Not Half Bad: Remembering My Friendship with John Goulet

1. He walked into the room, leaning hard on a cane, and hung his leather jacket on the back of his chair. He was big at the middle; buttons on his sweater vest hung tough across his belly, and he wore a T-shirt under his vest, which I thought was funny. He pulled a stack of papers from his briefcase and flapped it on the table in front of him, taking one copy then sliding the stack to his left. We all took a copy. It was a one-sided photocopied syllabus that looked like it was originally punched on a typewriter. He looked down at the sheet in front of him; white tufts of hair surrounded his dome like a Julius Caesar wreath. He cleared his throat. “Hi, I’m John Goulet. You can call me John.” He recited this and the following syllabus like he had a thousand times. His voice was dynamic—calm sometimes, gravelly or squeaky. The entire syllabus covered just one side of the page. It was a schedule, a reading list and a warning not to be late. He wouldn't be posting online or spending much time on email. The objective of the class was simple: for the students to read and talk about stories, to put words down on the page and to ask questions. He had rules: Don’t talk about movies or television, and don’t say, “This isn't really my thing, but...” Which made sense to me. The stories we workshopped were rarely anyone’s “thing.” John was funny. His hands and face were always chapped. He wore a mustache under a round nose and glasses that made his eyes small. Every so often he would pull his glasses off and polish the lenses on his shirt but continue talking, effortlessly, like he was repeating lines from a play he’d acted a thousand times but still loved. At the end of class, John said, “OK. Tear off half a sheet. It doesn't even have to be half a sheet! Write something about yourself, what you’d like me to know about you.” It was a raw time. I had an infant son named Theodor and had just finished a two-year stint at the U.S. Cellular store downtown. On that day in the classroom, it had been two years since I stepped foot in Curtain Hall, a cement building, too brutal for brutalism, a couple blocks from Lake Michigan on the UWM campus. I had dropped out of school twice already. I couldn't quit again. At 29 years old, I had to make something work. I was a part of things in Milwaukee. I played in a band. I directed music videos and my film, Heavy Hands, had premiered the year before at the Raindance Film Festival in London. After Theodor was born, things changed. I lost touch with a lot of old friends (which I didn't understand), and my band kicked me out (which I did). So on the first day of school, I was just returning to the world. I felt far from my goals and alien. I wrote: My name is Sean. I have a baby son. I’ve been away. I’m excited to be here. 2. Workshop is funny. You don’t know what is helpful or what anyone is saying much of the time, but you read the story, say some things, and try to work it out. Some of us talked; some of us showed off; some of us missed the point entirely. John nodded along like he had a million times before, sometimes holding his cane over his lap, sometimes drinking coffee. At the end of critique John would hold the story in front of him and look on it like it was a photo. “Well, we have some interesting characters. The fire at the beginning is captivating, but some of us were wondering if the metaphor really worked by the end. Overall, some really nice imagery—grammar is a fixable problem. Would the writer like to say a few words?” The previously anonymous writer would step in. We would all nod, and John would tell us what we needed for the next week, satisfaction in his voice that we learned something. Then he’d say, “OK. Thank you, everyone.” We’d leave: to the bus, to the union Burger King, to another class in another building, to the library, to our houses just off campus. John would walk slowly to the elevator, pushing on his cane, then across the windy parking lot where he would lower himself into his car. 3. Twice a semester, John held conferences in his office on one of the top floors of Curtain Hall. It was a nice office. Carpeted with full bookshelves. It wasn't like other offices, where books slid onto the floor, where wastebaskets overflowed with paper coffee cups, where The Far Side comics were crookedly tacked to the wall. It was simple and clean with two long picture windows overlooking Downer Avenue, the long grey of the lake and the wall of bursting yellow, orange, and red trees that stood between the two. It was the most beautiful view. Cars moved down the street, students across the sidewalk. I had lived in Milwaukee for 10 years and never imagined a life that peaceful. During most conferences, I would remark on the view and, for a few moments, space out, hungover or exhausted because I stayed out late with my friends from the restaurant, or because I got up early with my son—usually both. I had stopped working at the cellphone store and got a job waiting tables, but I felt more trapped than ever. Bills were stacking up. I was unreasonably annoyed by my girlfriend, Heather, and son. I had plans before any of this happened: Alaska, Colombia, Colorado, Argentina—somewhere! But I couldn't do that now! Now I was just some dope in a classroom, and any chance I had was gone; I had accidentally kicked it off a cliff! What was going to happen— “Sean, are you OK?” John asked. “Yes.” I looked back from the window. “OK. I was saying your story is good. It's funny. The main character is compelling and believable. Have you ever thought about applying to grad school?” “Um, yeah. I was kind of taking it one day at a time.” “OK. There are some good ones out there. I went to Iowa 40 years ago. I don’t know anyone there now, but I think that’s a very good program. You don’t want to go just anywhere. But I could write a letter for you.” One of John’s books, Oh’s Profit, was behind a glass case next to the elevator on the fourth floor. The copy was old and the cover was fading. Other works by other faculty members were in the glass case, too, much newer, like they could have been placed yesterday. “I think you have what it takes, but who knows,” John said. I had been thinking of going to grad school. I thought the book I was working on, a first-person narrative about a new father working in a cellphone store in Milwaukee and suffering from apocalyptic dreams, had some legs. “I’ll think about it.” John had a way of casually motivating me. I would leave those meetings feeling lifted and head to the cafeteria for a popcorn-chicken wrap before taking the bus home. 4. I crammed out a draft of the book in the year we worked together, and when I emailed John over the summer, he said he was being forced/forcing himself into retirement. He explained it in his usual noncommittal, nonvindictive way. “Well, they don’t have a spot for me this semester. I was only teaching the one night class as it was, and I don’t know how much longer I want to do that anyway.” Heather got a day job, so I watched Theodor all day. In the summer when I didn't have class, I would walk for hours with him in the stroller. Sometimes I sang to him so he would nap; sometimes we would go to the library or ice cream parlor. In the grass at Humboldt park, he would toddle on the hill in grass-stained overalls, long blond hair tumbling on the wind. Theodor would laugh and fall. I would give him crackers and juice and listen to Stephen King books on tape or podcasts about Charles Manson. Most days I didn't talk to anyone. Unless John bought me lunch at Harry’s on Oakland. Then, sometimes, I’d tell him about my family, how I was laying off booze. Sometimes, I’d tell him I was having another child, and we’d drink bourbon. John would laugh, wearing short-sleeved breezy button ups. The front windows on the restaurant open. Sometimes, he was the best friend I had. John paid me to do a read on his new novel, a captivating but messy noir about a private detective in New Haven. I figured the job was more about helping me out, but he seemed genuinely pleased with my thorough notes. We would talk about teaching. He told me that teaching made his life better, though he hadn't planned to do it very long. He met friends through teaching. “Like you,” he’d gesture, which always made me feel good. A couple times, he told me how when he taught James Joyce; he’d say, “You know I love Joyce and I’ve taught Joyce a hundred times over the years. That’s not half bad.” He was how I imagined old writers to be, and as our friendship grew, I found myself trying to mimic his attitudes, his occasional defeatism, only to have him wave me off, stating: that I was a nut job, that I had my whole life ahead of me, my whole career ahead of me, and I should get on with it. [millions_ad] 5. Once, I brought my family to his house for dinner. He also invited another writer, another former student, Chris Fink, and his family. We sat on the back patio area, and John’s wife Susan got us drinks while we talked about school, writing, and we stayed a long while like that. Theodor and Chris’s daughter playing in the yard. John and Susan told us about Susan’s granddaughter, who they would talk to on Skype. Chris was John’s student in the ’90s and John told me I would like him and his work, and I did. They talked about people from the old days. I think they were wilder back then, more drinking, more carrying on. I imagined, in the days after the dinner, what those classes were like. John sitting at the head of the table in the same room in Curtain. Who else had John taught? Who else remembered him? 6. Before he was really sick, I visited John in a hospital room. He emailed me the day before my visit and asked me to bring a handle of bourbon, which I ignored. John was in rehab after a knee surgery. I brought my equipment to record his story, “The Drowning Bear.” The story was from a collection John was trying to have published, so far without luck, and was about a man coming across a bear that had fallen through the ice. The man thinks he recognizes the bear from his dreams years ago. I held a microphone just under John’s chin as he read the story propped up in his hospital bed. He read the story perfectly by the third take. If people just listened to this story and how he read it, I thought, his collection would be published, no problem. We talked for a while, and he read the new intro to his novel out loud. I gave him some pages I was working on. This was what we had. We were writers. We were friends. “Did you bring the bourbon?” “No. I did not. It’s important to me you live. But it’s more important that I’m not the one that kills you,” I said. 7. Three years after I met John, I moved to New York City with Heather, Theodor, and a new baby, Sawyer. I emailed with John; we stayed in touch. Then, for a couple months, I didn't hear from him. I emailed to see how he was doing, how the newest draft of his noir was going. A few weeks later he responded. John had stage 4 throat cancer and a few months to live. He asked me to do another pass on his book. I said, “Yes, of course.” We talked on the phone and he sounded good, in better spirits than I expected. “They are going to try this chemotherapy. The doctor says it will be a miracle if it works. So I guess that’s what I have going for me.” “Fuck, that sucks.” “Yeah, it’s crummy.” We both laughed. What could we say? John sent presents for my kids on Christmas. 8. The last time I talked to John, he sounded faint, far off and beaten. I was driving an old mail van full of restaurant supplies from Bushwick to Park Slope for work. It was dark and cold as the old van beat down broken streets, side to side. The van smelled like gasoline. I had one earphone bud in, and though John’s voice was weak, he was right there in my ear. “It’s not what you want to be doing. You want your life, your freedom,” John said. I felt like he was warning me not to die. There were no jokes this time. “If it means anything, I’ll make sure your book is right.” “I want that. I want you to do that.” We both hung up, and I knew that was it. 9. I sent John an email and got a reply from his wife. John is no longer responsive, the email said. I talk to his son on the phone; John is in hospice, out of consciousness much of the time, he said. It won’t be long. I checked the internet for an obituary. I wished a dumb wish—that he would turn it around. I saw him, skinny probably, his throat invaded, his body invaded by a sickness that seemingly takes us all. I wished he wasn't dying. Even when I accepted he was dying, I thought there was time. I never believed it would come. We always assume the world will wait for us. We look forward to our best moment, when we’ll really see someone and share something. We’re unaware that our best moments have already happened: former students and teacher sharing drinks, recording stories at a rehab center, Reubens at Harry’s, talking in an office with a beautiful view. Now that John is gone, I know how sweet that moment really was, watching the wind twirl tops of Autumn trees from his window, lost in a fretful daydream about fatherhood, about the unexpected turn my life had taken, as John tried to tell me something. John Goulet was the author of two novels and many short stories. He attended the Iowa Writers’ Workshop and taught creative writing at the University of Wisconsin - Milwaukee.

