Thoughts on Agatha (Jillian)

I have been hiding from the internet lately, in case somebody noticed. I've been languishing in creative silence for a while - to give my craft some room amidst a very noisy, self-important world. But something has caught my eye this fine day in August, and it again involves Agatha Christie... and the Daily Telegraph.

Today, in the DT, Laura Thompson makes the point that the publication of Agatha's private notebooks "will do nothing to reveal what made her tick." She does make an interesting point. Her novels were so clever it is no wonder that readers (or is it really the publishers?) are still dying to know how she was able to pull it off... believing that there must be some sort of magic embedded in her stories to make them work. The notebooks, apparently, reveal the scribblings and the notes she made that eventually gave way to her books... perhaps offering a glimpse into her own special writing process. But thinking as a writer, myself, I wonder: would I want my random, often-disorganized mess of proto-novel writings to be put on public display? After all, writing is such an intimate, highly personal art...

Thompson says:

She [Agatha] would have rued the publication of the notebooks, that is for sure. She gave away nothing; and that was how she liked it. Only in the six straight novels that she wrote between 1930 and 1956 did she reveal anything of herself, within the protection of a pseudonym. She was devastated when her secret identity, "Mary Westmacott", was exposed in 1949, even though the novels received reviews that most authors would have been glad to claim. The pseudonym, like the facade of "Agatha Christie" that she wrapped around herself, was a means to keep the world at bay.

She is herself a mystery - such that became the centre of the Doctor Who episode "The Unicorn and the Wasp". But when one attempts to open up her life and spread it out so that others can have a part of the mystery... it ceases to become sacred, respectful of how she preferred her legend (if it can be called such) to be carried on into history. Of course, very rarely does one have the choice to write one's legacy.

My thoughts about this article are mainly in regards to preserving Agatha as she is: a writer who chose to keep her writing protected under a mask, her secrets remaining secrets... and finding contentment in that.

I must return to work now. Trying to blog and answering the annoying phone is a daring feat all its own.

What's at Stake (Michelle)

Pardon the pun; but everyone's talking about vampires these days. Good ol' Twilight and that.

Here Neil Gaiman very thoughtfully and respectfully points out that our friendly bloodsucking fiends may be suffering from overexposure, recommending that if they "go back into the coffin" for another 25 years, they might reemerge as something new and interesting. I don't get the sense he's attacking any particular story (except maybe Anne Rice which he finds "mopey"), just that he's suggesting that it might be okay to stop now. Of course, everyone freaks out.

Here one blogger at the Guardian's books blog agrees, and scores of commentators weigh in. (Gaiman himself seems highly bemused that his little remark has become news --- see his blog.)

But here is a great commentary, very much worth reading, from Guillermo del Toro, director of Pan's Labyrinth and the upcoming adaptation of The Hobbit, exploring where our fascination with fangs comes from and what folkloric, primeval, and philosophical strains it speaks to.

I'm going to keep my two cents on the subject, since I'm saving up to buy a collector's edition of the Twilight saga. Ho ho.

Wolf II (Michelle)

Here is a picture of a wolf, perhaps more appropriate to the one Billy Collins is describing. Not a cartoon wolf, that is.

Wolf (Michelle)

I'm getting back into fairy tales --- I'm honestly never that far away anyway --- having just bought an anthology of essays by male writers on their favorite tales. This is a counterpart to Mirror, Mirror, On the Wall by women, which I read back in the fall.

And today I ran across a lovely poem by Billy Collins in my niece and nephew's poetry anthology (Poetry Speaks to Children) which got me thinking in fresh ways about the tales. No matter how much I think about fairy tales, there always seem to be new angles.

Wolf

A wolf is reading a book of fairy tales.
The moon hangs over the forest, a lamp.

He is not assuming a human position,
say, cross-legged against a tree,
as he would in a cartoon.

This is a real wolf, standing on all fours,
his rich fur bristling in the night air,
his head bent over the book open on the ground.

