Reviews & Criticism

Lessons learned from Ross Macdonald

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Recently at San Francisco’s Green Apple bookstore I discovered an edition of Inward Journey (1984), a collection of essays, poetry, and remembrances dedicated to mystery writer Ross Macdonald and published shortly after his death. The collection is edited by Santa Barbara rare book seller Ralph B. Sipper, who also collaborated with Macdonald on his autobiographical Self Portrait: Ceaselessly Into the Past.

Ross Macdonald obviously affected and influenced a great number of people in and around the Santa Barbara writing scene. The anecdotes and memories related by his friends and acquaintances paint a picture of a private and thoughtful novelist who quietly guided a number of writers toward improving their craft. It’s a touching book that mostly avoids miring itself in the maudlin. Some of the writers are quite close to the subject, such as his wife’s warm and elegant recounting of an early and late memory of him. Other essayists are more distant and matter-of-fact, such as popular writer John D. MacDonald’s humorous tale of his dance with Ross Macdonald over the appropriate use of their last names in publication credits.

That confusion is due to Ross Macdonald being the pen name of Kenneth Millar, who adopted the name to avoid being confused with wife Margaret Millar, a well-known novelist in her own right by the time his star began to rise. On top of his feud with John D. Macdonald, he also witnessed his style of detective fiction (and his detective, Lew Archer) relentlessly compared to hardboiled writers Raymond Chandler’s and Dashiell Hammett’s work from a quarter century earlier—often to his own detriment.

Between Margaret writing under his family name, authors John D. MacDonald and Philip MacDonald, and the unasked-for competition with Chandler and Hammett, it’s a wonder Ross Macdonald was able to carve out a name for himself. He did, and his workmanlike approach to novel-writing led to a corpus of nearly thirty solid books, the bulk set in Macdonald’s own Southern California, in particular his home of Santa Barbara (renamed to Santa Teresa). As such, Macdonald inherited not merely Chandler’s mantle of the premier tough-guy detective writer, but also the mantle of the leading Southern California mystery writer. The difference is, where Chandler’s stomping grounds are Los Angeles proper, Macdonald’s Lew Archer prowls the Southern California suburbs. This shift corresponded neatly with the rapid postwar growth of the Southern California valleys and coastal communities.

Free and joyful creation

Inward Journey opens with two previously unpublished essays by Macdonald himself. “The Scene of the Crime” is a lecture he gave at the University of Michigan in 1954 regarding the origins and development of the mystery story. It’s one of the most erudite, learned, and humble essays I’ve read on the subject. Macdonald had a degree in literature (his thesis analyzed Coleridge’s Rime of the Ancient Mariner) and he draws on sources as wide-ranging as William Carlos Williams and Faulkner in way of framing the detective story as a modern narrative strategy devised in reaction to modernity itself:

“A Rose for Emily,” [Faulkner’s] most frequently reprinted story is a beautifully worked out mystery solved in a final sentence which no one who has read it will ever forget. … I don’t mean to try to borrow Faulkner’s authority in support of any such theses as these: that the mystery form is the gateway to literary grace…Still the fact remains he did use it, that the narrative techniques of the popular mystery are closely woven into the texture of much of his work.

The other chapter, “Farewell, Chandler,” originated as a private letter to his publisher Alfred A. Knopf. Pocket Books was republishing his detective novels and sought permission to “fix” them by making them more violent and sensational (and therefore more palatable to paperback readers). Macdonald was compared to Chandler his entire career, and this letter both acknowledges the debt while gingerly disentangling himself from Chandler’s legacy:

My hero is sexually diffident, ill-paid, and not very sure of himself. Compared with Chandler’s brilliant phantasmagoria this world is pale, I agree. But what is the point of comparison? This is not Chandler’s book. … None of my scenes have ever been written before, and some of them have real depth and moral excitement. I venture to say that none of my characters are familiar; they are freshly conceived from a point of view that rejects black and white classification…

A writer has to defend his feeling of free and joyful creation, illusory as it may be, and his sense that what he is writing is his own work. [emphasis mine]

These two chapters are worth reading (and worth republishing, if they’re not already.) If you’re a writer of any stripe, I would then encourage you read beyond them. Although many of the remembrances in Inward Journey are strictly personal anecdotes, more than a few dig into Macdonald’s bibliography for clues to understanding the man himself. They also relate tidbits of Macdonald’s writing habits and personal theories on fiction and form.

In particular, George Sims offers a wonderful history, book-by-book, of Macdonald’s bibliography, with highlights of his best work. The final chapters by Gilbert Sorrentino and Eudora Welty describe the evolution of Macdonald the writer (and Lew Archer, the hero) from Macdonald’s earliest works to his last. In 1954’s “The Scene of the Crime” Macdonald claims the mystery novel stands to be viewed in the same light as Zola’s and Norris’ Naturalism; Welty picks up that theme in 1984 and asserts Macdonald has earned the right to be included in the said light:

Character, rather than deed itself, is what remains uppermost and decisive to Macdonald as a novelist. In the course of its being explained, guilt is seldom seen as flat-out; it is disclosed in the round, and the light and shadings of character define its true features. … His detective speaks to us not as a moralist but as a fellow sufferer.

If you have any interest in Ross Macdonald or mystery/detective fiction, and your local library stocks this book, it’s well worth a trip to your nearest branch to absorb these chapters. It’s also available online at the Internet Archive.