Shining and Whole: In Remembrance of Donald Hall

Wandering the aisles made of beige steel and unrememberable carpet that was the poetry section of my local suburban library, I waited for poetry to come to me. What arrived was The Painted Bed, a collection by Donald Hall. I could’ve opened it to any poem. The title poem. “After Three Years” or “Kill the Day,” maybe. It was an unraveling, the first time I had witnessed language bearing the pain that lives in the wake of immense loss with such incisive vulnerability. I checked it out and consumed the whole thing immediately. I was 17. A decade away from that moment, Donald Hall is now dead. The event that consumed so much of his writing has now arrived for him. From the earliest poems—the ones written during his first marriage and the years spent teaching before his second, great marriage to the poet Jane Kenyon—it was a nagging subject. Death haunted his poems from his returning to the ancestral farm with Kenyon, a purposeful separation from the world of the academy, through his long and happy hermitage until his diagnosis with cancer, which he survived, and then Kenyon’s diagnosis with leukemia, which she did not. The poems after that, until Hall turned 80 and decided he no longer had the capacity for poetry, are absolutely steeped in it. Saying that Hall was some kind of apostle of grief is to mischaracterize him, though. There were many Donald Halls. There was the early Hall, first poetry editor of The Paris Review and poetry anthologizer of particular staunchness who ensured the ongoing legacy of the greats who stood just behind him like T.S. Eliot and Robert Frost. In his early years, Hall wanted to impose his taste upon the poetry world at large, fiercely advocating for contemporary poetry, with a particular fondness for poets like Geoffrey Hill and Thom Gunn, even as writers outside of the nation’s universities were creating poetry in their own image. There was the Donald Hall that left the world of higher education to wholly dedicate himself to his ancestral New Hampshire farm, where his attention was upon the daily devotion to his now-hallowed relationship with Jane Kenyon and his writing. Though present throughout his early poetry, the focus of his writing sharpened onto themes of grief, lingering and ever-present in the ghostly shadow of Mount Kearsarge—a place where the spirits of the past seemed to mingle with the heat of the living, and desire, as the long-blooming flower of Hall’s deep affection for Kenyon grew along with her own career as a poet as it eventually eclipsed his own. Then there was Donald Hall, alone. The final third of his career was almost entirely defined by absence. His own miraculous cancer survival moved nearly immediately into Kenyon’s leukemia diagnosis, her dying, and her death. The elegiac qualities moved from the tinged shadows of his work and onto the main stage, consuming it as he chronicled the slow descent into the valley of a Jane-less life and his long wait there. The other Donald Halls—the baseball writer, the poet laureate, the endless correspondent—revolved in peripheral moons around the great preoccupations of his life. It’s tempting, at the end of his long life, to simply take the memory of Hall and quietly place him in the corral labeled “Pastoral Poets.” In the wake of his death, many have eulogized him while confining him there. Though Ted Kooser and Wendell Berry may have some shared images with him, Hall’s writing on his roots, the landscape of New Hampshire, and the people who populate his world were much darker and deeper, much stranger than what can simply and neatly be patted on the head and deemed pastoral meditation. His writing is much more aptly compared to his forebear, T.S. Eliot, or the fellow native New England poet Elizabeth Bishop than to his rural contemporaries. What makes Donald Hall a remarkable poet, what assures him a lasting place in an American literature that looks much different from when he began to edit The Paris Review or his purposeful anthologies, was his dedication to honesty. This sounds banal to state, but to read Hall, from the very beginning right up until the end, is to watch a writer grow into a kind of honest and forthright form. The way Hall laid bare and excavated the guts of humanity, ripping wide open the tepid surface of the most conservative annexes of society to reveal how it all dripped with raging grief and aching desire was, and remains, profound. As a writer, he seemed to really take to heart the words the sculptor Henry Moore once said to him, quoting Rodin as he quoted a craftsman: “Never think of a surface except as the extension of a volume.” An important part of his dedication to honesty was that it demanded humor, and Hall’s was wry and midnight dark. In the poem “Letter with No Address,” one of his many odes to life after Kenyon’s death, he describes yet another day of crushing grief, and he ends on this image: “Sometimes, coming back home / to our circular driveway, / I imagine you’ve returned / before me, bags of groceries upright / in the back of the Saab, / its trunk lid delicately raised / as if proposing an encounter, / dog-fashion, with the Honda.” Hall was a master at this, disorienting an entire poem to crushing ends with apparent glee, but to a purposeful end. As he says in another poem nearby: “Lust is grief / that has turned over in bed / to look the other way.” Donald Hall is now, after it all, the posthumous Donald Hall. He is now the deceased Donald Hall, as he so looked forward to being in many poems. He’s now, if not with his beloved Jane Kenyon, at least no longer in a world without her. Only the words they wrote are left behind, breathing without them. Several years before his death, long after Hall stopped actively writing poetry, he published what would be the final collection of his poems before his death. For a constant, lifelong editor of his own work, this is a far more monumental and immutable work than any that preceded it (particularly the door-stopping, career-spanning collection White Apples and the Taste of Stone that coronated his brief moment as poet laureate). On the back of the collection, “Gold”—an older poem, published after his cancer diagnosis but before Kenyon’s—ends with this stanza: “We made in those days / tiny identical rooms inside our bodies / which the men who uncover our graves / will find in a thousand years, / shining and whole.” Image: Vitro Nasu

Vigilantly Himself: Artists on Philip Roth’s Legacy

Al Alvarez, Joyce Carol Oates, John Cheever, and others remember Philip Roth, the creator of iconic characters Portnoy and Nathan Zuckerman. 1. Intense [University of Chicago English professor Joan Bennett] invited us to tea to meet one of her students; it was Philip Roth and the stories he was working on in Joan’s class became Goodbye, Columbus. He was very intense and had pronounced views on the department; his wife seemed rather silent. (Chicago, mid-1950s) —From First Generation: An Autobiography, by Ernest Sirluck (University of Toronto Press, 1996) 2. Prince to My Pauper On the first day of a course on Henry James [at the University of Chicago] in the fall of 1957, I found myself sitting next to...a dark debonair fellow in a jacket and tie who...looked like he had strayed into class from the business school...Phil Roth. With the antenna of New York/New Jersey Jews, we quickly tuned into each other. ... Phil wore GI khaki gloves inside his leather ones, but otherwise dressed like the junior faculty member that he also was, having been given a job in the College that the rest of us Ph.D. students would have killed for. ... Around the second week of class, one of the students was going on about the religious allegory that underlay Daisy Miller. [Professor Napier] Wilt asked me what I thought of this interpretation. I said that it was idiotic to read James as though he were Hawthorne. Then Phil jumped in and proceeded to show how eschewing the concrete for the symbolic “turned the story inside out,” that Daisy had to be established as an American girl of a certain class and disposition before she became of any interest as a sacrificial figure. Like two players early in the season who find they can work together, Phil and I passed the ball back and forth, running up the score of good sense. ... The one time he came to our flat, he sat there like a social worker on the edge of a couch over which I had nailed an old shag rug to cover the holes. Though we both came from the same hard-pressed Jewish middle class, his clothes, his place in the College, and the money he made from writing cast us in adult prince and pauper roles. ... During our humor binges, Phil would suddenly slip the moorings of his gifts of precise mimicry, timing, suspense, and imagery and get carried away—or better, swept away—into a wild dark sea of vulgarity and obscenity, as far out and obsessed as Lenny Bruce himself. —From First Loves: A Memoir, by Ted Solotaroff (Seven Stories Press, 2003) 3. Meticulous Invigilator When Philip Roth was living in London, I went to the little apartment where he worked to collect him for lunch. While he was putting on his coat, I glanced at a page of manuscript lying beside his typewriter. Philip has one of the strongest voices of any novelist alive, effortless and apparently unhesitating, yet the page was black with tiny corrections. “Who’s going to notice the difference?” I asked. “You are,” he answered. “I am.” Meticulousness is just one of the obsessions Philip and I share. When we first met 40 years ago [circa 1960] we were both angry young men with bad marriages, troublesome parents and a yearning for shiksas and literature. We had both been good students, full of high seriousness, and even now when we talk about books it’s usually about the masterworks we were taught to admire back in the fifties when we were at college—Kafka, [Nikolai] Gogol, [Henry] James. Since then I have written three novels, yet whenever I am with Philip I realize I lack the novelist’s temperament. A real novelist is an invigilator, constantly on the watch, listening, making mental notes, using whatever happens to happen and weaving it into stories. Maybe that was what James meant by “loose and baggy monsters”: the novel can accommodate everything. —From Where Did It All Go Right? A Memoir, by Al Alvarez (Morrow/HarperCollins, 1999) 4. Boys’ Talk I have a drink, go to meet Philip Roth at the station with the two dogs on leads. He is unmistakable, and I give him an Army whoop from the top of the stairs. Young, supple, gifted, intelligent, he has the young man’s air of regarding most things as if they generated an intolerable heat. I don’t mean fastidiousness, but he holds his head back from his plate of roast beef as if it were a conflagration. He is divorced from a girl I thought delectable. “She won’t even give me back my ice skates.” The conversation hews to a sexual line—cock and balls, [Jean] Genet, [John] Rechy—but he speaks, I think, with grace, subtlety, wit. (Ossining, N.Y., 1963) —From The Journals of John Cheever, by John Cheever (Knopf, 1990) 5. Vigilant Spectator and Critic July 28, 1965 [Yaddo writers retreat, Saratoga Springs, N.Y.]. In the evening, to see the William Wyler film The Collector. Afterwards the Yaddo boys [and two girls] sat around in the Colonial and dissected the film, Roth as usual giving the lead…Roth is a sharp, logical analyst of character and motivation in whatever he sees and reads. I remember that in discussing Herzog he spotted all sorts of illogicalities; when he discussed The Collector, he took it apart, spotting every possible implausibility and moral confusion. He is always outside, vigilantly himself as the spectator and critic and judge. Everything is consciously sized up all day long. This extraordinary conscious intactness! —From Alfred Kazin’s Journals, selected and edited by Richard M. Cook (Yale University Press, 2011) 6. Tall and Handsome We had first met in East Hampton, Long Island, in 1966. Rod [Steiger] and I had taken a house for the summer months, and we had a good time there...bicycle-riding, swimming, performing a host of healthy summer activities. Neighbors invited us over for a drink; one of their houseguests was Philip. Already a highly acclaimed young writer—the author of Goodbye, Columbus, a fine volume of short stories—I recognized his tense, intellectually alert face immediately from photographs. Tanned, tall, and lean, he was unusually handsome; he also seemed to be well aware of his startling effect on women. I was immediately attracted to him, and he would tell me years later that he also had felt the same toward me... —From Leaving a Doll’s House, by Claire Bloom (Little, Brown, 1996) 7. Casual I was talking to Philip Roth for the [Toronto Telegram]. He spoke in the tapered tone of a man who wanted to convey a casual intelligence and amiability, a man deft with an idea. Slender, a little balding, wearing a pullover V-neck sweater and a shirt open at the neck, he paced back and forth on the burgundy plank floors in his flat, and then sat at his writing desk—heavy oak, somewhat awkward to sit at—a gray metal elbow lamp clamped to the desk top, jutting into the air, it angled back over his typewriter. (New York, late 1960s) —From Barrelhouse Kings: A Memoir, by Barry Callaghan (McArthur & Company, 1998) 8. Swarthy Glory As JH [companion James Holmes] and I were finishing our chowder at The Tavern, toying with the notion of leaving next day, stopping our ears against an aggressive accordion and trying to compare notes on our mutual loathing of the local Catholic dishwater-blond fauna, and exclaiming, My God, there’s not one Jew in this town, much less anyone we’d ever want to know! Who should enter in all his swarthy glory but Philip Roth, and Barbara. So they sat and chatted a while, cheered us up some (we’d seen no humans hitherto), and we made a date for Wednesday, but didn’t keep it because we fled instead. (Siasconset, Mass., 1972) —From The Later Diaries: 1961-1972, by Ned Rorem (North Point Press, 1983) 9. Completely Likeable Person May 15, 1974...Met Philip Roth. We went to his apartment, then out to lunch. Attractive, funny, warm, gracious: a completely likeable person. We talked about books, movies, other writers, New York City, Philip’s fame (and its amusing consequences), his experiences in Czechoslovakia meeting with writers. Ray [Smith, husband] and I liked him very much. His apartment on 81st St. is large and attractive, near the Met. Art gallery. He has another house (and another life, one gathers) in Connecticut. My Life as a Man irresistibly engaging. But one wonders at Philip’s pretense that it isn’t autobiographical. —From The Journals of Joyce Carol Oates 1973-1982, by Joyce Carol Oates (HarperCollins, 2007) 10. Handshakes Received and Avoided Philip Roth came with Claire Bloom to [film and stage producer] Patrick Garland’s wedding to [actress] Alexandra Bastedo in the Chichester Cathedral and to the reception afterwards in Bishop Kemp’s quarters in the cathedral grounds. Edward Kemp, the youngest teenage son of the bishop approached him. “Mr. Roth,” he asked, “may I shake you by the hand?” After his wish had been granted and he slipped away (to become in time an excellent writer/director), Philip Roth whispered, “Women at literary luncheons across America have run a mile rather than shake the hand of the man who wrote Portnoy’s Complaint. (West Sussex, England, mid-1970s) —From Ned Sherrin: The Autobiography, by Ned Sherrin (Little Brown, 2005) 11. Inward-Looking Self-Explorer A feeling of authentic French provençal with faded ochre walls and pine tables where you can sit as long as you like…Thompsons, as this modest establishment on the corner of Portobello Mews and next to a new dry-cleaner’s, soon becomes known. … Today Philip Roth is sitting at the back of Thompsons in the gloom. Like an ant-eater’s, his long snout and bright eyes are trained downwards, on the food he consumes. A book is held up close to his face; Roth most definitely does not wish to be disturbed. I’ve heard this most inward-looking and remarkable of self-explorers has a room where he writes in Stanley Gardens, up the hill. I know, despite the fact of his apparent great distance from the talk or excitements around him, that every word one says goes into the long, this head, shaped like a quill with its tufty feathers of black hair, and lies waiting to be inscribed in stone. … The other day, Roth went so far as to invite me to join him in the dark recesses of the restaurant. We talked of nothing much, except Roth’s first wife and the novel, My Life as a Man, that he’d written about her violent and untimely death. My sympathy was brushed aside; Roth declared himself unperturbed by the outcome of his spouse’s tragic accident… After lunch, Roth suggests I “see” his Stanley Gardens workplace. I go up the hill with him, and then up three floors to the minute flat where he sits over his desk, deep in Nathan Zuckerman, his alter ego. There is hardly any space, between desk, armchair and wall, to stand in; but somehow Roth his fitted a rubber mat, green with a swirly pattern, in this tight space, and I find myself—there is nowhere else to go—standing on it. “For my exercises,” Roth says. A silence falls, and I leave, suddenly aware I don’t want to be here at all. Whatever the “exercises” are, I definitely do not want to be a part of them. (London, 1976) —From Burnt Diaries, by Emma Tennant (Canongate Books, 1999) 12. Monk’s Cell With a Great View Roth’s face is lined now, his mouth has tightened and his springy hair has turned grey, but he still looks like an athlete—tall, lean, with broad shoulders and a small head. Until recently, when surgery on his back and arthritis in the shoulder laid him low, he worked out and swam regularly, though always, it seemed, for a purpose—not for the animal pleasure of physical exercise, but to stay fit for the long hours he puts in at his writing. He works standing up, paces around while he’s thinking and has said he walks half a mile for every page he writes. Even now, when his joints are beginning to creak and fail, energy still comes off him like a heat haze, but it all driven by the intellect. It comes out as argument, mimicry, wild comic riffs on whatever happens to turn up in the conversation. His concentration is fierce, and the sharp black eyes under their thick brows miss nothing. The pleasure of his company is immense, but you need to be at your best not to disappoint him. ... The New York studio…where me met to talk…is on the 12th floor, a single large room with a kitchen area, a little bathroom and a glass wall looking south across Manhattan’s gothic landscape to the Empire State Building, with a wisp of cloud around its top. The lectern at which Roth works is at right angles to the view, presumably to avoid distraction…There is a bed with a neat white counterpane against the wall, an easy chair in the center of the room, with a graceful standing lamp beside it, all of it leather and steel and glass, discreetly modern. It is a place strictly for work, spare and chaste, a monk’s cell with a great view. (2004) —From “The Long Road Home,” by Al Alvarez, The Guardian (Sept. 23, 2004) 13. Missed Opportunity I went to hear Hermione Lee, an Oxford University English professor, speak at Columbia University this evening about her just published biography [of Edith Wharton]I arrived early at Low Library and took a seat in the third row of the nearly empty rotunda. Soon afterwards, a professorial man in a tweedy brown jacket sat down in the seat right next to me, which struck me as odd, considering that he might have been expected to leave an empty seat between us in such uncrowded circumstances. I glanced at him, thought he looked vaguely familiar, couldn’t place him, and went back to working on some writing. (I now blush to think he might have been looking at the page.) Fifteen minutes later, along came my husband, who sat down in the seat on my left. The “professor” soon moved one seat over, laying his coat across the seat between us. When Hermione Lee took her seat onstage, I noticed her nod in greeting to the man on my right. Then, the person who introduced her mentioned that she had once written an essay on Philip Roth. And then, of course, I knew. I cast a sidelong glance at “the professor,” and realized the person I had studiously ignored while I continued my own scribbling was arguably our country’s most famous living literary novelist… I had just missed the opportunity to have a 15-minute tête-à-tête with the perpetrator of Portnoy. After the Wharton talk concluded, I lamely inquired if he was Philip Roth and told him it was nice to see him. He returned the pleasantry and was off to commune with the academic types up front. (New York City, 2007) —From “Philip Roth: Another Missed Opportunity,” by Lee Rosenbaum, Arts Journal’s CultureGrrl blog (April 12, 2007) Image credit: Flickr/hye tyde http://images.amazon.com/images/P/B004J4WLU0.01.MZZZZZZZ.jpg

