The Twelve Days of Christmas: Mayhem of Prepositional and Conjunctive Proportions

On the first day of Christmas, my True Love gave to me a partridge in a pear tree.

Well this is nice, I thought. She’s a pretty bird, and I’ve heard the eggs are quite good, though smaller than chicken eggs. I’ve read that pear trees need to be planted in early spring, so I’m hoping that it will be alright in its container until then. Just to be safe, I’m keeping it on the porch.

“What kind of pear is it?” I asked.

My True Love shrugged.

On the second day of Christmas, my True Love gave to me two turtledoves and a partridge in a pear tree.

I ran out to the big box pet store and returned with a couple cages. I put the partridges in one and the doves in the other. The tree went on to the porch with the first.

“Good thing you bought a second,” I said, “because you need at least two to guarantee pollination.”

My True Love smiled.

On the third day of Christmas, my True Love gave to me three French hens, two turtledoves, and a partridge in a pear tree.

“Bresse chickens,” my True Love said. I was grateful they were already caged.

“Thank you, Love.” I stuffed the two newest turtledoves in with the other couple, and tossed the third partridge into the last cage. “You really want us to have some pears, don’t you?” The third tree went out on the porch as well.

On the fourth day of Christmas, my True Love gave to me four calling birds, three French hens, two turtle doves, and a partridge in a pear tree.

“You’ve really got a thing for birds, don’t you?” I asked. “Good thing we’ve got a bit of garden out back. Should we build a coop?” The four calling birds had their own cage as well, and they happily chirped away. But with a half dozen French hens and another half dozen turtledoves, I thought we might need to begin construction soon. The four partridges were certainly getting plump on the feed I bought, and the back porch was a bit crowded.

On the fifth day of Christmas, my True Love gave to me five golden rings, four calling birds, three French hens, two turtle doves, and a partridge in a pear tree.

“Now this is a bit more reasonable,” I admitted as I slid the rings on to my ring fingers, pinkies, and left index finger. The eight calling birds crowded their cage and we had to buy a second cage for the nine French Hens–“Bresse chickens,” My True Love reminded me.

We also purchased an extra cage for the eight turtle doves. The five partridges had needed another cage as well, and the entire living room began to take on a foul–pardon the pun–odor. I strung a clear sheet of heavy plastic against the house and moved the five trees under it.

“We need to buy lumber,” I announced, and began surfing the web for chicken coop blueprints.

My True Love said nothing.

On the sixth day of Christmas, my True Love gave to me six geese a-laying, five golden rings, four calling birds, three French hens, two turtledoves, and a partridge in a pear tree.

“Love,” I insisted, “you’ve really gone too far. What are we going to do with these geese?” My fingers shone brilliantly–ten gold rings on ten digits–but we had twelve calling birds, twelve … Bresse chickens, I reminded myself dutifully … ten turtledoves in two cages, but because we didn’t want to break up the couples, one cage held four and the other six, and a half dozen partridges, all befouling the house.

My True Love shrugged and smiled and began filling a plastic kiddie pool with water..

“Oh well, there’ll be plenty of eggs. That’s for certain.”

On the seventh day of Christmas, my True Love gave to me seven swans a-swimming, six geese a-laying, five golden rings, four calling birds, three French hens, two turtledoves, and a partridge in a pear tree.

“But this is simply too much!” I cried. “The seven swans not only swim, but snap and hiss at the neighbors, their dogs, and cats. I placate the neighbors with eggs from our twelve geese and our eighteen Bresse chickens. But the honks of our geese drown out the sixteen calling birds. I wish they might be quieter, like the cooing of the twelve turtledoves or seven grouse. Yes, those are grouse, which are similar to partridges but not quite the same.” I wrangled the seventh tree under the clear plastic, then wondered how my coop, still only half-built, had already become obsolete in the face of such numbers.

My True Love didn’t say a word, only diligently collected the scraps from our half-built coop.

On the eighth day of Christmas, my True Love gave to me eight maids a-milking, seven swans a-swimming, six geese a-laying, five golden rings, four calling birds, three French hens, two turtledoves, and a partridge in a pear tree.

“How can you give me people?!” I stopped one of the women who led her Ayrshire into my garden-turned-barnyard. “You know there are laws against this sort of thing?” She shrugged and handed me a pail of milk as her cow chewed my lawn. My True Love had assembled a water trough out of coop scraps. The cows drank from it until the swans started swimming in it.

No amount of rings, I thought, though I glittered more than ever. Still, where would I put the milk? The refrigerator was full of eggs, and I feared we would need to convert the downstairs into an aviary.

