So, yes, Winter Fugue is underway. How has it taken its first few steps into being? I don’t mean “being” as a concept; I mean “being” as a synonym for pixels and ink. Beyond the emergence of the work of fiction as a flickering response to the raw and burning imperative to write, how does it — how has it — come to assume a definite form on the page?
For me, the first words of a fiction never issue from an idea or an image, or a narrative dilemma, but always — strange to say — from a feeling in the body, a mood that circulates through blood and breath, an incarnate sensation in no way tethered to events in the outside world. They come on top of the murmur that drives the act of writing and they take shape in response to, or in mimicry of, an inner disturbance that feels physically like the growth of some alien thing, some subcutaneous burr, lodged in the fibres of muscle and flesh. Marilynne Robinson gives voice to an experience of much the same sensation in her most recent collection of essays, The Givenness of Things: Continue reading
Marilynne Robinson’s Lila is a beautiful novel for a number of reasons, although as I read it I often found myself wondering how much of its lustre would be lost on readers unfamiliar with Gilead. Unlike readers of Home, its immediate predecessor in Robinson’s trilogy of novels set in the small town of Gilead, Iowa, readers of Lila will find much to appreciate even if they are not familiar with the other two titles. In part this is the case because Home replays many of the events already depicted by the narrator of Gilead, albeit from the perspective of a different character and therefore in a way that imbues them with new meanings, while Lila covers events that occur many years before the action of Gilead and that have been, until now, almost entirely unexplored. If a novel that requires its readers to possess knowledge of another novel thereby places a burden on their shoulders, Lila arguably leaves its readers at greater liberty than Home, and yet, while reading it, I couldn’t shake the feeling that that liberty comes with its own sort of price. Continue reading
After recently re-reading Marilynne Robinson’s Gilead, Richard Crary found his appreciation of the novel undimmed a decade on from its first publication. “It is, in many ways, what used to be called ‘wisdom literature,’” he writes, “yet it is also a marvelous, and subtle, literary performance. And, it seems to me, a wholly appropriate literary response to our current situation, in the sense in which I have here attempted to channel or expand on Josipovici and others.”
I agree with both judgments and especially the last. Perhaps due to the vividness of its pastoral setting or the sophisticated and convincing ventriloquism through which Robinson breathes life into her narrator, the Reverend John Ames, Gilead tends to be read as a work of regional realism, a skilful observation of life in small-town Iowa in the 1950s. But there’s a conceit to both the narrative and the act of narration that imbues every word with extra complexity. “What is afflicting Mallarmé, Hofmannsthal, Kafka, and Beckett,” Josipovici writes in What Ever Happened to Modernism?, “is the sense that they feel impelled to write, this being the only way they know to be true to their own natures, yet at the same time they find that in doing so they are being false to the world — imposing a shape on it and giving it a meaning which it doesn’t have — and thus, ultimately, being false to themselves.” In Gilead, Ames is similarly impelled to write and similarly suffers a sense that he is being false to himself, although his suffering comes with a twist on that of the writers named above. Continue reading
The tree seemed to lengthen itself out as [the girl] went up, and to reach farther and farther upwards. It was like a great main-mast to the voyaging earth; it must truly have been amazed that morning through all its ponderous frame as it felt this determined spark of human spirit creeping and climbing from higher branch to branch.
Sarah Orne Jewett
‘A White Heron’
There was the oak tree in front of the house, much older than the neighborhood or the town, which made rubble of the pavement at its foot and flung its imponderable branches out over the road and across the yard, branches whose girths were greater than the trunk of any ordinary tree. There was a torsion in its body that made it look like a giant dervish to [the children]. Their father said that if they could see as God can, in geological time, they would see it leap out of the ground and turn in the sun and spread its arms and bask in the joys of being an oak tree in Iowa.