet your ass. And that’s what independent booksellers do. If they have to spend 20 minutes personally calling other bookstores in the area, if they have to root through the stacks, not only out on the floor, but in the back of the store, they will to get that book in the customer’s hand. Yes, Amazon has a computerized, up to the moment inventory. But do they even care that a customer is satisfied? The text on the screen may say so, but does Jeff Bezos personally make sure they have been satisfied? No. Because the entire system of Amazon has been built to make people feel that they have been taken care of without having to make any extra effort for this to happen. Customer service online is a mirage. It doesn’t actually exist. That is why Amazon is so efficient. The third charge leveled against independent bookstores is that they are mistakenly mythologized. That is a matter of opinion. However, if one takes a look at what is going on in the world of authors and readers, who is standing up for independent bookstores? Certainly not those who are in the business of making money. Authors, artists, appreciators of art–those are the people who are standing up for indpendent bookstores. The makers and dreamers of dreams. Maybe I’m in the act of again mistakenly mythologizing something, but doesn’t it also have the ring of truth? Independent bookstores are not about profit. They are about experience, community, and support of the arts. Manjoo calls bookstores “cultish, moldering institutions” that are wrongly considered the only way to foster “real-life literary culture” (quote from author Tom Perotta). Manjoo then concludes the paragraph by sneerign at Russo’s claim that Amazon, unlike the brick an mortar bookstore “doesnt’ care about the larger bookselling universe” and has no interest in fostering literary culture. But where is Russo wrong in this? While Manjoo takes his time sneering at Russo’s claim, he does nothing to refute that Amazon cares nothing for the greater bookselling community. In fact, wasn’t it Manjoo himself who only a paragraph before was lamenting Amazon’s methods and asked, “But does it have to be so wantonly callous about destroying its competitors?” Here we see Manjoo’s facade as an Amazon skeptic revealed. His rapport established, he hones his argument in on the institution that has critiqued Amazon the most and that has the most cultural and community capital in its arsenal. But why? What would an affiliate of Amazon have to gain by attacking independent bookstores. Here’s what I think: The biggest competition that Amazon has is also the biggest voice that has spoken against it. Independent bookstores have been and will continue to be the most outspoken voice against corporate online book retailers like Amazon.

Next, Manjoo dismisses the claims that Amazon doesn’t care about the larger bookselling universe as “completely bogus.” Then he says, “No company in recent years has done more than Amazon to ignite a national passion for buying, reading, and even writing new books.” Now that is completely bogus. Amazon has helped foster a national passion for buying, yes. But not for buying books. If that were so, Amazon would have been content years ago to remain a bookseller and create new ways for books to be relevant in today’s society. Instead, Amazon extended its reach and has assisted in fostering a national passion for convenience and consumption, with books thrown in a heap among other salable commodities including bean bag chairs, big screen TVs and electronic sex devices. After making this grand claim about Amazon’s being the savior of books, Manjoo gives no data and no examples whatsoever to back up his claim. Instead he lets it sit there, sure that his claim will remain without analysis. He doesn’t even attempt to use the Kindle as an example of helping books remain relevant–and even if he had, I would still point out that Amazon has again extended its reach beyond books with the new Kindle Fire, which not only allows for book reading, but also consumption of music and movies, just another finger in another pie. Attempting to strengthen his rapport, Manjoo says that he had previously believed that Amazon would go on to ruin the book industry and then pulls a 180 by announcing that “if you’re a novelist—not to mention a reader, a book publisher, or anyone else who cares about a vibrant book industry—you should thank him for crushing that precious indie on the corner.” This constant switching of positions creates a whiplash effect and engages in a bit of rhetorical schizofrenia. Instead of telling us how he got from point A of fearing the end of book culture at Amazon’s hands to point Z of saying that the crushing of corner indies should be celebrated, Manjoo ends his paragraph and gets on to the next paragraph and on with further his argument.

The first argument in favor of Amazon over independents makes me wonder if Manjoo has ever stepped into an independent bookstore and given it a try. Manjoo’s first argument centers on the different in recommendation and quality of customer satisfaction. Citing Amazon’s ability to give customer reviews, recommendations based on what you’ve previously read, and quick and easy search features, Manjoo claims that “Amazon suggests books based on others you’ve read; your local store recommends what the employees like.” While this quote may be partially true, bookstores can also suggest books based on others you’ve read and in many different ways. Whereas Amazon may only give recommendations based on what other people who have read that book also bought, real competent bookstore employees can also give recommendations based on subject of the book, style of narration, point of view, qualities of characters, and/or time period, among others. Does Amazon ask, “So, do you like books with positive or negative endings?” Does it ask, “What things are you interested in?” So then a recommendation for both fiction and non-fiction books could be made on that? No, because it doesn’t have a soul. Amazon makes connections like a computer–booksellers make connections like humans. Though it’s true that customer reviews are in short supply, an internet connection can easily fix that and often comes in handy when a bookstore employee lets a customer check out reviews for himself online. With the rapid proliferation of smart phones, the customer usually is equipped with his own internet connection and thus renders this particular argument moot. Amazon’s search features are by far quicker and the computerized inventory allows them to keep track of their stock down to the number. This is true. But bookstores have their own resources, such as phoning other stores in the area to assess whether or not a customer would be able to attain a copy at another location (as Half-Price Books does). Also, indpendent bookstores do something Amazon doesn’t. They will actually send customers to another competing store if it means that the customer will be able to get his book. Amazon does use other booksellers and allows other sellers to use its site to sell books, but it always takes a profit. This is the difference between a place like Amazon and independent bookstores–independents exist in a far different capacity than Amazon does and they know it.

Manjoo then goes onto his next point, discussing the one advantage that brick and mortar stores used to have over online retailers–customers could read any book before they purchased it. But Manjoo now claims that the playground has been leveled by the advent of e-books and the ability of customers to read the first chapter of a book for free before purchasing it. And, Manjoo reminds us, “you can do all of this without leaving your couch.” Here we see again the two main things that Amazon has encouraged in American consumers: convenience and consumption, not love of books. It’s true that Amazon allows readers to preview the first chapter with no commitment. So does a bookstore. More than that, a bookstore will let you read the whole thing without bothering you once. I don’t know about you, but in my time I have certainly come across a book or two that has promised much in the first chapter that it could not live up to and didn’t end up living up to. Though Amazon is probably hindered by online piracy laws and is unable to provide an entire book without charge, Amazon knows that and more, they know that there’s no profit in allowing a customer to consume the entire product without any recompense. That’s just bad business. And inefficient. But bookstores don’t care about that. They are there to promote love of books and a sense of belonging and comfort, which Amazon knows–they compete with that sense of belonging and comfort by offering customers a different approach–they can get some of that free preview of a book with an added bonus–they don’t have to leave the house! This is Amazon’s genius at work. The first chapter is free and the customer doesn’t have to leave his home in order to do it. However, if the customer wants it to read the rest, he either has to order it by mail or buy the e-book, which arrives in less than a minute! By offering the customer the carrot of free convenience, Amazon then relies on consumer demand after the free carrot and then closes the sale by turning that same thing that was the draw of the product in the first place (convenience) back onto the customer, using it against him to get him to buy the product. The convenience is both the marketing and the thing that eventually prompts the sale and makes it so alluring. Fucking genius, if you ask me.