Philip Roth, 1933-2018

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Beloved American novelist Philip Roth has died at age 85. Author of more than two dozen novels, including Goodbye, Columbus, Portnoy's Complaint, and American Pastoral, Roth garnered every accolade (except, famously, The Nobel--read our plea to the Swedish Academy here), and his passing marks the end of an era in American letters. Some Roth pieces from our archives: -An Open Letter to the Nobel Committee -Ten Lessons from the Professor of Desire -Staff Pick: Sabbath's Theater -Philip Roth's Bleak Theater -Life and Counterlife Image credit: Bill Morris/[email protected]

The Man in the White Suit: Remembering Tom Wolfe

Henry Grunwald, Joyce Carol Oates, Taki, Ned Rorem, Annie Leibovitz, and others recall encounters with Tom Wolfe, the dandyish inventor of New Journalism and novelist, who died Monday at age 87. 1. Tidewater Virginian Gentleman …into the clackety-clack chaos of the [New York Herald] Trib’s city room…Every desk was occupied by a man and every man wore the same shirt and tie. Except two. I spotted Tom Wolfe. He looked different [as did the tie-less and rumpled Jimmy Breslin].  His longish silky hair curled over the well-turned collar of an English-tailored tweed suit. He looked like a Tidewater Virginian gentleman, which he was. His lips were locked in a concupiscent smile. Of course, I thought he must be flicking open his satirical switchblade to dice up the status strivings of some sacred cow who had no idea he was about to be skewered. (Tom had not yet effected the wardrobe of a contemporary Beau Brummell in white suits and spats, not on a salary of $130 a week.) Wolfe’s prose was the opposite. He invented unforgettable code phrases—“the right stuff,” the “statusphere,” and “social x-rays.” He exuded excesses of hyperbole never before seen on a black-and-white page. He spotted the first “Tycoon of Teen,” Phil Spector, and he was the first to explain the vision of Marshall McLuhan. The most mind-blowing of Wolfe’s early articles examined the LSD life of Ken Kesey and his Merry Pranksters. …Tom Wolfe did exchange a few words with me, in passing, and I hung on them. “The Herald Tribune is like the main Tijuana bullring for competition among feature writers,” he told me. “You have to be brave.” (New York, 1964) —From Daring: My Passages, by Gail Sheehy (William Morrow/HarperCollins, 2014) 2. Many White Suits On my third trip to New York I bought the publishing rights in a book of essays called Candy Stream Line Flake Baby [sic]. The author was a leading exponent of the ‘new journalism.’ His name was Tom Wolfe. In addition to being an excellent essayist and a superb stylist with a range from art to astronauts, he was something of a celebrity about town and a famous ladies’ man. A trademark of Tom’s, then and now, has been the wearing of white suits. I remember our [Jonathan Cape] Publicity Director asking him when in London how he managed to keep his suit so immaculately white. He took her to his dressing room and opened the cupboard. There, hanging in a row, were six perfect white suits. …He is exceptionally gracious, soft-spoken and well-read, and has immaculate manners. He is also outstandingly intelligent, with the enquiring mind of a superb journalist. He is a passionately caring person. Many years ago [TM’s wife] Regina had a mysterious ailment that we thought the Mayo Clinic in America might cure. Tom went out of his way to introduce us to not one but two of the leading professors there and he wrote to them as if we were his closest friends. —From Publisher, by Tom Maschler (Picador, 2005) 3. Conversationally Frugal The form [“New Journalism”] was invented by Tom Wolfe, a young writer of genteel Virginia background who had become a familiar character on the New York scene in his white suits. As I came to know him—we were never friends but friendly dinner party acquaintances—I was struck by his extreme frugality in conversation. He obviously saved his words for his writing and used his slightly absurd, dandyish appearance as effective camouflage from behind which he observed his surroundings with merciless precision, precision that was heightened by an almost surrealist imagination. There were other practitioners of the New Journalism, some with greater literary credentials and fewer stylistic quirks, including Norman Mailer and Truman Capote. There were also Wolfe imitators for whom the New Journalism came down to writing themselves into an article, tediously going on about their reaction to the wallpaper or to being kept waiting. Wolfe remained the master. While he was unfailingly polite, I sometimes imagined him as poking me in the ribs and saying: “How are you fellows at Time going to keep up with me? I’m skating circles around you.” (late 1960s) —From One Man’s America: A Journalist’s Search for the Heart of His Country, by Henry Grunwald (Doubleday, 1997) 4.  What He Was Trying to Prove …The genre [New Journalism] was famously pioneered by Tom Wolfe in his experimental articles published by the long-defunct New York Herald-Tribune and his books about the 1960s with their wigged-out titles like The Kandy-Kolored Tangerine-Flake Streamline Baby, Radical Chic and Mau-Mauing the Flak Catchers, and The Electric Kool Aid Acid Test…”One of the points I wanted to prove,” Wolfe told me when I interviewed him in Vancouver in 1972, “was that novels and non-fiction should be written the same way. You are bringing some news to the reader, and you have a solid grounding in fact and detail. It ascends from here.” His boyish, preppy head incongruously sticking out of his signature white suit and stiffed-necked collars, Wolfe kept asking me polite questions about Canada and Marshall McLuhan. —From  Here Be Dragons: Telling Tales of People, Passion and Power, by Peter C. Newman (McClelland and Stewart, 2004) 5. Very Proper, No Sweat On one level, Tom Wolfe operated very much like Hunter [Thompson] did. Tom got his stories from odds-and-ends moments. But Tom wasn’t at all like Hunter temperamentally. Tom was very proper. He always wore long-sleeved shirts, and even if it was 95 degrees out and a 100 percent humidity he never sweated. Everyone was sweating through their clothes and Tom was completely dry. Hunter sweated a lot… I went with Tom to Florida to cover [for Rolling Stone magazine] the launch of Apollo 17, NASA’s last manned flight to the moon. That’s when Tom started doing the research on astronauts that led to The Right Stuff. It was interesting to be with Tom because you got in everywhere. There were all these parties before the launch. (1972) —From Annie Leibovitz at Work, by Annie Leibovitz (Random House, 2008) 6. Flow of Fashion Everyone has a different definition of what the New Journalism is. It’s the use of fictional techniques, it’s composite characterization, it’s the art form that’s replacing the novel, which is dying… …along comes Tom Wolfe, the Boswell of the boutiques, with a history of the New Journalism that never mentions Kempton, Cannon, or Stone. Or Lillian Ross and Joe Mitchell, who wrote for the rival New Yorker. Or any [Village] Voice writer, for that matter. Like any faithful Boswell, Wolfe only mentions his friends. …He is a gifted, original writer, but he has the social conscience of an ant. Wolfe is a dandy. His basic interest is the flow of fashion, in the tics and trinkets of the rich. But if Wolfe represents a conservative, or perhaps apolitical approach, there is also the committed school of Stone, Kempton, Royko, Halbertsam, Wicker, Cowar, Hentoff and many others. … —From The Education of Jack Newfield, by Jack Newfield (St. Martin’s Press, 1984) [millions_ad] 7. Nice Person April 13, 1978.  Yesterday, to Ann Arbor, there to meet with Tom Wolfe, who gave the Hopwood Address in the Rackham Bldg., the same building I spoke in two weeks ago exactly (surprising, that the seats weren’t all filled for his talk): Wolfe in his trademark vanilla ice cream suit with pale blue shirt and pale blue socks and white shoes (rather rushing the season, those shoes), a nice person, warm and congenial and, offstage, not at all pretentious. His talk was low-keyed and superficial, perhaps aimed for a somewhat younger (or less intelligent) audience. I am thinking of writing him a letter…We talked a bit, though not at great length. The two of us were “guests of honor” at the Inglus House dinner following the reception, which meant that we were many yards apart, at either end of a very long table. From The Journals of Joyce Carol Oates 1973-1982, by Joyce Carol Oates (HarperCollins, 2007) 8. Working Stiff …Tom Wolfe works his ass off... I used to read Wolfe and think, “Well, fuck you! God touched you and made you a fucking genius, and that’s the end of it!” Then in the mid-eighties I walked in to the offices of Rolling Stone one afternoon and saw him working at a desk. He was writing The Bonfire of the Vanities in biweekly installments at the time, and I looked in his eyes and saw the haunted, hunted animal look I know I have in my eyes when the shit is hitting the fan. And I thought to myself, “God bless you, Tom. You’re a working stiff after all.” (New York, mid-1980s) —From The New New Journalism: Conversations with America’s Best Nonfiction Writers on Their Craft, by Robert S. Boynton (Vintage Books, 2005) 9.  No Prima Donna 11 February 1985 …a short note from [wife] Alexandra saying that Tom and Sheila Wolfe had called to offer their support. The great Tom had already rung me while I was waiting for my appeal [of a conviction for cocaine possession, which resulted in three months in London’s Pentonville Prison], a kindness I shall not soon forget…Like all large talents, Tom is supportive of lesser ones. And he’s no prima donna. He is as kind and considerate and gentle in his dealings with people as his literary style is precise and devastatingly accurate. He and his wife and their two children live across the street from us in Southampton [N.Y.], but they prefer a quiet life and I don’t see much of them. But I treasure their friendship. … I like everything Tom has ever written, but my favorite remains his demolition job on the ‘radical chic’ of Mr. [Leonard] Bernstein’s cocktail party… —From Nothing to Declare: Prison Memoirs, by Taki (Viking, 1991) 10. Candle in a White Suit Had a terrific drink tonight with Tom Wolfe, who is tall and thin like a candle in his white suit, with a dryness suddenly illuminated by joyous shafts of pure malice…I told him I was having dinner with Martin Amis. “Ah, the rising novelist of thirty-four. Funny how you are a hardened thief at thirty but a rising novelist at thirty-four.” Outside it was pouring rain and we lingered over our drink at Le Périgord. He told me he is finishing his new novel about New York and the “masters of the universe” of Wall Street [The Bonfire of the Vanities]. (New York, 1983) —From The Vanity Fair Diaries 1983-1992, by Tina Brown (Henry Holt, 2017) 11. Lost Scene …Wolfe’s attack on The New Yorker [in the New York Herald Tribune in 1965]… …In the lead paragraph of his first part, he had described in lavish detail a scene in [editor William] Shawn’s office. A prospective contributor was visiting. While Shawn huddled behind the stack of manuscripts on his desk, the visitor, nervously and unthinkingly, lit a cigarette. After a couple of drags, he noticed to his dismay (though Shawn said nothing) that there were no ashtrays in the room. Desperately he reached for an empty Coca-Cola bottle and deposited the offending cigarette, point down, into its base. The barely smoked weed—all smokers will recognize this picture—continued to burn, and, as the visitor watched in mounting anguish, and Shawn smiled enigmatically from behind the barricade of his manuscripts, the brown smoke curled acridly into the unventilated room. … And yet, as we learned from Dwight MacDonald, Wolfe had never been there. He had, unforgivably, made the incident up. … …Wearing his trademark white suit, Wolfe is as insouciantly charming in our [1987 CBC] interview as his writing is energetic in print. After much palaver…I pop the question. Does he remember the scene? Of course. Where did he get it? He has, he confesses disarmingly, no idea now. He’d have to look at his notes. Concerned lest I take an already self-indulgent interview further down the lane of autobiography, I turn to other matters. (Toronto) —From The Private Voice: A Journal of Reflections, by Peter Gzowski (McClelland and Stewart, 1988) 12. Sartorial Splendor  24 February 1990. Lunch with Tom Wolfe, who is here [Tokyo] to work up a novel. It has some Japanese in it, and he has come to see some Japanese. Tallish, wide forehead, gray eyes, and much sartorial splendor. He mentions this. “I guess I am old-fashioned,” he says in reference to his Edwardian vest, his watch chain, and his wide-brimmed hat. But it is also a way of dress that alerts people. I had taken him to the Press Club, not the brightest or liveliest place, and everyone recognized him at once and several came sidling up. He is also interested, understanding,  curious. Says very little about himself unless one asks. Wants to learn. Is here for that reason. Is particularly interested in what happens to art here, how it turns into money… From The Japan Journals 1947-2004, by Donald Richie, ed. by Leza Lowitz (Stone Bridge Press, 2004) 12. Eye Contact Avoided Nantucket, 8 June [1994] …to be an honoree at a find-raiser for Marymount College… The pre-prandial cocktail hour at the swanky Palace mezzanine…Wolfe, whom I’ve never met—nor were we introduced—sitting three chairs away, arranged for his famously friendly eyes never to cross with mine, which made clear that he would not be extending his hand, nor encouraging me to do so. What, I wondered, have I ever done to him? Ah yes, it must be that crank letter to the Times, years ago, when I took to task his review of Cecil Beaton’s memoir wherein he twitted queers. Still, is that enough for him to ignore my presence now, rather than, like a suave European, to separate professional feuds from social niceties? He meanwhile might argue he didn’t know who I was. (New York) From Lies: A Diary 1986-1999, by Ned Rorem (Counterpoint, 2000) Image Credit: Flickr/Cliff.