On the ninth day of Christmas, my True Love gave to me nine ladies dancing, eight maids a-milking, seven swans a-swimming, six geese a-laying, five golden rings, four calling birds, three French hens, two turtledoves, and a partridge in a pear tree.

I holed up in the attic doing math on a pad stained with dove excrement. One of the maids brought a cow inside to warm her up, and the beast kicked over some cages. We managed to get the nine partridges and twenty-one Bresse chickens out to the coop. No help from the dancing ladies, thank you. But sixteen turtledoves and two dozen calling birds made their way upstairs. So did some of the … two dozen geese. We’ve been finding eggs between the cushions, on the pillows, under the beds… and my True Love? My True Love just smiles and gives the neighbors milk to go with the eggs to keep them from calling the police on our twenty-four hour racket.

On the tenth day of Christmas, my True Love gave to me ten lords a-leaping. Yes leaping. Over the furniture, through the house, across the cowpat-strewn former garden. And another nine ladies dancing, eight maids a-milking, seven swans a-swimming, six geese a-laying, five golden rings, four calling birds, three French hens, two turtledoves, and a partridge in a pear tree.

The lords and ladies quickly assembled a performance set to lowing, honking, and clucking. Well-choreographed, I think, though I’m no expert on modern dance. Not my thing, really. The eight ladies who weren’t matched up with lords began juggling and tossing and posing with the eggs and milk, so now there’s room in the refrigerator again, or so my True Love says. I haven’t come down from the attic yet.

That evening, my True Love placed rings twenty-six through thirty on my fingers. I can’t move them anymore. Good thing a simple waving away only requires the wrist.

I smell French toast. Or is that French hen? I’m sorry. Bresse chicken.

On the eleventh day of Christmas, my True Love gave to me eleven pipers. Piping. All of them. And yet another ten lords a-leaping, nine ladies dancing, and eight maids a-milking. Where is my True Love finding so many people willing to be sold? I’m sure there’s a law, and the constable will be knocking any moment. There are also an additional seven swans a-swimming and six geese a-laying. All of them adding to the ceaseless racket. Five golden rings aren’t enough. How about earplugs, a cot, and a pillow that’s not soiled, so that I could have one blessed night’s sleep? Oh, and yes, just for fun, four more calling birds, three more French hens, two more turtledoves, and–no, you don’t say? Another partridge in another pear tree. Joy!

I am surprised that we haven’t been arrested or evicted yet. If I check my True Love’s accounts, will I find that we are penniless? Destitute? But the pipers’ sound is soothing after the first four … five … six hours. The animals seem to have calmed somewhat, and the smell of chicken and waffles makes my mouth water even up here among the turtledoves a-pooping and calling birds a-flapping and a pair of maids a-milking who thought they were alone and then tittered away red-faced when they discovered that they weren’t.

On the twelfth day of Christmas, my True Love gave to me twelve drummers drumming. More loudly and consistently than the pipers piped. But then, of course, my True Love so thoughtfully gave me eleven more pipers to match the sound. And another ten lords a-leaping over the broken furniture and chicken coop, nine ladies dancing on the overturned trough, and eight more maids a-milking eight more Ayrshires a-lowing. Seven more swans a-swimming, six more geese a-laying, four more calling birds, three more French hens, two more turtledoves, and another partridge, all set loose in the house, now fully a barn. And another blessed pear tree under the plastic. Five more golden rings? My True Love has got to be a-kidding.

For the record, I’ve now hosted twelve drummers, twenty-two pipers, thirty lords and thirty-six ladies, some of whom also juggle. Forty maids and forty Ayrshire cows, though perhaps only thirty-eight as those two who stumbled across my attic hiding place seem to have disappeared entirely, along with their cows. Forty-two each of swans and geese. I have forty gold rings all safely tucked in a paper sack to pawn, either for bail or to start my life anew somewhere else. Thirty-six calling birds flapping through the eaves. We had thirty French hens, but many mouths to feed. The twenty-two turtledoves have mostly flown the coop as well. And the dozen partridges? Dinner, too, by the smell.

But it seems I also hosted a forty-eight hour music and dance extravaganza, during which time the drummers and pipers did a bit of community service and planted those dozen trees in that damp, muddy, well-trodden, well-fertilized earth. And it seems my True Love sold tickets, and food and drink besides. It was a smashing success, apparently, and all that remain in the new pear orchard are a real estate agent, my True Love, and I.

“The neighbor wants to buy,” the agent says. “The house is a barn now, true, but the land, the orchard, he wants it all. Strangely, he’s willing to pay top dollar.”

“Probably to get rid of us,” I say.