He does not sit down for the words
would be too far away to be legible,
and it is with difficulty that he turns
each page with his nose and forepaws.

When he finishes the last tale
he lies down in pine needles.
He thinks about what he has read,
the stories passing over his mind
like the clouds crossing the moon.

A zigzag of wind shakes down hazelnuts.
The eyes of owls yellow in the branches.



By the way, if anyone knows where I can find a good computer wallpaper of classic fairy tale illustrations (Rackham, Dulac, etc.) please tell.

Writing = Toasting Fork? (Michelle)

"Are you writing again? I can always tell when you're writing. You get this stunned look like you've stuck a fork in a toaster."

--- Bones, Season 1, "The Boy in the Bush"

Pace of Writing (Michelle)

Hey, it's okay. Got this one from The Writing Life, by Annie Dillard, which will probably get a full post of its own one of these days. I have very mixed feelings about it. But not about this gem of wisdom:

To comfort friends discouraged by their writing pace, you could offer them this:

It takes years to write a book --- between two and ten years. Less is so rare as to be statistically insignificant. One American writer has written a dozen major books over six decades. He wrote one of those books, a perfect novel, in three months. He speaks of it, still, with awe, almost whispering. Who wants to offend the spirit that hands out such books?

Faulkner wrote As I Lay Dying in six weeks; he claimed he knocked if off in his spare time from a twelve-hour-a-day job performing manual labor. There are other examples from other continents and centuries, just as albinos, assassins, saints, big people, and little people show up from time to time in large populations. Out of a human population on earth of four and a half billion, perhaps twenty people can write a serious book in a year. Some people lift cars, too. Some people enter week-long sled-dog races, go over Niagara Falls in barrels, fly planes through the Arc de Triomphe. Some people feel no pain in childbirth. Some people eat cars. There is no call to take human extremes as norms.

(pp. 13-14)

Scottish Falsetto Sock Puppet Theatre (Michelle)

I've been getting a lot of delight lately out of a wonderful shoestring (ho ho ho) theater company known as the Scottish Falsetto Sock Puppet Theatre. Here is their highly moving King Lear:

Basically, mainly, they're funny. Let us never lose sight of this basic fact.

But, they are also very witty, very well-informed parodies based closely on the actual texts they parody. The Socks are also a wonderful example of the truth that you don't need tons of fancy equipment to be witty, sly, wise . . . to be art. These socks would never have gotten out of their wellies (so to speak) if their creator (Kev Sutherland) hadn't had the confidence to start making campy, witty, well-rehearsed satires with the materials at hand.

Also, if you watch enough of the sublime Socks, you start to notice that they play off one another --- which is remarkable because as I understand it, they are played by one man. But I feel that he must be an extremely talented artist --- you can almost imagine him projecting his characters up his arms.

But mostly they're funny. Enjoy. I'm off to the beach. :)

On Beauty (Michelle)

As Jillian so rightly pointed out, the blog has been quiet for awhile now. And that is fine; sometimes, writers need quiet, and this writer, at least, did and still does. The Internet, with its manifold blessings, can be quite a source of unnecessary chatter, and I have been fleeing its many voices. I am in a stage where signing onto Facebook makes my skin crawl, where "going invisible" on Gmail gives me express pleasure...and where airing my views on the blog seems a highly unattractive prospect. Even if I do really only have 3-5 readers, give or take 0.7, who are really friends whom I don't mind confiding in at all!

But here's the thing...I didn't decide to start writing in this space because I wanted lots of people to hear me, but on the off chance that something I had to say, or something I stumbled across and passed along, might be worth being heard by someone, some day, because the barometric pressure was right, because it was raining, because there was a beetle crawling on the window, or for some other equally arbitrary reason. It was the idea of Whitman's spider, flinging "filament, filament, filament, out of itself / Ever unreeling them, ever tirelessly speeding them...Till the gossamer thread you fling catch somewhere, O my soul."