Manjoo’s next argument comes in the form of the financial inefficiency of brick and mortar bookstores. Taking into account rent, utilities, and employing a large number of employees, Manjoo says that the only way for independent booksellers to turn a profit is by selling everything at a ridiculously high markup, concluding that you could get two books from Amazon at the price you paid for one at a brick and mortar bookstore. While this may be true for certain bookstores, Manjoo neglects used and new bookstores like Half-Price Books that hardly ever sell books at the markup claimed by Manjoo (30 for hardback, 9-15 for paperback). Most of Manjoo’s argument about book pricing is centered on new books. However, when one looks at selling books that have been in print for years, his argument quickly fall apart. On Amazon’s website, they offer to sell the book Catch-22 for $10.88 + plus shipping. At my local bookstore, I purchased an old copy of the same book for 75 cents. The quality was fine, but it was a mass-market paperback. The newest edition was selling for 7.99 + tax. Figure the price and there you are. Brick and mortar wins over Amazon in that particular instance. I understand that that example is only a drop in the bucket. However, it just serves in one instance to dispute Manjoo’s claim about how bookstores price roughly 100 percent more than Amazon (referring to the 2 for the price of 1 claim).

Manjoo’s next paragraph is preoccupied with deeming the benefits of a bookstore as “ancillary” and trying to make an analogy between shopping at independent bookstores and shopping at Whole Foods, thereby labeling it all but burgeoise. With this paragraph we can almost see the writer typing this with his eyes closed and eyebrows raised in the same pose as those who fart in their crystal goblets and then smell it on an episode of South Park. The activities and benefits that Manjoo deems as secondary to the mission of a bookstore are misguidedly labeled as such. Activities like author readings, unlimited browsing time, etc. are considered by Manjoo to be nothing more than secondary activities and necessary to sustaining the relevance of bookstores. While these activities are necessary, they are the lifeblood of the literary culture that Manjoo spends the essay sneering at and are hardly secondary.

After this, we then get another rapport-generating confession from Manjoo who, in a hurt tone, says that what really rankles him is the “hectoring attitude of bookstore cultists like Russo, especially when they argue that readers who spurn indies are abandoning some kind of “local” literary culture.” Manjoo believes that folks who are in favor of independents attempt to bully people into seeing things their way, so much so that they become what Manjoo actually calls “cultist”. And this blog post will probably be seen in that light as well. We are then told that there is little that is “local” about local bookstores. A comparison is drawn between local bookstores and farmer’s markets and Manjoo argues that local bookstores’ shelves don’t have much to do with their own communities (certainly not as much as farmer’s markets do)–in fact, the product that Amazon sells is the same that is sold by local independent bookstores. It is argued that it’s the same all over. I guess it all comes down to where you focus the argument. If all we were talking about in this argument was product and business and capitalism and that “may the best man win” attitude, then I would say that Manjoo’s argument is basically sound. So far we’ve been subjected to the argument that Amazon is more efficient than independent bookstores. And what those in favor of brick and mortar bookstores are saying is that there is more to bookselling than turning a profit. I am a resident of one of the most independent bookstore-friendly towns in America, Seattle, Washington. We in Seattle understand that bookstores do more than sell books. They create a very important place for people of the community to come together and experience art and to expose and market literature in reading the only way possible with limited funds–having author readings and signings in their own place of business, as well as contributing to local and national charities and various other causes. What Manjoo refuses to see with his article is that the brick and mortar bookstore serves the role of the modern-day equivalent of the Greek “piazza” where people could meet and experience a sort of community devoid in our modern way of living (which Amazon contributes to by enabling us home shoppers to never leave the couch except to go and pick up our packages–or maybe not even that, because we just bought the latest model of the Kindle!)

But, Manjoo asks, aren’t those employees and owners of bookstores benefiting from patrons’ decisions to buy local? Of course they are. So this means that since bookstores operate inefficiently, they are benefiting at the expense of someone in the economy and as such they are robbing the citizens of the opportunity to spend money on something else–namely “on authentically local cultural experiences” such as going to see local theater productions, visiting your local museum, or going to a farmer’s market. The problem with this logic is that Manjoo seems to see an authentically local cultural experience as something that you spend money on and that can only be quantified and that involve the consumption of commodities other than books. What’s more, out of all the “cultural experiences” listed by Manjoo (including bookstores) independent bookstore readings and signings, community book drives, or other volunteer opportunities are the only activities that do not charge anything and that do not necessitate a financial commitment. In order to give to a farmer’s market, you can’t just view the produce–you have to pay for it. To go to a museum, you have to pay quite a bit; to go to the theater, same thing. So Manjoo’s claim that brick and mortar bookstores rob citizens of other enriching opportunities is simply false.

The argument then draws a bead on what it thinks is the central point. Say someone doesn’t care about cultural experiences, Manjoo posits. Say they only care about books.”Then it’s easy: The lower the price, the more books people will buy, and the more books people buy, the more they’ll read.” Manoo says that the most critical flaw of Russo’s argument is this: he omits the “most critical aspect of a vibrant book-reading culture: getting people to buy a whole heckload of books.” But what Manjoo doesn’t realize is this: that the most critical aspect of a vibrant book-reading culture isn’t about getting people to buy a whole heckload of books–it’s about getting as many people as possible to read a whole heckload of books. If this wasn’t the case, then why would libraries still be valuable resources even in today’s fast-moving world of computers and rapid information exchange? Librarians are warriors of an even more zealous caliber than independent booksellers. Readers and the act of reading is what librarians and booksellers get into the game for. Owning a business and making a profit is nice, but it’s not everything. If booksellers were in the business of making money, they wouldn’t be selling books. Amazon proved this by quickly moving on from selling books and selling other products–big screen TVs, other electronics, and nearly anything else you can name, essentially becoming the online Wal-Mart. Russo’s argument isn’t flawed because it doesn’t talk about making money from books because the name bookseller has the notion of making money from books already built into it. What independent booksellers really do is sell an experience and a belief in this culture that is kept alive by what Manjoo has deemed “cultish” and “moldering” institutions called bookstores.

