06 Sep 2016

odds & ends

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“Can’t you just be like the rest of us, normal and sad and fucked up and alive and remorseful?” ― Miriam Toews, All My Puny Sorrows

I haven’t loved a book so hard since Lauren Groff’s Fates & Furies. I never thought a relentlessly dark tale of a prodigy pianist, who so desperately wants to end her life, could be funny. It’s easier to write binary and it’s downright difficult to create balance, and Toews manages to achieve this on a level that is awe-inspiring. The novel centers around sisters, one of whom is a gifted, yet tortured, musician (think: the poet in Woolf’s Mrs. Dalloway or Percival in The Waves), and the other the prodigal fuck-up, and how their private, unbinding love is challenged by suicide. In one scene you’re reading about Elf and her latest attempt to take her own life by slashing her wrists and downing bleach, and then you’re somehow laughing at the dark comedy that is this large, disruptive family plagued by a history of depression. As a writer, I often read books on two levels–one for pure enjoyment, entertainment or education and another as a devoted student. I deconstruct structure; I diagram character and tone. I’ll ask, how does he/she achieve what I’m trying to do, and how could I learn from them? While I’m tethered to the darker side of things, I’m feeling the need, especially now, to imbue my work with needed light.

If you don’t mind a book that’s a little heavy (balanced by light), I can’t recommend Toews’s novel enough. Buy it. Now.

I love science fiction. My favorite show of all time is The Twilight Zone, and I think Rod Serling a genius for the stories he imagined and brought to the small screen–most of which were provocative in the late 1950s conservative culture. I loved Stranger Things for the imaginative plot, as well as a feeling of nostalgia for the 1980s, and after I visited Guillermo Del Toro’s very magical and horrifying LACMA exhibit, I found The Strain and I’m addicted. The story is less sci-fi than apocalyptical and biblical — the world we know plagued by a virus, which we soon learn to be a sophisticated strain of vampirism. This isn’t your staid fangs and capes, rather, Del Toro’s modern day monsters are painstakingly conceived from an evolutionary and biological perspective. And while the story is smart and forward (the catastrophic battle between humans and monsters), the characters grapple with real issues of love and loss.

It’s also occurred to me that I’ve become enamored by artists who straddle and redefine form. The Leftovers isn’t just a cable drama about a day when millions of people suddenly disappeared–it’s drama, sci-fi, poetry, all meditating on all the ways in which we define and experience loss. This is why I admire writers like Maggie Nelson, Kelly Link, Lydia Millet and others of their ilk who refused to be confined in a box. A few weeks ago, I shared my new novel’s jacket copy with someone whom I was potentially interested in hiring as a freelance publicist but was disappointed when this person wrote back, oh, this is genre fiction. Let me pause and I say that this argument isn’t about whether I like or don’t like genre fiction (I do, and think genre fiction is hard to pull off, thus warranting so much respect–I wish I had the commitment to pacing and patience that a brilliant mystery novel requires), it’s about having myopic vision. I set out to toy with form–I wanted to write a story rooted in literary fiction (my comfort zone) but have elements of psychological thriller and suspense. I look to Maggie Nelson’s Jane: A Murder as a perfect example of collapsing form. If you read her book jacket, you would say, oh, this is just true crime. While there’s nothing wrong with true crime (Ann Rule’s memoir of her working with Ted Bundy is one of my all-time favorites), that reductionist thinking would’ve ignored what Nelson set out achieve. Her slim book is parts true crime, memoir, poetry, and a private letter between her and her aunt, who died in the hands of a serial killer.

I get that we want to give everything an elevator, fit everything into a neat and tidy box because it’s quick, efficient and easy. However, I admire artists who break tradition, who say, this book, show, or song need not be only this. It could be this and that.

A brief aside: have you noticed that shows have literally gone dark? I already wear glasses. Please don’t make me reach for the flashlight.