The Utopias of Ursula K. Le Guin

The revolutionary science fiction author Ursula K. Le Guin, who passed away January 22, understood something important about ideal worlds and societies: Utopia is not perfection. Utopia is process. It is reflection and adjustment, learning and growth. It is communication and respect, self-awareness and honesty. This concept echoes throughout her body of work, but she explores utopia-as-process fully in one of her most radical novels, Always Coming Home, published in 1985. This novel, more accurately described as a fictional anthropological study, has no singular narrative and no main character. Certainly, we hear life stories from individuals in the Kesh society depicted in the book, but traditional narrative isn’t the only means by which Le Guin tells this story—she includes poems, plays, illustrations, musical notation, and other ephemera as part of the tale. This nonlinear narrative structure, along with the stories included therein, synthesizes Le Guin’s beliefs on the unavoidable, destructive outcomes of a patriarchal, capitalist society by rejecting them whole cloth. In a 2015 essay for Motherboard, Le Guin wrote, “Every benefit industrialism and capitalism have brought us, every wonderful advance in knowledge and health and communication and comfort, casts the same fatal shadow. All we have, we have taken from the earth; and, taking with ever-increasing speed and greed, we now return little but what is sterile or poisoned.” Much of her fiction concerns itself with finding a better way, a way mutually beneficial to humans and the earth. Indeed, in Always Coming Home’s utopic society, the Kesh live in a reclaimed post-apocalyptic California. Although some land remains arable, much of what was formerly the United States is inhospitable to human life. The text implies that the conquest-driven, consumptive culture of the 20th century directly led to the continent’s ruination. Despite the harshness of their environment, the Kesh thrive. But how do you build utopia from destruction and ruin? Here’s where the book becomes difficult, radical, and complex. The hinge spiral, a two-armed spiral circling out from a single center point, is the key to understanding both the novel and Le Guin’s vision of utopia. Not only does the spiral form the central motif for the Kesh, but the narrative structure itself echoes the spiral. Always Coming Home is a study in what a complete and utter rejection of capitalism and patriarchy might look like—for society and for the art of storytelling. For the Kesh, poverty is non-existent because the society supports all of its members. Artists, artisans, and other creative types are valued as highly as hunters and farmers. The people work with the land, not against it, and certainly not in dominion over it. Greed is unnecessary because every person has what they need to be happy and healthy. Crime is so minimal as to be nonexistent. Although many of Le Guin’s other novels contain utopias, her most well-read novels are not quite as grand in vision as Always Coming Home. The Left Hand of Darkness, published in 1969, chiefly addresses the singular topic of gender/sex and the consequences of favoring one biological sex over the other. The Dispossessed, a 1974 novel written in response to the Vietnam War, explores an anarchist utopia and what a world without capitalism might look like. But it, too, stops short of completely re-envisioning society. In addition, these novels—along with the majority of Le Guin’s books and short stories—follow a semi-traditional narrative structure. They have a beginning, middle, and end. They have protagonists and antagonists. They use the language of patriarchy, albeit subversively. By avoiding a linear narrative in Always Coming Home, Le Guin escapes the trap inherent in all would-be subversive texts: the use of language, which is controlled by patriarchy. Always Coming Home avoids the patriarchal conventions of storytelling by first eschewing a traditional narrative arc detailing a protagonist triumphing over an antagonist. Instead of one arc, Always Coming Home consists of many smaller arcs. The text’s longest section, “Stone Telling”—the life story of a woman of the same name—takes up only slightly more than 100 of the text’s 525 pages. The inclusion of other life stores aside from Stone Telling’s, such as those in the “Eight Life Stories” section, shows that no one narrative should represent an entire group of people or a place. Rather, diverse voices should be given a space in which to share their experiences and stories, whatever form those stories might take. In The Left Hand of Darkness, we are privy only to Genly Ai’s reactions to the ambisexual Gethenians. In The Dispossessed, we follow Shevek in his studies and experiences with anarchism and capitalism. In Always Coming Home, Le Guin presents an entire world of stories and perspectives. (This is not, of course, to say that Le Guin’s other novels don’t have value and meaning—they absolutely do, and are great in their own ways.) [millions_ad] Always Coming Home also escapes the patriarchal convention of linear storytelling by situating the creative and autobiographical works of the text, which constitute its bulk, within a socio-historical context. Pandora’s commentary and informational sections lend weight to those creative works by giving them extra layers of symbolic and historic meaning, and more importantly, by revealing the processes through which Kesh society maintains its utopia (this is also a subversion of the concept of “utopia,” which by patriarchal storytelling tradition cannot exist and always ends badly). The novel’s arrangement is not, however, without shape, and its shape allows the text to communicate with itself. The “Stone Telling” section, broken into three parts, is the hinge around which Le Guin spirals the historical, societal, literary, and biographical sections of the text, many of which are also broken into multiple parts. These sections do not exist independently of each other, although they can be read separately. Instead, they wrap around each other and reflect upon each other, building meaning as they go. At the very end of “Time and the City,” the Archivist at the city of Wakwaha tells Pandora, “Tell about the Condor. Let Stone Telling tell her story.” Linearly speaking, though, Stone Telling’s story began on page seven, and part two begins on page 173, immediately after this exchange between Pandora and the Archivist. The narrator’s introduction to “Stone Telling,” the hinge, comes one-third of the way through Stone Telling’s tale, effectively cycling back to that section rather than simply providing a preface for it. Because there are many stories, readers can enter the text at multiple points, unlike a traditional novel. The lack of a dominant narrative voice gives the reader freedom to choose her entry point and makes her an active participant in the text. Not only do multiple entry points undercut the idea that there is one “right” story—that of the hero—but create a text in which exist nearly infinite possibilities for the interpretation of meaning. “Readers, after all,” Le Guin said in an interview included in the collection At the Field’s End, “are making the world with you. You give them the materials, but it’s the readers who build that world in their own minds.” Regardless of where a reader starts reading and what choices she makes, she is in effect swirled back into the text and into communication with it at the end of each section, not marched out of it as in a traditional point A to point B narrative. Capitalism and patriarchy embrace a binary: rich/poor, right/wrong, male/female, etc. “Success” refers only to vocational and financial success, never the successful raising of children or creation of art (whether or not anyone sees or appreciates said art). Le Guin cracks these binaries open, from the way the Kesh keep records (anyone can give anything to the library, and it is kept as long as people are interested in keeping it) to the way she structured the book as a spiral. Le Guin takes the idea of multiple entry points to another level entirely by including non-lingual aspects in the book, thereby further evading the problem of language and dominant discourse. Scholar Robin Roberts points out that the novel itself is a collaborative work, since others composed the music, drew the pictures, and helped Le Guin with the maps, further avoiding the problem of “univocality,” as she calls it. Roberts says—and I agree—that, “Through her amalgamation of diverse materials, Le Guin emphasizes the act of interpretation.” In Always Coming Home, even the arrangement of sections provides a clear critique of patriarchy by juxtaposing Kesh society with that of the Dayao, or Condor, people. The Dayao people believe in an immortal god called One. One created the world, and will eventually unmake it. On page 190, Stone Telling says, “Human men are imitations of him. One is not the universe; he made it, and gives orders. Things are not a part of him nor is he part of them, so you must not praise things, but only One.” Instead of the Valley’s animistic beliefs that hold all things sacred, the Dayao worship one god and follow a strict hierarchy of power and authority. The above passage from page 190 brings to mind two particular passages from The Bible. The first is John 1 verses 1-3, which states, “In the beginning was the Word, and the Word was with God, and the Word was God. He was with God in the beginning. Through Him all things were made; without him nothing was made that has been made.”  The second passage is Genesis 1:7, which states, “So God created man in his own image.” The Bible teaches, like the One, that a supreme being created the world, and that humans were made in his image, and exist to glorify him. Since a supreme being created the world for human use, they do not need to respect or show honor to the more-then-human world, let alone communicate with it. By echoing the language of The Bible, the text makes the parallel between the Dayao society and our own clear. The Kesh, in contrast, call all living things people, and differentiate between species. There are human people, and cow people, and coyote people. By calling these species the same word used for humans, the Valley people show that they hold animals in equal regard to themselves. They do not kill mercilessly or without cause. Only wild animals who, according to “The Back of the Book,” “allowed themselves to be hunted, who responded to the hunter’s singing and came to meet the arrow or enter the snare, had consented to come into the Second of the Earth Houses, the Blue Clay, in order to die. They had taken on mortality sacrificially and sacramentally.” The ways the hinge motif can be applied to Always Coming Home would fill volumes. The novel’s content and structure echo one other so closely that they, too, become arms on the spiral. Even the physical book acts as a hinge, connecting reader to author, and reader to content, and author to content. Without the others, the existence of one becomes meaningless. It is not the final product that matters, but the process by which author and reader give the story life. Le Guin understood that if we seek a limited version of success defined by the values of capitalism and patriarchy, we will never progress beyond these self-destructive ideals. Instead, we should revel in the cyclical nature of things, in self-reflection and growth, in living with the natural world instead of against it. We should embrace the interconnectedness of life and reject the idea that if one person is rich, another must be poor. It is only by engaging in the never-ending process of reflection and growth that we can achieve utopia, or some version of it. That is Le Guin’s final, and greatest, gift to all those who dream of a better way to live.