My True Love shows me the bank deposit slip from our impromptu celebration. It’s more money than I’ve ever seen.

I think I just had an epiphany. We may do it again–some place new– next year.

Mason Hall. Three.

The woman who came to retrieve Cara was neither as deferential as Penny nor as icy as Ms. Carrington. In fact, with her mass of black hair held back with a white bandanna and her faded sweatshirt and denims, Beatrice Thurmond looked too laid back, too chill to be a supervisor. She gave Cara a warm smile.

“You look like your Mom. And you got a touch of your Pappy in you.”

“You knew Pappy?”

She nodded as she ushered Cara through the double doors. “Your Mom and I grew up together. She didn’t say?”

“She said I had an opportunity that I shouldn’t waste.”

Bea laughed. “That’s your Gran speaking. Audrey was always torn between those two. Loved her Daddy, but feared her Mama more.”

“Sounds about right,” Cara said.

They passed through the great room, where Ms. Carrington dealt with a fussy-looking old man in a bathrobe. Mr. White waited at the foot of the stairs; he gave Cara a slight nod and a smile, which she returned.

When Bea opened the door to the administrative wing, she took note of the scene unfolding in the great room.

“Did you come in with Mr. White?” She asked.

“You know him, too?”

“He’s a regular,” Bea said as they walked.

“Ms. Carrington doesn’t seem to like him.”

“Mm hm. Which brings us to rule number one about working in Mason Hall. What Ms. Carrington says goes.” Bea opened a door and led Cara into a plush looking office with strong wood furniture. But something didn’t feel quite right.

A pair of leather wingbacks had been placed opposite the heavy desk. The two women sat there.

“It’s a real nice office.”

“Carrington does like to make sure she has the best.”

“Oh.” Cara surveyed the room again and realized what felt so wrong.  There wasn’t a single photograph or personal effect anywhere. No knick-knacks. Generic paintings of landscapes. Not even a plant or a vase of flowers.

“But it doesn’t feel very friendly.”

Bea pursed her lips. “Make sure you don’t say that in front of her.”

“Huh?”

“Be deferential. Better yet, in Ms. Carrington’s presence, a smile and nod do better than a word. Got that?” Bea was suddenly stern, all traces of friendliness gone.

“I feel like I’m about to be fired.” Cara stared at her pumps. “Which is strange because I haven’t even been hired.”

Bea sighed. “This isn’t how I wanted to bring you on board.”

“No?”

“Nothing about this is standard, Cara. I would have interviewed you on my own, in the staff room, the way I interviewed the other folks on Housekeeping. Carrington leaves well enough alone when it comes to us. Be seen and not heard. Report problems promptly. Can you do that?”

“Of course I can.”

“I know it. Audrey wouldn’t have raised a fool, I don’t think. Not with parents like hers.”

“So why are we meeting here?”

“At a guess, I would say it was because you walked in with Mr. White. So now I’m going to ask you to do something very important.”

Cara examined the leather chair arm and nodded. “Uh huh.”

“No matter what Mr. White said or did—“

“He didn’t say or do anything.”

“No matter what Mr. White said or did, he only said good morning and sheltered you from the rain. Got that?”

Bea had a look of determination that reminded Cara of her mother, or of Gran.

“Well that’s easy enough. That’s all he did.”

“Good.”

The conversation turned casual then, as if Bea had turned a switch from formal to casual. Even when Ms. Carrington arrived wearing that same slippery smile she gave Mr. White, Bea remained casual. Quiet, yet casual.

Mason Hall. Two.

Days like this made Cynthia want to scream. The pounding rain. The flooded inbox. A leak in the west wing. Supply delays. State inspectors. Staffing issues. Mrs. Grant’s vendetta against Mrs. Cornelius. Mr. Oliver camped out in the great room. A dozen other residents with twice as many needs and complaints. And God forbid …

She glanced out the window.  “Christ,” she said and picked up the phone. “White’s at the door, along with a girl. Hold them.”

The person on the other end spoke briefly.

“I don’t care. Just keep them there.”

Mr. Oliver, still in his pajamas and bathrobe, climbed from his usual leather chair and shuffled toward her as she strode across the room. He waved at her, mouth already moving.

“Ms. Carrington, I—“

She held up a red-taloned finger. “I’ll be with you in a minute,” she replied.

He backed off. “Oh, oh. Okay.”

Like the rest of the great room, the doors to the foyer were dark wood and brass. Heavy. She pushed one open and slipped inside, She pulled her blond hair behind her ear and adjusted her glasses as she approached the pair.

“Mr. White. Good to see you again.” She reached out her hand. 

He watched her hand as she approached, like it was something dangerous. Then took it quickly, stopping her short. “Ms. Carrington,” he said. 

