Writers

First Lines

Posted by

5

One of the exercises in Writing Life Stories, by Bill Roorbach, is to write down the first lines of a ton of books so you can analyze them, and look at why they work. Below are some first lines from some of my books that are within arm’s reach of my desk.

Gut Symmetries, by Jeanette Winterson.
First there is the forest and inside the forest the clearing and inside the clearing the cabin and inside the cabin the mother and inside the mother the child and inside the child the mountain.

This sentence reads to me like classic Winterson.  The lack of punctuation and repetitious phrasing creates a rushing, falling forward, feeling of things growing smaller and smaller until you reach the smallest thing and inside it is something larger than everything that led up to it.  The sense of spiraling motion and paradox startled and hooked me.  I have yet to read this book, but after doing this exercise, it will jump high up on my list.

Typical American, by Gish Jen.
It’s an American story: Before he was a thinker, or a doer, or an engineer, much less an imagineer like his self-made-millionaire friend Grover Ding, Ralph Chang was just a small boy in China, struggling to grow up his father’s son.

While this sentence contains little drama, it tells me the story has the global theme of son-trying-to-live-up-to-dad’s-expectations.  It also sets the stage for the journey of Ralph Chang, and introduces a character that seems quirky simply based on his name – Grover Ding.  Hard to take seriously anyone with the surname of Ding.

The Kite Runner, by Khaled Hosseini.
I became what I am today at the age of twelve, on a frigid overcast day in the winter of 1975.

This simple first line instantly frames the story as a remembrance, possibly a dark remembrance based on the description of the weather.  It also makes clear the narrator will experience something very significant at the age of twelve, and as a reader, I want to know what that is.

Still Alice, by Lisa Genova.
Alice sat at her desk in their bedroom distracted by the sounds of John racing through each of the rooms on the first floor.

This sentence simply sets a scene, and although I did continue to read this book and enjoyed it in the end, this first line had no big impact on me at all.  I can visualize the scene, so it is effective in achieving that and introducing two main characters, but it doesn’t scream, “Keep on reading!”

The Passion, by Jeanette Winterson.
It was Napoleon who had such a passion for chicken that he kept his chefs working around the clock.

This sentence sets the historical period of the book, while introducing a quirk the reader doesn’t expect to be associated with a figure like Napoleon.  The image of Napoleon having people working around the clock to serve him fits, but the reference to chicken passion adds a unique twist and generates curiosity for the reader – at least when that reader is me.

I wrote down (or typed, to be more accurate) many more first lines than these today, but in the interest of NOT writing an overwhelming amount of information on this subject, I started with five.  I’ll post more another time.  What are some of your favorite first lines?  Or, if you don’t have any off the top of your head, open up a couple books and jot them down – what do they do for you?

Fragments of memory

Posted by

5

With my latest obsession of reading books by writers about how to write memoir, I’ve stumbled upon one that’s a little different than most of what I’ve been reading.  Writing Life Stories, HOW TO MAKE memories into MEMOIRS, ideas into ESSAYS, and life into LITERATURE, by Bill Roorbach with Kristen Keckler, PhD offers much of the same advice as other books, but comes with a different style of writing prompts and “exercises.”  When I finish the stack of books I’m reading, I’ll make a post comparing them all, but for now, I’ll comment only on the first major exercise presented in Writing Life Stories, which I now intend to repeat many times.

Excercise 1: Mapmaking

Please make a map of the earliest neighborhood you can remember living in.  Include as much detail as you can.  Who lived where?  What were the secret places?  Where were your friends?  Where did the weird people live?  Where were the friends of your brothers and sisters?  Where were the off-limit places?  Where did good things happen?  Where did you get in trouble?

