I’ve been taking advantage of various free and inexpensive literary events – a bonus of our temporarily virtual-only world. I have five of them stored up to write about, but to keep this post from getting absurdly long I’ll focus on two for now and feature the rest another time.
George Saunders in Conversation with Max Porter
Saunders’s latest book, A Swim in a Pond in the Rain, is a written version of the graduate-level masterclass in the Russian short story that he offers at Syracuse University, where he has taught in the Creative Writing Program since 1997. His aim here was to “elevate the short story form,” he said. While the book reprints and discusses just seven stories (three by Anton Chekhov, two by Leo Tolstoy, and one each by Nikolai Gogol and Ivan Turgenev), in the class he and his students tackle more like 40. He wants people to read a story, react to the story, and trust that reaction – even if it’s annoyance. “Work with it,” he suggested. “I am bringing you an object to consider” on the route to becoming the author you are meant to be – such is how he described his offer to his students, who have already overcome 1 in 100 odds to be on the elite Syracuse program but might still need to have their academic egos tweaked.
The book is, thus, not just a set of essays on the Russian masters but also a guide to how to write well. It was clear there was mutual admiration between Saunders and Max Porter, who interviewed him. They discussed the revision process as an accumulation of micro-decisions that make the work better. For instance, Saunders compared two Tolstoy stories, “The Snowstorm” and “Master and Man” (written 20 years later), and noted that, though they are thematically similar, the later one is more organized.
Saunders spoke about writing as a dual process of intuition and iteration; a bunch of different “yous” have acted on a text by the time it’s done. Early on in his career, he thought that he had to choose which writer he wanted to be (e.g., Hemingway or Kerouac), but as he aged he realized that the mind is never fixed. He went surprisingly deep into Buddhism at this point, likening writing to meditation – both are practices pursued with intensity. To his younger self, he would say to keep going: improving is simply a matter of time (i.e., that 10,000 hours figure that’s bandied about as necessary for developing expertise).
The only drawback to this event was that Saunders was speaking from his snow-encased upstate New York basement and had a horrible Internet connection; often his voice was faint and delayed, while his image stayed static. We and Porter could only stare gormlessly and wait for his face to move to match his words! I think the book would be too niche for me – I’ve hardly read anything by the Russians, and since I don’t write fiction I’m not in need of a guide to those kinds of writing decisions – but it was nice to ‘meet’ Saunders ‘in person’.
An Evening with Kazuo Ishiguro
(Faber Members / Guardian Live event)
Ishiguro’s new novel, Klara and the Sun, was published by Faber yesterday. This conversation with Alex Clark also functioned as its launch event. It’s one of my most anticipated books of the year, so I pre-ordered a signed copy along with my ticket and look forward to it arriving soon. Klara is an Artificial Intelligence “friend” purchased to combat teenage loneliness. A childlike figure, she is cheerful and treats the sun like a god. Ishiguro said that the book developed from a story he wrote for children aged five to six, about a little girl who takes a doll home – except his daughter, author Naomi Ishiguro, told him no way was it suitable for young children, being far too dark. He likes “displaced or alien narrators, fish out of water,” he said, because the limited perspective allows him to focus on oddness.
In addition to Clark’s questions, a few pre-recorded questions from literary celebs (Daisy Johnson, Bernardine Evaristo, and David Mitchell) encouraged Ishiguro to create a tripartite schema for his novels, reflect on his writing about Japan, and look back at the devices he has used. Asked by Johnson about the connections between his novels, he admitted that his first three novels all retread the same ground: a man who has made a mess of his life or career picks over the past. Then his mid period is set in dreamscapes, while his most recent three novels are dystopian fantasies (though he does not see Klara as set in a dystopian world).
In response to Evaristo’s question about whether he felt an obligation to write about Japan, he said that with his early work he was conscious of needing to represent a group of people who even then (due to World War II) were viewed with suspicion or antipathy. He left Japan at age five so the country didn’t seem entirely real to him. What he knew was based on very early memories, what his mother told him, comic books sent by his grandparents, etc. As he stated in his Nobel Prize acceptance speech, writing about Japan in his twenties therefore felt like “an act of preservation.” Still, he wants his characters and situations to be universal.
Replying to Mitchell’s three questions (cheeky!), he explained that his first ambition was to be a singer/songwriter, and he wrote 100+ songs. Songwriting taught him minimalism. “You can say a huge amount by what you don’t say,” he noted. He hopes to create spaces, or rather vacuums that suck in the reader’s attention. Unlike Mitchell, he always knows the ending of a book before he begins, and his decisions are all about wanting to lodge in the reader’s brain. Thus, memorable endings are a priority for him, whereas they might not be for other writers. I was struck by his characterization of his own life: when he looks back, he doesn’t see a clear path that arose from his choices; instead, he sees a “weird, incoherent mess.” For this reason, he’s turned against the reflective device of his first three books. If he can come up with a theme, he’s hankering to write a book about hitchhikers in the north of England.
