Showing posts with label On the Road with Del & Louise. Show all posts
Showing posts with label On the Road with Del & Louise. Show all posts

27 May 2016

Update: Raymond Queneau


By Art Taylor

As I've mentioned a few times before, I often start a writing session with a little bit of reading—most frequently from a writing guide of some kind, to ease me into thinking about craft. In a column earlier this year, near the start of the semester, I talked briefly about Raymond Queneau's Exercises in Style, which I had begun delving into a page or two a day. Here's what I wrote then:

Though I'm only partway into the Queneau, I'm already fascinated by the project—which reminds me of the Giacometti anecdote but also takes things a step further. Exercises in Style presents a very short story about a man on a bus—an argument, and a chance encounter later the same day, the whole thing barely a half a page in length—and then retells that story 99 different times, determined in each case by certain approaches. "Notations" is the headline of the first version, which presents the story as fragmented notes. "Litotes" tells the story in understatements. "Retrograde" tells it backwards. "Metaphorically" tells it... well, you can see where this goes. In addition to underscoring the fact that there are many, many, perhaps innumerable ways to tell any story—and tell it well each time—Queaneau's project also reminds us that writing is or can be or should be fun, playful even, which is something that I sometimes forget, I'll admit. That's a lesson for my students as well there, some of whom might be as fretful as I often am about my chosen craft.

That page or two every day or so has continued intermittently over the semester—as has my writing, I'm sad to say (too intermittently)—and there's still a good chunk of Exercises in Style left to go. But I've finally decided to put the book away without reading it in full.

As even a quick glimpse at the book's cover reveals, Exercises in Style has its champions. Italo Calvino said that the book "gives rise to a whole range of wildly diverse literary texts," for example, and Umberto Eco compared it to "inventing the wheel."And while that back cover quotes the original Washington Post review, the Post review of this new edition declares the book simply a "revolution."

I'll agree. There's something exciting about the variety of approaches Queneau employs in telling the story, the range of storytelling techniques and tones, the way that all of it opens up a little wider the world or writing, our understanding of that world. "Apotrophe" begins "O platinum-nibbed stylograph, let thy smooth and rapid course trace on this single-side calendered paper those alphabetic glyphs which shall transmit to men of sparkling spectacles the narcissistic tale of a double encounter of omnibusilistic cause." A few pages later, "Telegraphic" offers something drastically different: "BUS CROWDED STOP YNGMAN LONGNECK PLAITENCIRCLED HAT APOSTROPHISES UNKNOWN PASSENGER UNAPPARENT REASON STOP...." In between are brief exercises in the senses, among them "Olfactory" ("In that meridian S, apart from the habitual smell, there was a smell of beastly seedy ego, of effrontery, of jeering, of H-bombs, of a high jakes, of cakes and ale, of emanations, of opium, of...."), "Gustatory" ("This particular bus had a certain taste. Curious, but undeniable."),  and "Auditory" ("Quacking and letting off, the S came rasping to a halt alongside the silent pavement").

All these are terrific and provocative. But then I hit several sections of "Permutations" including "Permutations by groups of 2, 3, 4 and 5 letters," which begins "Ed on to ay rd wa id sm yo da he nt ar re at pl rm fo an...." And I'll admit I'm not sure what to do with it—or more to the point, how reading such passages might help boost my own writing, though I'm sure even these specific passages might well have sparked other writers' imaginations.

After hitting that section, I found myself browsing ahead rather than reading straight through. And now I've found myself putting the book aside.

A couple of questions for others here:
  • What craft books (I use that term very loosely) have successfully sparked your writing?
  • And how often do you put aside books—any books, not just writing books—without reading them in full? 
I'm curious particularly on that latter question—since readers tend to have very strong opinions about whether a book once started absolutely needs to be finished.

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IN OTHER NEWS: I was very pleased that my fellow SleuthSayer Rob Lopresti chose my story "Restoration" from Crime Syndicate Magazine's debut issue as the "best mystery story I read this week" over at his blog Little Big Crimes. "Restoration" was a real departure in many ways for me—a quick foray into more speculative fiction—and it struggled for a while to find a home, both in more traditional crime fiction publications (too much science fiction) and in the few science fiction magazines I submitted to (not enough for them). Given all that, I was thrilled when it found a home at the edgy and excellent Crime Syndicate and especially pleased now that it's gotten such a kind reception at Little Big Crimes. Thanks so much, Rob!

And finally, a quick plug for an upcoming event between now and my next column here—a very special one for my wife and me. On Monday, June 6, at 6 p.m., my wife—Tara Laskowski—and I will be giving a joint reading at the Easton branch of the Talbot County Free Library in Easton, Maryland. Tara will be reading from her new story collection Bystanders and I'll be reading from On the Road with Del & Louise. While it's not entirely uncommon for Tara and I to appear on the same program, what makes this event special is that June 6 is our seventh wedding anniversary! At least we'll be together for the evening, right? Anyone who's in the area, please do come out to help us celebrate. :-)


05 September 2015

Fresh Starts


by Art Taylor

As many of you know, Art Taylor is a busy and talented guy. He has won two Agatha Awards, a Macavity, and three consecutive Derringers, and has twice been a finalist for an Anthony. His work has appeared in Ellery Queen’s Mystery Magazine, The Washington Post, Mystery Scene, and many other publications, and one of his short stories (along with stories by our own Rob Lopresti and David Edgerley Gates) was named in the “Other Distinguished Mystery Stories” list in the upcoming Best American Mystery Stories 2015. His novel On the Road With Del & Louise will be released in September. This guest post is his first column for SleuthSayers, and he’ll come on board permanently next month. Please join me in welcoming him! —John Floyd
 

First of all, thanks to John for the introduction here and the invitation to join SleuthSayers—and to everyone here for the warm welcome!

