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November Question

November Question

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Warm Novembers confront us with a question: Is it the early darkness that makes the month gloomy — or the cold temperatures? Melville would say the latter, I think, at least he would if we take the famous opening lines of Moby Dick with its “damp, drizzly November in my soul” as proof of where the novelist stood on the matter.

For many of us, though, it’s not just the damp drizzle; it’s also the early darkness, the dying of the light. I saw this first hand in the parakeets yesterday. Lulled into autumnal complacency by the mid-70 temps, I brought the birds out onto the deck to share the glass-topped table with me as I worked. 

They were chattering and happy, doing their best to respond to wild bird calls … until the sun began slanting lower and lower in the sky.  Then, as if on cue, they quieted and calmed, began tucking their heads into their wings. 

Even when it’s warm, the early darkness has its way with us. 

Plague Lit

Plague Lit

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Call me strange, but for some reason I’ve gravitated to pandemic fiction these last few months. I re-read The Plague by Camus, tried Jose Saramago’s Blindness but only got a third of the way through it, and just finished the historical novel Year of Wonders by Geraldine Brooks. 

Though The Plague was more profound, Year of Wonders was more enjoyable. I was pulling for Anna, the protagonist, who suffers loss upon loss but emerges the stronger for them. 

I was whisked away to a 17th-century English village (based on a real place), which decided when faced with the Black Death to keep the disease contained within its boundaries. The citizens voluntarily quarantined themselves, suffering much greater loss of life than if they had run at the first sign of illness. 

Knowing that once, long ago, a group of ordinary folk decided to take this step, to give up their own lives to save others, makes this an especially powerful moral message to contemplate. 

Mind and Body

Mind and Body

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Over the weekend I read an essay about the power of literary analysis in the college classroom — and, because of the unique times in which we live — also not in the college classroom.  Apart from the many excellent points made about education in the humanities — the lessons of the great books have never mattered more, the ability to think and analyze is prized in the workplace — the author, Carlo Rotella, made one that brought a crucial point to mind. 

While teaching via Zoom, Rotella said, he realized how much he uses visual cues in his class, figuring out who he should call on, who’s getting a concept and who is not. I ran this through my own, English-major memory, and sure enough, the same seems true from the student’s point of view. 

What I remember most about college literature classes is not just the ideas that seemed to be exploding in my brain as we discussed The Magic Mountain or The Brothers Karamazov, but the visual impressions my teachers left as well. 

I recall in particular my favorite college professor, Dr. Ferguson, who would curl himself around the podium when he lectured, one knee on the desk, one foot on the floor, while stork-like, he led us through the great books. It’s not that I don’t recall the ideas themselves — I think about them all the time — but until I read this essay I wasn’t aware of how closely they are linked to the physical peculiarities of the professors who introduced them to me. 

This essay triggered a dialogue in my brain, a conversation between the author and me, and the part that I supplied surprised me — as it should, when the “conversations” are deep and good. 

The Summer Book

The Summer Book

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I picked up Tove Jansson’s The Summer Book because it showed up in a list of books that feature grandparents. There are precious few of these, I’ve noticed. 

Jansson’s Grandmother (she’s given no other name) is crotchety and wise and foolish and loving. She smokes cigarettes and breaks into a neighbor’s house. No cookie-baking for this grandma. She’s a renegade. But she also understands her granddaughter Sophia, pushes her and puts her in situations where she is bound to succeed. 

Grandmother also levels with herself and with others (when she’s not lying, that is). Here she is after the break-in: 

“My dear child,” said Grandmother impatiently [to Sophia], “every human being has to make his own mistakes.” … Sometimes people never saw things clearly until it was too late and they no longer had the strength to start again. Or else they forgot their idea along the way and didn’t even realize that they had forgotten.”

That’s the kind of gem Jansson strews about for us through the pages of this slim and lovely book, all of it amidst a natural world (an island in the Gulf of Finland) that is as beautiful as it is dangerous. 

Simplicity

Simplicity

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I learned from the Writer’s Almanac  that today is the birthday of the poet Mary Oliver, who lived from 1935 to 2019. I discovered her only years before her passing, reading her prose before her poetry. But it poetry that she was known for and poetry that won her the Pulitzer Prize in 1984. 

Today’s entry includes a few words from Oliver about what she needed, which wasn’t much:

“I’ve always wanted to write poems and nothing else. There were times over the years when life was not easy, but when you can work a few hours a day and you’ve got a good book to read and you can go outside to the beach and dig for clams, you’re okay.”

I will hold onto that simplicity today. 

Most of All

Most of All

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Yesterday, I read an entire book. The title isn’t important. Let’s just say it wasn’t War and Peace. But it’s worth mentioning because it’s been a while since I’ve read a book in a day, and it was satisfying in and of itself.

I must clarify that by “day” I mean 24 hours, which includes reclining in the hammock on a perfect late-summer afternoon as well as reading in the middle of the night, unable to sleep — with the latter a more common condition than the former, I’m sorry to say. But still, the words were digested, the book was read.

What this means, what I’ve known all along, is that reading is one of those things I’ll find a way to do no matter what. It’s one of the things I love to do most of all.