“And here is where Amazon is unbeatable” Manjoo proclaims. Yes, Bezos will sell books at a lower price. But he also won’t lead you around his store and tell you how much he enjoyed a certain book or invite you to come around next week and attend a reading by a great local author for free. He also won’t let you sit in his store for all business hours reading the latest hardback for free. Then Manjoo touts the Kindle, “which has turned the whole world into a bookstore” and which turns customers “into monster book-buyers” and it also has started a self-publishing limb that lets anyone publish books. And finally it has also allowed magazine articles and essays to be bought. So basically Amazon is a money machine. Who hasn’t known this all along? And isn’t this part of the problem? Amazon has turned up another notch on the culture of convenience and has gone about quickly convincing us that this is for the good. But consider this: if the Internet suddenly broke down, if somehow the Internet was no longer working, what would become of Amazon? Where would it be in the scope of literary culture without a platform from which to sell? The reason I’m asking this question is because Manjoo’s last claim in his piece is that Amazon “is hardly killing literary culture. In fact, it’s probably the only thing saving it.” What Amazon do is allow people to purchase books for cheaper than many places and as such, undercuts the competition and makes it a major player in the bookselling market. But what does it do for writers, the makers of these products, besides allowing anyone anywhere to publish work (which is probably not of quality and not fit for mass-readership). And what does it do in order to encourage that books and those involved with them receive a real and personable experience and that they feel like a part of a community?

The biggest problem that I see with Amazon is that they aren’t committed to what they sell in the same way that independent booksellers are. Brick and mortar stores stake their lives and livelihoods on their relationships with people and with the item that they are selling. The product they put out is a part of themselves and the people they support are a part of that as well. For Amazon, books are just another product that they can sell at a cheaper rate than many places can, because of their unique position of selling on the internet. Amazon seems to me to be the business equivalent of something without a soul and Manjoo seems to be its champion. He knows that bookstores are financially inefficient and so does everyone else. But what he doesn’t want to admit is that a book-reading culture does not thrive on buying books. It thrives on reading them. Books and plays have been written for thousands of years and for a good amount of time, they were not bought in the manner that they are now. The spirit that kept books alive then is the same as the spirit that keeps books alive now–the interaction and cooperation of people dedicated to stories. Not the ones who make the best profit from it.

30 Day Book Challenge: Day 15

Favorite Female Character

Joelle Van Dyne (or Madame Psychosis) from David Foster Wallace’s Infinite Jest

First of all, please bear with me as it’s been a while since I’ve read this enormous tome of Wallace’s.

This is going to be both a testament to David Foster Wallace’s amazingly adept skills at developing voice, as well as a treatise on how much I am drawn to tragic characters. Also, you may want to brace yourself for spoilers.

First of all, Joelle Van Dyne is a character who recalls many of the most famously beautiful women in the history of American pop culture. And this fits, as Wallace’s main preoccupation with the novel was documenting the dangers of American addiction in general and the idea of entertainment in specific. Indeed, Joelle’s beauty is the first and most talked-about characteristic of hers. At one time the girlfriend of Orin Incandenza,she is discovered by Orin’s father, filmmaker James O. Incandenza (aka, “Himself,” “The Mad Stork,” “The Sad Stork”) and put to work as an actress. She is the actress who eventually ends up in Incandenza’s first attempt at commercial entertainment, entitled Infinite Jest (aka, the Entertainment, the samizdat).  Her beauty and relationship to film and art is such that she recalls in particular the famous beauties of Marilyn Monroe and Edie Sedgwick and though it is debated what the exact cause of the Entertainment’s dreaded effects are*, it is believed that at least part of it has to do with Joelle Van Dyne’s beauty.

The ways that Joelle’s beauty carries itself in meaning throughout the story are manifold. First of all, the narrator refers to her as the “P.G.O.A.T.” (Prettiest Girl of All Time). Secondly, she is a member of the Union of the Hideously and Improbably Deformed (U.H.I.D)–this fact is not clear as to whether she is actually deformed or if her extreme beauty in her eyes has gotten to the point where she is conversely made hideous by the constant stream of stares she receives as the P.G.O.A.T. Likewise, Joelle wears a veil for much of the novel, which could be used to cover her deformity or her beauty (which may be one and the same, ultimately). The debate over Joelle’s deformity bases itself on the narration of Molly Notkin (the person at whose house Joelle attempts to kill herself). According to Molly Notkin, Joelle was disfigured during a family dispute at the Incandenza household, where a vat of acid was thrust at Orin–who ducked–and ended up hitting Joelle full in the face. As it is, this information is not corroborated anywhere else in the book, except for Joelle’s membership in the U.H.I.D.

Joelle’s beauty, however, is not the real fascination for me. If it were, she would fail to be as interesting as a character. Joelle Van Dyne has an alternate identity as an on-air radio personality, Madame Psychosis (c.f. metempsychosis, which refers to the migration of a soul from one body to the other). As Madame Psychosis, she broadcasts her radio show “60 Minutes +/-” and speaks on matters far-ranging and obscure. Mostly providing thoughts for folks who are disadvantaged and seen as lepers by most of the general population, Joelle’s show is a special draw for many characters in the book, but none more so than Mario Incandenza, a deformed member of the Incandenza family, who spends great stretches of time listening to Joelle’s show and even seeking it out after she tries to “eliminate her map”–listening to the empty stretches of air time that are still played for the hour allotted to her even though she is nowhere to be found. This extended period of time where Mario seeks the voice of Madame Psychosis as a source of calm and comfort is what draws me to Joelle’s character.