The title above—"Fresh Starts"—gives a nod toward this post being a debut and not simply a guest outing, though there's more to it than that, drawing on thoughts sparked both by where I'm at right now (more on that in a minute) and by my forthcoming book On the Road with Del & Louise: A Novel in Stories, which was the occasion of being invited for a guest post here in the first place. In the process, maybe there are some useful reflections ahead on the novel in stories as a form or on craft generally.

As I'm drafting this post (always draft, always revise), it's the first week of the semester at George Mason University where I teach—and these first weeks of school have always held a magical sense of new beginnings, not just as a professor now but hearkening back to my own earliest school days, new classes, new teachers, new subjects—usually new clothes too, trading out well-worn shorts for a couple of pairs of stiff Levi's. January 1 may be the time for resolutions, but to me, late August and early September have always felt like the true start of a new year. And though the soon-to-be-falling leaves might suggest for some a turn toward dying and death, autumn itself always fills me with a sense of possibility and of anticipation.

As a writer, I tend to think generally in terms of narrative, I guess—possibilities, plot points, the arc of a storyline—even as I reflect on my own life. So memories for me are grounded not necessarily by calendar year or birthdays ("I was eight when....") but by school year: This happened in kindergarten, this in fifth grade, this my junior year of high school, this my freshman year of college.

Maybe other folks are somehow dominated by seasons too with their stories, whether autumn or others: holiday tales and traditions; sordid spring break or spring fling stories; or those summer romances that generally fade with the return to school. How many freshmen college students have just recently had tough talks with their high school sweethearts? And if they haven't already, many of them surely will soon. More adventures to be had ahead, more thrills, more heartbreak, more everything.

I've been thinking of "fresh starts" too with my book coming out in a little less than two weeks—and not just because it's my debut (of sorts; I've been writing a long, long time, after all) or because the title characters, small time crooks trying to go straight, talk time and again (and again) about the need to make a fresh start themselves. More to the point, it's because the novel is structured as six short stories, each with its own beginning, middle, and end—a concept that's already caused some trouble. Isn't it a collection then? because a novel is....

Short response to question/confusion: Each short story does offers its own fresh start, sometimes timed with the fresh starts that the characters are trying to make, and its own independent resolution, but together the six stories tell an overarching, evolving story of this couple's search for stability and for each other and for a sense of family and a place to call home—longer, stretchier narrative threads.

But even with that short response, I recognize that there are more possibilities for readers to stumble (one early Goodreads review complained about my "chapters" being so long) and there are aspects of such a structure that all us writers should consider as well with such a project: pacing, of course; the overlap between an individual story's narrative arc and the large story's broader arc; and—to keep circling back—the trouble of the "fresh start" for each component story.

Years ago, a friend of mine sent a manuscript for me to review—a terrific story overall, characters in crises both internal and externals, plenty of conflict, no lack of drama, but I was concerned about how the chapters always ended on a note of resolution, relief, calm. Some writers try too hard to close each chapter on a cliffhanger (need to get the readers to turn the page!), but this was the extreme opposite, and I suggested very simply that she just break up the chapters differently, slide those chapter breaks back a little on the interweaving narrative arcs of plots and subplots—makes those breaks somewhere in the rising action rather than always after the falling action.

Stole this from the internet; my own arcs would be more like a mountain range.


Del and Louise get in plenty of trouble—both with one another and with others: a series of house break-ins against a recession-addled real-estate market; plans for a wine heist; a hold-up in a Las Vegas wedding chapel, etc., along with their continuing struggles to connect, stay connected. But with each story, I was trying to draw some resolution to the tale at hand (real estate robberies, wine heist, etc.) before making those fresh starts in new directions, even as longer, larger conflicts persist.

I hope that I paced it out OK. I can't help but wonder about the potential side effects of the breaks that result by these being stories. They could look like chapters, couldn't they? And how would that work?

I can't help but think of real life, of course, as I'm maneuvering through the fictional troubles of my characters. A friend of mine told me not long ago that he needed a break from everything: job troubles, relationship troubles, other troubles—and that was the word he kept coming back to: "break." So I asked him whether he meant "break" in terms of a "taking a break" (a vacation, for example) or in terms of "making a break"? ...meaning making a break with some bad choices, bad plans, bad circumstances. There was, I pointed out, a difference.

A renewed you and a new you are two different things as well. As Louise in my book says about another character, "He couldn’t get away from who he was, I thought—then realized maybe none of us could."

New Year's resolutions, the optimism and anticipation of a fall semester's first week, the opening paragraphs of the next in a set of linked stories—even that friend's sense that catching his breath might help recharge him to deal with lingering troubles.... I keep wondering if "fresh starts" are generally illusory, arbitrary—just a matter of shifting that "section break" to a different place in the ongoing narrative.

In real life, we hope not, of course! Unlike Louise's doubts, I remain optimistic about the possibilities for change: those resolutions, that renewal...even redemption. And I hope all that for my friend, always.

But in fiction, of course, it's the conflicts we crave—continual almost, a heap of grief. For Del and Louise, each new opening fortunately leads to the next round of conflicts—life as an escalating set of troubles.

Circling back, circling back again...and having said all that, I've got high hopes for my own new beginnings here at SleuthSayers, of course! May all my essays and reflections here go smoothly—saving any challenges and conflicts for my fictional creations, out there on other pages.

Looking forward to chatting and interacting with my fellow blog mates and our readers on future posts!