The more I read, the more I want to talk about what I read — and I’ve been reading more lately. I don’t mean more than I’ve ever read before. There was graduate school at Cornell — in Russian literature, a landscape of giant novels (which I still love), countless poems and short stories, and sprawling artistic manifestoes. Long before that were nineteen days at my grandparents’ farm in April 1975.
Do you mind very much if I remember for a few moments before I list the books?
Lately I’ve been finishing books I started reading in the last year or two — and enjoyed, but left unfinished. Today I’ll tell you about some of those, plus some books I finished more quickly, without leaving them to languish for months or years.
Meanwhile, the poster child for my problem is still unfinished: Victor Hugo’s Les Miserables (first published in 1862). I got about 150 pages in, loved it, and stopped. I recently restarted from the beginning. I’m further in now, but I still have over 1,200 pages to go; it’s the unabridged translation. I’m still loving it, but it’ll be a while before I can report completion.
Among the books I’ve finished, I read some just to read them. Others I read for research, because I’m attempting, as time permits, to learn the art, craft, and business of writing fiction. I enjoyed most of the books I list below in printed form and the rest as audio books.
After I decided this topic might make a fun blog post, I asked myself why I wanted to write it. There was time enough to wonder; some of my writing languishes unfinished for months, like my reading.
On reflection I don’t think my motive is to dazzle you with the breadth and depth of my reading; I know too many people who read far more than I do to be impressed with myself in this way, or to think you’ll be impressed. Besides, if I were trying to impress you, I’d probably exclude at least two or three of the books I’m about to mention. You’ll know which, I think, when you get to them.
It’s more a matter of my enthusiasm for books in general, for some (not all) of these particular books, and for people who read books. When I read a book, I want to talk about it. You’re welcome to join me.
Here are a few more gems — I know it’s been a while — from Ann Padgett’s “The Getaway Car: A Practical Memoir about Writing and Life.” You’ll find it in This Is the Story of a Happy Marriage (New York: Harper, 2013, pp. 19-60), which you should buy — or borrow from the library — and read.
If you write.
Writing must not be compartmentalized. You don’t step out of the stream of your life to do your work. Work was the life, and who you were as a mother, teacher, friend, citizen, activist, and artist was all the same person. People like to ask me if writing can be taught, and I say yes. I can teach you how to write a better sentence, how to write dialogue, maybe even how to construct a plot. But I can’t teach you how to have something to say. (pp. 31-32)
Last time, I told you about Good AF Writers, the critique group held twice a month by the American Fork chapter of the League of Utah Writers. (I’m assuming the AF is for American Fork.) It’s every second and fourth Tuesday Thursday at 6:00 p.m. at the American Fork Library, and you can read more of the basics in that previous post. There’s also a Facebook group to watch for new, updates, and more.
Here I’ll give you a better taste of how it works, in case you’re on the fence about whether it will work for you.
Our meetings consist mostly of three activities: reading (aloud), giving critiques, and receiving critiques. Each of these could make someone squirm, I know, but it’s the price of improving as writers. We try to be kind, helpful, and candid.
Some or all of the writers in the meeting will read excerpts from something they’re writing, or the whole thing, if it’s very short. They may or may not preface their reading with a brief explanation of the work, of what has happened previously, or what sorts of help they especially want. It’s all on a clock; unless the meeting is especially crowded or we’re running late, each reader gets up to seven minutes for the reading itself and any introductory explanations.
In the meetings I’ve attended, I’ve read from three short stories (one written that day on the train, because an idea struck), the first and second chapters of a novel I’m polishing, and an essay I drafted a couple of years ago and have revisited a couple of times, but which really isn’t working yet.
After each reading, the author circulates a signup sheet. Anyone who wants to read more and provide a critique at the next meeting will sign up. Sometimes two people sign up; sometimes it’s six or seven.
After the meeting the author sends out the piece – up to 2,500 words – by e-mail, at least a week in advance of the next meeting, so everyone who signed up has time to read, reread, and critique it.
American Fork’s chapter of the League of Utah Writers (LUW) meets twice monthly, on the second and fourth Tuesdays Thursday of the month, at 6:00 p.m. We usually meet in the American Fork Library, in the smaller of the two conference rooms near the east entrance, but check the Good AF Writers Facebook group for current information. The chapter itself is just a few months old, and new members are always welcome.
