Category Archives: reading
I don’t think I’ve been living under a rock as far as reading suspense novels goes, yet somehow I’ve missed the books of Clare Mackintosh, my newest favorite author. In the past few weeks I’ve read “I Let You Go,” “I See You,” and “Let It Lie.” I’m still amazed at how many times in “I Let You Go” I was wrong. Wrong about which POV character I was reading, wrong about who did it, wrong about motive. Wrong in an absolutely great way.
In the process of looking for an interview I recently read with Clare Mackintosh and another writer, whose name unfortunately escapes me, I found an interview with Mackintosh and Ruth Ware, an English writer I’d never heard of. Now I’m reading Ware’s “The Death of Mrs. Westaway” and I’ve added “The Woman in Cabin Ten” to my list.
In the interview, Mackintosh states that she’s a detailed plotter. Yet she works out what the story is as she writes the first draft then discards 70% of it and basically starts over from scratch. Sounds somewhat organic to me. Ware plots a bit in her head and then writes the story in the order that the reader will read it, from beginning to end. Definitely organic.
I won’t regurgitate the entire interview–you should watch it.
I’m also reading Steven James’ “Story Trumps Structure.” He’s an organic writer, aka a pantser, and his advice about writing that way is inspiring. I’m underlining and starring information I want to come back to, which is approximately the entire book.
Before starting James’ book, I thought I had made a momentous decision. After rereading my most recent writings for “Anne,” I decided that all it had been was a very long, drawn out writing exercise. It was too much of a romance gone bad story with a murder thrown in to resuscitate. However, James has inspired me with some ideas on how I can make the novel work by keeping some of my old themes and just trashing everything else.
One area that I struggle with is how much information to reveal to the reader and when to reveal it. James says: suspense requires that we reveal, not conceal, information. I’m going to take that approach with this current “Anne” rewrite and see where it leads me.
Now I’m bursting with ideas and constantly turning to my phone or yellow pad or laptop to make notes about “Anne.” I’ve even produced a satisfactory opening paragraph. That alone is a major accomplishment!
Is all of this renewed energy and enthusiasm the influence of the wise words of Steven James? Or is it the mind-blowing twists of Clare Mackintosh? Probably.
After a month of life chaos, I just opened the best Christmas present ever. I was finally able to start an online master class in writing taught by Margaret Atwood. Atwood is one of the very few authors whose books I do not keep on my fiction bookshelves in alphabetical order. She lives on the special shelves where I keep the books I would like to be buried with.
Each lesson is a video of Atwood, introduced by screen shots of what I take to be her working journals. They don’t show text. Primitive doodles express her wonderfully strange mind. The bottom half of a large bird dangles a small child from its talons. A woman, shaped like a Moomin without the nose, hugs an armless man. Three figures are shown from the waist down: left: a skirt with stick legs; right, trousered legs; center, a naked female. A scrap of writing reads, “the day her mother said to her – etc.”
Atwood lectures from her own working space. “Space” may be the wrong word. There is hardly an open inch. Bookshelves line the walls, of course, with bags and boxes of books piled in front of them. The desk is a rolltop with full pigeonholes and clutter all over its surface, including several journals. The walls are solid with pictures. Best of all, every flat space is covered with objects. There are dolls, some of which seem to cry out for a voodoo hat pin. A large silver crab is in mid-scuttle across a table. The lamp is skirted in long crystal beads. Little boxes, toys, sculpture abound.
Atwood grew up deep in the Canadian wilderness in a cabin without electricity or running water, but with plenty of books. She saw town only in the winter when the family retreated there to wait for spring. “Other children might be afraid of being lost in the woods,” she says. “I was afraid of flush toilets. What was going on there? Why did things just – vanish?”
In high school, she set up a business doing puppet shows at birthday parties for five-year-olds. The plots were taken from fairy tales: The Three Little Pigs, Little Red Riding Hood, Hansel and Gretel. Atwood’s take on her business success: the stories were “about those things that are dear to the hearts of five-year-olds, namely, cannibalism.”