“I assume you’re here to visit with Mr. Mason?”

“That’s correct. I left my umbrella in the rack, as usual.” 

“May I take your coat?” She motioned to the small, empty coat rack.

Mr. White still wore his rain-spattered topcoat. “I’ll keep that with me, thank you.”

She smiled thinly. “Then let me escort you upstairs.”

“I know the way.”

“Just the same,” she said. “It would be my pleasure.” Cara didn’t think Mr White was nearly as friendly with Ms. Carrington as he had been with her.

Carrington turned to the attendant behind the glass, a mousy woman who seemed to shrink even further away.

“Penny, I’m going to escort Mr. White to Mr. Mason’s quarters. Would you please have Bea come to escort Miss Baker to my office.”

Penny picked up the phone—Cara assumed she was dialing Bea, as Mr. White and Miss Carrington disappeared through the doors. 

Mason Hall. One.

“If you had only listened to Granny, you could be off to college, too,” Audrey chided as gently as she could. 

“If I wanted a degree in nursing or teaching or business, yeah.”

“Those are perfectly respectable careers.” Audrey pushed the pantsuit into her daughter’s hands.

Cara groused. “But they’re not me. I want to be on stage. I want to sing. Dance—”

“Sleep on a grate in Center City.”

“Mom!”

“I never said you couldn’t sing and dance and get on stage.”

“Granny did.”

“Mm-hm. Because she don’t want you sleeping on that grate. And neither do I. You need a fallback.”

“And scrubbing old people toilets in Mason Hall is a fallback?”

“Until you find something better. And maybe it’s enough. But I can’t have you melting into my sofa with no job, no career, no hope. So until you make a plan, Mason Hall it is.” 

Audrey had given her daughter a week after graduation to enjoy her newfound freedom, then snatched it away with a word from her sometimes-friend Beatrice. Cara’s classmates had gone to Temple or CCP, but her friends—what few she kept up with—had mostly entered a desperate post-pandemic workforce where jobs were plenty but living wages scarce. A few of them had already made the arrest columns in the Inquirer or the Daily News. One was already in his grave.

“You can’t do an interview dressed like a hobo,” Audrey insisted. 

“It’s ragamuffin,” Cara corrected acidly. “Check with Granny.” 

“Your grandmother just wants what’s best for you.”

She looked away so that her rolling eyeballs wouldn’t cause a fight. She was already treading on dangerous ground. “It’s just a part-time job. Housekeeping.”

“It’s still a job,” Audrey insisted. “At Mason Hall.”

“My jeans are fine for Mason Hall.” Some part of her had given up, willing to fulfill the ragamuffin description.

Audrey hauled her only child to the bedroom. “No. Beatrice says you could be a shoo-in for this. You leave nothing to chance.”

Now as she sat in the car, she found a new worry. “The torrential rain is going to dash Audrey Baker’s hopes,” Cara muttered. 

Sheets of water battered the windshield, smearing her view. The red bricks and black shutters of Mason Hall, a mansion-turned-assisted living facility, were geometric splotches of color masked behind white and bright green streaks of young summer birch trees. The scene ebbed and flowed with the downpour.

Cara could not have felt more out of place, dressed in her mother’s second-hand navy pantsuit and battered pumps the color of mud. Well, that might actually be mud, thought Cara, as she reached down and brushed at her leg. It was a dash from their row home across the puddles to the ’83 Chrysler Malibu Audrey had inherited from her late father and that Cara, in turn, had come to own. 

“Pappy’s car. Mama’s clothes. You really are a wreck.” She twisted around, searching the back seat for an umbrella. The jacket was tight where she wanted it loose; loose where she wanted it tight. No umbrella.

A shadow filled her driver’s side window. A rap on the glass. She turned to see the smiling face of an old man under an oversized red and white umbrella. She rolled the window down slightly.

“Can I help you?”

“Saw you pull in,” he said. “I’m guessing you’re short an umbrella?”

“Yeah.”

There was a twinkle in his eye. His hair was close cropped and gray. He smelled strongly of aftershave. His tie was wide and his topcoat old. He reminded her of pappy. “May I escort you inside?”

“Thank you,” she said and rolled up the window. He stepped back so she could exit, and together they braved the weather.

A Visit to October Country

Well. If you read my last post, you’ll know that I’m now shopping a novel manuscript that I thought I had completed two years ago, but then got enough similar feedback that I decided to re-teach myself the fundamentals and hire an editor so that I could revise it properly.

