February 13, 2013 § 12 Comments
A man in my writer’s group often makes the comment that the rough draft of my second memoir could use more plot. Writing a memoir is a long process of layering, of recalling memories that are revived through old journal entries. By the end of the process, there is always a plot, but never it seems, before the final draft.
It made me think of all my favorite books. They don’t follow a traditional narrative arc, but they do capture life itself – ‘Post Office’ by Charles Bukowski, or any book by Henry Miller, for example.
In real life, plot does not take the same shape as in a novel. It only exists as something to be noticed from many years past. It’s a narrative device to hold the reader’s interest, a method of pacing and cliffhangers. In life, we are not aware of the plot until we have reached an entirely different evolution of self.
My second book is difficult to build since it captures the time I spent living in Hoboken, NJ/New York City. There were always a million things happening at once, much more than what should be captured on the page. In a three year span I was a poet, a belly dancer, a singer/songwriter on the mandolin, a percussionist in a bossa nova band, a hostess at a popular restaurant, a literary agent, an artist’s assistant for someone famous, a pool player, a coffee drinker, a groupie, and a mad downer of whisky. I was out every night, and working every day. Many universes collided, which is part of the fun, and exactly what made it so fascinating to live through.
In New York, the parallel life shifted between being very poor, while often being among the extremely rich. Within my tribe there was a great deal of tension within the “us verses them”. We despised the rich. Abused them if they came within our dive bar territory. And yet, we often depended on the rich to get by. To play those games, you had to pretend to be someone you weren’t. There was a massive growing process that took place within that struggle, and a process of letting go.
This week I read Ernest Hemingway’s mostly memoir ‘A Moveable Feast’. It’s the first book by Hemingway that I have ever enjoyed, and I’m surprised that I gave him another chance. I never lose faith in him, though I don’t like any of his novels (minimalism, no adjectives, run-on sentences, bare expanses, macho posturing).
Of ‘A Moveable Feast’ Hemingway writes, “If the reader prefers, this book may be regarded as fiction. But there is always the chance that such a book of fiction may throw some light on what has been written as fact.”
Is there a plot in this book? Of course not. It’s a love letter to Paris and his time spent with Gertrude Stein, Ezra Pound, James Joyce, F. Scott Fitzgerald, and the love he shared with his first wife Hadley, and their baby, Bumby (including Bumby’s babysitter, a cat named F. Puss).
Hemingway makes Fitzgerald sound like a tiresome alcoholic with a cuckold for a wife; Zelda, a wife jealous of her husband’s talent who makes him drink to distract him from his craft; Stein, an egomaniac with no patience for women other than Alice. To get through it all, Hemingway drinks plenty of whiskies with soda and lemon juice (a delicious drink). And then, just when you feel he’s really had enough, supreme, in all of this, is the joy of being a writer in a city like Paris.
“The blue-backed notebooks, the two pencils and the pencil sharpener (a pocket knife was too wasteful), the marble-topped tables, the smell of early morning, sweeping out and mopping, and luck were all you needed (Hemingway, 91).”
By the end of the book, you feel the sadness that Hemingway experienced at the loss of this world he inhabited, and his young family. The rich were drawn to his success and left him feeling empty. Other women drew him away from Hadley and filled him with regret. But in the end, there was always Paris.
“We always returned to it no matter who we were or how it was changed or with what difficulties, or ease, it could be reached. Paris was always worth it and you received return for whatever you brought to it. But this is how Paris was in the early days when we were very poor and very happy (Hemingway, 211).”
In ‘A Moveable Feast’ the place becomes the plot. No matter how many people pass through, or how quickly they appear and then disappear. This is the life of the city: a constant rotation of people and experiences that you should never expect to last. But it’s beautiful while you are at the center, watching the menagerie orbit around you.
August 12, 2012 § 2 Comments
Zora Neale Hurston’s novel, Their Eyes Were Watching God, is so rich with lyrical prose that I had to read the first page three times before moving on to the next. She flips back and forth effortlessly between a deep southern African American dialect into literary narration. I found myself speaking out loud in the tone of her dialogue, just to listen to the way it rolls in and hangs there, like humidity in the calm before a storm.
The plot follows a woman named Janie as she struggles to find herself through imagination, love, and experience. When the book was first released in 1937, it was attacked for not fitting within the African American protest tradition of the 1930’s. The lives of Hurston’s characters are rich and varied; not the diminished, victimized culture portrayed in other works of Black fiction at the time. The main focus is on a woman’s right to life, while race is merely the framework of her culture.
As Henry Louis Gates Jr. puts it in the Afterword, “… the social realism of the thirties, and the cultural nationalism of the Black Arts movement – was the idea that racism had reduced black people to mere ciphers, to beings who only react to omnipresent racial oppression, whose culture is “deprived” where different, and whose psyches are in the main “pathological.” … Socialists, separatists, and civil rights advocates alike have been devoured by this beast (199).”