I’m not a very visual person, so I wasn’t sure what this exercise would do for me, but I was shocked at some of the random things that came back to me as I sketched the earliest neighborhood I remembered.  First, I can hardly say I remembered the neighborhood.  I was only 5, and my brain doesn’t seem to have been able to recognize space outside the main intersection our house sat on.  We didn’t live there for long, so most of my memories were fragments, single moments in time.  Exercise 2 is to tell a story from your map.  I’m going to dive in right here, so this may not come out sounding like a story, since my mind only retained bits and pieces, a little out of context, not connected by much other than the setting.

The house we rented was across the street from a tavern.  The door opened on the kitchen, where I see my grandmother making hot cereal for us for breakfast.  When she asked what she should bring us to eat that morning, we’d said “Cocoa Puffs!,” thinking we’d be able to sneak one past Mom and fill our little bodies with sugar to kick off our day.  She meant to indulge us, but somehow mistakenly settled on chocolate Cream of Wheat.  It could’ve been worse.  It could’ve been plain Cream of Wheat.

The street in front of our house is the street I learned to ride my bike on.  I remember the training wheels, riding barefoot, relatives hollering encouragement as I took on this classic childhood challenge.

Running around barefoot in the grass between our house and the neighbors, I stepped on a honey bee who immediately took umbrage and stung the bottom of my small foot.  I screamed my head off, paralyzed, with one foot in the air, until someone I didn’t know scooped me up and ran me to my back door to hand me off to whoever was home.

There was a kid that lived around a corner and down another street that couldn’t say the word “towel” correctly.  She insisted it was “tolow,” and I never was able to convince her she was wrong.

Behind the bar across the street was a baseball diamond and a small playground.  I see two kids on the teeter totter – one bigger than the other.  When the older kid descended hard, the smaller kid flew over his head, right off the teeter totter, like something out of Tom & Jerry.

At a birthday party when I turned five, a little girl put our kitten in a dresser drawer because he was so little she was afraid he’d get lost.  It took us a day to find him.

One day after school, I came home and gave my mother her wisdom teeth in the little plastic box the dentist provided.  She looked at me with utter confusion.  “What are you doing with these?,” she asked.  “I took them to school for show and tell.”

When the babysitter told us in the afternoon we had to go take a nap, we dutifully went upstairs to bed.  We laid around for a while, bored, not able to fall asleep, but we weren’t allowed to get up again until we’d napped.  When I heard her coming up the stairs to check on us, I hung over the edge of the top bunk and whispered down to my sister, “Hurry.  Close your eyes.  Pretend you’re asleep.”  She didn’t get it.  Five minutes after we were checked on, I crawled out of bed and headed back downstairs.  My sister was stuck in our room until she actually fell asleep, sometimes for a whole afternoon.

We had a small playroom at the top of the stairs, mom’s bedroom on one side, ours on the other.  I see the ragged-edged holes punched through black construction paper for the Lite Brite.  I feel the wobbly nausea from a long turn on the Sit-n-Spin.  I remember fumbling with the nylon bands on the Loop N Loom so we could make garishly colored hot pads for every adult we knew.

My sister never flushed the toilet after she went to the bathroom.  One day, my uncle, who lived with us, heard her flush, and thought it odd.  She’d grabbed a handful of candy from the kitchen and was hiding in the bathroom eating it, flushing one wrapper at a time.

Typical American

Posted by

0

As promised last Monday, here again is a bit of writing from a book I enjoyed immensely. This is a selection from the first chapter of Typical American, by Gish Jen, a wonderful novel about American immigration that is unlike any other. Her imagery is stunning, and the story itself is full of comic tragedy. Enjoy!

   On the way to America, Yifeng studied. He reviewed his math, his physics, his English, struggling for long hours with his broken-backed books, and as the boat rocked and pitched he set out two main goals for himself. He was going to be first in his class, and he was not going home until he had his doctorate rolled up to hand his father. He also wrote down a list of subsidiary aims.

1. I will cultivate virtue. (A true scholar being a good scholar; as the saying went, there was no carving rotten wood.)
2. I will bring honor to the family.

What else?