Now that the shopping–and praying, hoping, begging, and negotiating with any of several greater and lesser deities–is underway, I am turning my attention to my next projects. Yes, plural. I can’t remember if it was something I read of Neil Gaiman’s, or something he said at his talk in Boston earlier this year, but I have this sense that he keeps two projects on the fire at any time. So here are are mine:

First, know that I have three other manuscripts in various states of outline and draft. One is a bit of an unconventional superhero story. The second is a supernatural horror and adventure tale. Both are interesting, and I’ll get around to them yet, but my priority novel project is a science fiction novel on a far away planet in the distant future. There is a global environmental disaster, a certain penchant for tradition, and a crashed battleship engaged in a war unrelated to the planetary inhabitants. There are three sisters, a brother, and whole lot of squabbling. And there’s a city, and a nunnery, and a cave in the mountains. And a great deal of mis- and non-communication. We’ll see how they combine together.

But while I’m working on that, I’ll also be working on a collection of short stories. See, it goes like this:

As I was searching for agents, one of them expressed a desire on her website to find the next Ray Bradbury’s October Country–a collection of macabre short stories that illustrate both Bradbury’s fantastic prose and, unfortunately, a 1950s mindset that doesn’t fare well in light of a modern understanding of human diversity. Human condition? Yes. Human diversity? No.

Now, this is not my first experience with October Country. Several years ago, I was actually in a stage production based on some of his more accessible tales, and on opening night he called us from his home in Los Angeles to wish us well and to break a leg.

So here I am, reading this agent’s website, reminiscing on the past, and thinking about my own pile of short story efforts that could use some crafting and rethinking. And I thought, well, why not? So I purchased a copy of the book and have been alternating between reading stories and crafting my own tales built from little kernels of idea stuck between the teeth of his prose. It’s really a joy to me, because I love his prose, and he, along with Ursula LeGuin and Neil Gaiman, command the style of prose I would most like to emulate.

So here, to celebrate my embarkation on my next writing journey, is the opening to his collection, a piece that we used to open our own play.

October Country

. . . that country where it is always turning late in the year. That country where the hills are fog and the rivers are mist; where noons go quickly, dusks and twilights linger, and mid-nights stay. That country composed in the main of cellars, sub-cellars, coal-bins, closets, attics, and pantries faced away from the sun. That country whose people are autumn people, thinking only autumn thoughts. Whose people passing at night on the empty walks sound like rain. . . .”

Before I slip off to the Dreaming this evening, I did think I would answer a question you might have on your mind: what will Nic do if the agent doesn’t accept his collection? Well, easily enough–I’ll shop it elsewhere. And yes, I’m trying to land the individual pieces in literary journals as I write them.

Two Years Ago…

Two years ago this month, I shopped my manuscript to a handful of agents. By handful, I mean six. Two of them I had been in touch with via the Boston Writing Workshop. They both had the same response to my manuscript: “Loved the premise, but the writing isn’t what I’m looking for.”

I spent all of about fifteen minutes pondering what that meant and poring over my manuscript. Very quickly, it became apparent that I depending on some words more than others, that I wasn’t letting the reader immerse in the scenes, and that my turns of phrase were at times awkward.

It would have been easy to give up. I read Twitter often enough to know that others have felt the same way, and for lesser hurdles. But what drives me is the story, so I took steps to fix the issue.

First, I took a break from the book to study my writing more, and to study the writing of others. I used LeGuin’s Steering the Craft to work through my way with words. I’ll probably do it again this winter.

Second, I read—voraciously. For the first time in a while. I read all of the EarthSea Cycle. Radio Silence. The Temperature of Me and You. Divine Secrets of the Ya-Ya Sisterhood. Running with Scissors. The Stationery Shop. The entire 12 graphic novel set of Sandman. Parts of Lives of Girls and Women. Possessing the Secret of Joy. The Things They Carried. The stack of books by the bed is no smaller than it was before. I read like I was a thirsty man in the desert, desperately searching not just for story, but for words. Rebecca Wells’ reliance on scent. LeGuin’s exercise in warm colors. Munro’s description of a country road. I don’t know that we remember every word in a story. We remember the feelings words evoke, and that’s part of the challenge of writing: Did you get the precise words to capture the exact feeling?

The third thing I did was hire a former colleague as my editor. She did a no-holds-barred analysis of my manuscript, questioning anything that she either could not follow that did not ring true. She held up the mirror … no. She held up the magnifying glass, and made me look closely. In the process, she made me a better writer.

So why am I saying all this? No, I did not find an agent. Not yet. But I did begin shopping my manuscript again this weekend. I will shop it to more than a half dozen this time. There is no guarantee I will succeed, but there are always other options for sharing a story. And that’s where my allegiance lies: to telling a good story that people will want to read. In the meantime, I’m on to the next project, because … well, there’s always more to write, isn’t there?