Those Who Left Us: Select Literary Obituaries of 2017

Poets, editors, songwriters, teachers, journalists, novelists—some great writers and some under-sung ones left us this year. Here, in chronological order of their deaths, is a selective compendium of literary obituaries from 2017.     Bharati Mukherjee Bharati Mukherjee was born in Calcutta, educated in England, Switzerland, and India; she earned advanced writing degrees in the United States, and lived more than a decade in Canada—a peripatetic life she mined to write fiction about the aspirations and dislocations of immigrant life. Mukherjee, who died Jan. 28 at 76, grew up in a rich Hindu family, “bubble-wrapped in innocence,” as she would say later. Shortly after arriving at the Iowa Writers’ Workshop, where she studied under Philip Roth, Mukherjee informed her parents that she was not going through with the marriage they had arranged for her and that, in fact, she had recently married a white American writer, Clark Blaise. Her first-hand knowledge of the immigrant’s yearnings was captured in the title character of her breakthrough novel, Jasmine, a poor girl from Punjab who arrives in America “greedy with wants and reckless with hope.” Mukherjee’s collection The Middleman and Other Stories, winner of the National Book Critics Circle Award in 1988, explored the immigrant experience through the stories of new arrivals from the Caribbean, Sri Lanka, the Philippines, and the Middle East. As she was writing those stories, she was developing a credo: “Make the familiar exotic (Americans won’t recognize their country when I get finished with it) and make the exotic—the India of elephants and arranged marriages—familiar.” Given that we now live in a world with 60 million refugees, driven from their homes for reasons ranging from terror to desire, it’s hard to argue with Mukherjee’s claim that “the narrative of immigration is the epic narrative of this millennium.” Derek Walcott Some writers are lucky to have a singular place that forever nourishes their art. William Faulkner had Yoknapatawpha County. Elmore Leonard had Detroit. Patrick Modiano has Paris. And Derek Walcott, the Nobel Prize-winning poet, had his native Caribbean island of St. Lucia. It provided Walcott with ample raw materials for his vivid, musical poems—the sea, the pulsing sun, the land and its fecund vegetation, and the people who live there in the wake of slavery, colonialism, and forced exile, snagged in the mesh of commingled cultures. Walcott, who died March 17 at 87, published his first poem when he was 14 while operating under the influence of Christopher Marlowe and John Milton. Over the next seven decades he became an accomplished poet, playwright, and watercolorist, fluent in English, French, and Spanish, producing a body of poems that ranged from compact to epic, always spun from the weather, the history, and the people of the Caribbean. Walcott was also a wanderer, and, like all exiles, he knew the twinned aches of leaving home and returning. These lines are from In a Green Night, the 1962 book that announced him as a major writer: The hospital is quiet in the rain. A naked boy drives pigs into the bush. The coast shudders with every surge. The beach Admits a beaten heron. Filth and foam. There is a belt of emerald light, a sail Plunges and lifts between the crests of reef, The hills are smoking in the vaporous light, The rain seeps slowly to the core of grief. It could not change its sorrows and be home.  Jimmy Breslin Though he’ll be remembered as a Pulitzer Prize-winning newspaper columnist of the New York City persuasion, Jimmy Breslin, who died on March 19 at 88, was also a gifted novelist, memoirist, biographer, and writer of nonfiction books about subjects both light and dark, from the ineptitude of the early New York Mets baseball teams to the sins of sexual predators in the Catholic priesthood. His biography of Damon Runyon reads like Damon Runyon on acid. Breslin produced more than 20,000 newspaper columns in his long and fluorescent career—a staggering number, I can attest, having produced about 600 of the things myself. Many of Breslin’s were written on behalf of the powerless, the ignored, the forgotten. When someone asked him why he kept going back to the well, he replied: “Rage is the only quality which has kept me, or anybody I have ever studied, writing columns for newspapers.” Breslin’s was an only-in-New-York life. Born in Queens, he knew the streets and the saloons, the mobsters and the cops like nobody else, and he was among the vanguard of writers who birthed what has come to be known as the New Journalism, though he scoffed at the term. Too high-minded for this burly son of the outer boroughs. He ran (unsuccessfully) for New York city council the same year Norman Mailer ran (unsuccessfully) for mayor. His fame reached its peak in 1977, when the serial killer David Berkowitz, known as the Son of Sam, began sending letters to Breslin, which he published in the New York Daily News. For all the warmth he felt for the little people, Breslin could be as cold and hard as iron. His father abandoned the family when Jimmy was young, and when his father died, the son paid for the cremation. “Good,” he said afterward. “That’s over.” Jean Stein Jean Stein died on April 30 at 83, an apparent suicide. She grew up amid Hollywood luxury—her father founded Music Corporation of America—and she returned to that milieu in her later work. But it was her 1982 book, Edie: An American Biography, that upended my understanding of what a book can be. It tells the story of Edie Sedgwick, who also grew up wealthy, became a Andy Warhol superstar, then spiraled into drug addiction and death by overdose at 28. Her story is told by dozens of people whose lives crossed hers (and her patrician family’s). Stein does not elicit conventional answers to conventional questions, as in Studs Terkel or Oriana Fallaci; instead she acts like a camera, unflinching, mutely watching and listening as people talk. There is no authorial intervention, seemingly no point of view. In time, the lack of affect becomes the affect. The book is a flat yet sneakily rich portrait of squandered American privilege and the cult of celebrity. It’s an act of dissection. An X-ray. A masterpiece. Stein was not a one-hit wonder. She worked at The Paris Review (where she interviewed William Faulkner), Esquire, and the literary quarterly Grand Street. She produced another oral history, American Journey: The Times of Robert F. Kennedy, and West of Eden, a study of the influences of Hollywood, oil exploration, and real estate on the city of Los Angeles. Stein was shy by nature but she threw glittering parties, including one at which Norman Mailer and Gore Vidal got into a fistfight. She was an unobtrusive but brilliant interviewer. Of the technique behind Edie, she once said, “Each person is speaking directly to you…Nobody is ever telling you, the reader, what to think.” Denis Johnson The news that Denis Johnson had died on May 24 at 67 sent me back to two pieces of writing. The first was Johnson’s masterly short story, “Car Crash While Hitchhiking,” from his 1992 collection about drug-addled drifters and losers, Jesus’ Son. Like all great fiction, “Car Crash” conjures a world that’s unlike any other and yet instantly, even shockingly, familiar. Words pop out of nowhere and ambush the reader. It’s the story of a lone hitchhiker stuck in a downpour who gets a lift from a young couple. As the hitchhiker dozes in the back seat with the couple’s baby, the car is involved in a ghastly crash on a rain-slicked bridge. Clutching the baby, the hitchhiker staggers from the wreckage and is taken to a hospital, where this unforgettable scene unfolds: Down the hall came the wife. She was glorious, burning. She didn’t know yet that her husband was dead. We knew. That’s what gave her such power over us. The doctor took her into a room with a desk at the end of the hall, and from under the closed door a slab of brilliance radiated, as if by some stupendous process, diamonds were being incinerated in there. What a pair of lungs! She shrieked as I imagined an eagle would shriek. It felt wonderful to be alive to hear it! I’ve gone looking for that feeling everywhere. The second piece of writing was Geoff Dyer’s review of Johnson’s National Book Award-winning novel, Tree of Smoke. Dyer makes the point that nothing in Johnson’s earlier output, not even Jesus’ Son, had prepared readers for this teeming, meandering mind-fuck of a novel about America’s misadventures in Southeast Asia. Dyer compares Johnson to Don DeLillo, Robert Stone, Joseph Conrad and, of course, Graham Greene. Far more astutely, he calls Johnson “a junkyard angel,” a writer who, “at some level, did not know how to write at all—and yet knew exactly what he was doing.” I can’t imagine more apt, or higher, praise. Gregg Allman Three days after Johnson’s death, Gregg Allman died at 69. If Bob Dylan is worthy of a Nobel Prize in literature, then Allman, the keyboardist and lead songwriter for The Allman Brothers Band, surely merits inclusion in a list of noteworthy literary obituaries. He wrote many of the band’s signature songs, including “Whipping Post,” “Midnight Rider,” and “Melissa.” Some of his song lyrics rise to the level of art, including these from “Ain’t Wastin’ No More Time,” written shortly after his beloved big brother, Duane, the band’s lead guitarist, died in a motorcycle crash in Macon, Georgia: Last Sunday morning, the sunshine felt like rain. Week before, they all seemed the same. With the help of God and true friends, I come to realize I still had two strong legs, and even wings to fly. And oh, I ain't wastin’ time no more 'Cause time goes by like hurricanes, and faster things. The news of Gregg Allman’s death, like the news of Johnson’s, sent me back to a piece of writing—in this case, “Hitting the Note with the Allman Brothers Band,” Grover Lewis’s Rolling Stone chronicle of being embedded on tour with the band in 1971, shortly before Duane’s death. It was a deep-pore examination of life on the road with a big-name rock band, a string of identical days and nights full of “pure listless boredom” and plane flights and concerts and groupies and TV and piles of comic books and cocaine. Despite the grind of the road, Gregg Allman’s life did not lack for color. He avoided fighting in Vietnam by getting drunk and shooting himself in the foot. He had a long solo career. He married, recorded with, and divorced Cher. (She was the third of his six wives.) He contracted hepatitis and arthritis. He got a liver transplant. Late in life he wrote a memoir, My Cross to Bear, with Alan Light. As a writer, Allman may not be in a league with Patti Smith, but the book has its moments, including a line that would have made an unbeatable epitaph: “If I fell over dead right now, I have led some kind of life.”  Clancy Sigal If you favor writers who live long colorful implausible lives, Clancy Sigal, who died on July 16 at 90, is your man. Sigal’s resume reads like overcooked fiction: he plotted to assassinate Hermann Göring at the Nuremberg war crimes trials; he was Humphrey Bogart’s Hollywood agent; he was noteworthy enough to make the anti-Communist blacklist; he had to dodge FBI agents; he worked with the Student Nonviolent Coordinating Committee; he was Doris Lessing’s lover (and the model for Saul Green in her 1962 novel, The Golden Notebook); he underwent therapy and dropped acid with the anti-psychiatrist R.D. Laing; he organized Detroit autoworkers; he was a popular commentator on the BBC. Somehow, Sigal also found time to write, producing essays, novels, memoirs, and the screenplay for the 1992 Salma Hayek movie, Frida. His best known book was 1961’s Going Away: A Report, A Memoir, an autobiographical account of a blacklisted Hollywood agent’s picaresque cross-country trip aboard a DeSoto convertible, during which the hero discovers a fractured nation and his own fractured self. It was seen as a rebuttal to Jack Kerouac’s effervescence, and it became a finalist for the National Book Award. The critic John Leonard offered this praise: “It was as if On the Road had been written by somebody with brains.” Sigal never stopped working. He was busy blogging a couple of days before he died. Dick Gregory Dick Gregory didn’t hector or lecture about America’s racial divide but went at it sideways, with a dagger instead of a sledgehammer. Classic early Dick Gregory has him going into a restaurant in the segregated South, where the waitress informs him: “I’m sorry, we don’t serve colored people here.” To which he replies: “That’s all right. I don’t eat colored people nowhere. Just bring me a whole fried chicken.” Gregory, who died on Aug. 19 at 84, wrote a dozen books, and his 1964 autobiography, nigger, was built on this strategy for neutering an epithet through frank exposure and overuse: “I said, let’s pull it out of the closet, let’s lay it out there, let’s deal with it, let’s dissect it. It should never be called ‘the N-word.’ You see, how do you talk about a swastika by using another term?” Gregory was soon on the front lines of the civil rights movement, which led to beatings and a dozen arrests, a gunshot wound. Other issues that inspired his activism included the Vietnam War, police brutality, the Equal Rights Amendment, South African apartheid, and the rights of Native Americans. Sometimes he flirted with the bizarre, speculating that “whoever the people are who control the system” were behind the killings of President John F. Kennedy, Martin Luther King, Jr., and John Lennon, as well as the crack cocaine epidemic and the 9/11 terrorist attacks. Then again, there are more than a few people don’t find anything bizarre about such suspicions. Gregory famously embraced various diet fads, and he ran (unsuccessfully) for mayor of Chicago and president of the United States. At the end, he was still able to laugh. “Here’s how you can tell when you’re getting old,” he said late in life. “When someone compliment you on those beautiful alligator shoes you’re wearing—and you’re barefoot.” Kate Millett Kate Millett’s polemical bombshell, Sexual Politics, burst on the scene in 1970. A portrait of Millett by Alice Neel soon graced the cover of Time magazine, which was then the gold standard of a writer’s anointment as Truly Important. Sexual Politics began as a doctoral thesis, and it used literary criticism and historical analysis to dismantle such supposed avatars of sexual liberation as Henry Miller, D.H. Lawrence, Jean Genet, and Norman Mailer. Millett, who died on Sept. 6 at 82, portrayed such men as cogs in a masculine machine designed to establish and perpetuate the inferior status of women. Patriarchy, Sigmund Freud’s theory of penis envy, the nuclear family—all, in Millett’s view, led to the “interior colonization” of women. [millions_ad] The book, out of print for many years, was reissued in a new edition last year—just in time for the avalanche of revelations of sexual misconduct that have borne out Millett’s original premise. The machine, as we seem to learn anew every day, was indeed set up to ensure the inferior status of women. It ran—until now—on women’s enforced silence. Nearly half a century after the original publication of Sexual Politics, the silence is finally being broken. Lillian Ross Lillian Ross, who died on Sept. 20 at 99, was the fly who came off the wall—with disastrous consequences. In a celebrated six-decade career as a staff writer at The New Yorker, Ross followed this reporter’s dictum: “Do not call attention to yourself.” Her unobtrusive interviewing techniques resulted in a tall stack of superb journalism, on subjects ranging from Ernest Hemingway to a group of rural Indiana high schoolers’ first trip to New York City. Some believe that the best book ever written about Hollywood was Ross’s Picture, from her New Yorker articles about John Huston’s tortured effort to bring Stephen Crane’s Civil War novel, The Red Badge of Courage, to the screen. But in 1998, the fly on the wall did something out of character: she called attention to herself by publishing a memoir, Here but Not Here, which revealed her 50-year love affair with the late William Shawn, the married editor of The New Yorker, whose widow and children were still alive. Many in the New York literary tribe were incensed. Charles McGrath, then editor of The New York Times Book Review, dissed the book as “a tactless example of the current avidity for tell-all confessions.” Jeremy Bernstein, a 31-year veteran of The New Yorker, called it “a deeply hurtful, self-indulgent, tasteless book that never should have been written at all.” Ross claimed to be mystified by the uproar. As she told the gossip columnist Liz Smith: “The controversy doesn’t make any sense to me.” Jim Clark Jim Clark may not be a household name, but for more than four decades, as a student, teacher, editor, then director of the MFA program in creative writing at the University of North Carolina at Greensboro, Clark was an outsize influence on generations of writers. He carried a torch passed down by the school’s earlier writing teachers—Allen Tate and his wife Caroline Gordon, Randall Jarrell, Peter Taylor, Fred Chappell, Bob Watson and, now, Michael Parker and Terry Kennedy, among many others. The word “generous” keeps popping up when people remember Clark, who died on Oct. 30 at 72. I experienced that generosity firsthand when Clark, who was also an ordained minister, helped me put together an essay about Greensboro’s peculiar allure for writers. Clark pointed me to a quote by Jarrell, who called the town “Sleeping Beauty,” adding that “Greensboro leaves one alone just wonderfully.” I join hundreds of writers in saying, “Thank you, Jim. Rest in peace.” William H. Gass William H. Gass, who died on Dec. 6 at 93, is regarded by many as a father of postmodern writing (unless you think the title belongs to Miguel de Cervantes for that house of mirrors called Don Quixote). Gass, after all, coined the word “metafiction” for his favored ploy of inserting a character known as William H. Gass into fiction written by William H. Gass. But I think Gass should be remembered for four very different reasons. First, he believed sentences were sacred objects and every one should be as perfect as the writer can possibly make it. Second, while he will be remembered for his novels, especially The Tunnel, and his short stories, I’m partial to his essays, on everything from suicide to Malcolm Lowry’s epic (and suicidal) drinking, which are the work of a brilliant mind that wears its erudition lightly. Third, Gass was a metaphor machine; he said the things came at him in “squadrons.” Of the insane he wrote that “their thoughts are open razors, their eyes go off like guns.” Metal threads, he wrote, were “glinting like those gay gold loops which close the coat of a grenadier.” And fourth, in our careerist, prize-drunk age, Gass had a refreshing disdain for literary awards, even as many were bestowed on him. “The Pulitzer Prize in fiction,” he wrote, “takes dead aim at mediocrity and almost never misses.”  Simeon Booker My father was working as a reporter at The Washington Post in 1952 when the paper hired its first black reporter, a Baltimore native named Simeon Booker. But Booker lasted just two years at The Post, becoming frustrated by the limited assignments from his white editors in the nation’s rigidly segregated capital. He yearned to write about the black experience in America, and so he started contributing to the weekly Jet and the monthly Ebony, both aimed at black readers. Booker’s timing was superb. Over the next six decades, he covered many of the defining stories of the 20th century, including the brutal murder of the black teenager Emmett Till and the acquittal of his white killers, the Montgomery bus boycott, the Freedom Rides, the Bloody Sunday melee on the Pettus Bridge. He also wrote about politicians, celebrities, and ordinary people. Booker, who died on Dec. 10 at 99, found time to produce books in his long and decorated life, including Black Man’s America (1964) and Shocking the Conscience: A Reporter’s Account of the Civil Rights Movement. While there were many courageous and talented reporters, black and white, covering the civil rights movement (see Gene Roberts and Hank Klibanoff’s fine book, The Race Beat, or the memoir Beware of Limbo Dancers by Roy Reed, a New York Times reporter who also died on Dec. 10, at 87), Booker seemed to get there first, and he had access, guts, and drive that few rivals could match. And his words carried major weight. One long-time reader said she and others eagerly awaited Booker’s dispatches in Jet and Ebony, which they regarded as nothing less than “the gospel according to Simeon.” Other notables who left us this year, in alphabetical order: John Ashbery, 90, was a giant of American letters, an inimitable poet who was often imitated but never equaled. He was also an insightful art critic, and in 1976 he became the only writer to win the Pulitzer Prize, the National Book Award, and the National Book Critics Circle award in the same year for his collection Self-Portrait in a Convex Mirror. William Peter Blatty, 89, author of the 1971 horror novel, The Exorcist, which sold 13 million copies. Blatty won the Academy Award for adapted screenplay two years later for the movie version of the book, which shattered box office records thanks to its ingenious use of projectile pea-soup vomiting and a girl with a spinning head. J.P. Donleavy, 91, whose bawdy 1955 novel The Ginger Man was banned and burned before it became a contemporary classic, with 45 million copies in print. Donleavy, who lived for many years in Ireland and was an accomplished painter, had this to say about old age: “It’s not nice, but take comfort that you won’t stay that way forever.” Paula Fox, 93, was dubbed one of America’s “least appreciated” novelists by The Nation, but she received some overdue recognition in 1999, when Jonathan Franzen wrote an introduction to a popular reissue Fox’s signature novel, Desperate Characters. Nancy Friday, 84, author of the bestsellers My Secret Garden and Forbidden Flowers, built her writing career on the earth-shattering premise that women have sexual fantasies. To the dismay of many feminists, Friday argued that it was by ridding themselves of shame that women can achieve professional, political, and economic equality with men. Some of Friday’s ideas have held up better than others. In 1996, appearing on Politically Incorrect with Bill Maher, she dismissed the importance of on-the-job sexual harassment. “The workplace,” she said, “is the meeting and mating place.” Try telling that to Salma Hayek. Sue Grafton, 77, didn’t quite make it to Z. Her so-called alphabet novels, featuring the private eye Kinsey Millhone, began with 1982’s A Is for Alibi and reached Y Is for Yesterday last summer. Grafton, whose influences ranged from Nancy Drew to Mickey Spillane, was at work on Z Is for Zero at the time of her death. Clifford Irving, 87, who became a millionaire, briefly, but then went to prison when his early 1970s book, The Autobiography of Howard Hughes, was blocked from publication after it was proven to be one of the most sublime literary hoaxes of the 20thcentury. Robert M. Pirsig, 88, who captured the schizoid zeitgeist of the 1970s with his novel Zen and the Art of Motorcycle Maintenance, which sold millions of copies and remained on bestseller lists for a decade. Sam Shepard was that rarest thing: a Pulitzer Prize-winning playwright—and an accomplished memoirist, musician, screenwriter, and songwriter—who became an Oscar-nominated, heart-throb movie star. His posthumous final work, Spy of the First Person, is narrated by a man suffering from a degenerative disorder much like the Lou Gehrig’s disease that killed Shepard at age 73.  Robert Silvers, 87, was a founding editor of The New York Review of Books in 1963, and he spent the rest of his life shaping it into one of America’s most influential literary publications. The self-effacing Silver had this to say about the editor’s role: “The one thing he should avoid is taking credit. It’s the writer that counts.”  Richard Wilbur, 96, was a poet, translator, and opera lyricist who won two Pulitzer Prizes and a National Book Award for his meticulous, unshowy poetry. In 1988 he succeeded Robert Penn Warren as the nation’s poet laureate.  Yevgeny Yevtushenko, 83, was the un-Richard Wilbur, a Russian whose showy, defiant poems and theatrical delivery turned him into poetry’s version of an international rock star. Stalinism and other forms of totalitarianism were early targets, though some grumbled that the Soviet government tolerated him while sending other dissidents to Siberia. Some went so far as to call Yevtushenko a sellout. The exiled poet Joseph Brodsky said of him, “He throws stones only in directions that are officially sanctioned and approved.” Millions of fans worldwide disagreed.  