3. I will do five minutes of calisthenics daily.
4. I will eat only what I like, instead of eating everything.
5. I will on no account keep eating after everyone else has stopped.
6. I will on no account have anything to do with girls.

    On 7 through 10, he was stuck until he realized that number 6 about the girls was so important it counted for at least four more than itself. For girls, he knew, were what happened to even the cleverest, most diligent, most upright of scholars; the scholars kissed, got syphilis, and died without getting their degrees.
He studied in the sun, in the rain, by every shape moon. The ocean sang and spit; it threw itself on the deck. Still he studied. He studied as the Horizon developed, finally, a bit of skin – land! He studied as that skin thickened, and deformed, and resolved, shaping itself as inevitably as a fetus growing eyes, growing ears. Even when islands began to heave their brown, bristled backs up through the sea (a morning sea so shiny it seemed to have turned into light and light and light), he watched only between pages. For this was what he’d vowed as a corollary of his main aim – to study until he could see the pylons of the Golden Gate Bridge.
That splendor! That radiance! True, it wasn’t the Statue of Liberty, but still in his mind its span glowed bright, an image of freedom, of hope, and relief for the seasick. The day his boat happened into the harbor, though, he couldn’t make out the bridge until he was almost under it, what with the fog; and all there was to hear was foghorns. These honked high, low, high, low, over and over, like a demented musician playing his favorite two notes.

Then We Came to the End

Posted by

6

I’ve been kicking around the idea of using a day a week in my posts to share something I’ve loved from the many random books I’ve read.  Mondays seem like a good day for this, since Mondays tend to suck the life out of most of us and it’s easier than writing something new and fresh, which might be better suited to Tuesdays… or Thursdays.

I read Then We Came to the End, by Joshua Ferris a few years ago.  It is a story about many things, but it is primarily about of a bunch of sad Chicago ad agency mucks who are within an inch of being laid off every day because of a bad economy.  At the time I read this book, I worked for a San Francisco marketing agency, which made it just a little funnier to me.  We, too, were constantly waiting for the axe.  Working in marketing is like pimping yourself out to whoever will bid the most – or actually, whoever will bid at all, whether you actually offer what they want, or not.  You want Asian?  OK, we can absolutely give you an Asian and she will be the best Asian you’ve ever seen!  Meanwhile, the boss wraps Maria Sanchez in a kimono.

From Then We Came to the End:

  Jim was so desperate one day to come up with inspiration for an ad, he exhausted his traditional list of people, broke down, and called his uncle Max.  “You know how when you buy a new car,” he began – and immediately Max interrupted him.

  “I haven’t bought a new car in thirty-five years,” said Max.

  Jim suspected then that this was probably not a man with his finger on the pulse of the buying public.  Patiently he tried explaining his assignment.  When people buy a new car, he said, they usually have an image of themselves that corresponds to the car they buy.  Jim wanted to know from Max how Max would want to perceive himself when purchasing a new ink cartridge.

  “Ink cartridge?”

  “Yeah,” said Jim. “You know, for your printer.”

  “Uh-huh,” said Max.

  We had a client at the time whose marketing objective was to make their customers feel like heroes when purchasing one of their ink cartridges.  Our charge in every communication was to inspire the potential buyer with the heroic possibilities of man-using-ink-cartridge.

  “I want to see myself as Shakespeare,” Max said.  “What’s this for, anyway?”

  Shakespeare, thought Jim.  Shakespeare.  That’s not bad.

  “It’s for a client of ours,” he said. “They make printers and ink cartridges and that sort of thing.  I’m trying to come up with an ad that makes you want to buy our specific ink cartridge after you see our ad because it inspires you and makes you feel like a hero.  Will you tell me more about wanting to feel like Shakespeare?”

  “So you’re trying to sell ink cartridges?”

  “That’s right.”