A Flip in Dialogue Changes a Character

So I was a fan of Alice Oseman’s Heartstopper before it became a Netflix show and a cultural phenomenon. Like many other LGBTQ people, this is one of those stories I wish I had when I was a kid, along with Saenz’s Aristotle and Dante books and the Young Avengers. Since the Netflix release, I have re-read the comic and watched the show a few times, and I noticed a particularly jarring moment that keeps jumping out at me. Note that if you have seen the show but not read the comic, there will be spoilers here.

The scene takes place the morning after Harry Greene’s birthday party, when Charlie and Nick are interrupted by Charlie’s mom, Jane Spring. The dialogue in the comic and the graphic novels is as follows:

Jane: Nick I didn’t know you were coming over?

Nick: Um, Er, Yes.

Charlie: He’s just picking up a jumper he left here last week.

Jane: You could have at least changed out of your PJs, Charlie. Don’t forget we’re going to Grandma’s later.

She leaves them in the foyer.

In the Netflix adaptation, Oseman has flipped Jane’s last two lines of dialogue and altered the verb tense:

Charlie: He’s just picking up a jumper he left here last week

Charlie’s Mom: Right. Um, well don’t forget we’re going to Grandma’s this morning, Charlie. You could at least change out of your pajamas.

In the comic description, the change out of the PJs suggests a set of norms for how to appear when a friend comes to call, announced or otherwise. But in the program, Jane seems to temporarily put up with Nick’s presence, reminding Charlie that there are other priorities and he should be prepared for them. She knows something is up, but chooses to gloss over it for the time being.

This change in dialogue and the tone in which the actress (Georgina Rich) delivers them suggests a higher level of antagonism toward Charlie and Nick than appears initially in the comics. Of course Charlie and Jane do come into conflict later (and I can empathize, recalling all the conflicts I had with my mom on the road to acceptance and mutual respect). But this flip keeps chewing on my sensibilities as a reader and writer. I suspect it’s Oseman laying a firmer foundation for the dramatic tension to come in seasons 2 and 3 (and which follow in the comic). She has done this in other parts of the TV script as well, where the medium requires a greater build than what she provided in the original comics.

I am eager to see if my concerns about Jane Spring being a greater antagonist toward Charlie will be played out in the show, and I am amused by how just this little flip in dialogue has changed the way I perceive her, from overprotective parent in the comics to borderline disdainful of her son on TV.

Fanboying…and Writer’s Block

Last night my husband and I took a brisk walk to the Orange Line, rode down to Chinatown, and had a delightful meal at Pho Pasteur. Boston is far more accessible now than it was when we lived at the end of a commuter line. I love train rides, but thankfully the time is shorter and options greater now that we only have to use the T. We don’t have to leave the car parked in a public lot, departure deadlines are more flexible—we don’t have to take the last train out an hour before we’d like, and there’s no more sitting in North Station terminal, shooing stunningly brave pigeons from snatching at leftovers.

Neither of us can tell whose birthday present it was—I thought they were his, he insists they were mine. But seeing that we’re almost halfway between the two, it’s not really a thing that matters. What matters is that he managed to find two tickets to A Conversation with Neil Gaiman at the Colonial Theatre on Emerson College campus, right across from the Central Burying Ground on Boston Common, which I found amusing, as I love The Graveyard Book. Well, I love most of his work, anyway.

The line for his books transcended what either of us thought reasonable—primarily because we’ve just had to downsize and still aren’t where we’re likely to end up staying. Why add when you know there’s more subtraction coming? So we muddled though the crowd, out of the lush red, gold-trimmed foyer and found our seats in the balcony. Dancers and musicians looked down on us: painted faces on the ceilings and walls, golden musicians awaited the proceedings above the boxes. Like many old theatres, the balcony seats were designed for the smaller people of another age, so we crowded in—a row of six couples, all strangers with less rom than eggs in a carton, perched in potentially vertiginous space. All well and good. Neil Gaiman was going to speak. Tom Waits, Nina Simone, and Johnny Cash serenaded us over the speakers in the run-up.

Gaiman came to the podium in all black—no surprises—and opened with an unpublished poem about Batman dedicated to Neal Adams, who had passed earlier in the day. He read “Shoggoth’s Old Peculiar”, “Click Clack the Rattlebag”, and closed with a poem for the Syrian refugees. He may have read one or two more pieces—I was fanboying, absorbing the moment, wherever the storyteller wanted to take me.