And that purpose has not gone stale --- in fact, it is the fresher because I feel a certain dread of all the blanched fields of information and opinion and banal fact available on the internet. Because I am more certain that I'm offering what I'm about to offer because it is a good, a beautiful thing, and I don't offer it because I need someone to know that I offered it.

Perhaps this sounds insufferable, but I don't mean to be. I just figure, if I find something nice, why not pass it along?

So, reader, I just read a fantastic book: On Beauty and Being Just, by Elaine Scarry. It's one of those rare books that is quiet to read, that shuts out other voices with its still, careful reasoning. It's philosophy, or literary criticism, but either way, I found it incredibly refreshing and moving in many places. Scarry treats issues such as the implications of beauty that fades (and feelings brought about by it); the connection between beauty and justice; the way beauty is a pact between object and beholder which imparts life to both.

Here is a sample from the beginning of the monograph:

Beauty brings copies of itself into being. It makes us draw it, take photographs of it, or describe it to other people. Sometimes it gives rise to exact replication and other times to resemblances and still other times to things whose connection to the original site of inspiration is unrecognizable. A beautiful face drawn by Verrocchio suddenly glides into the perceptual field of a young boy named Leonardo. The boy copies the face, then copies the face again. Then again and again and again. He does the same thing when a beautiful living plant --- a violet, a wild rose --- glides into his field of vision, or a living face: he makes a first copy, a second copy, a third, a fourth, a fifth. He draws it over and over, just as Pater (who tells us about Leonardo) replicates --- now in sentences --- Leonardo's acts, so that the essay reenacts its subject, becoming a sequence of faces: an angel, a Medusa, a woman and child, a Madonna, John the Baptist, St. Anne, La Gioconda. Before long the means are found to replicate, thousands of times over, both the sentences and the faces, so that traces of Pater's paragraphs and Leonardo's drawings inhabit all the pockets of hte world (as pieces of them float in the paragraph now before you).

Even the physical book is quite beautiful as it's currently published --- on lovely thick acid-free paper, with a smooth cover bearing a painting of various birds' eggs. Because a book on beauty ought to be materially beautiful if at all possible --- I don't think that's too shallow and worldly to say.

At Long Last (Jillian)

Things have been pretty quiet on this blog for quite some time now. So, I thought I'd begin again. Today's item of notice: according to the Daily Telegraph, the one millionth word is about to be added (officially, I assume) to the English language. The candidates include: "noob", "defriend", and "greenwashing." Huh. Interesting how language evolves and, apparently, expands like the universe.

I love words, don't you?

Skellig the Opera (Michelle)

David Almond's Skellig is a wonderful, lyrical book. And now, apparently, it's an opera --- which I actually think makes complete sense.

Here at the Guardian's Books Blog you'll find Almond's reflections on the process of adaptation. It's fascinating and rich, whether you're interested in adaptation or not. I'm always intrigued by the ways in which a single story can exist in multiple media; but I'm also intrigued by the analogy that Almond draws between his own writing and music before he ever dreamed that Skellig could be an opera. In writing like Hemingway or Flannery O'Conner, he was also writing like Purcell or Monteverdi. An amazing act of analogy.

A Bit of Card on Character (Michelle)

I have just spent a (frankly unpleasant) day held captive to Orson Scott Card's Speaker for the Dead. I just couldn't put the darn thing down, which meant that in the course of one day, I have witnessed quite a few horrors. I don't usually resent being drawn into a novel as though it were a black hole --- quite the contrary --- but today I did. I still don't know if I liked it or not, retaining the prisoner's dull hatred for her captor that prevents me from making a clear judgment.

Some interesting reflections on character, though, from the novel's preface. (I'm working with a 1991 TOR paperback.)

Most novels get by with showing the relationship between two or, at most, three characters. This is because the difficulty of creating a character increases with each new major character that is added to the tale. Characters, as most writers understand, are truly developed through their relationships with others. If there are only two significant characters, then there is only one relationship to be explored. If there are three characters, however, there are four relationships: Between A and B, between B and C, between C and A, and finally the relationsihp when all three are together.