Atwood’s method is to write by hand, then transcribe while she continues writing. She calls herself a “downhill skier,” trying to write quickly and then go back and “re-vision.” She complains that literature classes imply “a container, the work of art, and inside it are these ‘ideas,’ like prizes in a Cracker Jack box.” This is not, she says, how writers write. Some of her books have begun not even from an imagined character or scene, but simply from an object.
I’ve viewed only three of the 23 lessons so far, but I knew Atwood and I were on the same page when she advised reading all the myths, folktales and fairy tales you can lay hands on – then subvert them all. She cites the Disney movie Maleficent, where Sleeping Beauty’s prince proves a “dud,” and the villain is redeemed, and Samuel Beckett’s Happy Days, where Chekov’s gun meets existential frustration.
The course workbook is chock full of exercises, web sites and sources of writing prompts. I’ve barely started on them, but the exercise that Atwood explains in the first video is worth the price of admission. If you are having trouble getting started, she says, you are afraid of something. Pick up a pen and write down your fears. Her examples of possible fears and their solutions:
You’re afraid your work will be lousy? The wastepaper basket is your friend. Write till it’s better.
You’re afraid your mother will find out? That’s what pen names are for.
You’re afraid people will laugh at you? You don’t have to show anyone anything until you want to.
To fight one’s fears, Atwood suggests coming up with an imaginary mentor, 100% on your side, to stand by you with help and encouragement. A writer you admire, perhaps. Who would you like for your imaginary mentor?
Duh! How about Margaret Atwood?
Eleanor here — Heidi’s posting for me through a computer crisis.
I’m pleasantly halfway through two books read as simultaneously as possible and enjoyed together, separately, equally and with relish. One of them, just published in 2018, is Christopher Fowler’s joyous new Bryant and May of the Peculiar Crimes Unit in London. It’s entitled Hall of Mirrors. The other was published in 1949. A cozy in the Mordecai Tremaine series by Francis Duncan, Murder for Christmas.
How similar are they? Very. And very different. I knew nothing about either and was happy to find that both are what I would call Locked Room mysteries in the Agatha Christie genre. Maybe Mr. Fowler would howl at that, but genre is in the eye of the reader who can find similarities with other books in common with their likes and dislikes. This I like.
Both books take place post WW2, the Duncan is set closer, the Fowler later, in 1962. How can Bryant and May be set in ’62 ask fans of the Peculiar Crime Unit? Because Bryant and May were young policemen at one point in time, not the old fogeys Fowler makes them out to be now. The author, in a brilliant move, recounts one of their very early cases that takes place in their misspent youth, in a misspent time.
Both stories are set in Manor Houses in the country. The old piles are depicted as either falling down or just older than dirt. Both at a distance from the nearest town, both limited in contact with help from the outside world. Here’s how our individual authors describe their character’s first glimpses and reactions to the sight of their weekend pleasure domes.
Duncan: ‘As he (Mordecai Tremaine) drew nearer to the louring old house with its high mullioned windows, he was conscious of the vague but insistent and disturbing feeling that fate was on his side, and that in the great building just ahead, darkness and terror were waiting.’
Fowler: ‘The taxi drew up between a dribbling fountain and a set of sweeping limestone steps. This first impression was calculated to inspire awe, but on closer inspection, many of the marble facades were cracked and uncared-for, and weeds were pushing their way through the damaged steps. Bryant noted that the grass had only been trimmed near the house; the owners were saving money on gardeners’.
Then comes the fun of meeting the weird and suspicious cast of characters; guests and staff. One must never forget the staff. They can be more bizarre than the guests. And those guardians of sweet young things? They are always suspect. Until they’re killed.
A la (desole, sans marques accent) Agatha, we have to wait a while before anything dire happens, but we’re kept amused along the way with interesting and enfoibled suspects of the inevitable future crime, and of daily life in an era we know nothing about. The snowstorms help, or the army maneuvers in the fields around the house, to keep all guests and servants within ready reach. But, inevitably, Something, with a capital, happens. In one story we have a sculpted gryphon fall from a balustrade onto a guest below, and simultaneously in the other book a guest, dressed as Santa, is shot in front of the Christmas tree. One survives. I’m not giving anything away here.