In between selections he answered from a stack of questions, humorously lamenting that the audience had had time to think about them, but he had not. Of particular interest to me was a question about writer’s block, which he strategically reframed as a bad writing day, which first we can own and second we can fix. The full answer was lengthy and beautiful, and I found that Hy Bender’s The Sandman Companion ends with nearly identical advice, so I’m going to close—and make my point—by sharing it here:

“I just sit down and write, regardless of how bad the stuff I’m producing is. I can do that because I know I’ll wake up the next day, look at what I’ve done, and say, ‘Yes, that is indeed not very good; But it’s mainly because this sentence here is entirely superfluous, the paragraph following it is clunky, and the scene in the middle should be moved to the top.’ In other words, when my writing facilities are on the blink for a little while, I can still rely on the editor part of my head to read what I’ve done objectively—that is, as if someone else wrote it—and fix the problems” (Bender, 262).

And now you know why I work with an editor, and why I am not suffering a block.

Follow the Camera

My editor friend and I have been talking about camera angles for some time. Several month ago, she told me to put a microphone in Nic’s (my protagonist) head and a camera on his shoulder. Sometimes it’s easy; other times, I miss the boat entirely because I get lost trying to capture the place and forget to capture the place in the context of action.

So in our conversation this weekend, we discussed the selections from my prior post (“Where Dialogue and Action Meet”), she gave me an alternate reading of the Tehanu passage by following the camera and asking “what do we see?” and “why do we see it?” Then she shared this excerpt from Chapter 35 of Dickens’s Great Expectations:

And now the range of marshes lay clear before us, with the sails of the ships on the river growing out of it; and we went into the churchyard, close to the graves of my unknown parents, Philip Pirrip, late of this parish, and Also Georgiana, Wife of the Above. And there, my sister was laid quietly in the earth, while the larks sang high above it, and the light wind strewed it with beautiful shadows of clouds and trees.

It’s a stunning passage with a clear motion for the eye, presenting the procession to the graveyard exactly as it unfolds, symbolism seamlessly woven into the scene. It’s really a beautiful thing, what Dickens has done here. My colleague’s analysis/instruction as it relates to the beauty of this scene as a means of thinking about the narrative camera was brilliant, resonating in a way that makes me wish I could have sat in her classes when we were teaching years ago. The passage is here where I can come back to it, a reminder to me now that when I think of the camera on Nic’s shoulder (or the narrator’s or anyone else’s shoulder who appears in my writing ever again), I really want to be breathing toward this scene.

And I suppose when I get a few other books in the pile read, I’ll be revisiting Great Expectations for the first time since high school, I think. Not that I’m upset by this–there’s much to discover now that I simply didn’t have the motivation to see then.

Where Dialogue and Action Meet

My current project is a first person limited narrative in which the protagonist, Nic, reflects extensively on the past and studies family artifacts—photos, documents, and the like. Sometimes he makes things up, building fiction on the narratives he learned as a child. One of the challenges constantly presenting itself is the integration of context and action into the dialogue. There are times when my vision is so clear I forget that my reader doesn’t see what I do. Et voilà, as Poirot would say. Text that does not connect. Insert David Suchet mustache-wriggle here.

So my editor suggested I look at a few sample texts. I chose two for this activity. Because I’m reading LeGuin’s EarthSea cycle so that I can have a conversation about it with one of my staff members, I pulled my first example from the early pages of book four, Tehanu, “Chapter 12: Winter”:

She sat down at the fireside with a weary sigh, and did nothing at all for a while.

A rap at the door: Clearbrook and Ged—no, Hawk she must call him—Hawk standing on the doorstep. Old Clearbrook was full of talk and importance, Ged dark and quiet and bulky in his grimy sheepskin coat. “Come in,” she said. “Have some tea. What’s the news?”

“Tried to get away, down to Valmouth, but the men from Kahedanan, the bailies, come down and ’twas in Cherry’s outhouse they found ’em,” Clearbrook announced, waving his fist.

“He escaped?” Horror caught at her.

“The other two,” Ged said. “Not him.”

“See, they found the body up in the old shambles on Round Hill, all beat to pieces like, up in the old shambles there, by Kahedanan, so ten, twelve of ’em ’pointed theirselves bailies then and there and come after them. And there was a search all through the villages last night, and this morning before ’twas hardly light they found ’em hiding out in Cherry’s outhouse. Half-froze they was.”

“He’s dead, then?” she asked, bewildered.

Ged had shucked off the heavy coat and was now sitting on the cane-bottom chair by the door to undo his leather gaiters. “He’s alive,” he said in his quiet voice. “Ivy has him. I took him in this morning on the muck-cart. There were people out on the road before daylight, hunting for all three of them. They’d killed a woman, up in the hills.”