This is an idea that shouldn’t, but still does, persist in some ways today. When I was a poet in New York City, I grew tired of listening to the African American poets perform angry diatribes against racist white people. At every single reading, it always happened. Rather than action, it was reaction. I deal with my own kinds of anger, and I understand how difficult it is to exorcise that as an artist. A part of the process in expressing anger is to move forward, but it’s easy to get stuck. By playing the role of the victim, you avoid personal responsibility. You cannot always blame someone else for your lot in life. You must take action, no matter the obstacles.
Zora Neale Hurston’s voice is extremely relevant for today. Rather than fighting for or against race, she celebrates culture, which is something different entirely. She shows us, that regardless of outside factors, we all search for the same thing – for life, for soul, for the full human experience and the freedom to have it. She brought more humanity to the Black experience than any of her contemporaries.
Janie is on a search for love from the time she blossoms underneath the pear tree. “She saw a dust-bearing bee sink into the sanctum of a bloom; the thousand sister-calyxes arch to meet the love embrace and the ecstatic shiver of the tree from root to tiniest branch creaming in every blossom and frothing with delight. So this was marriage (Hurston, 11)!”
Janie’s grandmother wants her to sit and do nothing – the ultimate achievement for a 2nd generation woman past the time of slavery. Her grandmother arranges a marriage to an older man who is stingy and has plenty of land, but Janie doesn’t love him. She escapes with Joe who is on his way to the first all-black town to build a life and community. But in his efforts to be a successful businessman and mayor of the town, he fails to recognize Janie as a human being and sees her only as the object of his possession. He desires the ownership he was denied before, from all things and people. Janie is not allowed a voice, and Joe’s accomplishments (in his mind) serve to make her a great woman.
“… Ah told you in de very first begginnin’ dat Ah aimed tuh be uh big voice. You oughta be glad, ‘cause dat makes uh big woman outa you (Hurston, 46)”
At his death, she finally transitions, as Henry Louis Gates Jr. puts it, from “object to subject.” She is rich with an empty life. Leaving it all behind means nothing to her if she can have what the pear tree knows every spring. A young gadabout named Tea Cake sweeps her off her feet. He loves her, and lets her be exactly who she is. They go fishing all night, shoot guns, and take off to work “on the muck” all summer long in Florida. She goes from wearing fancy dresses to overalls, and everyday feels brand new and alive.
But nature is a brute force, and a massive hurricane destroys their new life together. In the end, it doesn’t matter as much that Janie loses Tea Cake, as much that she experienced what everyone is looking for – love. She is fulfilled by experience, complete and refined in her own self. Now, just sitting there doesn’t seem so terrible, when her mind is full of beauty.
“Dey gointuh make ‘miration ‘cause mah love didn’t work lak they love, if dey ever had any. Then you must tell ‘em dat love ain’t somethin’ lak uh grindstone dat’s de same thing everywhere and do de same thing tuh everything it touch. Love is lak de sea. It’s uh movin’ thing, but still and all, it takes its shape from de shore it meets, and it’s different with every shore (Hurston, 191).”
Anyone who dares the world for love can relate to the character of Janie. I spoke to a poet the other day. He told me that when he was younger, he didn’t finish his PhD. because he went through a divorce. But in the process, he fell in love and became a poet. When I told my husband this, he said to me, “Heartbreak is better for writing poetry than love.”
I replied, “But first you need love to experience heartbreak.”
It’s true that I wrote my best poetry when I was broken. All of my best poems were inspired by men who could only see me as an object, not a human. Likewise, I could only see them as my teachers and not my equals. I was in the chrysalis phase that, Janie as well, took so many years to fly out from.
What I thought was love was only fantasy. And when you live inside of fantasy, reality is not allowed to exist. Nighttime is the only time for this sort of love, in the daytime there are too many reminders – that I was an object left behind on the bed for more important things, a side-note, a thing whose roots to the earth must be ignored since mothers and fathers and even friends remind a man that a woman is a subject and not just an object.
Zora Neale Hurston was a prolific writer until she fell into obscurity in the early fifties. Her work could not be simplified, her ideals could not be categorized, and this made her ambiguous. She was accused of molesting a 10 year-old boy, though she was in Honduras at the time of the crime. Still, the charges damaged her career.
She worked as a maid in Florida, and failed at a string of jobs. Ten years later she died in a welfare home. She was virtually forgotten until the writer, Alice Walker, wrote an article for Ms. magazine in the early seventies, on how she went in search of Hurston’s unmarked grave to give her the recognition she deserved. Since then, Hurston’s work has gained popularity and been recognized for its importance.
But her obscure death and eventual poverty are upsetting to me. I relate to the string of miserable jobs that never work out. Her financial struggles and the fight against what she wrote in an essay entitled “What White Publishers Won’t Print” demoralized her, and diminished her output. Hurston did not feel like a human being without pen and paper – the curse and the gift of being a writer. If you are truly a writer, there is nothing else for you, but to write. In the end, she did her best to give us the keys to understand ourselves. I am grateful to Alice Walker, for bringing Hurston’s work back from the dead.
June 13, 2012 § Leave a comment
I am feeling vulnerable. The pitch for my memoir is about to be sent out to editors, and I have spent the last ten years pouring everything I have into this book. It has evolved and grown with time, and thanks to rejections of past versions, it has become more refined, more complete, more honest.
