A Walker in the Suburbs

I’ve just finished George Saunders’ A Swim in the Pond in the Rain: In Which Four Russians Give a Master Class on Writing, Reading and Life. It’s a slightly misleading subtitle because Saunders is the one giving the master class. It’s his interpretations of Chekhov, Gogol, Turgenev and Tolstoy. The interpretations are only there because the stories are, of course, but Saunders has a way of parsing and illuminating these classics that makes you want to read them—and do your own best work, too. 

One piece of advice I found especially helpful (even as a nonfiction writer) is when Saunders describes how he came to find his “voice.” I use quotation marks here because Saunders points out that we have many voices. What we need to do is find the voice that is most energetic, even if it’s not the spare, Hemingwayesque one we originally thought was ours. 

When Saunders first found his “voice” (I will persist with the quotation marks), the story that resulted was the best he’d ever written, he said, but it was no Chekhov or Tolstoy. He felt he had let the short story form down. “It was as if I’d sent the hunting dog that was my talent out across a meadow to fetch a magnificent pheasant and it had brought back, let’s say, the lower half of a Barbie doll.”

In a world in which writing is taken oh-so-seriously, Saunders is seriously refreshing. 

In a retrospective mood after yesterday’s blog anniversary, I pulled out an old hard-bound journal and started reading. 

It was summer. The previous fall, I’d accepted an editorial position downtown, my first office job in 17 years, though I hadn’t yet extricated myself from writing freelance articles. I had three- to four-hour roundtrip commutes and deadlines when I got home. My daughters were 10, 13 and 16. Every few minutes, I was driving them to band camp or track practice or the movies. 

Still, my first thought on reading the loopy entries from those crazy days was … why didn’t I leave wider margins?  Every available inch was pressed into service. I had trouble reading my own writing. 

It took me a minute to realize the connection, the appropriateness of the typography. The pages were as busy as I was. The margins were the message. 

(Above, some halfway-margined class notes from last week.)

There is something both unsettling and gratifying about charging into a project that you’ve left idle for a month. Never mind the explanations for your idleness — a research paper due, the holidays to prepare for — the work itself has been left behind, and it lets you in on its annoyance. 

Surely nothing else can account for the way a once-admirable essay shrinks in power and perceptiveness. Nothing else explains the inelegant phrasing, the lack of insight.

And yet … with the power of time and distance, suddenly there is potential again, too. A new overview, perhaps even a revised table of contents. It’s a good way to enter the new year, with rolled-up sleeves.