Even this does not begin to explain the complexity---for in real life, at least, most people change, at least subtly when they are with different people...Our whole demeanor changes, our mannerisms, our figures of speech, when we move from one context to another. Listen to someone you know when they pick up the telephone. We have special voices for different people; our attitudes, our moods change depending on whom we are with.

So when a storyteller has to create three characters, each different relationship requires that each character in it must be transformed, however subtly, depending on how the relationship is shaping his or her present identity. Thus, in a three-character story, a storyteller who wishes to convince us of the reality of these characters really has to come up with a dozen different personas, four for each of them.

Something to think about. Something sobering, because as I try to count my main characters, I am seized with fear that I have at least four. I try to comfort myself with remembering that Dickens certainly doesn't follow the three-character rule. Then I remember that I'm not Dickens.

Comfort Reading (Michelle)

I've figured out why Stephenie Meyer feels like my big sister: she loves all the same books.

Here's her list of favorites on Amazon. It's legit --- the link to this Amazon list comes from her website.

Believing (Michelle)

In Dorothy Sayers' Gaudy Night, the detective Lord Peter Wimsey urges Harriet Vane, a writer of mysteries, to stop writing clockwork whodunits and explore real characters and real emotions in her mysteries. She responds that she could do it, but it would "hurt like hell." He answers: "What difference would that make, if it made a better book?"

You can, of course, as a writer, hide from personal and universal realities as easily as you can as a non-writer. But it's a dangerous business, putting your pen to paper (to paraphrase Bilbo) --- if you're really trying to do it well, there's no knowing where it might lead to.

I'm discovering at the moment, for example, that writing does not allow you to get away with only saying you believe something. Without giving away the interminably dull details of my novel, it's supposed to have an unlikely happy ending driven by, let's say sloppily, love.

Trouble is, I can't envision it; and I have finally figured out that this is because I don't believe sufficiently in the incredible redeeming power of a single act of love. Oh, I want to believe it, which is probably why the novel exists at all, but I don't believe it enough yet to write about it.

But I kind of hope that by writing about it, I'll believe it.

So apparently, writing can demand rigorous integrity of you, force you to admit your failings. It can utterly change you. And yes, it can hurt like hell.

p.s. I really, really wanted to use the tag "Agatha Christie's writing desk" again. Soo...I figured since I was talking about mystery novels...it sort of counts...?

Birds (Michelle)

Pennsylvania has finally surrendered to spring, and the yard is full of dandelions, greenery, and birds. I watched six goldfinches jockeying for position in a flowering tree the other day, and I am trying to learn a few birdsongs. My sister and her children are embarrassingly good at identifying birdsongs --- while I'm still not entirely convinced that kildeer is even a bird, really.

So, spring is sprung, and it's appropriate to return to the subject of birds.

Here, Adam O'Riordan at the Guardian's books blog wonders why birds remain such powerful, fertile images.

Here, there are recordings of birdsongs. As a novelist, at least, I find that I am constantly in need of expanding my concrete knowledge of the world --- to describe not a tree, but an oak, a maple, an ash. Likewise, with birds --- who croaks, who warbles, who screams.

Guerilla Theater (Michelle)

My lovely and talented friend Kelsey posted this video on her Facebook profile. If you are unfamiliar with the concept of "guerilla theater," basically it involves organizing some kind of performance that appears to happen spontaneously in a public place with a highly unsuspecting audience. The wonderful occurrence in this video happened in a train station in Antwerp.



Mostly, I just deeply deeply wish I could have been there. Life should be like this more often. We live in limbo between the artificial and the mundane anyway, so why not enjoy it?

Elizabeth Gilbert on Creativity

Elizabeth Gilbert, author of the recent best-seller Eat, Pray, Love, discusses modern ideas of creativity and possible alternatives to the soul-crushing pressure of trying to be a Genius or Artist-Hero. She talks about the subject with a lot of warmth and humor, and I at least was very moved by it. One of those hand-comes-out-and-takes-yours moments.