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Twenty Writers: Scott McCloud, Understanding Comics

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See the “Twenty Writers, Twenty Books” home page for more information on this series as well as a list of other reviews and essays

So far in this series, about half of the books I’ve discussed have been nonfiction and the other half fiction. This is the first time I’ve written about a text on critical theory—and it may be the best lit crit book I’ve ever encountered.

The text I’m speaking of is Scott McCloud’s Understanding Comics: The Invisible Art. Published in 1993, the book remains the definitive work on comics theory a quarter century later. Others have attacked the subject, but none come close to McCloud’s exhaustive treatment.

McCloud is an unlikely “Aristotle of comics.” Prior to Understanding Comics he was best-known for Zot!, a lighthearted superhero comic book series which introduced many American readers to the tropes and style of Japanese manga. While Zot! was a success in the 1980s, its reputation has not swollen over time, as evidenced by McCloud’s sheepish preface to a 2008 reprint.

There’s nothing sheepish to be found in Understanding Comics—McCloud is not merely comic’s Aristotle, he’s one of its best ambassadors. His belief in comics’ power and universality is unshakeable. Page after page he convincingly argues comics belong in the same inner circle as other high art forms, including art considered vulgar upon its first appearance, such as film and jazz. Comics may even be more inclusive than other forms, as the language of comics is the language of the modern world. Advertising, software, religion, news, and entertainment all employ comics’ visual cues for their own purposes. This isn’t so much a book on comics as a book on perception and semiotics.

When I first picked up Understanding Comics in the mid-1990s, I enjoyed reading comics occasionally, but only as a guilty pleasure. I’d read superhero comics as a teen but set them aside as childish even before I left high school. (And this was during the 1980s rise of so-called “adult” comics like The Dark Knight Returns and the all-but-forgotten Camelot 3000.)

McCloud’s treatise left me with a renewed pleasure for reading comics. He disassembled and reassembled what I “knew” about comics before my eyes, all the while with concision, humor, and infectious zeal. His unraveling of the “invisible art” also left me with a fresh re-looking of the world at large. I can’t think of higher praise for McCloud’s magnum opus.

The sequential art

Understanding Comics is not the first work on the principles of comics. That honor goes to Will Eisner’s Comics & Sequential Art.

Before Eisner, books on comics focused on technical production: inks, scripting, musculature, shading, etc. (The most prominent example I know of is How to Draw Comics the Marvel Way, the standard go-to guide for aspiring fourteen year-olds back in the day.) Comics & Sequential Art focused on the language of comics, much as a book on film theory would discuss camera angles and shot selection as the “language” of movies.

Prior to Eisner and McCloud, books on writing comics skewed toward technique and process.

Sequential Art‘s biggest contribution is right there in its title—Eisner put forward a general definition for comics. He held up comics as a special style of communication with unique properties and advantages. Eisner saw the field still struggling to break free of cultural restrictions (“comic books are for kids”) and waiting to be applied to broader purposes. For example, Eisner advocated using comics for technical manuals and in education.

Reading comic books in grade school may be more acceptable today than when I was young, but I suspect the suggestion still earns chuckles among certain educators. That’s too bad; Eisner remains ahead of his time. After all, while IKEA’s assembly guides and their Ziggyesque “IKEA Man” character have elicited much lampooning, their ability to transcend written language stems from the fact that they are comics. And when Google wanted to introduce the world to its new Chrome browser in 2008, it hired none other than Scott McCloud to present the software’s design and features via a digital comic book.

Understanding Comics takes many cues from Eisner’s work, and McCloud is eager to tip his hat to the master as well as introduce readers to a plethora of other comic artists you may or may not have heard of. But where Eisner’s book is head’s-down on the drawing easel, McCloud’s eyes are fervently skyward. Eisner’s intended audience is other comic artists; McCloud’s audience is everyone. To McCloud’s thinking, the language of comics permeates the modern world. He’s not merely comics’ Aristotle and ambassador, he’s its evangelist. Understanding Comics may be the first foundational lit crit text written by a fan boy.

The invisible art

The care and thought put into Understanding Comics is evident from the front matter onward. Consider that a book subtitled “The Invisible Art” opens with an enlarged image of an eye staring back at the reader—an iris, eyelashes, and eyebrow framed by a comic panel. Seeing is everything for McCloud, which is why Understanding Comics earns a space on the shelf beside Berger’s Ways of Seeing.

One bit of lingo in the software business is “dogfooding,” that is, the idea software developers should use their own software to better understand the problems and bugs their users are experiencing. (Imagine if every Apple employee used Microsoft PCs and Android phones, or if the entire workforce of The Gap wore Armani suits.)

McCloud dogfooded comics. His entire thesis, from first page to last, is told in comic form. He demonstrates the ubiquitousness and power of comics by drawing comics. The only places McCloud “reverts” to pure text are the Acknowledgments and Bibliography pages (where he can be forgiven, since I doubt anyone wants to read a Bibliography set to comic form).

Cleverly, McCloud inserts a cartoon representative of himself into the book to gently guide the reader along (and even analyzes the strategy itself as a graphic device). He deploys every trick in the comic biz to illustrate his points: alternate panel layouts, strange word balloon shapes, odd and abstract art styles, and so on. Every page offers a surprise for the reader. I can’t imagine the quarts of blood McCloud must have sweat to craft this masterpiece. Whatever criticism you may lob at McCloud, you can’t call his book dry.