“What woman?” Tenar whispered.

Her eyes were on Ged’s. He nodded slightly. (Kindle edition 213-4)

Tenar—the “she” of the scene—has survived an attack by a local gang the night before, and as a consequence has lied to a child she has taken in (I won’t spoil the story by revealing more; this is enough). The sentence—placement by the fireside, a description not of doing, but of not doing—it’s the barest little sentence so packed with weight, and it sets up the way she responds and reacts in the conversation that follows. She offers tea—culturally understood as a calming beverage and an act of care. A bracing cup of tea can help you through anything, right? But look at the emotions: horror that the man might have escaped, yet bewildered at his death, and upon discovering a murder had taken place, she drops to a whisper—in part to protect the child, in part possibly to absorb the news herself.

Equally important is the way action marks time and creates emphasis points in the dialogue. Ged doesn’t sit down right away. He appears in the doorway in his bulky coat, which comes off behind the scenes, while Clearbrook describes the scenes. We come back to Ged, who is a silent, methodical type, as he he has shucked the coat and is removing the protective leggings. He’s taking off his armor. Is he weary? Probably, as Ged has been equally stressed for some time. It’s his act of removing armor that teaches the reader where he is in the scene. And this is what I need more practice at—concise action to set mood and tempo.

Also of interest to me is how we know the dialogue belongs to Clearbrook. LeGuin describes him as full of talk, but in the second long passage of narration, the language does not fit a quiet man who has settled into removing his armor. The author never has to tell us it’s Clearbrook. She has foregrounded it enough with her description and the actions of her other characters—the ones who aren’t saying much.

Switching gears for a moment, when I began writing this work years ago, I had kept Tim O’Brien’s The Things They Carried in mind. My work isn’t the war story O’Brien writes, but it is a war story of sorts. And the way O’Brien deals in truth, and what constitutes it, and what we reveal and when, strikes chords with me. My protagonist Nic must contend with ideas of the truth as he redefines family and self. So here’s a segment of O’Brien’s work, the lion’s share of a chapter titled “Friends.” Two grunts—Jensen and Strunk—have gone from mortal enemies to—within the framework of war—friends, having resolved one night that if either should become “totally fucked up”, the other would put him out of his misery:

There was nothing much anybody could do except wait for the dustoff. After we’d secured an LZ, Dave Jensen went over and kneeled at Strunk’s side. The stump had stopped twitching now. For a time there was some question as to whether Strunk was still alive, but then he opened his eyes and looked up at Dave Jensen. “Oh, Jesus,” he said, and moaned, and tried to slide away and said, “Jesus, man, don’t kill me.”

“Relax,” Jensen said.

Lee Strunk seemed groggy and confused. He lay still for a second and then motioned toward his leg. “Really, it’s not so bad. Not terrible. Hey, really—they can sew it back on—really.”

“Right, I’ll bet they can.”

“You think?”

“Sure I do.”

Strunk frowned at the sky. He passed out again, then woke up and said, “Don’t kill me.”

“I won’t,” Jensen said.

“I’m serious.

“Sure.”

“But you got to promise. Swear it to me—swear you won’t kill me.”

Jensen nodded and said, “I swear,” and then a little later we carried Strunk to the dustoff chopper. Jensen reached out and touched the good leg. “Go on now,” he said. Later we heard that Strunk died somewhere over Chu Lai, which seemed to relieve Dave Jensen of an enormous weight. (Kindle edition pages 67-8).

O’Brien appealed to me when I was younger not because of the content, but because of the sparseness, the bite-sized chunks of experience that reminded me in some ways of my father’s own dinner-table narratives from his days in the Navy—which thankfully he sanitized so that his children could hear them.

As I consider this text now, I am grateful to not cling to this kind of storytelling voice the way I might have when I was younger. How much context is necessary in a person’s mortal wounding? This is Vietnam, and if it’s a jungle (we don’t know), only the language of human artifacts—weapons, aircraft, towns—distinguish it from any other jungle in which any other war was fought. If this was a jungle. We don’t know, and I’m not sure we need to. The actions are intimate. The passing out, the begging not to be killed, the touch of the leg. Staring at the stump. Death waiting on the flight out. It seems to me that O’Brien is working at once to make death mundane and to make each man’s lose intimate and numbing. Certainly it works, but I’m sure that what makes it work is exactly why it won’t work for the style of story I am currently writing.

References

LeGuin, U.K. (1990). Tehanu (Kindle Edition). New York: Atheneum.

O’Brien, T. (1990). The things they carried (Kindle Edition). New York: Houghton Mifflin.