Joelle’s real beauty is shown in the way she acts after attempting to kill herself. As the host of her radio show and as Don Gately’s caregiver in the latter part of the book, we see Joelle as someone whose outer beauty matches what is within her–whether or not this was the case before she attempted suicide is not clear–what is clear in the latter half of the book is that we see a character whose solution to an inner drive that culminates in attempted suicide is to forge connections with others in the outer world. Acting as a sort of nurse-maid to Gately and acting as a source of comfort to those deformed via the airwaves are two ways we see these connections being forged. This active seeking of connections is the beginning of what I think DFW saw as a solution to our modern predicament of solipsism. Our solipsism, self-concern seems to be consuming us from the inside. So, in order to avoid this deterioration we must seek outside of ourselves for relief. This idea of getting out of your own head, being part of a community is actually a link to AA, which DFW concerns himself with at length in the novel and it makes its appearance in many ways by the end of the novel–with Gately’s defense of the residents of the halfway house, with Joelle’s resulting caring for Gately, and in the saddest turn of the whole novel–the inability of Orin, Hal or Himself Incandenza to communicate with anyone in any meaningful way. By the end of the novel, we see Joelle as a beautiful character approaching some sort of harmony between what is within and what is without.

30 Day Book Challenge: Day 14 *Here Be Spoilers*

Your Favorite Male Character

Hank Stamper of Sometimes a Great Notion

Okay, this may turn out to be the longest post I’ve made so far. You may say my only literary man-crush is here in this absolute of greatest male literary characters. And when I say absolute, I mean (for me) there was and will never, ever, be a greater character in all of literature or even film or any other medium that may present itself in the future. I’m that sure. And if you know me, I am not a man given easily to black and white ways of thinking. My tumblr handle is kaleidoscope view, for godsake. But all the same,  Hank Stamper is such a great character I find myself having difficulty deciding where to begin. First of all, Hank is not only a wonderful character for readers, but he is one of the most fully developed characters I’ve ever encountered and as a writer, watching how Kesey develops Hank from the start of the book to the finish is extremely instructive.

At the beginning of the book, we are introduced to the name Stamper and the house of the Stampers. The house sits on a river, on a peninsula of land that juts out farther than any other part of the shore. The river has not yet eaten away this part of land that the house sits on. We learn that the Stamper clan has bucked the logging strike of the union and tried to make a run of logs down the river, thus alienating themselves from the rest of the town. In this masterstroke, Kesey makes the river and the house into metaphors for the town and the Stamper name, respectively and at the same time introduces us to the strongest of this cussed breed, Hank Stamper.

In an interview, Ken Kesey said that he set up the two main characters of the book as the two different parts of his personality. The character of Hank Stamper is the part of Kesey’s personality that came from Oregon, that was raised by dairy farmers, that was a state-champion wrestler, that was full of rugged individualism. It’s this fact that I think first drew me to Hank Stamper–he is a character who is not necessarily book smart, but he operates on another level of intelligence–he operates on instinct, on his feel for things, and is very cunning.

Physically, Hank is one of the “10 Toughtest Hombres This Side of the Rockies” as Hank says in the book. He is the holder of all the swimming and football records at his old high school. He held a double-edged axe straight out to his side for 8 minutes and 37 seconds because he heard that some lumberjack in Washington did it for 7 and a half. He is the only person who can swim across the Wakonda-Auga river and live to tell the tale. But as the book goes on, we see that this isn’t only speaking of the physical realm–Hank is also very tough emotionally.

I think my favorite quality of Hank’s that we see throughout the book is his stubbornness. To read the book and see Hank’s character go through his struggles is to see the triumph of the entire human will. The strength of Hank’s will is what I think inspires me most about the book. No matter what everyone else wants him to do, he stays true to his own vision. This is seen through many different scenes of the book–whether he is holding an axe parallel to the ground, rigging the top spar of a tree, or fighting a guy who outweighs him by 30 pounds, Hank Stamper is one tough motherjumper.

One of the most interesting aspects of Hank’s character is the way he interacts emotionally with people. Many times he acts oblivious to certain things that people say or how they act, but through his narration, we see that he is actually very observant and insightful, and that he has his own reasons for appearing to be obtuse or downright rude. Though Hank is clever, we also see that at times those who know him see through his subterfuge, moments where Joe-Ben (Hank’s best friend and cousin) becomes the narrator and he describes to us exactly what he sees Hank doing and explains it, usually with an example from the past or with an explanation taken directly from Hank. It is completely owing to Kesey’s talent as a writer that Hank comes off as such a compelling character.

Though Hank isn’t a great intellectual, he is a constant thinker. Throughout the book, we are given opinions that Hank has on why he feels such a competition with everyone around him, with the members of the community, with his brother, and even with the river that is constantly lapping at his shores. We also see Hank consider just what constitutes strength, the different kinds, and even its very existence. We also see that Hank is intelligent through the way he thinks constantly about his own thinking, analyzing exactly how he got to a point where he had to resort to violence or some other means that he didn’t really want to resort to.

I think I’ve said enough to justify my choice here, but I’m going to end my post with a quote from Hank, one of the best quotes from any character in any book:

“Listen…listen to me, Mister. I’m just as concerned as the next guy, just as loyal. If we was to get into it with Russia I’d fight for us right down to the wire. And if Oregon was to get into it with California I’d fight for Oregon. But if somebody–Biggy Newton or the Woodsworker’s Union or anybody–gets into it with me, then I’m for me! When the chips are down, I’m my own patriot. I don’t give a goddam the other guy is my own brother wavin’ the American flag and singing the friggin’ ‘Star Spangled Banner’!”

30 Day Book Challenge: Day 13

Your Favorite Book By Your Favorite Writer

|As I Lay Dying by William Faulkner|

All right, this was one of the posts in the 30 that I have been really excited about doing. This book took the top off my head in so many ways I’m afraid that I’ll never be able to cram all the comments I have on the book into one post. I encountered this book for the first time when I was a junior in high school. I was doing some extra-curricular reading and my librarian (as the stories often go) knew me enough to recommend this book to me when I said I was looking for something really advanced. All she said was, “I think you’d like this.” And that was good enough for me. The first time I read the first few pages are all a blur to me now. I’m not even sure if the words registered at all. The thing that caught me up was the fact that this was the first time I had read a book with more than one narrator. Before this, I had been ignorant of anything labeled “Modernism.” In retrospect, the book wasn’t the best introduction to Faulkner possible, but it’s definitely the best example of Faulkner at his best.

In the interest of full disclosure, as a reader I am automatically predisposed to liking stories with more than one narrator and stories that are written with stream-of-consciousness emphasis. It should be pretty clear then for those who have read the book to see why it appeals so much to me. The book’s premise–for those who haven’t read it–is about the trials of a family (the Bundrens) who are traveling across the county to bury Addie, the mother, in the town where she came from. The perspectives included in the story are from Addie’s own, all the living members of the Bundren family, as well as some friends of the Bundren family. Each person has their own opinions on the trip as well as their own motives for going. Faulkner does an incredible job of weaving all these perspectives together.