In one story we have an amateur detective. In the other, we have two bona fide policemen who dance to their own drummers. And we have pages and pages of official and unofficial inquiries.
As you can probably tell, I haven’t finished. I’m hovering in the early 200’s in each book, following procedurals that may come somewhere around the same page but are handled entirely differently. E.g., “Knowing that Bryant’s investigative technique involved plastering his prints everywhere and throwing everything to the floor, he could hardly bear to carry on watching.” There was a suitable comparison in the other book, but I couldn’t locate it for this post.
I’m savoring these two reads, alternating between the two, getting characters and clues mixed and matched, manors switched, and sundry guests, staff and police jumbled. I haven’t had such a good time since trying to get everyone in The Lord of the Rings straight in my mind.
So, what do a bunch of writers want for Christmas? Books, of course. But a survey of the Thursday Night Writers suggests that Santa’s gift-giving expertise is decidedly wobbly. Either that, or certain persons indulged in some lump-of-coal-type behavior in 2018.
I made out pretty well myself, but not because Santa (or his elves who happen to be related to me) got it right on their own. Brazen beggar that I am, I keep a public wish list on the Amazon web site. During the year, I use it to store the long, long list of books I’ve seen reviewed that I really, really want to read, if only I manage to live to be 175. Come the first snowflakes, I nip in and start moving titles around, shoving to the top the ones I’d like to see under the Christmas tree.
So my haul this year included Wish List #1, Tana French’s The Witch Elm. French is one of the only authors I buy in hard cover. (I’ve been mind-boggled by a recent thread on the DorothyL listserv, in which mystery fans explain why they can’t read her books. Their explanations convince me that they are reading the books of some other Tana French. A sobering thought for us writers who think that our readers read exactly what we hear in our heads when we write.)
Wish List #2 turned up, too: Barbara Ehrenreich’s Natural Causes. The subtitle is An Epidemic of Wellness, the Certainty of Dying, and Killing Ourselves to Live Longer. Maybe it’s because I turned 70 last year, but I find myself getting crankier and crankier about Upbeatness on the subject of old age. It stinks. End of discussion.
Two of my granddaughters gave me Hiro Arikawa’s The Travelling Cat Chronicles. I am holding it in reserve until a current flurry of life demands calms down. Cats must be contemplated in calm and with dignity. And judging from my Japanese acquaintances, a Japanese cat will be Cat Squared.
Santa clearly approves of another TNWer, a fantasy/mystery author who received Agents and Spies, Thrilling Tales, a Gothic Fantasy anthology from Flame Tree Press. Flame Tree is a new publisher specializing in “excellent writing in horror and the supernatural, crime and mystery thrillers, and science fiction and fantasy.” The anthology combines classic stories with original ones from new authors. Imagine being paired in an anthology with Sir Arthur Conan-Doyle or Rudyard Kipling!
Another TNWer, one-half of a pair of love birds married, lo, these many decades, received from his spouse a book of essays on the meaning of it all by one of their favorite columnists. He, in turn, had bought her a compilation of articles on the life of their favorite evangelist. No prior consultations. It’s like O. Henry’s “The Gifts of the Magi”, without the bitter overtone.
Alas, two of us received no books. One, our most prolific writer, is the duck in the hen house: the reading passion is the thing she doesn’t have in common with her family. The other non-recipient is a lesson to us all. Our most voracious reader, she roars through piles of books weekly – on her Kindle. Knowing that her first, second, third, etc. choices are already streaming to her at the speed of light, her family rebel at the thought of offering #17, and give her sweaters. When Amazon offers all the books there are by One-Click, and Google digitizes the world library and Project Gutenberg actually gives books away free… can we possibly have lost something?
Here’s hoping you all found just what you wanted under the tree, books or no books.
The To Be Read pile is an ambiguous object.
On the one hand, there’s a genuine guilt factor: “I really shouldn’t spend any more on books till I’ve read these. Or at least till the pile is smaller.”