After an ambitious and vivid history of comics going back to prehistory (no, really), McCloud appropriates Eisner’s term for comics—”sequential art”—and develops his own rigorous definition. From this foundation he launches into the depth and breadth of the language of comics: panels, gutters, lines, word balloons, transitions, and the utility of color (as opposed to the job of coloring, a la How to Draw Comics the Marvel Way).

McCloud’s ambitious “picture plane,” from photo-realism (left) to iconography (right) with the degree of abstraction rising up the pyramid. The eye on the left is the realm of visual and the mind on the right is the realm of ideas. Notice on the far right how McCloud considers written language a kind of “pure” iconography.

But McCloud isn’t satisfied to stay grounded on matters pertaining to comics itself. He reaches further with chapters on iconography, the nature of vision, and perception versus self-perception. He muses on the unique language of comics, where pictographs plus written word combine, and how space on the page can represent shifts in location and time, and sometimes shifting both simultaneously. He concludes with a surprisingly moving chapter on the relationship between artist and art that should be required reading for students of all creative disciplines.

Whether you agree or disagree with his conclusions, McCloud’s faculties for persuasion are appealing and impressive. The power of Understanding Comics is in taking McCloud’s tour through language and imagery, even if you don’t always agree with his destinations.

Recommendations

If you enjoy Understanding Comics, I recommend exploring the terrain McCloud mapped out. What follows is a list of graphic novels reflecting McCloud’s vision. They’re also rewarding in their own right:

  • City of Glass, Paul Karasik & David Mazzucchelli: Engrossing graphic novel adaptation of Paul Auster’s novel. City of Glass reads like a pure application of Understanding Comics.
  • Onward Towards Our Noble Deaths, Shigeru Mizuki: Mizuki’s semi-autobiographical World War II manga features a “cartoony” military against a backdrop of stark photo-realistic Pacific island landscapes, a visual strategy McCloud fleshes out in his book.
  • Shenzhen: A Travelogue from China, Guy Delisle: A story of palpable solitude, Shenzhen spends much page real estate showing off modern China via “aspect-to-aspect” transitions discussed by McCloud.
  • Asterios Polyp, David Mazzucchelli: Like Zen & the Art of Motorcycle Maintenance, Polyp is a personal tale about a man hitting the road intertwined with philosophical musings on nature and existence. As with City of Glass, Polyp is obsessed with structure, symbols, and synthesis. Mazzucchelli’s detailed visuals slyly make the abstractions concrete.

For an entertaining stroll through the lingo and icons of the funny pages, I also recommend “Quimps, Plewds, And Grawlixes: The Secret Language Of Comic Strips.”

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The New American Regionalism

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Detective (hans van den berg, CC BY 2.0)

An untested opinion I’ve held for many years:

Modern mystery fiction has supplanted 19th-century American regional literature, sometimes known as “writing of local color,” as its dominant form.

Regionalism is most strongly associated with Southern writers like Kate Chopin and Joel Chandler Harris, but after the American Civil War local color writing sprung up all over the country. Charlotte Perkins Gilman (“The Yellow Wallpaper”) cataloged New England’s parochialism while Bret Harte wrote roaring tales of California’s Gold Rush. Scholars make distinctions between the terms “regional literature” and “writing of local color,” but I’ll use them interchangeably here.

Regionalism in American writing faded after the turn of the century to be replaced by a more consensus-based literature. Perhaps the twin rise of mass literacy and mass media contributed to regionalism’s fade, although it did not go extinct. Faulkner and Jean Toomer wrote well into the 20th century, and wrote using techniques that would have been foreign to the earlier regional writers, but their fiction is unmistakably grounded in regionalism.

But did regionalism truly fade away? Or was it replaced by something else?

It seems to me that mystery fiction quietly—almost subversively—filled in regionalism’s absence. Every major city in America is host to at least one major crime or detective writer, from Seattle (Aaron Elkins, G. M. Ford) to Boston (Robert Parker, Dennis Lehane) to Chicago (Sara Paretsky) to New Orleans (James Lee Burke), all representing their respective locales through their work. Name almost any place in America today and you’ll find crime writers prowling its dark corners. In the process, they’re introducing the region’s colors and textures to a national audience.

More than any other form of fiction today, mystery is concerned with setting. Science fiction has almost no restrictions when it comes to setting. Fantasy explicitly takes place elsewhere than the here and now, otherwise it’s not fantasy. Romance fiction has setting too, but its concerns are before the fireplace and in the bedroom.

Even contemporary American literature—”fiction of literary intent,” so-called hard realism—is not as connected to setting as mystery fiction. Too often stories from the small literary magazines feel as though they could take place in any city or suburb or small farm, whichever backdrop suits the characters and the emotional arcs they traverse.

Perhaps the only other form of American fiction so tied to setting is the Western, a genre that not coincidentally shares a great deal in common with the American mystery, especially the private eye genre.

I’m not saying other forms of fiction don’t possess a setting, or that they don’t concern themselves with setting. I’m saying that, for the form as a whole, mystery adopts a priority for regions—regionalism—other forms do not.