Faulkner’s work with perspective is truly amazing and the first thing I want to talk about. In the book we are confronted with the difference in perspective between children and those who are older, exemplified by the youngest child’s words about his mother, trying to make sense of her death: “My mother is a fish.” Also, the perspective surrounding the supposed protagonist, Darl, are at the heart of the entire book. Darl is the most intelligent and the most eloquent character in the story. Therefore, he is given the most space in the book to speak. And interestingly enough, Darl is the one character in the book who is thought to be insane. This brings up the idea of a world where the only sane or intelligent person is viewed as insane. We are given insights into the characters from their own minds as well as from the minds of others. Every character in the book is seen and seer. This complex kaleidoscope of point of view created by Faulkner is truly original and gives an insight into both character and situation that before this book was nigh impossible to attain.

Quality is another reason I am writing about this book. For those who are experienced with reading complex works, I definitely suggest reading this book if they want to get the best that Faulkner has to offer. Many critics of Faulkner say that he doesn’t really know when to cut a sentence short or that he has a bad habit of using a ten dollar word when a five dollar one will do. Not in this book. I think this book is truly where Faulkner’s stride lengthened the most in terms of the writing ability and purposefulness, where the maturity in his writing and crafting is at its fullest extent. After reading it again for the fourth time, I believe that there is not one word in this book that doesn’t belong. Faulkner said that he wrote the whole thing in six weeks while working at a power plant and never changed a word. If the story is true, I would call that one of the greatest writing binges ever.

The philosophy in the pages of Faulkner’s book is evoked so honestly and so congruent to the voices of the characters that we really feel each member of the Bundren family plowing for answers, sifting through old memories and the actions happening now to try and find just why it is we are here and why we’re doing what we do.

Finally, in true Faulknerian fashion, some of the most beautifully wrought descriptive passages Faulkner has written exist in this book. The description of vultures circling above the Bundren house like some dreadful omen; a passage depicting the tossing rapids of a rushing river; and my favorite, the burning of a barn late at night, the embers and flames sending light into the night like a burning beacon. What a great book by an amazing writer.

Against Publishing: A Reactionary Post Against “These Kids Today”

Let me preface this post with an announcement of my own hypocrisy. I have published a story.

Okay, so this post will be a vitriolic reaction (somewhat calmed by perspective) against two things: an article I read on HTML Giant today and the attitudes of the people of my generation (and by extension the writers of that generation). The article, found here, discusses the idea of how much writing can be taught. It is basically an interview held by a creative writing professor with a few of his students. The beginning of the article is good, beginning with the students various takes on how much creative writing can be taught. However, the interview then kind of devolves into a melange of complaints about both the emphasis on classic literature at the expense of contemporary writing and the lack of focus on publishing in the creative writing classroom.

Classic Literature vs. Contemporary Literature

At one point in the interview, after saying that the classics are valuable, a student says,

“But I truly believe that incorporating contemporary fiction into a syllabus is crucial to fledgling writers. We need to see what everyone else is doing right now. We need to learn how to get to that polished point. What better way to find out what publishers and editors are looking for now than reading what they’re publishing right now?”

In this quote we see the confluence of the two monkeys on my back: the urge to place contemporary fiction above classics and the near addiction to being published. I understand both the urge to publish and the importance of contemporary fiction. But seriously, do we really need to see what everyone else is doing right now? How is that going to end up helping our writing more than figuring out what was done back in the day? So that we can see which trends we should follow if we want the pearly gates of publishing to open for us? It sounds like a back-asswards approach to fiction to me, but maybe I’m just being a dick right now. I say these things because I don’t see the point of incorporating too much contemporary fiction into our workshop classes; in my opinion that’s the type of stuff we should be reading outside of class, not inside it. When I was taking workshop classes, in the class I would read Eudora Welty, O’Connor, Carver and we would go over elements of craft in each story and see how they work and how we can incorporate those into our own stories. And outside of class, I would read Wallace, Steve Almond, and writers like that. I read them not to see what was being published today, but to see what new techniques were occurring in the writing world, to compare the old and the new. The idea of reading writers simply to see what trends are flourishing is a good way to turn a generation of writers into a clone army, generating the same type of stuff in the hopes of hitting the bulls-eye of publication. This isn’t to say that analyzing “Incarnations of Burned Children” or “Brief Interviews with Hideous Men” in a workshop class wouldn’t be a good idea–but the idea that we should read contemporary fiction to see what editors want is the main sticking point in this issue.

The second part of that quote where the student talks about needing to see how to get to that polished point confuses me. How is looking at contemporary fiction any more likely to help you in getting to that polished point than contemporary literature? And then he says that there’s no better way to see what publishers and editors are looking for. I thought the point of taking a writing workshop was to learn more about the craft of writing. Now, I’m all for a required class in a Writing Specialization major called “The Business of Publishing” or “Publishing for the Writer.” But I’m talking about a writing classroom here, where the craft of published writers is read and analyzed, then the craft of the writers in the class is read and critiqued and analyzed. Craft. I’m sorry, but for those who talk about publishing more than they talk about writing, I want to ask what the hell it is they think they’re doing. A contemporary writer to admire and to read, especially regarding the issue of writing vs. publishing is Jonathan Evison–he’s a writer’s writer. Someone who realizes that craft is the most important thing and that publishing is only secondary.

“Honestly, I have a really hard time with the “old masters.”  I mean I get it.  I know that I’m supposed to appreciate them for their powerful impact on the history of literature.”

I really wasn’t aware that that’s why we read the old masters. Because of their historical impact. That may be the reason we read those old farts in literature classes, but in writing workshops we read the old fuckers because they are at the apex of creative writing and their work has spanned the decades to now. They are some of the finest examples of craft. Who can argue that one of the greatest examples of first-person plural POV is Faulkner’s “A Rose for Emily” or that Raymond Carver wrote some of the best sentences ever crafted? We don’t read those writers to say “Oh wow, did you see how Hemingway influenced Carver? That’s really interesting.” We read them to say, “Oh wow, that sentence construction is conveying the exact same tone I want to convey with my own story. I’ll try that.” Apparently this guy doesn’t get it, despite his claims to the contrary.

