Showing posts with label Louise Penny. Show all posts
Showing posts with label Louise Penny. Show all posts

13 February 2018

Rage, Rage Against the Dying of the Light

by Paul D. Marks

This is going to be a rather morbid post, but it’s something that’s been on my mind for some time. It also might be a little bit unfocused as there’s so many things going round my head on this subject, but I think the main points will come across.

Lately, I’ve been noticing on Facebook a lot of people being sick to one degree or another and even some who’ve passed on. This has been happening since I joined FB but it seems like there’s more lately and that it’s happening more frequently. As I was thinking about this, I’ve also seen posts from other people who’ve noticed the same thing. Maybe it’s because we have more FB friends, maybe it’s because that’s just life or people are getting older? Either way, every time I see these messages—and even the ones about people’s pets—I get a pang of sadness. On the one hand, it’s part of life, still, on the other it hurts to see so many people going gently—or otherwise—into that good night.

It gives me pause. Maybe because my world is so much bigger, in some ways, thanks to FB. Therefore, I see more of this than I would in pre-FB days. I’ve had friends and relatives die since I was a little kid, of course. Some well before their time, either because of “natural” causes or war or in the case of my birth father, from being hit by a drunk driver. Somehow he made it through World War II, but not the mean streets of L.A.

So I wanted to talk a little about writers and recognition, both in our lifetimes and beyond: mortality and immortality. It’s an uncomfortable subject, maybe one of those that we don’t like to talk about in “polite” company, but maybe one that we think about on occasion.

We write for various reasons. To get our point of view out there, to entertain, to get fame and recognition, maybe even a little money...very little money 😉. And it might seem vain, but I think we also write because many of us would like that little chunk of immortality that leaving behind our words gives us. We want to think that in a hundred years or a thousand someone searching some “dusty” silicon chips (or whatever the current medium is) for a bit of nostalgia or a glimpse of how the world used to be might stumble upon our words. And just for that little moment in time we might live again. Of course, we also want to be recognized while we’re here—wouldn’t that be nice?

Some people say that writing in itself is its own reward—maybe, or to an extent. But, speaking for myself, while I enjoy the writing, creating stories, characters, settings, plots and putting it all together like a jigsaw puzzle, if no one else read it it would be like the sound of that famous tree falling in the forest—with no one there to hear it. So, aren’t we really writing for others—whether today or for posterity? Otherwise why share our work with anyone else? Writing for yourself is like eating a pizza by yourself (or watching a movie, playing cards or a game), it’s definitely enjoyable, but it’s often more fun to do with someone else. And if we’re writing for others our work can live on even if we can’t.

In Sonnet 18, Shakespeare, whoever he was in reality, said…

So long as men can breathe or eyes can see,
So long lives this and this gives life to thee.

…referring to his poem living on, making him immortal.



Does everyone think or hope they’ll be the next Jane Austen or Charles Dickens—or even Dan Brown? Did any of these people think they’d be remembered a hundred or more years later—maybe, or maybe not. They, probably like a lot of writers, just felt compelled to write—but maybe with one eye toward some type of immortality. For some of us, writing is like breathing. But are we really writing for a tiny audience of our wives, husbands and mothers? I don’t think so.

Jane Austen

Most people want to leave a mark—hopefully for something good or at worst neutral, though some prefer being known for their evil deeds (which gives us fodder to write about). Nobody wants to be ignored or forgotten. To some that means leaving children to carry on the family legacy and name, to others curing cancer, and yet to others leaving a piece of writing that will endure. But after a generation or two even our great grandchildren don’t really know us either, but our readers do.

If we don’t care about these things, both being known in our lifetimes and beyond, why do we get upset when our work is rejected, when we can’t get agents, etc.? Sure, part of it is ego, no one likes being rejected. But maybe part of it is also losing another shot at a little piece of immortality. 

At some points in our lives, particularly when we’re younger, I think we don’t see the possibility of not being here anymore. We know it happens intellectually, but we don’t like to think about it. Which brings to mind these lines from Flowers Never Bend in the Rainfall, by Paul Simon:

So I'll continue to continue to pretend
My life will never end,
And flowers never bend with the rainfall.

And that also brings me to one of my favorite songs about mortality:

There's no place in this world where I'll belong when I'm gone
And I won't know the right from the wrong when I'm gone
And you won't find me singin' on this song when I'm gone
So I guess I'll have to do it while I'm here



So, do it while you’re here, do it now and don’t put it off ’cause you never know what will happen. And hopefully it will last. And, like Dylan Thomas said, Do Not Go Gentle Into That Good Night.