Though I try my best to not take rejections personally (having worked in publishing has helped me a lot with this), it is still always a hard blow to the ego, with days spent feeling like a failure. I know my book has enormous potential, now I just need people in the publishing industry to see that too.
In vulnerable writer moments, the best author to turn to is Erica Jong. “Only if you have no other choice should you be a writer (Jong, 6).”
I have just finished reading her book, Seducing the Demon – Writing For My Life. The stories from her life are all hilarious, and told in nonlinear fashion. Most memorable would be how she broke up Martha Stewart’s marriage when it was already falling apart (picture Stewart’s husband as an emasculated chore boy).
Humorous stories aside, it seemed that Jong was speaking directly to me and everything that I am dealing with right now – death and the struggle of trying to capture life in words.
“Life is a dream, but the dream disintegrates unless you write it down (my father) reminds me (Jong, 253).”
I first began writing because I wanted to end my life. It was a common theme throughout my adolescence, but escalated when I was twenty-one. I always knew that I was not the person my family wanted me to be. Within my core, I was not a Christian, but I was told by everyone around me that if I did not follow I would lose their acceptance. I would be fallen, lost, going to hell. I did everything to make God real to me. But instead, I began to see that everything I’d been told was false.
In the process of all this, I was prone to deep depression and would fall into trance-like states where I left my body and began to ponder how I could destroy it. Looking back, it was symbolic, since the Christianity I was raised with denies the body.
Eventually, when that mode became an everyday issue, I had to enter therapy. The therapist didn’t sort my issues since I was still stuck within my Christian university and didn’t feel free to speak what I was really feeling. What really changed my life was writing.
“Writing is tough, but it’s a lot less tough than depression. Which basically leads to suicide. Unless you make a joke (Jong, 232).”
At first the writing was not good. It was melodramatic, sickeningly romantic, full of unnecessary flourishes and old-fashioned language. Through hundreds of poems, I attempted to express what I was feeling.
I experienced a real breakthrough while reading Allen Ginsberg’s poetry. Here was a man who bravely and beautifully wrote about gay sex in the 1950’s. If he could do that then, than I could celebrate sensuality in my poetry, turn it in, and risk getting marked down or reprimanded. Surprisingly, my teacher raved over the poem I wrote.
We normally looked at each other’s work anonymously. But at the end of analyzing my poem the professor said, “And the girl who wrote this…” (Everyone looked around since there was only one other girl in the class) “Ope! Sorry Lauren!”
The room full of boys twittered in embarrassment. But then my professor continued, “This is the first poem I’ve seen all semester that is ready to be published.” I sat there red in the cheeks, but brimming with pride that this professor who was such a tough nut to crack, who was known for yelling at people for using the word “deep” because it didn’t express anything, was now telling me I had potential.
“For the poet, the lover becomes the world. The exploration of love becomes an exploration of life (Jong, 66).”
Before poetry, I painted portraits, then realized I had more to tell. Poetry was vague enough to feel safe writing what I had to say. But then I wanted to tell the whole truth and share the whole picture.
To write I have sacrificed money, jobs, relationships, and security. But I have no choice, and wouldn’t be happy any other way. My book sits there like the holy grail, full of promises that might not be met. When I first tried to publish it, I was cocky, with no doubt that the first agent would snap it up and put it on auction, scoring a great book deal which would lead to it becoming a bestseller with a movie deal in the works. I literally did not doubt this one iota.
In it’s earliest version (not nearly as fleshed out as it is now) it was rejected by over a hundred agents and editors. Back then it was just a novel about a girl who parties too much. Now it’s a memoir about a girl trying to forget an oppressive upbringing through an underground subculture that turns dark quickly.
“People who most crave ecstasy are probably least capable of moderation (Jong, 134).”
The people I write about in my book will be both horrified and gratified to see themselves frozen in time. But the only reaction that really concerns me is that of my parents. I hope they can forgive the fact that I need to lay them bare to understand my life. Like many parents, it’s painful for them to allow their child to be their own person. They will never fully accept who I am because it doesn’t fit into their worldview. I am the reality that they find hard to face.
“If you want to be a nice person, don’t write. There’s no way to do it without grinding up your loved ones and making them into raw hamburger (Jong, 239).”
Now when I actually see the living people who embody the other characters in the book, I hardly know how to look at them, without only seeing our past. To me, they have become caricatures of themselves, mythology.
“Time and again I have found that once I have frozen a person in a book I can hardly remember what the real person was like (Jong, 268).”
At a memorial, I saw them all two days ago. I realized, that they feel the same way about me. They are completely unable to understand who I am now, unable to listen, and can only speak in jokes or insensitive diatribes. They have frozen me in time. I didn’t want to be there, but in coming together over the death of our beautiful friend, I came to the ending of my story.
“You are not doing it all alone. You are standing on the shoulders of the dead. You are writing love letters to the grave. The word is a link in a human chain (Jong, 61).”
I’m in those last years where you can be considered young. But I don’t feel young at all. I feel like time is too short and I have too many stories to share to fit into that shortness of life. Ideas keep popping into my head. I want to write them all, to share this thing I cannot stop. To live, I must write.