This is a rather lovely video from TED.com, a collection of interesting talks by interesting people distributed under the Creative Commons copyright.

Why NOT combine jewel thieves, flying buses, wormholes, and man-eating aliens? (Michelle)

So, a few days ago I watched an interview with Russell T Davies in which he discussed the (then) upcoming (now past) Doctor Who Easter special, "Planet of the Dead." This is (more or less) how he summarized it:

So, the Doctor gets on a bus which, by coincidence, has also been boarded by an international jewel thief. They're actually in the middle of a police chase when the bus is transported through a wormhole to an alien planet, and they have to somehow get this bus moving when it's buried in sand, and the Swarm is on the way, so it's a race against time...really, a cautionary tale about the sort of thing that could happen to anyone.

Perhaps this sounds like drivel to you, but plots like this are the reason I doubt that I will ever get tired of Doctor Who --- it is composed of sheer narrative exuberance. This is how Doctor Who "saved my writing": at a time when I was very, very tired, and very, very sad, it helped me remember that story-telling is, above all, tremendous fun.

Russell T Davies' creations constantly remind me to enjoy my writing and my imagination, because the stories seem to start from this place of, "Hmm, what would I like to write about? Oh! I know! Jewel thieves! That's fun...and...wormholes! That's fun too! And desert planets! We could even film in Dubai, maybe..." And yet, from this place of ludicrous, larger-than-life, over-the-top, incredibly hyphenated narrative exuberance, comes what Julie Gardner calls "full-blooded emotion." It's possible to enjoy a rip-roaring good yarn and at the same time think about really important things like, say, the transience of the created universe.

Er...I'm trying to think of some clever way to end this post, but all my ideas are sort of trite. Another "All hail the BBC?" Another apology for posting on Doctor Who again? Mostly, I'm just wondering why I feel the need to start so many posts with "So." I think it's some leftover Anglo-Saxon impulse. Perhaps I should switch to "Hwaet" whenever I want to say "So."

Eating Words (Michelle)

A small point, but one that can't escape the perfectionist:

I discover on revisiting The Sun Also Rises that the main character's name is not Nick but Jake. Whoops; embarrassing error. And the "selfish, thoughtless whatsername" is Brett, in case anyone was wondering. And Brett's not so bad...she's just lost like everybody else in that book.

I Shall Not Live in Vain (Michelle)

Just because we're all about redefining "success," here at Daedalus Notes...

Here's one from Emily Dickinson:

If I can stop one heart from breaking (#919)

If I can stop one Heart from breaking
I shall not live in vain
If I can ease one Life the Aching
Or cool one Pain

Or help one fainting Robin
Unto his Nest again
I shall not live in vain.

(c. 1864)

Just a Story? (Michelle)

A friend sent me this article by Alexander McCall Smith, author of (among other things) The Ladies' No. 1 Detective Agency. Smith discusses the deep connections that readers can feel to fictional characters.

My friend sent this to me with a note saying that she thought of me. This is ignominious proof of my tendency to become over-involved with fiction, and while I do continue to insist that I am not in love with Doctor Who, no one ever believes me. (It's terribly insulting.) I know I'm not the only one who knows the difference between fiction and fact but doesn't necessarily feel that difference. I knew someone in college who with every fiber of her being wanted to stand between Nick and the thoughtless, selfish whatsername in The Sun Also Rises.

In any case, Smith's basic basic point is that we respond to stories as if they're real. This is simply how they're made. He writes:

The truth is that for many of us fiction is in some sense real, and that what happens to fictional people is, in a curious way, happening in the real world.

It's trompe l'oeil again. We cry or laugh because we accept, however momentarily, that it's real. Smith teases out some of the interesting ways in which detective fiction specifically relies on this as a genre.

Writing is a moral act: What you write has a real effect on others, often to a rather surprising extent.

Write responsibly, I guess.