There’s a Facebook group, Good AF Writers. Take the name as a fact or an aspiration, as you choose.
I’m told that different LUW chapters run their meetings differently. In our meetings, those who bring writing for critique read from it aloud for several minutes, then circulate a sign-up sheet. Anyone who wants to read more and provide an oral and written critique at the next meeting supplies a name and an e-mail address. The author sends out the piece, usually in a Word doc, at least a week before the next meeting. We limit the length of that to about 2,500 words – lately down from 5,000 words – to reduce the workload for critics. (You can always bring in the next chunk next time.)
We who signed up as critics then read and reread your piece, offer a brief oral critique (generally not more than several minutes) at the next meeting – assuming you’re there – then send the Word doc back to you with any markup and comments we may have added. Sometimes you get a lot, sometimes you get a little.
It works.
Two novels I’ve read in the past year stand head and shoulders above the rest.
The first is Chaim Potok’s The Chosen, published in 1967. The only surprise here, if you know my literary tastes, is that it took me nearly half a century to pick up and read this classic exploration of religious life. There are certain gaps in my literary experience, I readily admit — but this is no longer one of them.
(Another conspicuous gap is J. D. Salinger’s The Catcher in the Rye (1951). I know it is had for both good and evil, and was banned within my lifetime in a certain Washington school district for being part of a communist plot. All the same, a young writer I met at lunch a few weeks ago talked me into reading it sooner rather than later. I’m too old, among other things, to be drawn to it for its rebellion and teenage angst, but it has other charms. After reading just the first two pages, I’m inclined to appreciate — and to study — the first-person narrative voice. But I digress.)
The second highlight of this year’s novel-reading is Chris Cleave’s Everyone Brave Is Forgiven, first released not five months ago. Cleave’s first three novels, which I haven’t read, were well received and have contemporary settings. This fourth offering is historical fiction, set in England and Malta during the early years of World War II — mostly before the United States joined the conflagration in December 1941.
This book is delightful but substantial reading. Though often light-hearted, at times it is grimly realistic and personal about the physical, emotional, and moral horrors of war. It has some thoughts on race and class, but (thankfully) isn’t heavy-handed about them. This virtue displeased the subset of reviewers who declare even a brilliant novel disappointing, if it does not bludgeon the reader with proper and comprehensive modern views of any social issues it happens to touch.
I spend more time writing than reading, these days — too little of both — and I read online more than I read printed books. But if you read this blog, you probably don’t need me to tell you there’s a charm in holding the book in your hands and turning actual pages instead of staring at a screen. Also, actual books have a far longer battery life.
I’m in Bloomington, Indiana, just now, traveling with a family member who has an audition today at Indiana University’s sprawling, beautiful campus (which must be simply gorgeous when it’s green). I spent lots of hours in and between airports yesterday. Much of that time I spent reading actual books, and it was delightful.
On a similar trip to Pittsburgh a few weeks ago, I found Authors Bookstore, a charming airport bookstore at Minneapolis-St. Paul, and bought a very promising, shortish novel which claims to a national bestseller. I’m not disputing that; its renown is sufficiently compatible with my never having heard of it before. I started reading it then and finished it yesterday.
Then I finished a book I picked up almost on a whim in Salt Lake City a few months ago and starting reading on the warm, sunny commuter train (and platform) at the end of workdays. It was excellent too, and the fact that I read the second half of it only yesterday doesn’t disparage its charms at all. I do that with books, even very fine books.
And yes, I’d be pleased to tell you more. Thanks for asking.
This week has seemed a bit odd to me, where matters of language and writing are concerned. To wit:
Having recently dumped Miss Piggy, his favorite porker and main squeeze these many years, Kermit the Frog has been seen out and about with a new love interest. And yes, pork is still the other white meat. At least His Venerable Greenness isn’t cavorting with a chicken.
Enter the lovely and gracious Denise. Okay, I don’t actually know whether she’s gracious, and to me she’s really only lovely in comparison to a certain older, full-figured, feminist pig puppet who has irritated me for years, whom I tolerated out of personal respect for her boyfriend. But I’d bet money that she has a sweeter personality than Ms. Piggy; how could she not, unless she, too, is a raging narcissist?
I’m not sure anyone has documented what Kermit sees in her, but some irate feminists think they know — and they’re angry. You see, Denise is younger, not known to be a feminist, and is most definitely, ahem, leaner.