More Focus on Publishing

Now, I’m not completely against talking about publishing in a workshop environment. It’s necessary and would undoubtedly give us a leg up on what to expect when we begin sending query letters to agents and submitting to literary magazines.  We all go into the workshop hoping we’re already brilliant. But we’re not. And we need someone to show us what we’re doing wrong and the steps to go through after we have corrected everything. Apparently, this professor had already gone into quite a bit of detail regarding the publishing world, going so far as to show his students websites like Duotrope’s Digest, which is a very valuable resource to a writer. These things I like–giving students information to do with what they will. Showing them the door, but letting them walk through it on their own. It seems to me that students want to have a blueprint of the right way to write a query letter or a cover letter or just how to get their stuff published. The prevailing attitude in this particular workshop is that we should be doing more toward getting students published than getting them to master their craft. This exists in other places as well–people on the internet asking how to self-publish books so that they can call themselves published authors rather than putting in the years necessary to go through the proper channels. One may say that this situation is much like the chicken or the egg–isn’t it really the same thing? Or one and the same? Maybe so, but I think the intent or motives behind the attitude is what most puzzles me. I may be coming off a somewhat of a purist when it comes to writing, but I’ll risk that in the service of saying that I believe that in order to be a writer you should know that even if you were never to get your work published, you would still continue to write. Your love and passion for the work or the craft or whatever you wish to call it should always outweigh your desire to be read or to be published. And it is here that I see the attitudes deviating strongly for that concept. The attitudes coming from the students in that class reached my ears as something like: “If you don’t get your stuff published, then what’s the point?”  A direct quote from this article: “. The ultimate goal in a writing program, at least for myself, was to be published. I didn’t care if it was online or in print I just wanted to be out there, but I wasn’t 100% sure how to do that. ” Now, maybe this person is right. Maybe the ultimate goal is to get a book deal and be published and be able to go find a job as an assistant professor and have a job. Or. Or maybe the ultimate goal is to develop your craft to the point that the quality of your work gets you a book deal. The difference in intention is embedded in where the focus is drawn. Is this splitting hairs? Maybe. And maybe I should have titled this “Splitting Hairs: The Analysis of Motives Behind Being Published.” But as it is, I’ve gotten this out of my system now and I hold it up for your consideration.

P.S. I must say, after that discussion of publishing in the interview, the students do say some good things about the craft and all that.

30 Day Book Challenge: Day 12

Your Favorite Author

First, I must apologize to the folks in my writing group for not having turned in my story for this month yet. Being an adult sucks. Plowing on…

At this point, I’ve decided that this survey thing is more for people who identify themselves as “readers” than it is for “writers,” simply because it seems to me that people who read and don’t write are far more able to declare their favorites without second guessing themselves. Or I could have my head up my ass, which is not out of the realm of possibility. Either way, this has provided me so far with a really nice platorm from which to speak about a lot of things regarding books. I just posted this little paragraph of prologue in order to excuse myself for the paragraph that’s going to follow this one. It’s going to be a lot more about how I as a writer agonized over my decision of who I was going to name as my favorite writer. Anyway, enjoy, if you can!

There were two writers who were immediately jettisoned to the top of my favorite writers list: Ken Kesey and William Faulkner. Now, the pains that I experienced in trying to figure out who was my favorite writer are probably completely necessary and sound overblown. Either way, it was painful trying to make my decision. Ken Kesey wrote my favorite ever novel in the world (I can’t say what it is without ruining the end of the list). On the other hand, William Faulkner wrote three of the other four books on my Top 5 Favorite books list. However, Kesey is from my native state, Oregon and spent almost his whole life there. He was also the bridge between the Beats and the Hippies, forging that counter cultural connection that inspired me during my adolescence (no, I’m not like 60 or anything…it influenced me 30 years after it happened). Kesey was the one who inspired me to experiment with drugs and broaden my perspective on things. He inspired me to rely on myself and to be proud of myself as the Fool. But on the other hand, it’s my opinion that Kesey didn’t pay the proper respect to the job of being a writer. Let me explain. Kesey wrote two of the greatest novels written in the 1960′s–he wrote the best novel written (in my opinion) in the last half of the 20th Century. Then he stopped writing. He went on a cross-country road trip in a bus with his friends and did copious amounts of drugs, which of courses isn’t bad in itself. But then he didn’t write again formally until he passed the age that most writers have their most productive years in. He did other things like writing children’s books and performing plays and doing acid tests–but when compared with the other writer on my list, Kesey did not hold a candle to the way this man kept putting words on the page day after day for decades. William Faulkner’s example is the one I would like to follow when forming my habits and decisions as a writer, not Kesey’s. Faulkner was one of the writers who turned American literature upside down. He experimented formally, thematically, and in pretty much any other way you could think of. He wrote every day. He worked like a dog. His are the words that I have strewn about my apartment to inspire myself and he is the reader I imagine sitting there listening to my words as they are put down onto the page. Some things about Faulkner that I personally love:

Themes
Faulkner addresses the themes that I would love to be able to tackle in my own writing–with The Sound and the Fury he tackled the fall of a family, the reasons for and against suicide, the results of shitty parenting and upbringing. With As I Lay Dying he made us wonder about who is right in a world where everyone is the star of their own story, the curse and blessing of family, the seemingly continuous collision between fate and will, and the slippery notion of insanity. In Light in August Faulkner makes us consider the notions of cowardice, alienation, solipsism, identity, determination, and love. And that’s just in three books! Is it any wonder that this guy is one of the greatest?

Attitude
This is more about Faulkner’s being a writer as opposed to his writing. I love the attitude Faulkner had toward his writing, which was basically that nothing should be allowed to get in the way of it. A quote of his that always stuck with me was when he said, “The artist is not important. Only what he creates is important.” To this quote you may see a bit of an echo of my earlier post on taking the ego out of the story. Well, you would be right. And then Faulkner goes on to say that the artist’s only responsibility is to his art. What up and coming writer could stand not to love Faulkner’s encouraging and consoling words about letting so much go by the board in order to reach his vision of how he wants his work to go? Faulkner is a pretty huge inspiration to writers, even if you just read his quotes about writing and art in general. He’s got some awesome things to say and I encourage everyone to check him out!

30 Day Book Challenge: Day 11

A Book You Hated

I’m laughing bitterly as I read this prompt for my post. It probably goes to show how my view of life and things in general usually veers toward the negative, but I was actually looking forward to doing this post. Anyone who knows me probably knows which book I’ll be talking about in this post. Now, without further dudes, ta-da!

American Psycho by Bret Easton Ellis

This book, this book, this book! What can I say about this book that will sound both unbiased and intellectual? Everything that needs to be said about this book has already been said by David Foster Wallace. Wallace was actually the one who was first able to present to me an argument that mirrored my own thoughts on the novel. But be that as it may, this is my post on the book that I hate, so I’ll do my best.

