Lincoln in the Bardo

This novel from George Saunders, probably America’s premier short story writer, is nothing short of an event. It has reached #1 on the New York Times hardcover best seller list, and the Times has produced a ten-minute “immersive narrative short” based on excerpts from the novel. The book’s publication has been accompanied by a spectacular audiobook version with a 166-person cast. Lincoln in the Bardo has received very strong reviews, both here and in the UK. And, it is the author’s first novel, which is yet another reason why so many people are so eager to read it.

Lincoln in the Bardo, by George Saunders
A novel from America’s premier short story writer.

Saunders’s short stories are phenomenal works of art. I think “The Semplica Girl Diaries,” from Tenth of December, does as fine a job as anything I’ve read of capturing the pre-Trump American zeitgeist. In fact, all four of Saunders’s short story collections are believably absurd renditions of life in America in recent years, poignant and heartfelt, with great empathy for those who are struggling and savage satirical depictions of the powers that be. Many of the dazed and confused characters in these stories would have no doubt voted for Trump, believing (like their real-life counterparts) they had nothing to lose.

It’s a long way from Donald Trump to Abraham Lincoln, just as it’s a major transition from the concision of a short story, no matter how brilliantly rendered, to the larger canvas of a novel. Saunders used this analogy to describe the task: “It’s like I’ve spent my whole life making custom yurts and someone said, ‘Can you build a mansion?’ And I said, ‘Well, yeah, I could link a bunch of yurts together.'”

But Saunders has done much more than string his yurts together. He has done extensive research on Lincoln at the time of the Civil War, and on the unexpected death of his beloved son, Willie. The quotes unearthed have been used strategically to propel the story, alternating with the narrative of his characters in the bardo (Saunders is a practicing Buddhist). These are extraordinarily well done.

There are three principal narrators, in addition to Willie Lincoln, and each is trapped, for reasons unique to him, in the bardo, unable to move on. They don’t want the same fate to befall Willie, so much of the narrative consists of their efforts to persuade the lad to leave his transitional state, in a “matterlightblooming” phenomenon. Lincoln’s grief at the death of his son, and his heavy responsibilities as President in a time of national emergency, contribute to the novel’s elegiac tone. This is very different from the atmosphere of most of Saunders’s stories.

The unusual way in which the story is told somehow reflects the transitional state in which it is set, and does so with growing power throughout the novel. The characterizations, both historically based and invented, are wonderful. This is a book you will remember and think about long after you finish reading it.

The Writers Studio

Update, 8/5/19: more than two years on, I’m embarrassed by the writing sample provided below. I’m also embarrassed over my early enthusiasm for the Writers Studio. It can function well as an introduction of sorts for newcomers, but I can’t recommend it for anyone else—student abilities vary widely (and too much time is devoted to those less skilled), instruction can be uneven and the two-page exercises grow tedious over time.

I mentioned recently that I was taking a workshop at The Writers Studio. I’d like to expand on that a bit and tell you why I find it worthwhile.

In general, I’m in the camp that finds creative writing courses of any type to be of limited value. I’ve taken courses at august institutions, such as Columbia, which only reinforced this belief. The Writers Studio is different, and it is different because it focuses specifically on craft and the narrative voice. The method is to offer a fiction or poetry example each week (usually alternating between the two) and analyze it according to the voice of its Persona/Narrator (“PN” in Writers Studio parlance). Tone (“the surface,  the sound of language on the page, like sunlight glinting on the ocean”) and mood (“the undercurrent that draws you in”) are also examined.

The Studio’s goal is not to network or score an agent, and not to focus on publishing one’s work per se. Instead, the intent is to help students by experimenting with and trying to emulate the craft involved in a wide range of other voices, with the ultimate goal of discovering one’s own voice(s). I find it it quite helpful and thought-provoking, and the weekly deadlines are also important in producing “kernels” of work (short poems and two-page story beginnings) throughout the workshop.

The Writers Studio was founded by Pulitzer Prize-winning poet Philip Schultz (the prize was for his collection Failure, published in 2007). You can read more about the history and philosophy behind the Studio here, and elsewhere on their site.

To give you an idea of what the workshop is actually like, consider the narrative voice, tone and mood of T. C. Boyle’s widely anthologized short story “Greasy Lake,” available here. Then read my two-page work derived from it following the break. (NB: the goal is not literal imitation but rather inspiration derived from materials in the original.)

Continue reading “The Writers Studio”

Some Timely Reading

I’d wanted to write about craft today, in conjunction with a workshop I’m taking at the Writers Studio. However, in light of Donald Trump’s illegal, immoral and un-American ban on refugees entering the United States, I’ve decided to focus on other fiction instead. Dystopian fiction. Fiction perfectly suited to today’s “post-truth” environment and the Trump administration’s “alternative facts.”

1984 by George Orwell
1984: the best-known dystopian novel.

First up: George Orwell’s 1984, the dystopian novel. It gives me some hope to tell you that the paperback version is temporarily out of stock at Amazon; I’ve linked to the Kindle version instead.

There are very good reasons why so many people have felt compelled to read or re-read this book—its depictions of the obliteration of objective truth and the destruction of fundamental human rights are very much in keeping with Trump’s first week in office.

