Immigration

The righteous chest-beating debate drones on, denouncing illegal immigrants as nefarious lawbreakers destroying America. I’m reminded of similar debates in my youth of the lawbreaking civil rights protesters who wouldn’t eat where they were supposed to eat or go to the schools made just for them. If you’re my age (about to turn sixty) you don’t have to ask too many agemates to find someone who recalls their grandparents who immigrated from Europe. Many speak of their grandmothers “who never learned English” and who didn’t wait in long lines to get into the country but basically “just had to show up.” My parents spoke fondly of the neighborhood where they grew up in Denver being filled with immigrants from several different countries. Most were poor, hard-working, looking for a better life. Most were white. Now the lines are years and years long, and most regular folks shouldn’t bother to queue up since they haven’t a chance of ever getting in legally. My friends who are here legally face no end of harrassment from the INS and have little chance of becoming citizens. The Statue of Liberty, once the proud symbol of America’s welcoming ways is to be replaced by bigger and better walls. Don’t give us your poor anymore; we only want Ph.D.’s. It breaks my heart.

Make it interesting

“The only obligation to which in advance we may hold a novel, without incurring the accusation of being arbitrary, is that it be interesting.” That’s Henry James in the “Art of Fiction.” If your readers get to the bottom of the page and turn it, you’re in the game. Don’t listen to complaints that you’ve violated this genre boundary or ignored some aesthetic principle or other. It’s not a sport. There’s no rulebook for fiction. Conversely, no matter how well a piece of fiction captures your Original Vision or suits your (or your writing instructor’s) favorite program for Good Fiction or how damn smart you feel when you write it, if it’s dull, then Henry James and I humbly suggest revision.

Voice

Rereading Neil Gaiman in preparation for a class I’m teaching this summer, I’m reminded of the importance of voice in fiction. Read him aloud—the prose sings. During the process of writing and rewriting, I often read aloud, and before a piece is done—poem, novel, short story, doesn’t matter—I print it up and read it through as if for a public reading. Anything I stumble over or doesn’t sound right, I revise until the voice is right. Ideally each piece should have its own distinctive voice, inseparable from the story being told. A story’s not just words on a page, pixels on a screen, it’s someone speaking, inviting others to listen.

Religious tolerance?

Conservative columnist Kathleen Parker began a recent column with the following:

“In a nation where 91 percent of citizens profess to believe in God, it’s a safe bet we won’t see an atheist in the White House any time soon.”

I don’t doubt her assertion, but it did raise a few questions in my mind. I’m an atheist, but I’ve voted for Christians , Jews, god-believers of all sorts, without hesitation. I’ve counted among my friends ministers, priests, rabbis, and wiccan priestesses. Is there something about the belief in God that prompts religious intolerance? Clearly, if her numbers are right, there must be people in that 91 percent who murder, commit treason, steal, lie to the American public. Clearly belief in God is no guarantee of anything. Kropotkin in his Ethics and in Mutual Aid lays out but one moral system that doesn’t depend upon God, and Taoism is a moral, but godless religion. So what’s your problem, God-believers? Don’t you believe in religious tolerance? Should the pledge read “One nation, under God, with liberty and justice for all—except atheists”? Or maybe Kathleen is wrong and belief in God doesn’t close people’s minds. Maybe someday there will be an atheist president. What do you think?

Pods!

Virginia Wright, an artist who took my science fiction class at Virginia Commonwealth University last summer sent me the picture below, her sculpture inspired by the the Invasion of the Body Snatchers. (I show both the ’56 and ’78 versions in the class). I think it’s terrific!

Happy Mother’s Day

Mother’s Day wasn’t always another excuse to consume. Julia Ward Howe’s “Mother’s Day Proclamation,” proclaimed quite a different purpose for such a holiday in 1870. It seems particularly relevant these days:

Mother’s Day Proclamation

Arise, then, women of this day!
Arise, all women who have hearts,
Whether our baptism be of water or of tears!
Say firmly:
“We will not have great questions decided by irrelevant agencies,
Our husbands will not come to us, reeking with carnage, for caresses and applause.
Our sons shall not be taken from us to unlearn
All that we have been able to teach them of charity, mercy and patience.
We, the women of one country, will be too tender of those of another country
To allow our sons to be trained to injure theirs.”
From the bosom of the devastated Earth a voice goes up with our own.
It says: “Disarm! Disarm! The sword of murder is not the balance of justice.”
Blood does not wipe out dishonor, nor violence indicate possession.
As men have often forsaken the plough and the anvil at the summons of war,
Let women now leave all that may be left of home for a great and earnest day of counsel.
Let them meet first, as women, to bewail and commemorate the dead.
Let them solemnly take counsel with each other as to the means
Whereby the great human family can live in peace,
Each bearing after his own time the sacred impress, not of Caesar,
But of God.
In the name of womanhood and humanity, I earnestly ask
That a general congress of women without limit of nationality
May be appointed and held at someplace deemed most convenient
And at the earliest period consistent with its objects,
To promote the alliance of the different nationalities,
The amicable settlement of international questions,
The great and general interests of peace.

Two Americas

The makers of OxyContin just admitted that they knowingly and deliberately deceived doctors—and chronic pain sufferers—by saying that their drug was not an addictive opiate, thus addicting thousands. The local street dealers at least tell you what they’re selling you (unless it’s talcum powder) and nobody ever lost an election by calling for locking those guys up and throwing away the key. But if you’re rich enough, you can pay a big fine with the profits you make off your drugs, and keep selling the drugs to boot. No one’s going to serve a minute of hard time, because, well, they’re rich, aren’t they? So if you want to be a crook, think big, incorporate, make a contribution to the economy, and you can keep doing business. It’s the American way.

Stephen Foster’s Sketchbook

I just found the coolest site while researching Stephen Foster for a story I’m working on. The University of Pittsburgh has one of his sketchbooks with sixty four of his songs in it. You can view the pages of the Stephen Foster Sketchbook online. There’s a Song List so you can go to the one you want, or you can browse. I went to “Hard Times Come Again No More,” a favorite, and there you have it, in four fascinating pages, the whole process of that song being born—writing, rewriting, jaunty little squiggles under the title when he finally gets it right and copies all the verses down. I got chills.
Foster died at 37 with 38 cents to his name. He made less than $20,000 in his life for the 285 songs he wrote.

Let us pause in life’s pleasures and count its many tears

While we all sup sorrow with the poor;

There’s a song that will linger forever in our ears—

Oh, hard times come again no more.

					

Listening to music

I often listen to music while I’m writing fiction. I typically pick songs that particularly grab me and elicit some emotional/musical response: I laugh, I cry, I tap my foot. I listen repeatedly to the same tunes while working on a particular piece, as a soundtrack in a way. I used to listen only to instrumental music while writing, ages ago, but found that I like the words, the sound of the singing voices, like somebody chanting in the background. I started doing this to insulate myself from other sounds like a noisy roommate or a jack hammer. But now I do it for the trance-inducing quality of it. John Gardner talks about fiction creating a “fictional dream,” and the first dreamer is the writer. All the good stuff happens when I’m inside the story, in a sense not aware of it as words but as an alternate reality. At such moments, the writing can become almost automatic, like I’m taking dictation rather than assembling words on the page or screen. At the moment, I’ve been listening to The Be Good Tanyas.

I usually don’t listen to anything specifically connected with what I’m writing. The story I’m writing now, for example, is set in the late sixties, and tunes by the Stones and Steppenwolf are mentioned in the story, but I don’t listen to them while I write it. I guess I’m looking for a less literal connection between story and song, something that will surprise me.