Honestly, I think this was the first book in which I found absolutely nothing to redeem the content to be found in the book. I’m not sure if I should assume that you have read the book or not. If you haven’t read the book, suffice it to say the book contains increasingly detailed descriptions of violence, including rape, murder, cannabalism, genital mutilation, etc. done by a Wall Street Banker obsessed with status and wealth and very vitriolic toward poor people and women. Now, the first thing that some people may claim about the book is that the very thing I just said proves that the book has a point and redeeming characteristics. Since the main character is a Wall Street man, he is representing capitalism in all its brand-loving, wealth-accruing, women-objectifying, poor-subjugating glory. This may be. But I don’t buy it. And I have a few specific reasons why.

MISOGYNY. Though people of both genders die in American Psycho, the targets of the most disturbing and disgusting acts are always women. Why this is, I’m not quite sure. And the critique of capitalism argument notwithstanding, how can you say it’s simply that critique when *SPOILER ALERT* the killer of a woman puts a rat into her vagina or other things like that. Yes, the rat/vagina thing is real and it’s probably the first time I’ve ever read a book that is obscene for what appears to me to be no reason at all.

NIHILISM: In the novel, I find nothing redeeming about anything or anyone in the entirety of the novel. Worse than a lack of redeeming characters, (some may say that about Jonathan Franzen’s books) worse than the fact that no solution is posed, the fact is that not even a question is posed! This is of course related to the quote that the writer doesn’t have to answer the question, he simply must state it correctly. This quote relates to meaning and the way in which we live our lives and we behave toward each other. The way Ellis shows the violence in the book and hints coyly at the idea that it may just all be in this Wall Street man’s mind serves (amazingly) as nihilistic on two separate fronts. The first nihilistic front is that no sense of right or wrong is expressed in the whole book. “Yes, but that’s the point!” Some exasperated reader of this blog is saying. “The point is that not even the author is commenting on the things going on!” To which I am forced to reply, “Then why the hell am I reading it?” That’s like calling John Doe’s notebooks from the movie Seven a masterpiece because it doesn’t critique itself or comment on the things that he’s thinking while writing in those books. In both cases it’s just a sick mind at work. And in this case, it’s a sick mind that for some reason instead of getting into writing horror movie scripts decided to write a terrible, sickening novel. Cruelty and violence for cruelty and violence’s sake. We see this and no sense of meaning or governing action or question emerges from the pools of blood and piles of gore.

The second form of nihilism expressed in the book comes if we take Ellis’s bait and think that the whole thing is the fantasy of Patrick Bateman. There is evidence to support this in the book and Ellis has been quite constant and adamant about not saying whether this is the case or not. Instead of opening his book up to various interpretations and “working on two levels,” to me the book instead bails out on any form of commitment to any idea whatsoever. “Oh, you’re upset about all the violence in the book? You think it’s terrible! Well, guess what? It was all in his head anyway! A fantasy, a dream!  Now don’t you feel better?” No! I don’t feel better at all. Instead of risking putting yourself out there completely and saying, “The point of the book is not what I or the narrator or the book says about the violence, it’s about what you, the reader says about it,” the book delivers a final cop-out in the hint that it was all a fantasy and that if you’re still upset about it, choose to view it that way and it’s all better. The book is nihilistic in the second way because it purports that we can make it all better by saying it was a dream and moving on. Now, if the book was what it was and stood that way, I could at least say, “Okay, that’s interesting. It matters how I react, not how the story tells me to react. But I still don’t like it.”  But if the whole book is a dream, then nothing matters and nothing is solved and nothing is asked of us. Instead we are placated by that phrase, “It was all a dream. It’s okay.” It’s not okay.

I’ll leave you with this last quote from David Foster Wallace:

“Look, if the contemporary condition is hopelessly shitty, insipid, materialistic, emotionally retarded, sadomasochistic, and stupid, then I (or any writer) can get away with slapping together stories with characters who are stupid, vapid, emotionally retarded, which is easy, because these sorts of characters require no development. With descriptions that are simply lists of brand-name consumer products. Where stupid people say insipid stuff to each other. If what’s always distinguished bad writing—flat characters, a narrative world that’s cliched and not recognizably human, etc.—is also a description of today’s world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we’d probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what’s human and magical that still live and glow despite the times’ darkness. Really good fiction could have as dark a worldview as it wished, but it’d find a way both to depict this world and to illuminate the possibilities for being alive and human in it. “

30 Day Book Challenge: Day 10

Your Favorite Classic (Book)

Oh, this one! I never thought I’d have to discuss the classics again. They always come back around, don’t they? Anyway, I suppose this post should also be titled, “The Porousness of Certain Literary Terms” (Aaron, I know you got the reference), as who can rightfully say where the “Classics” end and everything else begins? Would it be in bad taste to say that my favorite classic is a Kesey or Faulkner book? Probably, so I’ll venture further back in time and even another country as it’s come to my notice that my challenge has been very continental so far. But then again, that’s what the Nobel Committee member had to say about us, wasn’t it? “Too insular” or something to that effect? Well, fuck that guy. Anyway, the book I’m picking to write about for this blog post is the one by “The Mad Russian”, the writer who was said to have invented existentialism before there was such a thing. Fyodor Dostoevsky.

Crime and Punishment by Fyodor Dostoevsky

Why am I choosing this book out of all the books in the realm of the Classics as my favorite? “Not even Notes From the Underground?” some people may shout in their hipster voices. Read the classics. Done that? Okay. Read them again; this time, pay attention to how many of them convey a sense of (brace yourselves) immediacy. How many of them convey to you that what is going on in the story is important and exciting? How many of them are written in a style that makes you want to keep reading and at the same time explores humanity in a myriad number of ways. Not many, I would venture to say. But this one certainly does. Humanity in this book comes in the form of Rodion Romanovich Raskolkinov.

Raskolkinov reminds me of that teenager we all were at one point who thought he was better than everyone at everything and knew more than everyone about every subject. He believes that people are not created equal and that some are ordained for higher purposes and as such, should be allowed to live by different rules. The example of this type of person for Raskolkinov is Napolean Bonaparte. Oh and himself, of course. This is where the book begins, with Raskolkinov determined to prove to himself that he is one of those special people who get to live without rules, unlike the rest of humanity. How does he propose to do this? (SPOILER ALERT) By killing an old debtor woman. Robbing an old woman to prove that you are better than everyone? Give me a break! Which is why this book is so great. Long story short, the book tracks Raskolkinov’s development from his initial starting point to where he eventually ends up. I think one of the reasons this book endures and will continue to endure is because of this very noticeable and very believable change that Raskolkinov goes through.