Towards the end of the (overlong) discussion, he mentioned that he has been questioning the novelist’s role due to the events of the past year: wondering about the meaning of fiction when so many have died and so many believe fake news. It was a melancholy but realistic point to end on. While I’m not an Ishiguro completist (The Unconsoled doesn’t appeal to me at all and I’m not sure I can be bothered with When We Were Orphans, but I will try The Buried Giant; I’ve read the rest), the event whetted my appetite to read his new book. (See also this Goodreads interview. I loved the anecdotes about learning he’d won the Nobel!)
Bookish online events coming up soon: The Rathbones Folio Prize announcement on the 24th and Claire Fuller’s book launch for Unsettled Ground on the 25th.
Have you attended any online literary events recently?
Somehow the end of the year is less than four weeks away, so it’s time to start getting realistic about what I can read before 2018 begins. I wish I was the sort of person who was always reading books 4+ months before the release date and setting trends, but I’ve only read three 2018 releases so far, and it’s doubtful I’ll get to more than another handful before the end of the year. Any that I do read and can recommend I will round up briefly in a couple weeks or so.
I’m at least feeling pleased with myself for resuming and/or finishing all but two of the 14 books I had on hold as of last month; one I finally DNFed (The Unseen by Roy Jacobsen) and another I’m happy to put off until the new year (Paradise Road: Jack Kerouac’s Lost Highway and My Search for America by Jay Atkinson – since he’s recreating the journey taken for On the Road, I should look over a copy of that first). Ideally, the plan is to finish all the books I’m currently reading to clear the decks for a new year.
Some other vague reading plans for the month:
I might do a Classic of the Month (I’m currently reading The Awakening by Kate Chopin) … but a Doorstopper isn’t looking likely unless I pick up Hillary Clinton’s Living History. However, there are a few books of doorstopper length pictured in the piles below.
Christmas-themed books. The title-less book with the ribbon is Seven Days of Us by Francesca Hornak, a Goodreads giveaway win. I think I’ll start that plus the Amory today since I’m going to a carol service this evening. On Kindle: A Very Russian Christmas, a story anthology I read about half of last year and might finish this year.
Winter-themed books. On Kindle: currently reading When the Professor Got Stuck in the Snow by Dan Rhodes; Winter by Karl Ove Knausgaard is to be read. (The subtitle of Spufford’s book is “Ice and the English Imagination”.)
As the holidays approach, I start to daydream about what books I might indulge in during the time off. (I’m giving myself 11 whole days off of editing, though I may still have a few paid reviews to squeeze in.) The kinds of books I would like to prioritize are:
Absorbing reads. Books that promise to be thrilling (says the person who doesn’t generally read crime thrillers); books I can get lost in (often long ones). On Kindle: The Bear and the Nightingale by Katherine Arden.
Cozy reads. Animal books, especially cat books, generally fall into this category, as do funny books and children’s books. My mother and I love Braun’s cat mysteries; I read them all starting when I was about 11. I’ve never reread any, so I’d like to see how they stand up years later. Goodreads has been trying to recommend me Duncton Wood for ages, which is funny as I’ve had my eye on it anyway. My husband read the series when he was a kid and we still own some well-worn copies. Given how much I loved Watership Down and Brian Jacques’ novels as a child, I’m hoping it’s a pretty safe bet.
Books I’ve been meaning to read for ages. ’Nuff said. On Kindle: far too many.
And, as always, I’m in the position of wishing I’d gotten to many more of this year’s releases. In fact, there are at least 22 books from 2017 on my e-readers that I still intend to read:
- A Precautionary Tale: How One Small Town Banned Pesticides, Preserved Its Food Heritage, and Inspired a Movement by Philip Ackerman-Leist
- In the Midst of Winter by Isabel Allende
- The Floating World by C. Morgan Babst
- The Day that Went Missing by Richard Beard
- The Best American Series taster volume (skim only?)
- The Heart’s Invisible Furies by John Boyne*
- Guesswork: A Memoir in Essays by Martha Cooley
- The Night Brother by Rosie Garland
- Difficult Women by Roxane Gay
- The Twelve-Mile Straight by Eleanor Henderson
- Eco-Dementia by Janet Kauffman [poetry]
- The Rules Do Not Apply by Ariel Levy
- A Stitch of Time: The Year a Brain Injury Changed My Language and Life by Lauren Marks
- Hug Everyone You Know: A Year of Community, Courage, and Cancer by Antoinette Truglio Martin
- Homing Instinct: Early Motherhood on a Midwestern Farm by Sarah Menkedick
- One Station Away by Olaf Olafsson
- Ghosts of the Tsunami: Death and Life in Japan’s Disaster Zone by Richard Lloyd Parry
- Memory’s Last Breath: Field Notes on My Dementia by Gerda Saunders
- See What I Have Done by Sarah Schmidt
- What She Ate: Six Remarkable Women and the Food That Tells Their Stories by Laura Shapiro
- Midnight at the Bright Ideas Bookstore by Matthew J. Sullivan
- Sing, Unburied, Sing by Jesmyn Ward*
* = The two I most want to read, and thus will try hardest to get to before the end of the year. But the Boyne sure is long.
[The 2017 book I most wanted to read but never got hold of in any form was The Resurrection of Joan Ashby by Cherise Wolas.]