On the other hand, there’s the built-in humblebrag: “You should see my TBR pile! The floor joists are starting to creak!” (“Why, what a very cultivated kind of youth this kind of youth must be!“)
Neither argument is relevant for a book hoarder deciding to buy a new book. Books aren’t substitutable. This is something that non-bibliophiles find hard to understand. Raise your hand if anyone has ever said to you, “Don’t you have enough books already?”
The fact that David Mitchell’s sixfold fantasy Cloud Atlas, acquired a month ago at the Five Colleges Book Sale, is waiting on my TBR pile does not mean that I can pass up The Devil I Know by Claire Kilroy, a novel based on Ireland’s Celtic Tiger property boom.
But is it fair to call this book accumulation hoarding? The book hoarder – or let’s just say ‘owner’ – fully intends to read the books. True, all those people living between stacks of decades-old newspapers also defend their possessions fiercely, claiming that they will, or may, or might read them someday. The social worker brought in by the family claims to know better.
Let us try for objective truth here. The Literary Hub website provides a scientific calculation of the number of books you can read before you die. Plug in your age and your own estimate of your reading speed (“average,” “voracious” or “super”) and they will tell you how many books you’ve got to go.
Getting the number is like hearing the first Bong! of the church bell for your own funeral. My number is 875. Only three digits. On the bright side, my TBR pile is much smaller than that. Even if I count all the TBRs that have moved over the years from the Pile to my shelves, unread, because a higher pile threatened an industrial accident, I can probably buy a few hundred books and still die absolved. Only a few hundred.
Suppose your number is smaller than your TBR pile, honestly counted. Is it hoarding then? According to the Diagnostic and Statistical Manual of Mental Disorders published by the American Psychiatric Association, the criteria for hoarding concern an inability to discard hoarded items. Nothing about how much you acquire. (Note that the APA is vaguely aware of a definitional difficulty here: they are currently debating whether to say “regardless of the value others may attribute to these possessions” or “regardless of their actual value.”)
No problem there. I just donated seven cartons of books to the above-mentioned book sale. I now have exactly enough room for my TBR books on my shelves. The only remaining problem is where to put the next 875.
However, the DSM also stipulates that “the symptoms cause clinically significant distress or impairment in social, occupational, or other important areas of functioning (including maintaining a safe environment for self and others).”
Again, we have a definitional problem. Distress or impairment to whom? I don’t mind the occasional spilled coffee when I miss the one remaining mug-shaped space on the table with my current reads because my eyes are fixed on the text. Is the pained expression on my husband’s face “clinically significant”? If so, he must need a psychiatrist.
I’ve never considered myself a short story writer. I read them—and enjoy them–but I never feel as satisfied when I’m done with them as when I read a novel.
Yet here I am, reviving a short story that I’ve been working on for a few years. I have twenty-six saved versions of this story (with four different working titles) on my laptop. When I originally wrote it—back in 2014—the total word count was eleven thousand words. I’ve condensed it to five thousand words. As you can imagine, it doesn’t read like the original story. (And that’s a good thing–I’ve reread the original story.)
Why revive this project if I couldn’t finish it in 2014—or 2016—or 2017?
The need to complete a piece of writing is driving me, not exactly insane…more like to write. Something that I can submit for publication. Or rejection. Going back and forth working on the novels of my Woodbury trilogy without making any discernible progress has left me frustrated, unsure of my ability to write and revise, over and over, until I can say it is as good as it gets.
Just possibly, I’m finding that writing a short story is good practice for writing a novel. (Or just for learning how to write.)
With my short story, I can revise the entire piece in a day less than a week, submit it to my group for critique, and, within six days, I can produce another revision. Of the entire story. I can keep track of the changes I’m making from the beginning to the end of the story. I can reread the entire story each time I work on it. Try doing any of those things with a novel.
A major problem I am facing with my short story is fitting in all the scenes and dialogue that I need with a limited word count. I believe the story can be told in five thousand words. But I am beginning to suspect that I need more words than that to write it. It’s easier to take words out than to have to add them in. Or so I’ve been told. Maybe I’ll just ignore that nagging word count on the bottom left of my screen and write.
Does this mean I will abandon my trilogy for the pleasure of writing short stories? Doesn’t strike me as likely right at the moment. Though I can envision always having a short story in progress to turn to whenever I need the instant gratification I can’t get from writing a novel.