  Another long pause.  “Do you have a pen?” his uncle asked.  He began to quote: ” ‘It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity…’ “

  Finally Jim reached out for a pen.  He tried to keep up with him.  At a certain point, Max stopped quoting and told Jim the lines should start to fade out, gradually at first, eventually disappearing altogether.  Then he suggested the headlind. “A Great Writer Needs a Great Ink Cartridge.”  The small print could explain how, if ink cartridges had been used throughout time, the history of literature might have been at stake using a cheap ink cartridge.

  Not only was Jim startled that his uncle could quote what he thought was Shakespeare seemingly off the top of his head; he was floored by the speed and ingenuity of his advertising abilities.  Who was a greater hero than Shakespeare?  And the person encountering the ad that his uncle had just pulled out of his ass could immediately put himself in Shakespeare’s shoes.  Max had just made a million Americans feel exactly like Shakespeare.  He told Max he’d missed his calling.  “You should have been a creative,” he said.

  “A creative?” said Max.

  Jim explained that in the advertising industry, art directors and copywriters alike were called creatives.

  “That’s the stupidest use of an English word I ever encountered,” said Max.

  Jim also told him that the advertising product, whether it was a TV commercial, a print ad, a billboard, or a radio spot, was called the creative.  Before he hung up Jim asked Max for two more examples of great pieces of literature, suspecting that an entire campaign could be generated from Max’s concept.

…

  Sometime later that afternoon, Max Jackers surprised Jim by calling him back.  “You folks overthere,” said Max, “you say you call yourselves creatives, is that what you’re telling me? And the work you do, you call that the creative, is that what you said?”  Jim said that was correct.  “And I suppose you think of yourselves as pretty creative over there, I bet.”

  “I suppose so,” said Jim, wondering what Max was driving at.

  “And the work you do, you probably think that’s pretty creative work.”

  “What are you asking me, Uncle Max?”

  “Well, if that’s all true,” said the old man, “that would make you creative creatives creating creative creative.”  There was silence as Max allowed Jim to take this in.  “And that right there,” he concluded, “is why I didn’t miss my calling.  That’s a use of the English language just too absurd to even contemplate.”

  With that, Max hung up.

From ‘My Father’s House’ – Sylvia Fraser

Posted by

0

I just finished reading My Father’s House – A Memoir of Incest and of Healing, by Sylvia Fraser.  It’s an amazing book.  The story is compelling, but her writing is rich, powerful, and visceral, and elevates the memoir to a level beyond the details of her life alone.  Below is just one example, and the book is crammed full of writing like this:

“I know it’s winter because when I look at my feet I don’t see them for snow.  I know it is winter because my nose drips like an icicle, my hands are white snowballs that must be stuffed in pockets.  I know it’s winter because sounds are muffled, words taste cold, steam hisses out of radiators and light slips off the page of Kant’s “Critique of Pure Reason” almost as soon as it arrives. I know it’s winter because my mother writes letters that announce: “Yesterday my wash was like boards on the line.  I keep asking the new milkman to put the milk between the doors but he doesn’t seem to hear and this morning it was half out of the bottle again.  Is your laundry getting done?” I know it’s winter because all the evidence a posteriori and a prior points that way, and I am nothing these days if not empirical and rational.  It’s winter, but it doesn’t matter.  My life takes place in enclosed spaces: halls, cells, corridors, cubicles.  I scratch words on the pulpy lobes of my brain like a medieval monk creating palimpsets.  I sweat dust.”

My favorite bits from that paragraph are “I know it’s winter because …, words taste cold, …” and “…light slips off the page … almost as soon as it arrives.”  I filed this post under Inspiration, because this kind of writing makes me slow down and savor the words.  I don’t know if it qualifies technically as inspiration because it doesn’t cause me to start writing myself, necessarily – but it reminds me why I love literature and why I continue in my personal battle with words.