***

And now for a little BSP that will hopefully help me on the road to immortality: Mind Blowing News: My story “Windward” from Coast to Coast: Privates Eyes from Sea to Shining Sea (edited by Andrew McAleer and Me, published by Down & Out Books) has been selected for the 2018 Best American Mystery Stories edited by Louise Penny & Otto Penzler. It will be out in the fall. To say I’m blown away is an understatement. Also selected for Best American Mysteries from this collection is John Floyd’s “Gun Work,” and Art Taylor’s “A Necessary Ingredient” has been nominated for an Agatha. Not a bad batting average for one book 😁.

And a shoutout to SleuthSayers Michael Bracken and David Edgerly Gates, who also have stories in the Best American Mysteries, and Barb Goffman on her Agatha Nom. SleuthSayers is cleaning up!

https://www.mysteriousbookshop.com/blogs/news/best-american-mystery-stories-2018 


Also, my Shamus-winning novel, White Heat, is being reissued in May by Down and Out Books. It’s available for pre-order on Amazon. Here is the new cover reveal:

 

Also, there’s a fun and interesting article on Alfred Hitchcock in the Washington Post (and other places) from Associated Press writer Hillel Italie: Alfred Hitchcock Remains an Influence on Crime Writers. It includes quotes from Linda Landrigan of Alfred Hitchcock's Mystery Magazine, Mike Mallory, SJ Rozan, A.J. Finn, Otto Penzler.......and even me! Enjoy!

###

13 November 2015

"Crossing Genres: The Literary Mystery"

By Art Taylor

As you might be able to tell from this post and my previous ones here, my teaching at George Mason University is dominating my mind these days—and lately it's not only the semester I'm enmeshed in but next semester as well that's occupying a lot of my mental energy.

In the spring 2016 semester, I'll be teaching a graduate-level course for the first time: "Crossing Genres: The Literary Mystery." That's not my title, I should stress, and I have some issues with the idea of what's meant by the "the literary mystery"—a phrase that could go in a number of directions: mysteries that have books or bookish folks at the core of them maybe? But as intended primarily for aspiring writers in the MFA program here at Mason, I think the goals of the course are potentially a good one: an exploration of genre fiction, a look at the places where these persistent classifications of genre fiction and literary fiction blur, and a study of what so-called "literary writers" can learn from genre writers. To put all this in context, back when I was in the MFA program at Mason myself, I had a fellow writer tell me he'd finally read a Stephen King book and was surprised that it was actually good!

Stephen King
More context: I remember at panel on genre fiction at an AWP conference several years ago, where a writer/professor in another MFA program talked about the difference between his students interested in writing genre fiction and his students interested in writing literary fiction: If a he told students writing fantasy that they might want to read Gilgamesh or The Aeneid or any of a number of "high literary" works, they'd have it read by the next week, whereas if he suggested to literary-minded students that they should read a thriller or a sci-fi novel, they'd drag their heels.

There's lots of room to learn, clearly, from lots of different writers and lots of different kinds of writing—and I've often been fascinated, often written myself about, these delineations between kinds of books, the prejudices and biases at the core of such attitudes, and the continuing evolution of writers attitudes toward genre, how those writers might be informed by formal traditions on the one hand and how they might challenge them on another.

Much more to say on all this, but I mostly wanted to share some of the books I'm considering teaching—and invite others to chime in with books I might add to the reading list, whether one for the syllabus itself or a supplemental list for students to explore on their own.

The course will start out with a selection of short stories surveying both the foundational history of the genre (Poe and Conan Doyle there, among others) and also various subgenres within the larger world of crime fiction: the traditional mystery, the hard-boiled tale, the noir story, domestic suspense, the police procedural, true crime writing, etc. etc. But once that foundation is laid in the first few weeks, here's the list of full novels—and one feature film!—that have risen to the top so far (in no particular order yet but all, purposefully, pointedly, from 2000 onward):

  • A Rule Against Murder, Louise Penny
  • Little Scarlet, Walter Mosley
  • In the Woods, Tana French
  • No Country for Old Men, Cormac McCarthy
  • The End of Everything, Megan Abbott
  • Country Hardball, Steve Weddle
  • Memento, directed by Christopher Nolan 
  • The City & the City, China Miéville
  • The Curious Incident of the Dog in the Night-time, Mark Haddon
Thoughts? Additions?

I have a second list of strong contenders too that will be on a growing supplemental list, so.... Thanks in advance for suggestions and additions!