A few blogs ago, I was whining and complaining about the decline of all things literate: cursive script gone from the schools, editing that goes no further than spellcheck, and above all, letter writing that has dwindled to email.
But why mope? We’re all writers here; hence, we’re all readers; hence, we have access to the written treasures of the centuries. I went to my bookshelves and within minutes pulled down an armload of books likely to contain the kind of letters no one writes any more. Here is a sample to brighten your day.
In the parlance of his own day (the reign of Charles II of England) John Wilmot, Earl of Rochester was a rakehell. Not the man you would expect to write this letter to his new bride:
I know not well who has the worst on’t, you, who love but a little, or I, who doat to an extravagance; sure, to be half kind is as bad as to be half witted; and madness, both in love and reason, bears a better character than a moderate state of either.
Full disclosure #1: Rochester was an earl, but an impoverished one. His bride, with whom he eloped, was very, very rich.
Full disclosure #2: After a lifetime of drinking, whoring and brawling, Rochester repented on his deathbed and died in the odor of sanctity. On the other hand, we have only his friends’ word for this.
In Sense and Sensibility, Lady Middleton is wary of the Dashwood sisters, fearing that they may be “satirical” of mind. Wonder who Jane Austen was thinking of? Jane to her sister Cassandra:
Another stupid party last night…. I cannot anyhow continue to find people agreeable; I respect Mrs. Chamberlayne for doing her hair well, but cannot feel a more tender sentiment. Miss Langley is like any other short girl with a broad nose & wide mouth, fashionable dress & exposed bosom. Adm: Stanhope is a gentlemanlike Man, but then his legs are too short, & his tail too long.
E.B. White and his wife hobnobbed with the literati of The New Yorker. It didn’t go to their heads. White to his brother:
The summer reached a sort of peak the day we went to the Blue Hill Fair and K [White’s wife] tried to take a leak in the bushes just as the trap-shoot started. She came out with only a minor flesh wound, but she might as well have been through Anzio. We all thought it was very comical, and one shooter (I heard later) got 25 pigeons out of a possible 25.
Helene Hanff, author of 84 Charing Cross Road, in New York, to her supplier of out-of-print classics, Marks & Co. of 84, Charing Cross Rd., London:
De Tocqueville’s compliments and he begs to announce his safe arrival in America. He sits around looking smug because everything he said was true, especially about lawyers running the country….
Did I tell you I finally found the perfect page cutter? It’s a pearl-handled fruit knife. My mother left me a dozen of them…. Maybe I go with the wrong kind of people but I’m just not likely to have twelve guests all sitting around simultaneously eating fruit.
While we’re on politics, you needn’t depend on cable news for furious denunciations of partisanship. John Adams to Thomas Jefferson, explaining why the excellent law codes of antiquity have been lost:
Why are those Laws lost? I say the Spirit of Party has destroyed them, civil, political and ecclesiastical Bigotry. Despotical, monarchical Aristocratical and democratical Fury, have all been employed in this Work of destruction of every Thing that could give us true light and a clear insight of Antiquity. For every One of these Parties, when possessed of Power, or when they have been Undermost and Struggling to get Uppermost, has been equally prone to every Species of fraud and Violence, and Usurpation.
And while we’re on the Adamses, a final love letter from one of the great love stories of history. Abigail Adams, in Braintree, Massachusetts, to John Adams, in France representing the newly independent United States, 1778:
How insupportable the Idea that 3000 leagues, and the vast ocean now divide us – but divide only our persons for the Heart of my Friend is in the Bosom of his partner. More than half a score years has so riveted it there, that the Fabrick which contains it must crumble into Dust, e’er the particles can be separated.
Now please sit down, think of your brightest, funniest, most verbal friend, and write him or her a letter. On paper, with a pen, in script. Just to keep Tinkerbelle alive.
I was doubtful when my TNW colleague Mike Horton recommended that I take an online writing class with Onestory.com. This online literary magazine publishes just one short story per issue, but it also runs writing seminars. In the end, I decided to sign up, on the grounds that any outfit that could help Mike Horton to write better would have no trouble at all moving me up a step or twenty.