In mystery, scenes unfold on streets with grounded names and in bars with a history. A great mystery reads like a travelogue of a town, a neighborhood, or a county. The American mystery has a tradition of hewing to real-world settings, such as the streets of Nob Hill in Hammett’s stories and novels. Ed McBain’s “87th Precinct” police procedurals take place in a fictional New York City borough, but it’s the Big Apple all the same. Sue Grafton’s stand-in for Santa Barbara (“Santa Teresa”) is so Southern California, you can imagine The Eagles cutting a single about it.

This, I say, is the New American Regionalism. Mystery writers delight in bringing alive their surroundings, and by doing so they share their surroundings with their readership. Local color means local characters and local charm. Look at what stylist Elmore Leonard does so expertly in his Florida novels, capturing all the facets of dialects and cultures in Miami. The Encyclopedia Britannica’s entry of local color emphasizes “the features and peculiarities of a particular locality and its inhabitants.” This fits Florida crime writing to a T, with an emphasis on the peculiarities and particulars of the genre’s always-colorful cast of characters (Leonard, Carl Hiassen, Edna Buchanan).

My first inkling of the connection between regional writing and mysteries came to me twenty-five years ago living in San Luis Obispo, California. An ever-reliable bookstore there stocked a case of local writers, including several mystery series. Perusing the back cover blurbs, it was apparent the writers had mined the peculiarities and particulars of San Luis Obispo County for all it had to offer. My cynical younger self found it ludicrous, these over-boiled private eyes and steely Lt. Detectives walking the mean streets of San Luis Obispo, a place ranked “one of the happiest cities on Earth.”

Over the years I’ve lightened up. I came to realize the mystery writers of SLO Town were merely doing what all regional writers have done in America: Explore, critique, and celebrate they places they live.


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Remember when everyone thought ebooks would replace physical books? Me neither

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A tweet today reminded me of a topic I’ve wanted to get off my chest for some time now:

https://twitter.com/jaredkessler/status/876553946436784128

To answer Kessler’s question, no, I do not remember any moment in time when authors and publishers (or even readers) thought ebooks would replace paper books.

I’ve seen and heard this claim so often I can only conclude some massive rewiring of collective memory has beset our culture. There never was any serious wave of self-congratulatory back-patting in the publishing world, never a moment when all involved parties joined their voices and spoke in unity about the demise of physical books. It never happened.

A Google search of “ebooks will replace physical books” discovers exactly one (1) entry on the front page advocating for such a change—and that page is a summary of a debate from a Maine Writers and Publishers Alliance conference in 2015. An august association, I suppose, but not a representative body for all “#authors and #publishers.”

The remainder of the Google search is an object lesson in Betteridge’s Law: “Any headline that ends in a question mark can be answered by the word no.” The Google search results include:

As Betteridge predicted, all of these missives declare paper-based books will never die, even though their authors drop in the usual journalistic escape-hatch clauses admitting, yeah, okay, ebooks are here to stay. From the way these writers discuss the issue, you would think there’s zero latitude for personal reading preferences. The mere existence of ebooks is treated as a mortal threat to the traditional form.

Since I publish ebooks, some people seem to presume I’m a kind of cultish advocate for end-of-lifeing paper-based books. I’ve even lost friends over the topic. Only about 50% of my reading diet is digital, the remainder being physical books which I cherish. You can purchase my latest book in paper-form, and I’d be more than delighted if you did.

Look again at Kessler’s tweet; there’s a subtle discrimination packed inside it. Ebooks aren’t “real” books, a frustrating non-distinction for many struggling writers. It’s 2017, the 21st century. Indie music acts sell their songs only online; Netflix and Hulu produce award-winning shows only available via streaming; and yet authors who distribute digitally aren’t writing authentic books. A hundred years ago paperbacks were sneered down on as not “real.” Today the distinction seems quaint.

A nickel’s worth of unsolicited advice to those who prefer physical books: Keep reading and keep buying, but by all means, quit ginning up outrage over a nefarious trend that never happened.

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Sherlock by train

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Sherlock Holmes & Dr. Watson by Sidney Paget (1860-1908) (Strand Magazine)(Update: The events related in this blog post led to me writing A Man Named Baskerville, now available in Kindle and paperback.)

Last summer I had the great fortune to spend ten weeks in Japan. I traveled by train up and down the islands, from the agriculturally diverse Hokkaido to the richly historical city of Nagasaki at the southern tip of Kyushu. Japan is a fugue of culture, architecture, and landscape. The country never repeats itself, but is stitched together by interlocking themes.

On one leg of the trip I made the key mistake of failing to pack a second book, thinking B. Traven‘s The Death Ship was a hefty enough read until my return to Tokyo. Well, I ripped through The Death Ship in no time (a great novel, by the way) and found myself facing a long stretch of time on Japan’s shinkansen (bullet train) without a thing to read. Even if I understood Japanese, Japan’s trains are not like other systems where you might chance on a discarded newspaper or a light magazine in the seat-back pocket. The Japanese do not leave their detritus behind when they detrain. They even pick up their trash when they exit a baseball game.

Desperate, I searched my smartphone and discovered on my Kindle app The Adventures of Sherlock Holmes (1892), the first published collection of Holmes’ adventures. Most of the collection’s story titles are as well-known as books of the Bible: “The Adventure of the Red-headed League”, “A Scandal in Bohemia”, “The Adventure of the Speckled Band”, and more. The stories have fallen into the public domain, hence the collection is often the free sample book Amazon supplies when you buy a Kindle or install their app.