What I’m reading lately

Posted by

0

I’m reading a very odd combination of books at the moment (see Panel at right).  I have a couple courses coming up at the end of the month – part of my Master’s degree program in Organizational Leadership at Gonzaga University.  One course is called Leadership, Justice, and Forgiveness, and many of the books we are to read are memoirs or non-fiction by people that have suffered greatly, but have learned to forgive, or by people that have been part of the forgiveness process.  I’ve also been trying to catch up on the many books Jeanette Winterson has published in the past ten years.  I loved her early books – The Passion, Written on the Body, and Sexing the Cherry, in particular.  Last, since I’m writing my own memoir, I’m reading many, many memoirs, trying to analyze what makes them hum and what I don’t like.  I recently read Shania Twain’s From This Moment On, and though I found the story itself interesting, I didn’t like the writing very much.  I’d love to hear from readers what your favorite memoirs are, and why they captivated you.  How much of it was the story, and how much of it was the writing itself?

I am looking at…

Posted by

1

Today I began reading Natalie Goldberg’s books, Old Friend from Far Away, and Writing Down the Bones.  The first writing prompt in Old Friend is “I am looking at…”  My hand ached after writing for ten minutes because I rarely write on paper anymore, and I seem to have lost most ability to write legibly over the years, too.  I’m easily distracted on the computer, though, so I’ve decided to give paper a shot.  Here’s what spilled out…

I am looking at a basket of laundry. My basket is wicker, a smaller oval at its base than at its rim.  It’s full to overflowing with the laundry I washed this morning.  Its contents are organized the way I organize everything that comes from any sort of repetitive task I undertake.  First, at the bottom, my jeans and long-sleeved shirts.  They are the biggest items of clothing I wash (unless you count the towels) because I’m the biggest person in the house.  They fill most of the bottom of the basket, and I fill the leftover gap with socks and underwear – socks that are folded together in a ball, and underwear that’s just tossed randomly into a pile.  Small things that can settle into the space and fill it just right so I can place my next layer of clothes on top.  Next come my t-shirts and my partner’s clothes, which fold up so much smaller than mine do.  I arrange these things to fit neatly, as though each stack of clothes is a piece of a jigsaw puzzle.  Pants here, long-sleeved shirts there, short-sleeve shirts somewhere else.  The top layers are consistent, too.  My partner’s socks and underwear – they have to be folded, unlike mine which I just toss in my drawer.  I stack these near the top because if I bury them, they’d get messed up and I’d have to refold them when I get to putting things away.  Finally, the kid’s clothes and bathroom towels go on top because these have to be put away in different rooms.  When I mount the stairs, I will first put away the kid’s clothes, then the towels, then head into our bedroom.  This order makes sense because the basket will stay in my bedroom.  I start furthest away and hit all three places in a perfect order.  I only have to open each drawer once because I’ve organized the piles as I folded them – all like things together.  All this for efficiency.  I’m obsessed with efficiency.  It’s something I do because I can’t help myself.  I plan the most efficient path through the house, trying to combine tasks logically as I go.  I refine my steps as I repeat things.

The exercise was more fun than I thought it’d be, though I cut myself off after ten minutes because of my aching fingers.  A simple glance at my laundry basket, and I found myself writing about my semi-OCD tendencies.  The quality of the writing isn’t important to me – I’m just working on getting in the habit of writing about random things since I’m giving my memoir a bit of a break.  The interesting part of it is that I can see including a bit about my OCD self in my memoir – it’s an element I didn’t touch on, and one that I could generate some humor with.  Mission accomplished for the moment…

Written on the Body

Posted by

0

Jeanette Winterson’s Written on the Body is one of my favorite books.  Winterson has an ability to mold language in a way that excites me and leaves me in awe.  It inspires in me an appreciation for language and writing that is deep beyond my ability to describe.  The word to describe how her words make me feel is ineffable – too great or extreme to be expressed or described in words.  I love the irony of that word – ineffable.  Written on the Body opens with an exploration of love.