Those Who Left Us: Select Literary Obituaries from 2016

This year we lost a Nobel laureate, several Pulitzer Prize winners, many writers with wide readerships, and many more who never achieved the acclaim or the audiences they deserved.  Happily for them all, their books live on. C.D. Wright C.D. Wright’s poetry was grounded in her native Arkansas -- she called her early style “idiom Ozarkia” -- but her work broke so many boundaries and wandered so freely that she belonged, in the words of the poet Joel Brouwer, “to a school of exactly one.”  Wright, who died on Jan. 12 at 67, wrote that her poems were about “desire, conflict, the dearth of justice for all.  About persons of small means.”  Some of those persons were inmates she interviewed in Louisiana prisons, who inspired these lines: AC or DC You want to be Westinghoused or Edisoned Your pick you’re the one condemned Tennessee’s retired chair available on eBay. In an autobiographical prose poem from 2005, Wright, a MacArthur fellow and winner of the Lenore Marshall Poetry Prize and the National Book Critics Circle Award, wrote this of herself: “I poetry.  I write it, study it, read it, edit it, publish it, teach it…Sometimes I weary of it.  I could not live without it.  Not in this world.” Read: Several Millions Year in Reading contributors on Wright's work. Umberto Eco Umberto Eco, who died on Feb. 15 at 84, was a semiotician by training, a scholar who studied signs and symbols -- religious icons, clothing, words, musical scores. When he turned his hand to writing novels, Eco achieved superstar success on a global scale, never more so than with the first of his seven novels, The Name of the Rose, a yarn about murderous monks in a medieval monastery.  Though it was larded with descriptions of heresies and Christian theology, it succeeded as a page-turner, a shameless whodunit that sold 10 million copies and was made into a big-budget Hollywood movie starring Sean Connery.  Eco’s runaway popularity won the scorn of some critics and more than a few disgruntled academics, but he was unapologetic about wearing two hats. “I think of myself as a serious professor who, during the weekend, writes novels,” he said.  In a postscript to The Name of the Rose, he added, “I wrote a novel because I had a yen to do it.  I believe this is sufficient reason to set out to tell a story.  Man is a storytelling animal by nature.  I began writing in March of 1978, prodded by a seminal idea: I felt like poisoning a monk.” Read: An account of an in-person Eco sighting or our review of Confessions of a Young Novelist.  Harper Lee Harper Lee, who died on Feb. 19 at 89, spent most of her long life claiming she was perfectly content being a one-hit wonder.  No wonder.  To Kill a Mockingbird won the Pulitzer Prize and has been branded “America’s most beloved novel,” with more than 40 million copies in print and a permanent place on every high school reading list in the land.  The love was enormous but not universal.  Flannery O’Connor dismissed the novel as “a child’s book,” which strikes me as neither unkind nor unfair. In 2015, Lee's lawyer talked her into publishing a “lost” novel, Go Set a Watchman.  Reviews were mixed, to put it kindly, and many fans were dismayed to learn that Atticus Finch did not always walk on water, that he was capable, in fact, of being a card-carrying south Alabama peckerwood racist.  Of course Watchman became an instantaneous #1 bestseller, but that doesn’t dispel the fact that some books should have the decency to stay lost and die a quiet death. Read: An account of a visit to Lee's hometown; an analysis of Lee's symbolism; or our review of Watchman. Jim Harrison When I heard that Jim Harrison had died on March 26 at 78, I immediately reread Revenge, my personal favorite of his many magnificent novellas, a form at which he had few peers. This one has it all: vivid descriptions of the twinned geographies of the natural world and the human heart, a torrid affair between a former fighter pilot and a dangerous friend’s wife, which leads to rococo violence, which leads to more violence during a long campaign for revenge. The novella runs just 96 pages, yet it contains worlds. Jim Harrison’s world was a moral place, as finely calibrated as a clock. Violence begets violence; violation demands vengeance; every act has its price, and that price must be paid. Harrison was also a prolific novelist, essayist and poet, author of a memoir, a children’s book, and some very funny writing about food. A shaggy Falstaffian from the wilds of northern Michigan, Harrison was a man with boundless appetites for food and wine, hunting and fishing, literature and life, a man who adored antelope liver and detested skinless chicken breasts, a man who once flew to France to take part in a 37-course lunch that featured 19 wines. French readers revere him, though his American readership is smaller than it should be.  No matter. Jim Harrison lived and wrote his own way, the only way -- all the way to the brim. Read: A personal account of a decades-long friendship with Harrison. Michael Herr Many books have captured the physical horrors of our Vietnam misadventure, but only one captured its psychedelic, rock 'n' roll absurdity.  That book was Dispatches, a bombshell piece of reporting by Michael Herr that appeared in 1977, nearly a decade after his tour of duty as a war correspondent for Esquire magazine, covering an unwinnable orgy of carnage the only purpose of which, as he put it, was “maintaining the equilibrium of the Dingdong by containing the ever encroaching Doodah.”  Herr, who died on June 23 at 76, made no secret of his respect for what the grunts went through, or his disdain for the officers and politicians who put them through it. John le Carré called Dispatches “the best book I have ever read about men and war in our time.”  A decade after it appeared, Herr co-wrote the screenplay for Stanley Kubrick’s Full Metal Jacket.  He also wrote a book about his friendship with Kubrick, and a fictionalized biography of Walter Winchell. But in the last years of his life, Herr took up Buddhism and gave up writing. Read: Our look at war books and the work Herr inspired. James Alan McPherson James Alan McPherson was the first black writer to win the Pulitzer Prize for fiction, for his 1977 story collection Elbow Room.  After attending segregated schools in his native Georgia and graduating from Harvard Law School, McPherson took a sharp detour into the writing life, earning a master of fine arts degree from the Iowa Writers’ Workshop, where he wound up teaching from 1981 until his retirement in 2014. Though his short stories, essays, and memoirs didn’t flinch from the evils of Jim Crow, McPherson strove to embrace the one thing he felt could possibly bestow greatness on America: its cultural diversity. An acolyte and occasional collaborator with Ralph Ellison, McPherson wrote in a 1978 essay in The Atlantic: “I believe that if one can experience its diversity, touch a variety of its people, laugh at its craziness, distill wisdom from its tragedies, and attempt to synthesize this inside oneself without going crazy, one will have earned to right to call oneself a citizen of the United States.” Speaking of the characters in his first collection of short stories, Hue and Cry, McPherson said, “Certain of these people happen to be black, and certain of them happen to be white; I have tried to keep the color part of most of them far in the background, where these things should rightly be kept.” Read: A note on McPherson's skill as a eulogist. Edward Albee George and Martha --- sad, sad, sad.  It’s unlikely anyone will ever write a more acidic portrait of an American marriage than Edward Albee’s play Who’s Afraid of Virginia Woolf?.  After his 1959 debut, The Zoo Story, which opened in Berlin on a bill with Samuel Beckett’s Krapp’s Last Tape, Albee went on to write some 30 plays that shone light into the darkest precincts of well-to-do lives, where the regrets and the lies and the self-deception dwell. Though Albee, who died on Sept. 16 at 88, won two Tony Awards and three Pulitzer Prizes, he was not always embraced by critics or audiences. One reviewer dismissed Virginia Woolf as “a sick play for sick people.”  Its film adaptation, starring Richard Burton as George, a bitter alcoholic academic, and Liz Taylor as Martha, his bitter alcoholic wife, captured the essence of Albee’s output. He described his work this way to a New York Times interviewer in 1991: “All of my plays are about people missing the boat, closing down too young, coming to the end of their lives with regret at things not done, as opposed to things done.  I find most people spend too much time living as if they’re never going to die.” Read: A personal account of someone who got his mail from Albee (really). Gloria Naylor With her 1982 debut novel, The Women of Brewster Place, Gloria Naylor hit the trifecta: a National Book Award, a TV adaptation by Oprah Winfrey, and a wide and devoted readership. Naylor, who died on Sept. 28 at 66, spun her best-known novel around seven African-American women, straight and gay, who live in a shabby housing project plagued by sexual predators and poverty.  Naylor said she regarded those seven women “like an ebony phoenix, each in her own time and with her own season had a story.” The Women of Brewster Place won the National Book Award for a first novel in 1983. A New York native and one-time Jehovah’s Witnesses missionary, Naylor said she left the church out of frustration over its limited role for women, a break that sent her into a deep depression. Like the "ebony phoenix," she rose and was saved by her writing. William Trevor William Trevor wrote extraordinary fiction about the most ordinary of people -- mechanics, priests, and farmers who lived in small English and Irish towns. Trevor, a native of Ireland who died on Nov. 20 at 88, wrote nearly 20 novels, many of them prize-winners, but he considered his true form the short story. Few would argue. “I’m a short story writer who writes novels when he can’t get them into short stories,” he said, adding, “I’m very interested in the sadness of fate, the things that just happen to people.”  Like the evening a lovelorn Irish mechanic named Cahal, in the short story “The Dressmaker’s Child,” is driving a pair of Spanish lovers back from a visit to a bogus religious pilgrimage site -- and the girl of the story’s title hurls herself at the passing car. Cahal is tortured by uncertainty over what happened to the girl and what will happen to him -- until the dressmaker offers him a twisted form of absolution. Things just happen to people, and suddenly their ordinary predicaments are transformed into something startling and new. Read: Lionel Shriver on reading Trevor. And let’s not forget these notables, in alphabetical order: Anita Brookner, 87, was an accomplished art historian when she started writing novels in her 50s, many of them about women mired in gloom.  Her fourth novel, 1984’s Hotel du Lac, won the Booker Prize. Read: A detailed exploration of of Brookner's considerable charms. David Budbill, 76, worked out of a remote cabin in rural Vermont for more than 40 years, writing stripped-down poems about the Vermont mountains and the “invisible” people who live there, in all their beauty and ugliness.  A workmanlike writer who detested artsy pretension, Budbill was once asked about the source of his inspiration.  “I don’t know where it comes from,” he replied, “and I don’t care.” Vincent “Buddy” Cianci, 74, was the author of an autobiography, but he’ll be remembered as the brash mayor who breathed new life into his tired old hometown of Providence, Rhode Island -- only to be undone by some nasty habits.  He assaulted a romantic rival with a fireplace log, an ashtray, and a lit cigarette, which cost him his job as mayor.  After serving a suspended sentence and winning re-election, Cianci was convicted of racketeering for accepting envelopes of cash in return for city jobs.  After serving a federal prison sentence, he made a third run for the mayor’s office in 2015, but lost.  His autobiography was called Politics and Pasta. Read: A personal account of meeting Cianci. Pat Conroy, 70, may have written his share of prose dripping with Spanish moss and Low Country hokum, but he attracted an army of devoted readers.  he son of an abusive Marine fighter pilot, Conroy turned the horrors of his childhood into the novel The Great Santini, then followed it with The Lords of Discipline and The Prince of Tides, all made into hit Hollywood movies, all gobbled up by his fans.  Asked to describe his son’s readers, the ever-charming Donald Conroy said, “That’s easy: psychiatrists, homosexuals, extreme liberals and women.”  He forgot to add: and lots of them. Read: Conroy's reaction to having his books banned. Warren Hinckle, 77, was the swashbuckling, hard-drinking editor of Ramparts and other magazines who railed against the Vietnam War, published Che Guevara’s diaries and Eldridge Cleaver’s letters from prison, and helped birth gonzo journalism by publishing Hunter S. Thompson’s seminal article “The Kentucky Derby Is Decadent and Depraved,” along with Ralph Steadman’s volcanic drawings. American journalism was changed forever. Thom Jones, 71, was a recovering alcoholic working as a high school janitor when he mailed a short story called “The Pugilist at Rest” to The New Yorker.  The magazine published the story in 1991, and it won the O. Henry Prize for best short story.  It was a stunning beginning to a career of writing semi-autobiographical stories about soldiers, boxers, janitors, crime victims -- “people,” as Jones put it, “you don’t want living next door to you.” Read: A Year in Reading on Jones. Imre Kertész, 86, survived internment at Auschwitz and Buchenwald, then spent years writing semi-autobiographical novels about the Holocaust and its aftermath. The books, remarkable for their lack of sensationalism, languished in obscurity until 2002, when Kertesz became the only Hungarian to win the Nobel Prize in Literature. Read: A Year in Reading on Kertész. Florence King, 80, was one of the last of a breed that is all but extinct: the misanthropic curmudgeon. In columns for the conservative National Review and several books, most notably Confessions of a Failed Southern Lady, King skewered liberalism, feminism, and anything that smelled remotely of political correctness.  Nobody could possibly agree with all of her opinions, but just about everybody admired her ability to lacerate and enrage, which, after all, is what misanthropic curmudgeons are supposed to do. She once wrote: “Feminists will not be satisfied until every abortion is performed by a gay black doctor under an endangered tree on a reservation for handicapped Indians.”  Wow. Read: A detailed look at King's work and life. W.P. Kinsella, 81, wrote 30 books of fiction, nonfiction and poetry, much of it infused with his intertwined love for magic realism and the game of baseball.  His best known book is the novel Shoeless Joe, which was made into the 1989 movie Field of Dreams, in which Kevin Costner plays an Iowa farmer who carves a baseball diamond into his cornfield to attract Shoeless Joe Jackson and the rest of the disgraced Chicago “Black Sox” back from the grave. One viewer dismissed the movie as “Field of Corn,” but it produced a line that lives on: “If you build it, he will come.” Read: A piece on the great writers of baseball. Image Credit: Public Domain Pictures.

What Is It About Baseball? W.P. Kinsella, José Fernández, and the Dust of the 2016 Season

What is it about baseball that leaves writers reaching for myth and allegory? The game is slow, meandering.  It takes its sweet time.  Very often, not a whole lot happens.  Indeed, the corporate types at the game's controls keep scratching their heads for ways to speed things up, move things along: a pitch clock, a time-limit on trips to the mound, and on and on.  But they ignore the eternity at the heart of the game.  In theory, a baseball game could go on forever and ever.  A single at-bat, forever and ever.  Within the right angle of the foul lines, extending from home plate to the outfield fences and into the great wide open beyond, a batted ball can cut across the night sky and land just about anywhere, and if a fleet-footed outfielder is able to channel his inner gecko and scale the wall and chase down that ball to where it might fall softly into his outstretched glove, there is room for that outcome as well. Alas, the game is not bound by time, and hardly at all by space, and isn't that the nut of it?  Isn't that the sweet point of pause and possibility that keeps us coming back for more, and more, and then some? The death last month of W.P. Kinsella, widely regarded as baseball's novelist laureate, offers an opportunity to reflect on how we see our own reflections in the national pastime -- with a tip of the ball cap to writers like Kinsella who continue to encourage us to consider the stories of the game as we consider the game itself. What is it about baseball? The curious magic of Kinsella was that he found room in the wide open spaces of the game to consider that anything was possible -- and, on the strength of that magic, to knit the past to the present, the present to the future.  In Shoeless Joe, he reaches back across the decades to revisit the aborted career of Archibald Wright "Moonlight" Graham, after stumbling across Graham's unlikely one-game stat line in the Baseball Encyclopedia and placing it at the cross-hairs of meaning and moment in a wistful story about a son reconnecting with the memory of his father.  In The Iowa Baseball Confederacy," he imagines an apparently endless game between the 1908 Chicago Cubs and a barnstorming team of amateurs, inviting readers to join him on a head-scratching, heart-pleasing journey that asks us to ponder baseball's everlastingness.  In "The Last Pennant Before Armageddon", he tells the story of a Chicago Cubs manager named Al Tiller, who believes the world will come to a cataclysmic end the moment his Cubbies win the pennant, which in the sure hands of Kinsella (and, his somewhat less certain fictional skipper) they seem inclined to do. How is it that a game built on its very timelessness can offer such a chilling reminder of our own mortality?  When the baseball world mourned the sad, sudden death of the joyfully talented young Cuban pitcher José Fernández, barely a week after Kinsella's passing, there was beneath the mourning a kind of shared sense that our own lives were slipping away from us.  Here was this abundantly gifted kid pitcher, snatched from a career destined for baseball immortality, with a back-story that seemed scripted by saccharine-fueled Hollywood scriptwriters: a Cuban defector who'd grown up dreaming of someday playing major league baseball; who'd only made it to American shores after three unsuccessful attempts; who'd been jailed by Cuban officials after each of those attempts; who'd rescued his own mother from the turbulence of the Atlantic Ocean during his fourth (ultimately, successful) crossing to America; who'd recovered from Tommy John surgery to become one of the game's dominant pitchers; who'd played the game with such abandon and intention that even casual fans were drawn to him, lifted by him, cheered; who'd just announced that his girlfriend was pregnant with the couple's first child.  And yet, back-story or no, triumph or no, unborn baby or no, José Fernández was killed in an as yet unexplained (and, as ever, unfathomable) boating accident off Miami Beach at the age of 24. As the baseball world wept, those of us in on the weeping hugged our children and grandchildren close, honored our parents and grandparents, and looked back with equal parts gladness and sadness at the hopes and dreams we'd carried in our own lives.  Some of us got out our old baseball gloves and tossed the ball around with our kids.  We looked at old baseball cards, scorecards.  We revisited Kinsella's stories.  Because in the short life and tragic death of this young ballplayer there was the stuff of our own lives, our own tragic deaths, and in the moments of silence that filled our ball yards that day and the next there was a kind of safe haven within the boundaries of the game. Baseball can do that, I guess.  It can remind you of everything that once mattered to you, everything that matters still.  It can brush the great promise of tomorrow against the agreeable sting of the past, and the sorrows of today. Kinsella was not alone on the baseball bookshelf.  He'd fallen into line behind the great legacies of writers like Ring Lardner (You Know Me, Al), Bernard Malamud (The Natural), Philip Roth (The Great American Novel), Robert Coover (The Universal Baseball Association, Inc: J. Henry Waugh, Prop.), even Don DeLillo (Underworld), who all seemed to understand the stirring, soaring confluence of miracle and wonder at the heart of the game.  But it was Kinsella's ability to cast the game alongside a swirl of human emotion that will keep us reading his stories for generations, and when I learned of his death it felt to me like a light had gone out on the game itself.  I was not alone in this, of course, and yet I closed my eyes to the news and imagined how a generation of baseball fans -- my generation -- would manage to connect the game to generations to come. Fernández, as well, was not alone.  He now shares space on the game's memorial plaque with too, too many young ballplayers who left this world before their games were finished.  The turn-of-the-century Hall of Famer Ed Delahanty, who plunged to his death in the cascading waters of Niagara Falls.  The Puerto Rican icon Roberto Clemente, killed in a plane crash while on a relief mission to aid earthquake victims in Nicaragua.  The great Yankee catcher and captain Thurman Munson, downed in his own plane, which he had bought and learned to fly so that he might spend more time more easily with his family.  The Cardinals ace Darryl Kile, who succumbed to a heart attack in his hotel room before a game against the Cubs. With the passing of Fernández, another bulb has been burned on the stanchions that light our game, while we are left to find our way just the same. "Praise the name of baseball," Kinsella wrote.  "The word will set captives free. The word will open the eyes of the blind.  The word will raise the dead.  Have you the word of baseball living inside you?  Has the word of baseball become part of you?  Do you live it, play it, digest it, forever?  Let an old man tell you to make the word of baseball your life.  Walk into the world and speak of baseball.  Let the word flow through you like water, so that it may quicken the thirst of your fellow man.” Who but Kinsella could help us find poetry and purpose in a centuries-old game that many people believe has outlived its relevance?  Who could implore us to go the distance and fulfill our destinies, great and small?  Without him, how will we elevate the long march of a baseball season onto the mystical plane where Kinsella asked us to slide along on our own fine film of dust and possibility? Let's be clear, there are baseball novels still to be written.  There are games still to be played.  Somewhere in this country, or in Cuba, or Puerto Rico, or the Dominican Republic, there is an unborn child who will change the game of baseball -- in ways we cannot yet imagine.  In the great white north of Kinsella's Canada, there is a young writer sharpening his or her pen and looking to change how we see the game of baseball -- in ways we can only imagine. But it was Kinsella who tore the cowhide from the game and allowed us to peek at the very real lives it contained.  There was triumph there.  There was disappointment.  There was the thrill of fresh cut grass and the soft fall of lament when the skies opened up and rained down on us.  There were changes in plans.  Because, at bottom, the nature of the game is the nature of ourselves.  It is a living, breathing thing.  It bends and endures...and, it asks us to do the same. And so, as we unwrap October and settle in for the 2016 World Series, let’s pause to feel the loss of one of the game's favorite sons.  Allow yourself a sliver of a moment to chew on the very real possibility of a very real Armageddon, owing to the Cubbies' fine, fine post-season run.  Savor the grace note moments to come in these October games.  You will sit glued to your screens (more than likely into the wee-hours), waiting for some sort of final accounting on the season just ended, looking ahead to the season to come, and to all the seasons to come. Image Credit: Pixabay.