Before my trip to Japan, I was never a fan of Sherlock Holmes. I found the Victorian airs and British pleasantries stuffy compared to Holmes’ American counterparts. When I first read “The Adventure of the Dancing Men” at age ten or eleven, I was going through a boyhood codes-and-ciphers phase. By all rights I should have loved the story. Instead I felt a bit let down by its lack of focus on actual cryptanalysis. As I learned on that train ride, Doyle’s stories are often more concerned with a viscount’s ancestry or Tsarist intrigue or preserving the good name of the British Empire than the dead body lying at Holmes’ and Watson’s feet.

All this is to explain that although I’ve read mystery fiction my entire life, from Encyclopedia Brown at the age of seven to the adult pleasures of Chandler’s The Long Goodbye (which I reread every few years), on that bullet train ride I was not terribly conversant with the Sherlock Holmes corpus. I’d read The Hound of the Baskervilles a few years before at an acquaintance’s suggestion when I mentioned I’d enjoyed the neo-Gothic Rebecca. Other than some Sherlock Holmes movie spoofs and casual viewing of Jeremy Brett’s BBC series, my exposure to the detective was largely through cultural references and the turns of phrase that have entered our common language, much like someone ignorant in Shakespeare will recognize bits of Hamlet.

Something wonderful happened on that train ride from Tokyo to Kyoto. As these stories of detection and deduction spooled out before me, I realized much of Doyle’s contemporary British audience would have been reading these stories on trains as well. Since he was writing for Strand magazine, Doyle’s audience would’ve picked up a copy at a newsstand before boarding, the Victorian version of buying a thriller at an airport bookstore before a long plane ride.

The cadences and rhythms of Doyle’s stories almost appear crafted for train reading. The percussion of the shinkansen tracks below and the low whistle of the passing wind was the perfect white noise to accompany a Holmes mystery. More than once I started a story as our train left the station, and by the time Holmes was announcing his solution, we were slowing for our next stop. Obviously Doyle wasn’t timing his stories for bullet trains, but it felt he crafted them with a sense of being read in a single sitting between destinations, whether traveling by steam or horse or electromagnets.

How often does Holmes send Watson scurrying to locate a train schedule to confirm some paramount clue or destroy an alibi? How often does Holmes engage in mysterious research in London before setting off by train first thing in the morning, only revealing the details of his research to Watson on the ride north?

Holmes and Watson call for cabs, hire carriages and watercraft, borrow steeds, follow bicycle tracks, and so on. Freedom of mobility is vital to a Sherlock Holmes story. It’s the core question in “The Adventure of the Solitary Cyclist” and “The Adventure of the Copper Beeches”. A horse-and-carriage ride is the central puzzle in “The Adventure of the Engineer’s Thumb”. The climax of A Study in Scarlet involves, of all things, hailing a cab off Baker Street.

All fiction writers are writing to a perceived readership, whether they acknowledge it or not. This is distinct from a “target audience,” which commercial writers are all too familiar with. (A staff writer for Wired magazine will consciously know her target audience, which is distinct from the target audience for a sportswriter in a Midwestern farming community.) My notion of a “perceived readership” is more personal than a target audience, a writer’s internalization of their desired audience rather than a market demographic.

Some writers write with magazine editors and agents and publishers in mind—people they hope will publish the story they’re crafting. Some writers think of authors they admire or authors they desire to emulate. Some writers are thinking of friends and family whom they hope to impress, or at least earn their respect. Some writers are thinking of the public at large (whatever that abstract concept means) hoping to earn a wide audience.

Unlike “target audience,” it doesn’t mean the writer is actually writing for this perceived reader. The writer doesn’t actually believe only their friends will read their book, or that some big-name writer will pick it up, especially since that big-name writer may be dead. But just as painting a house requires a house to apply the emulsion, a perceived readership in the back of a writer’s mind gives the writer a kind of fuzzy target to aim for without committing to it.

By the time I returned from Japan, I’d devoured three Sherlock Holmes collections. For all the faults and stuffiness, Doyle is a generous writer, one who engaged with his readership and even challenged them a bit, but never denying them their desires. I suspect Doyle (like Dickens) read correspondence from his readers and was sensitive to their criticisms and praise. I don’t think it’s an accident Doyle modeled his first-person narrator as a physician, Doyle’s own intended profession, or that Watson wrote of Holmes’ exploits under the conceit of penning newspaper articles. Not only did it fill the public with the sensation Holmes was alive—many believed so at the time—but Watson’s audience also gave Doyle the house for which to apply the paint.

Doyle’s perceived readership began to coalesce with his target audience, like blurry double-vision sharpening into a single distinct form. I’m not arguing this is desirable or advantageous, but I do think it happened and that Doyle’s writing was the better for it. I also believe this is part of the reason for Sherlock Holmes’ character persisting as a vivid creative construct well into the 21st century. After all, Holmes’ as an individual is not some empty vessel for each generation of readers to pour their own ideals into. His persistence comes from being odd, unique, idiosyncratic, and ripe for reinterpretation.