I’m an old fart, I admit it, and I hate computers. Participating in the course meant using something called PowerSchool Learning, a program like the online Blackboard now used in colleges. I don’t understand that either. In fact, I was given my own personal assistant at the Blackboard training session when my curses began to be audible to the group. The geek kept piously telling me that I didn’t need to have anything explained in advance; “it’s intuitive.” Yeah? Well, the PowerSchool Learning Welcome page ends with, “Good luck!”
But lo and behold! I could do it. What’s more, I figured out what it is about living in cyberspace that makes me nervous. It turned out to be exactly the problem I need to surmount in order to write the book I’m stuck on.
The first web page that came up was an essay by the teacher (Hannah Tinti, whose novel The Twelve Lives of Samuel Hawley was the text for the course.) Within it were links to books and articles elsewhere online. Those pages sent you to other pages, with more links, to pages with more links.
To use again a quotation I overuse: Ceci ne pas un manuel scolaire. The “textbook” for this course is not one you can finish, because it’s a meta-text. The internet is like the universe: finite but unbounded. If a particular chain of links peters out, another will ultimately be found to circle around behind the dead end and bring you to every- and anything else. It’s all experimentation and openness. That’s why the internet makes me so uncomfortable. How do you know if you got the right answer?
There isn’t one, of course, if what you are doing is writing a novel.
That’s why I found the first of the three sessions, “Beginnings” so inspiring. Tinti sent us to an account of Lynda Barry’s book on how to stimulate creativity, Syllabus: Notes from an Accidental Professor. Barry is a visual artist. Her book is based on a class she taught, “The Unthinkable Mind — a wonderfully unusual interdisciplinary course exploring the biological function of the arts and the psychological mechanisms of the creative impulse by blending cognitive science, visual art, and writing.”
I thought, “I don’t have time for this. Too much.” Wrong. Barry wants us to journal, but not to write reams of deep reflection. Her template journal page looks like this:
Just be there, so that you actually notice what you are doing, seeing and hearing. Then, no matter how crude your doodles, let your own interpretation of some part thereof appear on the page.
Tinti insists that just this kind of focus on individual things, events, and memories, along with a determination to bring just one such item to vivid life in a single scene, can bring a book into being. With examples from her novel, she convinced me she was right. For once, an author answered, clearly and in detail, that tired old panel question, Tell us about your process.
But best of all, Tinti doesn’t claim that it’s easy if you just use some technique. The Twelve Lives of Samuel Hawley took Tinti seven years to write – hooray! Answering a student’s question on her experience of writing the book, she began, “A few years in,…” Also, she had a proposal I really liked:
I feel like there should be a secret signal for any writer who has worked on a book for more than five years. Then, whenever someone corners us at a party and asks how the writing is going, we can salute each other silently from across the room.
Suggestions for the signal, readers? I vote for thumbsucking.
Now I’m ready to move on to Lesson Two on dogging one’s way through the middle, with “research” thrown in. I’ll get back to you on how that goes.
I was thinking the other day about the dying institution of marriage. The mystery I’m writing involves an inheritance which, in turn, hangs on the outdated concept of legitimacy.
Mind you, I’m all for dropping any stigma (if any remains) on being born “out of wedlock.” But honestly, older people, if you had been asked in your youth what major changes might occur in your lifetime, would you have predicted indifference to the presence or absence of marriage vows? Of substituting “if it works out” for “till death do us part”?
Anyway, I sat down and tried to come up with other dying institutions that I had thought would live forever. Lo and behold, nearly every one that occurred to me involved reading and writing — one of the core complexes of life for likely readers of this blog.
I had occasion to write something down for one of my grandsons not long ago. He frowned at the note – I thought my handwriting was the problem. I got no farther than, “Oh, sorry, that word’s….,” when he rushed to reassure me. “Oh, it’s okay, Grandma. I can read cursive script.” He can’t write it, though. The schools now teach printing, not writing, because who writes anything longer than a grocery list anymore?