Why We Write

Why We Write

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There are certainly mornings when I wonder what I’m doing here. Why share these observations with the blogosphere when I could just as soon express them to family or friends or jot them down in my journal?

I know the answer to that question, but I’ve seldom seen it explained as well as Susan Orlean does in her 2018 nonfiction bestseller The Library Book. 

Admitting that before the idea for The Library Book struck her she had sworn off writing books — “working on them felt like a slow-motion wrestling match,” she wrote — she goes on to talk about why the idea pulled her in. The book, which recounts the Los Angeles Public Library’s great fire of 1986 and the beauty and fragility of libraries in general, grew from the love of books Orlean developed as a child and the memory of afternoon excursions to the Bertram Woods Branch of the Shaker Heights (Ohio) Public Library system with her mother. Her mother, much older now and in the throes of dementia, wasn’t remembering those library visits anymore. That left Orlean to remember for both of them.

“I knew I was writing this because I was trying hard to preserve those afternoons. I convinced myself that committing them to a page meant the memory was saved, somehow, from the corrosive effect of time.

“The idea of being forgotten is terrifying. I fear not just that I, personally, will be forgotten, but that we are all doomed to being forgotten—that the sum of life is ultimately nothing; that we experience joy and disappointment and aches and delights and loss, make our little mark on the world, and then we vanish, and the mark is erased, and it is as if we never existed. …

“But if something you learn or observe or imagine can be set down and saved, and if you can see your life reflected in previous lives, and you can imagine it reflected in subsequent ones, you can begin to discover order and harmony. You know that you are part of a larger story that has shape and purpose — a tangible, familiar past and a constantly refreshed future.”

Learning the Significance

Learning the Significance

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I learned from the Writer’s Almanac that today is the birthday of Frank McCourt, author of Angela’s Ashes. I remember reading that book the first time and marveling at the pathos and the humor and that marvelous opener: 

“It was, of course, a miserable childhood: The happy childhood is hardly worth your while. Worse than the ordinary miserable childhood is the miserable Irish childhood, and worse yet is the miserable Irish Catholic childhood. People everywhere brag and whimper about the woes of their early years, but nothing can compare with the Irish version: the poverty; the shiftless loquacious alcoholic father; the pious defeated mother moaning by the fire; pompous priests; bullying schoolmasters; the English and all the terrible things they did to us for 800 long years.”

Angela’s Ashes was on the best seller list for three years, won a Pulitzer and sold four million copies in hardcover. McCourt is the patron saint of late bloomers. He wrote the book in his mid-sixties. 

Re-reading McCourt’s obituary I came across this lovely anecdote. When speaking with high school students in New York in 1997, he said this about his book and the writing of it, something that should gladden the hearts of all those who labor with pen and keyboard, or the hearts of all of us, period. “I learned,” he said, “the significance of my own insignificant life.” 

Stegner and Home

Stegner and Home

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It made sense that I finished this year’s “beach book” just hours before firing up the work computer.  It made sense, though it made for less than 40 winks. That’s the way it is — or can be, when the book is good enough. 

In this one, it was almost as if I could see Stegner coming into his own as a writer from the beginning of this 562-page saga to the end. The Big Rock Candy Mountain was Stegner’s second published novel and an autobiographical gem that becomes wiser and stronger as the writer (and the characters) mature. 
I’ve always loved Stegner’s depiction of the American West, his love for the landscape and the way he grapples with the nature of home. And here I could see this in full flower: 
It was a grand country, a country to lift the blood, and he was going home across its wind-kissed miles with the sun on him and the cornfields steaming under the first summer heat and the first bugs immolating themselves against his windshield. But going home where? he said. Where do I belong in this?
…Where is home? he said. It isn’t where your family comes from, and it isn’t where you were born, unless you have been lucky enough to live in one place all your life. Home is where you hang your hat. (He had never owned a hat.) Or home is where you spent your childhood, the good years when waking every morning was an excitement, when the round of the day could always produce something to fill your mind, tear your emotions, excite your wonder or awe or delight. Is home that, or is it the place where the people you love live, or the place where you have buried your dead, or the place where you want to be buried yourself? 
…To have that rush of sentimental loyalty at the sound of a name, to love and know a single place … Those were the things that not only his family, but thousands of Americans had missed. The whole nation had been footloose too long, Heaven had been just over the next range for too many generations.
Traveling Twice

Traveling Twice

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This year’s beach read is The Big Rock Candy Mountain by Wallace Stegner, a family saga as broad and as deep as the western horizon. It’s been a fine book for this year’s trip, accompanying me on the plane and on the strand.

There aren’t many readers on the beach these days. There are plenty of people on their phones, and, believe it or not in this age of air buds, plenty of people listening to portable radios loudly enough that everyone nearby can hear them, too.

But I spotted only three or four people reading books on yesterday’s walk, though the day before I happened to park myself by an entire family in thrall. But though few in number, readers stand out. There they sit in perfect communion with the printed pages, as waves break and gulls swoop. They could be anywhere — running through an airport in Bangkok or driving cattle through a freak spring snowstorm in Montana.

I like to think that these readers have discovered what I have: that when you travel with a book, you travel twice.