This connection between author and perceived readership is a direct rebuttal to the 20th century myth of the “walled-off” author, the lone genius in a room with a typewriter penning works of high art unsullied by mammon or mass culture. While Nabokov, Faulkner, and Woolf may not have been writing for money and celebrity—although I think people are too quick to assume such things—I certainly believe all three were writing for a perceived readership, some idealized notion of the reader they wished to attract.

With the rise of ride-sharing like Uber and Lyft, and with the inevitable arrival of driverless cars in the future, we may experience a fresh resurgence of people with additional time on their hands to read. Who knows? Much as digital music led to the renewal of singles, there may soon be a burgeoning market for short stories and story collections, mysteries and otherwise, as people seek a brief form of entertainment while traveling.

What kind of story matches the cadences and rhythms of a self-driving car? And can America today produce writers as sensitive and generous as Doyle?

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Greatest rejection letter of all-time

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Galaxy Science Fiction, March 1953Recently I picked up Robert Silverberg’s superb Science Fiction 101: Exploring the Craft of Science Fiction, an unfortunate title for a remarkably sturdy book. Part memoir, part writing guide, part anthology, I’d recommend it to every writer whether or not they’re interested in science fiction as a genre or pursuit.

Silverberg mingles his breezy autobiography of struggling to get published as a young man in the 1950s with nuggets of practical writing advice he picked up along the way. All of this package is humbly offered to the reader. Even when penning the book in 1987, Silverberg remains in awe of Asimov, Bradbury, and Heinlein (“our Great Exception in almost everything”), although by that time Silverberg’s name was mentioned in the same breath as those masters, and more.

Galaxy Science Fiction, August 1951Science Fiction 101 also reprints thirteen classic science fiction stories from authors like Damon Knight, Philip K. Dick, Robert Scheckly, Vance, Pohl, Aldiss…the table of contents reads like the short list of first-round inductees to The Science Fiction & Fantasy Hall of Fame. Alongside each story, Silverberg comments on why it impressed him and what he gleaned, offering hard, complete examples to his writing wisdom that so many other guides lack.

It’s fair to compare Science Fiction 101 to Stephen King’s On Writing. Both books are a bit more practical and pragmatic in their advice than loftier musings on the craft, such as John Gardner’s The Art of Fiction. I suspect Gardner would peer down his nose at writing advice from Silverberg or King, which is too bad. Anyone who can forge a lifetime career with pen in hand deserves to be listened to and considered.

As a young man, while sweating over a typewriter struggling to earn publication credits in the science fiction magazines of yore, Silverberg also earned a degree in English Literature at Columbia University. He applies some of that study here, coming up with incisive observations about storytelling I’ve not seen made before. Offering advice on how to build a story, Silverberg does something wonderful and avoids the conflict word. I’ve discovered “conflict” is off-putting to some young writers, possibly because it suggests violence or supercharged stakes or overwrought emotions. Instead, looking back to the ancient Greeks, he frames story as propelled by dissonance:

Find a situation of dissonance growing out of a striking idea or some combination of striking ideas, find the characters affected by that dissonance, write clearly and directly using dialog that moves each scene along and avoiding any clumsiness of style and awkward shifts of viewpoint, and bring matters in the end to a point where the harmony of the universe is restored and Zeus is satisfied.

It’s not the final word on how to write a story, but it’s a surprisingly serviceable start.

Galaxy Science Fiction, November 1951Silverberg’s candor and generosity to the reader is so no-nonsense, he even reprints the rejection notes he received while canvassing science fiction magazines with his early work. Big-name writers usually dip into their rejection stack for the wrong reasons: to settle a score, or thumb their nose at those who stood in their way years past. Here, Silverberg reprints rejection slips that served to make him a better writer, admitting how he deserved them, and how he was often too young to take their advice at face-value.

My favorite rejection letter comes from H. L. Gold, editor of Galaxy Science Fiction. Galaxy was a bit before my time (I grew up reading Analog, Asimov’s Science Fiction, and The Magazine of Fantasy & Science Fiction). but Galaxy was well-known to me merely by its reputation. Galaxy was a “serious” science fiction magazine, known for avoiding the lewd subject matter and titillating covers the other science fiction magazines lured in readers with. (I’ve included a few of Galaxy‘s best covers here. The Internet Archive has a remarkable collection of back issues, covers and inside matter, that’s well worth perusing if you have any interest in science fiction’s past.)

Galaxy editor H.L. Gold sent Silverberg this rejection in 1956, when Silverberg had already broken into the field and was padding the back pages of science fiction magazines:

You’re selling more than you’re learning. The fact that you sell is tricking you into believing that your technique is adequate. It is—for now. But project your career twenty years into the future and see where you’ll stand if you don’t sweat over improving your style, handling of character and conflict, resourcefulness in story development. You’ll simply be more facile at what you’re doing right now, more glib, more skilled at invariably taking the easiest way out.

If I didn’t see a talent there—a potential one, a good way from being fully realized—I wouldn’t take the time to point out the greased skidway you’re standing on. I wouldn’t give a damn. But I’m risking your professional friendship for the sake of a better one.

Robert Silverberg was 21 when he received this remarkable letter, perhaps the greatest rejection letter of all-time.