Next, two classic alternative histories portraying a fascist America. It Can’t Happen Here by Sinclair Lewis, originally published in 1935 (and also out of stock at Amazon), still retains the power to shock. So too does Philip Roth’s The Plot Against America (2004), which describes a fascist American government run by Charles Lindbergh. It too is out of stock. With hate crimes on the upswing and swastikas popping up around the country, you’ll find both books resonate strongly.

Brave New World, by Aldous Huxley
Brave New World has entered the language.

After 1984, Aldous Huxley’s Brave New World may be the best-known dystopian novel. Amazingly, the paperback version is currently available. This is a masterful portrait of psychological manipulation writ large, at the service of a totalitarian state. Helping to preserve order is a wondrous new antidepressant and hallucinogenic drug, soma. Today’s American equivalent would be opioids in the impoverished rural areas and social media among the chattering classes.

Finally, a title of special interest for those who participated in the Women’s March on Washington: The Handmaid’s Tale, by Margaret Atwood. This 1985 novel concerns the subjugation of women in a totalitarian theocracy. Many would argue that Mike Pence and the desire to destroy Planned Parenthood are steps in that direction.

In this dark time, it’s heartening that many Americans can see the distortions and deceptions of Trump’s administration reflected in classic titles. Together with the continuing protests around the country, it suggests that resistance may eventually produce change.

Fiction in the Post-truth Era

“Truth is stranger than fiction,” the saying goes, and this poses a real challenge for fiction writers. More so than ever today, in our post-truth era. Yet it’s a challenge that’s being met, often brilliantly.

Before the Fall, by Noah Hawley.
Post-truth and reality in a modern thriller.

Noah Hawley offers an excellent example. Not only is Hawley a gifted novelist—his latest, Before the Fall, made the New York Times 100 Notable Books list last year—he is a masterful screenwriter as well, as exemplified by the first two seasons of “Fargo” in particular.

Much of Before the Fall concerns the 24-hour news cycle and the ways in which appearance vies with reality. In fact, the novel’s denouement revolves around these issues. But the book is such a gripping, suspenseful read that you’re only concerned with turning the pages. The issues raised do resonate after you put the book down, though.

Fargo
“Fargo,” from FX. Photo: Backstage.com

The story (not the plot) is similar in “Fargo.” Set in the Upper Plains, the series contrasts the (mostly) polite and plain-spoken people who live there with the violent and chaotic spin of American social and political change. It does not do this overtly; both seasons are set in the past. Yet it’s there, and you become aware of it as you go along.

In both the book and the TV series, Hawley does what writers are supposed to do: dig inside his characters to present their truth. That’s one thing that has not changed in our current climate and it means that truth continues to have a bright future—at least in fiction and film.

What Are You Reading?

Are you reading at all? Too many Americans aren’t, at least where books are concerned. And that goes a long way toward explaining the current state of the country. After all, reading expands one’s mental horizons and encourages understanding and empathy, both of which are in short supply these days.

To underscore the need to read, the New York Public Library and others have launched a #ReadersUnite campaign on social media. You’re encouraged to post photos of the book(s) you’re currently reading, along with your thoughts on the importance of same.

I’m currently reading a novel called The Narrow Road to the Deep North, by Australian writer Richard Flanagan.

The Narrow Road to the Deep North, by Richard Flanagan
Winner of the 2014 Man Booker Prize.

It’s not directly related to our current situation, concerning as it does Australian POWs in WWII, but it certainly encourages empathy. It’s a well-written page-turner, as well.

I tend to organize my reading in lists, to try to keep things manageable (this doesn’t always work). The lists are divided into “Classic” (e.g., The Brothers Karamazov), “Current” (e.g., the book described above and other recent books, both fiction and non-fiction) and “Craft” (e.g., The Best American Short Stories series)— anything else goes into a free-floating catch-all category. I try to read at least a book a week and usually succeed.

Reading and writing go hand-in-hand — as an aspiring writer, I read a lot and as widely as I can. If you’d like to become more proficient than the average social media post at expressing your own thoughts and feelings, then pick up a book! Pick up many books and keep reading. You’ll be the richer for it.

A Work in Progress

Here’s a draft version of something I’ve been thinking about for a while.

“Symphony no. 8”

When we talk about the “Mighty Nine”
We could be talking about almost anything.
Maybe it’s baseball, the ’27 Yankees.
Maybe the Supreme Court, or a video game.
There aren’t many music classes
Left in the schools these days.

Suppose you do encounter Beethoven, though.
Suppose you listen to each and every symphony
And hear them all more than once.
Which would you then say
Moved you the most?
The “Eroica”? The Fifth? The Mighty Ninth?

For me it would be a different choice,
A work not played as often as the others.
A fiery work, but somehow also cold and isolated.
I’m referring to the glittering, self-contained Eighth:
A work that pierces ice-blue skies
To no applause on earth.

—Thomas Pletcher

Jump for Trump

What follows is an excerpt from my recently completed NaNoWriMo novel draft, The Divide. The story takes place in the days immediately before and after the 2016 presidential election, and the national zeitgeist certainly seeps into the plot. However, the story is not about the election per se. It portrays a number of different people on both sides of the widening national divide, and the ways their lives are affected by change and growing instability.

Here, without further ado, is chapter 15 (of 37 chapters in the first draft). The book’s chapters are numbered rather than titled but if you’re a fan of heavily underscored irony, you could call this one “Jump for Trump.”

—Thomas Pletcher

Continue reading “Jump for Trump”