Another really lasting characteristic of the book is how deep into the psyche Dostoevsky goes with the characters in the book. Frederich Nietzsche once referred to Dostoevsky as “the only psychologist from whom I have something to learn.” Incredibly high praise from one of the greatest thinkers of the 19th century. And it’s also a very telling phrase. Certain things that occur in the book have become cornerstones of criminology, for example: the fact that the perpetrator of a crime usually returns to the scene. Dostoevsky also makes use of dreams to illustrate certain things about Raskolkinov’s character. I don’t want to give too much away, but those are a few psychological ideas that Dostoevsky uses in the novel.

This book was so far ahead of its time, I sometimes find it hard to believe that it was published in the mid 19th century. Published in 1866, the only other book, in my opinion, close to its caliber and feeling of intensity and near uncontrolled genius is Moby Dick, published 15 years earlier in 1851. I definitely suggest giving this a read if you ever get the chance. And do yourselves a favor and get the Pevear/Volokhonsky translation. The translation is much more alive and less stilted in its language.

A Rumination on the Longevity of Story vs. The Life of the Ego

All right, so instead of finishing writing the story I need to write this month, I’m thinking and spending way too much fucking time inside my head. Solipsism and lack of contact/interaction with my favorite people in the world (aside from my better half) has been the cause, I’m quite certain. So now I’m going to write a blog-post about something that has been whizzing all around the chambers of my head since I sat down on the toilet at work earlier tonight (I know, a little less glamorous place than a bathtub for a “eureka” moment, but it’ll do).

Earlier tonight, I felt the old call of nature and had to take a bathroom break. I elected to take the stall, as it was a way to cheat the clock and spend a few minutes off my feet. Once on the throne, I looked to my right and saw a graffitied conversation/message board commensurate with the sophistication of an elementary philosophy class. The first message that started it off was something like this: “This message is here to say something. But it will be erased and will vanish forever. Nothing is permanent. Remember that.” Sensible enough, if not an obvious statement to make. It’s nice to be reminded of these things every now and then. However, the next message went something like, “Yeah, but now even if it gets erased, it has entered our minds and lives on forever.” Insert snide comment here. The next comment was the one that got me thinking: “No, it doesn’t. You die, idiot.”

That was the end of the conversation as I found it. And how interesting that the first thought that rose to my head happened to be, “That’s why storytelling is so important!” I sat there for a while, wondering if I should pull the pen out of my pocket (not a euphemism) and write my retort right there under the “my dad is bigger than your dad” comment.I will save face by not answering the obvious implied question and instead forge on to elaborate on my first knee jerk thought.

What the last poster said was true. We die. Things break down. The center cannot hold. Turning and turning in the widening gyre and all that noise. So how do we ensure that something lasts forever? How do we extend the longevity of us? The answer to the question may seem obvious, given what has been said before. And it is. But that’s not the important part. Lots of people, when asked why they write, say “Because this way I can live forever.” The folly in this statement is the main importance, the integral piece to this post.

In the interest of full disclosure, when I first started out writing, this was my reason for writing. I knew that books were published and many of those people who wrote those books have been talked about year after year and were never forgotten. I admired and worshiped (and still do) those writers. In our culture and in our profession of writing, the writer has become elevated to a level above what is most important. The thing that is most important is the story and the craft. And it is in this answer to the question of why we write that we see the vanity of the writer being repeated constantly. Which is not to say that the writer is the only one who has these moments. Lots of parents have this same answer (whether they admit it or not) to the question of why they became parents. The problem is when we dedicate ourselves to this craft, this noble pursuit in the attempt to live forever, essentially admitting to our using this great gift of storytelling as a means to an end. Telling the story should be the end, not its means. Why is this? Because we don’t live forever. No one lives forever. But the story does.

Let’s face it. We don’t tell stories to make ourselves live forever. C.S. Lewis said that we write not to be understood, but to understand. This is a good place to start. We wish to generate compassion in ourselves through the means of creating, exploring, inquiring, and finally creating. However, at the same time, F. Scott Fitzgerald once said, “Writers don’t write because they want to say something. They write because they have something to say.” Here Fitzgerald is alluding to the idea that instead of trying to generate compassion in ourselves, we are trying to generate compassion in others. Projecting rather than internalizing.  I think right here is the crux, the dichotomy in the view of craft. These aren’t quite two different sides to the same coin, but they do somewhat create the yin-yang of the storytelling world. We write to create and to communicate. We tell stories for this same reason. The oral tradition and the written tradition were both used to communicate and and entertain. And to this end, our stories convey the values that are held by us and that we hope to pass down. These themes and ideas are all intertwined in the process of storytelling. And finally, I’ll get to my point.

I think an important thing to strive for in your own writing is the ego-death of the author. You may have heard this term before and you may not have. Normally, it’s used to describe the feeling that comes over you during an LSD experience where you achieve objectivity. You cease to be yourself. You see yourself from a god’s eye view and selfishness becomes a foreign term. I’m candy-coating it slightly. According to those people I know who have experienced it, it’s actually quite fucking terrifying. It was fucking terrifying to me when I heard about it. But the point still stands that we as authors (and the best ones have) need to take ourselves out of the equation when creating our characters, settings, et cetera. Or at least the part of ourselves where the ego resides; where I wonder, agonize, and fret over just how I’m going to come off to those who will read this piece of my soul I’m putting down right now. And I know this sounds high and mighty, and holier than thou and all that shit. Because believe me, it sounds like that to me, too. And some who read this won’t like the suggestion that I’ve put forth. I know I’ve heard this suggestion in quite a different places lately, and I didn’t like it any of the times I heard it. In fact, it scared me quite a bit. And why wouldn’t it? The ego doesn’t like to hear that it should be put to sleep every once in a while, especially when the piece of my soul is being put down in a format where other egos will superimpose themselves in judgment over this piece of my heart. As Faulkner once said, “What matters is not the writer. What matters is the story. If I hadn’t been born, I would have been written anyway.” Though I’m not sure I agree with this assessment, it’s true that we don’t know who wrote Beowfulf or The Epic of Gilgamesh or who exactly wrote those amazing pieces of The Bible and maybe that’s what we need. These scribes didn’t think it necessary to add their own stamps to these pieces of art. The story was enough and would live on far longer than they themselves. Now, I’m not suggesting we go so far as to take our names off our own works. But I am suggesting that we remember that we serve our characters and we serve our stories. Not the other way around.