In the vein of nodding to people who inspire you, I loved this take on success being defined as how you elevate others. Years ago, I read The Art of War, and now I find it a pile of shit. I’m not interested in Darwinian workplace warfare, rather, I know I win by how I treat others and how I help them rock out in whatever they’re doing. Another way in which you can view success is by how you redefine size. We naturally think that bigger and more is better, a sign of achievement. I have X amount of followers, thus I’m an “influencer”. My home is Y square footage, so that means I’ve “made it”. I don’t subscribe to a McMansion view of life, rather, I’m in step with Mike Birbiglia’s call to play small.

And if you’re not reading Bianca Bass’s wonderful blog, you’re not living your best life. She writes about success and creative work from the millennial perspective–namely, you don’t have to hustle 24/7, rest is a virtue, and her musings call for more meaningful connection beyond fan counts. I’ve grown really tired of being sold to ALL. THE. TIME., so it’s a respite to discover someone’s blog and their writing and not feel trapped by an affiliate link. There are people who still tell stories just to tell them.

Finally, one of the things I’ve learned this year is the need to nurture relationships and be patient. I admired this mother’s lament on how the challenges in her life prevent her from being the kind of friend she knows she can be. I’ve been there (with an unhealthy relationship to my work replacing children), and if there’s anything that I’ve learned over the past year, it’s this: Be kind. Be patient. Be thoughtful. Lean on your friends and help when you can.

 

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  • So...apparently I’m writing a new book. It’s interesting (or odd, depending on your view) that new work comes in my darker moments. I started my last book after I had a breakdown from a job (and sociopathic boss) that was killing me. I was in Biarritz when I started what would become my second book, which is darker than my first book.
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This time, I’m toying with what happens when you climb out of the dark (my first two never got to that place). The book is titled The Only Possible and it centers on the close friendship between two broken women who are climbing out of their familial and person wreckage. This might be the first long work that ends with hope. I have this marker for myself, which is totally arbitrary. If I get to 50 good pages, the book is real.
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I’m at 52, so I suppose this thing is real. Light in the dark and like that.
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A brief thank you to the people who’ve been there for me these past few weeks. The ones who haven’t ignored or muted my posts—you are true friends and allies. Thank you for your friendship and kindness. I don’t give my heart and trust to many people for these obvious reasons, but I’m grateful to those that have it.
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I think it’s important to learn from the experiences we’re desperate to forget. Some of my greatest teachings come from working with terrible clients and sociopathic bosses. I wrote about this on medium (@felsull) and I’d love for to check it out, clap, and share.
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Constructive feedback is a valuable tool, but it doesn’t define you as a person. We will fail. We’ll botch a job or make mistakes. Value comes from learning from the missteps, in creating systems and processes for yourself that reduces the likeliness of that mistake from happening again. Your worth is not the measure of your failures, but how you’ve rebounded from them. How you’ve grown professionally AND personally. It’s about you standing up in the wreckage and saying, okay, let’s keep going.
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My wake-up call was a phonebook packed with numbers but no one to call when I was breaking. What changed during that dark time was this: I began to live small and this is, I assure you, is a good thing.
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Small isn’t a pejorative. It’s about getting surgical about the people and things that inhabit your life. Cut the barnacles. Eliminate that which is extraneous and unnecessary. Don’t settle for common or this is how it’s always been done. Small is about the amount of noise you allow in. It’s about making the choices that won’t please the majority of people, but you end up pleasing yourself. It’s the difference between living in a mansion and creating a house that is a home. Fewer, better are words whose meaning has shifted for you. They are words of wealth. And more suddenly feels like a burden.
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For those who suffer from depression, meds and therapy simply level the playing field. They elevate you from negative integers to zero. It’s easier to build from zero than from mounting losses. Meds and therapy don’t create shiny, happy people. There are days that are dark and tough and what’s allowed me to function during that time is the concept of living simply and small.
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