What Jim Harrison Taught Me About Marriage

Jim Harrison was a husband. “I’ve been married for 46 years,” he told me when we met a decade ago in Livingston, Montana’s Owl Bar. He’d learned through our preliminary correspondence -- during which I’d assured him that I’d been a compulsive creative writer since the age of seven and had “given my life to it,” the main criteria by which he decided whether or not to be interviewed by a young aspiring novelist -- that I was newly married. The dream of being married had occupied half of my heart for as long as I could remember; it coexisted there with the equally consuming dream of being a writer. Now Jim said in earnest, exhaling the smoke from his American Spirit and assessing me kindly with his good right eye, “I hope the marriage works out. They tend not to these days.” At 68 years old to my 27, Jim had experienced decades of matrimony in contrast to my eight or so months. Soon, he would become my literary idol as an author of fiction, poetry, essays, and memoir that -- in their contagious vitality, their celebratory and compassionate explorations of the pleasures and pains that come with being alive on this rich earth -- have done more to heal, inspire, and delight me than the work of any other artist. He would also become an authority in my eyes on conjugality and love, as well as a peripheral observer of my own marital and romantic misadventures. “You know, you’re very attractive,” he told me a few times over the course of our interview, perhaps because he was never timid about his appreciation for women either in life or literature, or possibly because he accurately sensed that I did not know. Introverted, diffident, and in some ways naive, there was much I didn’t know, especially about men -- my dad had been completely absent even longer than I’d been compulsively writing. Jim was as dynamic a speaker as he was a writer, and our conversation that day covered kaleidoscopic terrain: xenophobia as the root of the world’s ills, his sighting of Jack Kerouac passed out in a San Francisco bathroom in the early ’50s, Native American cultures, Christianity, and whether or not it was a good idea to strive for poetry in every sentence. “Some people try to do it that way,” he said, ashing his smoke in a manner that conveyed he didn’t think he was one of them. There was only one question he was shy about answering. “Doesn’t your wife get jealous,” I asked, “in response to the way you write so lustily about women? Even if it’s fiction?” I was a jealous new wife who imagined all wives must’ve been similarly wired. Jim was closemouthed. In a few days, though, he sent me a note in which he gently expressed that a marriage is, and should be, a mystery to all but the two in it. He was protective of his longtime bride and their union, and I was impressed. He liked the finished article I'd written about him when it appeared in print and wanted to stay in touch. My then-husband and I had moved from Montana to Los Angeles when Jim mailed me a letter. “The Yellowstone is flooding,” he wrote, “and you’re not here to help.” He said he’d been suffering from health problems and had just come out of the hospital. “It was so awful I should have gone to see you..." he said before declaring me a healer, albeit one with witchy tendencies: "You could have stolen holy water from the usual cathedral and mixed it with shark pee-pee, etc.” He asked me to continue with some research I’d been doing for him on the loup-garou, a mythical French werewolf that had captured his interest, and he closed with a request: “Send a photo...” I complied with a demure, decidedly Victorian headshot, shoulders and neck wholly hidden by a turtleneck, snapped by my spouse among the flowers at the L.A. Arboretum. This likely wasn’t the sort of photo Jim had in mind -- his work is rife with carnal, playful, and sincerely heart-struck celebrations of feminine pulchritude -- and he received it without comment. But at the time I couldn’t imagine that he -- that anybody -- would want something different. Any awareness that I might have been beautiful or desirable was at that time latent, locked away in a box to which I didn’t think I had the key. Not long after that, somebody came along who did appear to carry a key, and the unlocking was both bitter and sweet: sweet because I was enchanted by the potent and persuasive sense of being seen in a novel way, bitter because he was not my husband. Feeling profoundly altered, guilty, confused, and unfit for my marriage, I sent a confessional email to Jim. There was no judgment in his reply, only sympathy. He advised me to “proceed with caution” if I proceeded at all, and wrote that he understood the experience of allowing oneself to be seduced, though he didn’t say explicitly whether it had ever happened to him. Still, I wondered if he felt disappointed. He’d wished me well in my fledgling marriage and now it seemed I was making a real mess of it. A year later, I moved back to Montana by myself and adopted a solemn collie from the shelter who seemed, like me, to be in a quiet-but-constant state of emotional distress. I lived alone in a cheap apartment in downtown Livingston. The affair into which I’d stumbled had ended when I’d been unable to tear myself out of my marriage. My marriage had also ended when I’d confessed the affair and, after the dust settled, couldn’t stay with my husband, though I’d tried. I didn’t know where or with whom I belonged. I felt like a failure. These were dark days, dampened by tears. I was walking my dog one afternoon when I heard Jim call to me from the sunken sunlit patio of the tavern where he sat with a few friends. I stepped down to join them. Always fond of dogs, he fed mine Cheez-Its from the basket on the table. I shakily talked with Jim and his commiserative companions about what had been going on. “It’s harder to write these days,” I told Jim, “without the sense of stability that comes with being married.” He nodded. I got up to leave and ascended the steps from the tavern patio up the sidewalk. Jim followed. We paused. Since I stood on a step and he did not, I was about six inches above him. I bent down and kissed the top of his head. He looked up at me and said my name. “What if you were really this tall?” he asked. I heard the real question tucked beneath his seemingly light and irreverent one. I have never forgotten it. It is my favorite and most treasured of all the things he communicated to me in writing or in person. I must have merely chuckled in reply. Though I understood what he was asking, it didn’t seem quite possible yet that I could be “tall” -- that is, powerful in my aloneness. I could be my own woman, with no husband, no lover, no hovering possible partners: just me. I could let go, at least for a while, of the lifelong dream of forming a permanent union with a man. I could rent my own house on the creek and become a hermitess of sorts, mend my mostly self-inflicted wounds until they closed, work hard to revise the novel I had drafted during easier days, get it published, and see the dream of a lifetime -- which ran parallel to the dream of lasting love -- come true. I wasn’t immediately sure if I could do this, but Jim’s question would echo, and I would do it soon. In the meantime, whenever I felt especially blue I would spend time with Jim’s books, because reading about Brown Dog, Dalva, the farmer’s daughter, France, food, dogs, sex, death, revenge, and birds was medicine for me. He was the real healer, able to transmit his mind’s singularly heartening perception of the world through the medium of his poetry and prose. He was helpful outside the realm of printed pages, too. When a TV personality came to town to film an episode of his show and asked Jim about me, Jim replied firmly, “She’s not for you,” and that was the end of that. In those days, as he must’ve known, my boundaries were so permeable I might have been drawn into a situation that would have only caused me more pain. When word of this exchange got back to me, I was grateful. After that, our lives filled with new diversions; we corresponded and saw each other less. My first book came out. I began to consider love again, my incautious heart now tempered by slightly clearer vision. And I continued writing all the while. As I grew taller, Jim slowed down a bit. Though he was still admirably prolific, he was aging. He had back surgery and shingles. He spent part of each year in Arizona, away from the stingingly cold winters and slushy early springs of Livingston. When he returned, I’d see him around town. From a distance I’d recognize his unmistakable shuffle, his canvas shoes worn like slippers with the heels smashed down, his uncombed shock of white hair, his careless clothes and cane. Always, I felt explosive affection. A quotation of his -- “There’s never an excuse not to do your work” -- is taped above the desk where I’ve finished a second novel and where today I labor over yet another -- one I’ve been working on in a state of vulnerability and insecurity, with a gambler’s blind faith, as I feel my way through its dark woods for the fourth consecutive year. I’m not sure what will become of either of these books, but then that’s no concern of mine. I wasn’t lying when I’d told Jim prior to our first meeting that I’d given my life to writing. And he’s the one I most look up to among all those who’ve given their lives to this weird and lonesome compulsion to tell stories by scratching ciphers onto sheets of tree. I’m still thinking hard about marriage, love, and forming a forever union -- a union of heads and hearts, with abundant heat. Just a couple of weeks before he died this March, I watched a 1993 French documentary about Jim. One short scene struck me as so piercingly beautiful I had to replay it a few times. Middle-aged Jim and his wife are driving down a country road. She is wearing bold dangly earrings. He reaches over from the driver’s seat to push back her hair and examine one of the pretty baubles in the most familiar, proprietary, curious, husbandly way, as if to say, “What is this new thing with which you’ve adorned yourself?” or “I know you -- I know your head, your heart, your body.” Seeing this moment, I swallowed a sob. That small, intimate, seconds-long gesture encapsulated so much: what he cherished, what he guarded, what he held on to for nearly six decades despite inevitable difficulties, and what I want. Jim and his wife had been married 56 years when she died last October. I sent him a card. Friends said the last thing he ever expected was that she would go first. He was the one with the unapologetic appetite for cigarettes, drinks, and rich foods. Six months later, he followed her. I heard the news on Easter Sunday, which seemed fitting; he’d mentioned during our first meeting at the Owl Bar that he’d been an ardent boy preacher and still believed in the resurrection. Of course his own resurrection will be perpetual: every time anybody turns a page of one of his books, there he will be. I went out and bought his latest, The Ancient Minstrel, the title novella of which is an imaginative memoir. Like so much of his other work, it alleviated my sadness, even though my sadness had been over the passing of the minstrel himself. When I got to the very last page of that story I lost my breath. I knew Jim wasn’t writing right to me -- that he’d only thought of me for a fraction of the time that I’ve spent thinking of him -- but that’s how it felt. Our communication had always concerned both writing and relationships. Now, it seemed, he was making his last definitive statement and proffering his final bit of advice on those subjects. They reached me with the same precision that a bird navigates to the end of his flyway with the help of the sun and stars: I feel absolutely vulnerable and realize it’s the best state for a writer whether in the woods or in the studio...Feeling bright-eyed, confident, and arrogant doesn’t do this job...You are far better off being lost in your work and writing over your head...You don’t want to be writing unless you’re giving your life to it. You should make a practice of avoiding all affiliations that might distract you. After fifty-five years of marriage it might occur to you it was the best idea of a lifetime. The sanity of a good marriage will enable you to get your work done. It was a reassuring end to our conversation. Image Credit: Wikimedia Commons.