Letters (in the sense of correspondence) no longer exist. Their factual content is now transmitted through email. Their creative, imaginative, playful and literary qualities are just gone. (Worse: their playful qualities are have shrunk and hardened into emoticons created by some wretch chained in an office cubicle.) Email is to letter-writing as tweeting is to thinking.
Now that apps have homogenized all forms of information transfer, “writing down” is no longer a distinct activity with defined functions in society. Do our grandchildren get the point of “The Typewriter,” the famous piece of music that duplicates the rhythm of typewriter keys, the ding of the bell at the end of the carriage and the slam of the carriage return? This tune, without comment, once conveyed “composition” or “news reporting.” (Click the link to hear the Vienna Philharmonic play it, with percussionist Martin Breinschmid on the typewriter.)
Editors are as the dodo. I am still unpublished, but I hear by the grapevine that publishers no longer employ such people. Or if they do, the evidence has vanished from much of what is published. My blogging colleague Eleanor Ingbretson recently read a mystery involving that nasty marine animal, the leech. It was spelled “leach” throughout. WTH. You know what I meant. (That link will take you to the blog of the same name, where you will find fellow mourners of the craft of words.)
(Subcategory of the above: use of the subjunctive. And don’t get me started on “may” and “might.”)
Paper is gone, too, or at least unnecessary. I think text is made of electrons now, but I really haven’t the faintest idea. Vandals burned the monastery libraries of Europe; hackers may yet wipe out War and Peace.
We have lived in the age of the Antonines, and Commodus is upon us. (Don’t bother me with questions when I’m being crotchety. Google it.)
Nowadays, even the Pope takes selfies. If you’re a committed writer and/or reader, though, you can get a better likeness than that. Share your shelfies, picture of your books. Give yourself a little leeway, and you can include your desk, your writing space and your reading corner. Why post a picture of your ugly mug? Show us your frontal cortex!
Here’s the most public of my shelfies, the bookcase beside my fireplace. It displays the books most worth looking at as objects. Almost all of those on the top two shelves were my mother’s or my grandmother’s. They’re bound in leather, tooled in gold. (The books, not my progenitors, though they were pretty hidebound, too.) The stretch of identical bindings is a set of officially worthy books, some of which are indispensable, like Pride and Prejudice and Wuthering Heights, though I’d already read those in paperback before it occurred to me to look through the family holdings. On the other hand, Lord Charnwood’s biography of Abraham Lincoln will probably be up there, unmoved and undusted, when I die.
The tall books on the bottom shelves are mostly art and coffee table books. I have no memory at all of their provenance. I think people break in at night and drop them off to free up their own shelf space.
Below, in extreme contrast, is The Holy of Holies. Books have to be canonized to get here, and for this purpose, I am the Pope. Most are fiction; a few belong on the history or science shelves. Atwood and Byatt are there, as are Pogo, the best of Diana Wynne Jones, and Perfection Salad, a study on the sociology of home cooking around 1900 that transports me to my grandmother’s kitchen. The woman in the picture is my best friend. A librarian, naturally.
Next, my Purgatory. These, combined, constitute the To Be Read pile. I’ll spare you images of the Lowest Circle (books that have been sitting around so long I can’t remember what they’re about, let alone why I bought them) and the Middle Circle (books I still firmly intend to get to, only not just now, because the purchasing impulse did not convert quickly enough into the buckling down impulse. There’s a lot of nonfiction here.)
Finally, the TBR Upper Circle. These are probably going to make it into my brain within a year or so. I hardly had to rearrange the piles at all to display all my major interests (widdershins from top left): writing, the Israel/Palestine conflict, mysteries and Buddhism. The mix stays the same all the way down. There are also a few specialized books picked up for research, for instance, a detailed description of a classic Yankee-clipper-era mansion and an endless account of everything known about the Abenaki people of New England. But I guess those come in under “writing.”
How about you, readers? What do your bookshelves look like? Are your shelfies a better likeness of the real you than what you see in the mirror?
Later addendum: Actually, it’s not your frontal cortex (which should have been “frontal lobe” anyway.) You read with your posterior parietal lobe. But somehow, “show us your posterior!” even with “parietal lobe” added, seems to change the tone.