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Rewatching Slacker

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Slacker

Although I can’t imagine any of the characters in the film Slacker being terribly nostalgic about anything, it’s worth noting this year marks the 25th anniversary of Richard Linklater’s gem. Sanctified in The Onion A.V. Club’s “New Cult Canon” and topping numerous critics’ “best indie film of all-time” rankings, Slacker is an odd addition to any best-of list. After all, this is seemingly a film about not giving a shit.

At least, that’s the most immediate impression on first viewing Slacker and its nontraditional film narrative. Slacker doesn’t follow a story arc of one or two characters, and it’s not a collection of marginally intertwined stories like Altman’s Short Cuts or the animated Heavy Metal. In Slacker, the camera floats from one group of people to the next, eavesdropping for a minute here or ten minutes there, taking snapshots of the lives of tens of people connected only by the slenderest of threads—in sum, documenting a day in the life of Austin, Texas, circa 1991. Often these moments have no distinguishable beginning or ending, just slices of time in the company of hipsters, cafe philosophers, amateur conspiracy theorists, guys trying to get laid, and girls trying to be taken seriously. Like I said: Slacker is a movie about people who don’t give a shit.

Entirely linear, Slacker never flashes back or forward, always remaining in the moment, giving the film a kind of bald, unprotected sensation. We have the opportunity to watch and listen to the various Austin hipsters the camera encounters, but the film leaves it entirely for us to surmise backstories and histories. Then, as one or two people in the group grow fidgety or distracted—or bored—they move on, as does the camera, riding along with them to the next transition, where a new person, or group of people are encountered. There’s no soundtrack to speak of, only the occasional background music from a radio or club band. The camera is the star of Slacker. It took me years to realize it.

The film opens with a young man (director Linklater himself) arriving in Austin. He launches into a chain of free-form ruminations on a dream he had the night before while the uninterested taxi driver takes him into town. (The dream is a wispy summary of the movie to follow, but most viewers will miss that, even after repeated viewings.) The film closes with a raucous group of friends driving a convertible to the mountains outside of town and, in a final pique, throwing the camera—the star of the movie—down a cliff. In between, the camera shifts between perhaps fifty different vignettes, eavesdropping on everything from the inane and mundane to the fantastical and bizarre.

Director Richard Linklater. (Photo by K.E.B.)
Director Richard Linklater. (Photo by K.E.B.)

Impossibly, each of these moments is wonderful in its own right. Some of the episodes reach farther than the others. Everyone who’s watched Slacker remembers its most famous scene, the overly-familiar young woman (Teresa Taylor, drummer for the Butthole Surfers!) fencing a stolen jar containing Madonna’s pap smear, pubic hair and all. My personal favorite remains the inept burglar caught in the act within an elderly bohemian’s house, only to receive a gentle education on the history of anarchism in America. It’s the most complete and well-rounded episode in the film, a luxurious Carveresque vignette with a beginning, a middle, and an end. It’s also unlike every other vignette in the film. It comes near the midpoint, giving the audience a kind of narrative breather before Linklater’s tour of Austin’s alt-underground bestiary continues.

Considering its unconventional narrative style, Slacker is refreshingly unselfconscious (and unselfcongratulatory) in its rule-breaking. The opening with Linklater in the cab may be the only “meta” moment in the film. For all the rules this self-financed film breaks, it’s comfortable and comforting viewing, the absolute opposite of the avant garde. That’s another reason Slacker sustains after twenty-five years. It’s hard to mock a film-school film and its no-name cast when it’s so relaxed in its own skin.

Any review or retrospective of Slacker is bound to name-drop “Generation X,” and I won’t disappoint on that count. (After all, I’ve got some skin in the game.) Slacker is often called the definitive film of my generation. But when I think of the “great” movies of a generation—Easy Rider and The Big Chill for the Baby Boomers, The Social Network for the Millennials—I see yellowing, curling Polaroids losing their currency with each passing minute; movies of like-aged, like-minded, similarly-groomed people bellyaching they’ve not gotten their due. Slacker is not that film.

Critics sometimes make hay that this is not truly a Generation X film because not every character is of that age. It’s true, but it’s also true the older characters are treated more reverentially than the Gen-X hipsters and artists and kooks. In films like Easy Rider and The Social Network, the older generation is sniffed at with disdain and suspicion. In Slacker, those suspicions are reversed. An age-worn hitchhiker and the elderly anarchist mentioned earlier are voices afforded the opportunity to air their wisdom to a welcome audience, while the specious logics of the younger generation are treated as little more than clever amusements. In the film’s final moments, an elderly man strolls down a street narrating into a tape recorder the quiet poetic wisdom of a long, full life—only to be interrupted by a young man, 20 or 21 (i.e., Generation X), driving an electioneering truck with mounted loudspeakers blaring empty rage about guns and knives solving all political problems. It’s obvious where this film’s sympathies lie. It’s also why this film truly is the definitive Generation X movie: We’re so suspicious of inauthenticity and hollow idealism, we don’t trust ourselves. We don’t even trust our distrust.

For the A.V. Club’s “New Cult Canon” review, Scott Tobias puts his finger on why Slacker is distinguished from other generation-defining movies:

It isn’t enough to think of Gen-Xers as merely jaded and sarcastic; indeed, there’s little of that attitude on display in Linklater’s film. But there is a sense of profound disconnection, a refusal by young people to participate in a system that will bring them no joy and wither their souls. As one character puts it, “Every single commodity you produce is a piece of your own death.”