Why is the measure of love loss? … Why is it that the most unoriginal thing we can say to one another is still the thing we long to hear?  ‘I love you’ is always a quotation. You did not say it first and neither did I, yet when you say it and when I say it we speak like savages who have found three words and worship them. I did worship them but now I am alone on a rock hewn out of my own body. … Love demands expression. It will not stay still, stay silent, be good, be modest, be seen and not heard, no. It will break out in tongues of praise, the high note that smashes the glass and spills the liquid.  It is no conservationist love. It is a big game hunter and you are the game. A curse on this game. How can you stick at a game when the rules keep changing? I shall call myself Alice and play croquet with the flamingoes. In Wonderland everyone cheats and love is wonderland isn’t it? Love makes the world go round. Love is blind. All you need is love. Nobody ever died of a broken heart. You’ll get over it. It’ll be different when we’re married. Think of the children. Time’s a great healer. Still waiting for Mr Right? Miss Right? and maybe all the little Rights?

It’s the cliches that cause trouble. A precise emotion seeks a precise expression. If what I feel is not precise than should I call it love? It is so terrifying, love, that all I can do is shove it under a dump bin of pink cuddly toys and send myself a greetings card saying ‘Congratulations on your Engagement’. But I am not engaged I am deeply distracted. I am desperately looking the other way so that love won’t see me. I want the diluted version, the sloppy language, the insignificant gestures. The saggy armchair of cliches. It’s all right, millions of bottoms have sat here before me. The springs are well worn, the fabric smelly and familiar. I don’t have to be frightened, look, my grandma and grandad did it, he in a stiff collar and club tie, she in white muslin straining a little at the life beneath. They did it, my parents did it, now I will do it won’t I, arms outstretched, not to hold you, just to keep my balance, sleepwalking to that armchair. How happy we will be. how happy everyone will be. And they all lived happily ever after.

I enjoy the way Winterson captures the frustration of love, the way we all want to give up when love doesn’t work out or comes with more difficulty than we imagine.  Then the single phrase within the narrator’s attempt to choose the mundane and safe existence that subtly gives away the fact that the mundane is not what the narrator wants at all – “she in white muslin straining a little at the life beneath.”  The two things I love most about Winterson’s writing are her use of language and the multiple layers that are woven together in her storytelling.  She invokes brilliant images with her words, though this passage is not the best example of that – I’ll post something else later that illustrates her imagery better.  She masters paradox and contradiction in much of her writing, which I love because it’s such a good representation of what it’s really like to be human, and even when she writes of completely fantastical things, I can still connect with the humanity in it all.

Me and my battle with words

Posted by

5

I’ve chosen to title this blog “me and my battle with words”.  I chose the word “battle” because I view words as elusive.  At least, I view the task of finding the right words as elusive.  It’s a battle I enjoy, though.  Many brilliant authors have found their own ways to master language, though I imagine they feel as I do when they write – that there’s a battle in there somewhere.  Finding a way to tame words to your own purpose takes effort, thoughtfulness, and practice.  I took an English Lit class 20 years ago, and was introduced to T.S. Eliot’s Four Quartets.  In section V of Quartet No. 1: Burnt Norton, I found a beautiful description of words themselves that I’ve returned to many times over the years.

Words move, music moves
Only in time; but that which is only living
Can only die. Words, after speech, reach
Into the silence. Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness.
Not the stillness of the violin, while the note lasts,
Not that only, but the co-existence,
Or say that the end precedes the beginning,
And the end and the beginning were always there
Before the beginning and after the end.
And all is always now. Words strain,
Crack and sometimes break, under the burden,
Under the tension, slip, slide, perish,
Decay with imprecision, will not stay in place,
Will not stay still. Shrieking voices
Scolding, mocking, or merely chattering,
Always assail them.

The lines I love most, and the language that has come to represent what I view as my battle with words, is from the above:

Words strain,
Crack and sometimes break, under the burden,
Under the tension, slip, slide, perish,
Decay with imprecision, will not stay in place,
Will not stay still.

Do you have any favorite descriptions of words that represent how you think about the writing process?