My personal introduction to Slacker was in 1992, not long after its release, watching the movie on VHS at a Saturday night pasta feed. Eight or nine of us were crowded into a San Luis Obispo duplex’s living room, me and my college-aged friends. Some folks I knew well, some only slightly. In particular, the singer and rhythm guitarist of my band was there. (We were going to be big, but no one understood what our music was doing.) We feasted on plates of red-sauce spaghetti and hot garlic bread. One of the women had made her easy-bake Apple Brown Betty. Others brought ice cream and red wine and bottles of the local beer. Dinner and a movie, on the cheap.

The singer was engaged to marry one of women there, the Brown Betty baker who was a housemate of mine. I was becoming involved with another woman in the room, a second housemate of mine that I would go on to live with for thirteen years. There were likely other sub-plots in that room I was unaware of. We were all young and about to grow old.

We knew, collectively and subconsciously, of the inevitable. We were about to be dropped on a high-speed conveyor belt and told to run as fast as we could to keep up. “Getting ahead” sounded an awful lot like “falling behind” to our ears. Some of the people in that room thought they could step off the belt and steer clear of the inevitable. The rest of us knew, it’s called inevitable for a reason. We were resigned to what was coming, and resigned to it in our own ways.

That’s why Linklater’s cafe au lait Dostoevskys and tin-foil hat savants engage twenty-five years later. The game for the viewer is not teasing apart thought-provoking insights or brilliant dissections of American culture. Most of the musings in Slacker are, in fact, well-adorned horseshit. The game is piecing together how reasonably-educated people would arrive at such philosophies—and everyone in this film has their own philosophy, make no mistake. There’s a postmodern dignity that comes with assembling a personal credo from piece-parts and staying true to it, no matter how whacked-out it may be. And that’s what’s going on in this film, with zero irony and zero sarcasm.

Pre-Internet and pre-Seinfeld, Slacker appears to be a grungy sun-drenched film of a drearier, less-snarky age. I say Linklater offers blueprints for examined lives—not the examined life, but examples of them. This is an earnest film of multiplicity and pluralities. With few exceptions, the characters in Slacker withhold judgment of each other. They give each other the benefit of the doubt. Even when it’s obvious one of them is babbling nonsense from out in the weeds—”We’ve been on the moon since the ’50s!”—the other characters give them their space. There’s a moment in the film where a character takes a swipe at Texas Libertarians. It seems to me that Slacker‘s code of live-and-let-live stands not far off.

Most critics pick up on a line uttered late in the film: “Withdrawing in disgust is not the same thing as apathy.” It’s often interpreted as the film announcing its own thesis statement, possibly the only other “meta” moment. It’s worth taking a closer look.

I don’t see a lot of disgust in Slacker. There’s a bit of it sprinkled around: the roustabout hitchhiker (“I may live badly, but at least I don’t have to work to do it”), a mouthy “anti-artist” berating a hipster at two in the morning, the enraged polemicist in an old-fashioned electioneering sound truck. That may be about it in the disgust department, though.

Slacker 2011, a "re-imagining" produced by the Austin Film Society for the 20th anniversary of the original film.
Slacker 2011, a “re-imagining” produced by the Austin Film Society for the 20th anniversary of the original film.

Listening to the director’s commentary recorded for Slacker‘s 20th anniversary, I gather Linklater’s not terribly interested in elevating emotions like disgust, rage, vengeance, or hatred. His anecdotes regarding Slacker are soft recollections of easier days: A buddy who came through with film equipment, good times working in a T-shirt shop, an ex-girlfriend actor he’s still friends with, that sort of thing. Slacker is a Baedeker for a particular way of life familiar to many a Gen-Xer. Sleeping on couches, trips to dusty used-books stores, pick-up games of Ultimate, the quest for the best burrito—any town with a robust college or arts school has this scene. For people living this life, Slacker is a documentary.

Returning to that immortal line—”Withdrawing in disgust is not the same thing as apathy”—I don’t even think there’s much apathy in the film, at least in its purest form. Shrugging off others’ pet theories or forgoing a work ethic is not apathy. Questioning whether ex-convicts should be denied the right to vote, or wondering if the media used Smurfs to inculcate America’s youth—both voiced in the film—doesn’t strike me as apathetic either.

Withdrawal, however, is definitely the common filament of Slacker, the third rail powering the camera’s dolly as it journeys across Austin. The closest Slacker gets to engagement is a gung-ho “cultural terrorist” selling T-shirts on the street. Slacker‘s characters don’t merely question, they question the act of questioning. The film about not giving a shit is more subversive than most people think.

What did E. M. Forster write in Howards End? “Only connect”? Slacker is “only connect” put to film.

Twenty-five years on, I’ve lost touch with the folks in that San Luis Obispo duplex introduced to Slacker‘s ethos over glasses of red wine. Over the years I intersected with a few of those people, connecting briefly before moving on.

I’ll be bold and surmise that back then, laughing and marveling over Linklater’s creation, none of us wanted to leave San Luis Obispo. We didn’t even want to leave that room. Perhaps some of us never truly left it behind.

I suppose that’s why I rewatch Slacker every few years, just as I reread certain books which have deeply affected me. Rewatching Slacker is reconnecting with a past and making it a present, even if only for a moment. It keeps alive within me a little bit of that necessary withdrawal. It reminds me to only connect.


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