Mexican Philosophy

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Once upon a time, I applied for a teaching post at Syracuse University.  (Actually, twice upon a time, but that’s a longer story.)  I was able to gather that one reason I failed to merit an interview was that the religion department prided itself on its dedication to continental philosophy.  Lacking imagination, I couldn’t see how that might apply to teaching Hebrew Bible but then again, I don’t know much.  I’m starting off with than anecdote because it is in keeping with the spirit of Carlos Alberto Sánchez’s excellent Blooming in the Ruins: How Mexican Philosophy Can Guide Us toward the Good Life.  I recently wrote about how reading philosophy is something I enjoy when I can find the time, but what really struck me about this book is that Mexican philosophy is a counter to continental (i.e., European) philosophy and it is much closer to my own outlook.  I’m not in any danger of being offered a new job so it’s safe to say so.

I actually picked up a copy of Sánchez’s book because of a chapter that I’d read.  Much of the work begins with anecdotal accounts, followed on by something original, amplified, and solid (you’ll need to read the book to flesh that out).  Mexican philosophy rejects the idea of universals because each of us is socially located.  What may have seemed universal to European philosophers of the seventeenth through the nineteenth centuries, many of them quite privileged, simply doesn’t apply to a person raised poor in Mexico.  (Or Pennsylvania, for that matter.)  I read the continental philosophers in school, but they had not had my experiences.  My traumas.  And yes, Sánchez emphasizes that trauma is part of the picture.

While I can’t summarize this wonderful little book here, I can recommend it.  If you have an interest in the larger questions, and if you want some philosophy that doesn’t try to impress you with big words and complex grammatical formulations, this may be for you.  Sánchez writes as if he’d be willing to sit down with you and discuss the matters that make life worth talking about.  The chapter that sold me on his book was the one on the Mexican view of death.  It is only one of several that deserve a bit of your time to chew over.  So I was not welcome among those who specialize in continental philosophy.  Maybe I was looking in the wrong place.  Maybe those who are open to homegrown thinkers of sometimes deep thoughts live south of the border.

Scientific Monsters

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The rule is simple.  If you buy something in the gift shop, you can get into A Nightmare in New Hope for free.  So I naturally gravitated towards the books.  I picked up Meg Hafdahl and Kelly Florence’s The Science of Monsters: The Truth about Zombies, Witches, Werewolves, Vampires, and Other Legendary Creatures.  I noticed that the authors weren’t scientists, so I wasn’t expecting anything hard core.  In fact, I mostly wanted it for fun.  And also, I’m fascinated by anyone who can manage to get published by a trade press, the kind that publish books for under twenty bucks.  (Lest you think that’s a random amount, I’ve been invited to events where I was told $22—the then price of Weathering the Psalms, my least expensive book—was too much for most of the audience.)  The science in this particular book is akin to the science of various ghost hunters—the use of science as a framework, but not really being actual science.

Still, it’s a fun read.  Divided into ten sections of three chapters each, it covers a range of horror movies and asks various questions about aspects of “could it happen?”  Of course, in the sections featuring serial killers, we already know the answer.  Sometimes the authors shift to the “why” question when something obviously does happen in real life.  Now, I bought this book as a horror consumer and I have to say that it made me feel a sense of accomplishment that of the thirty chapters I’d seen all but one of the featured films.  The one I haven’t seen is Cujo, but I’ve read the book.  What I’ve noticed about other horror aficionados is that seldom have we all seen all the same movies.  Since the advent of VHS and watching movies at home, and the various technologies that came after, those of us with an appetite can be starved for choice.

While I wouldn’t turn to this book for any actual science, I did get a few ideas for horror stories from reading it.  One of them I’ve been working on since the chapter on The Tingler.  Both for fiction and non, I often think about publishers and how to break into that below twenty market.  This book is classified, in its BISAC code (the topic on the back of a book that tells you its genre) as science.  The publisher doesn’t publish in pop culture, which is what horror movies are.  There must be a science to getting publishers to buy into a good book idea like this.  Maybe there’s a science to it.

Double-Dipping

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Double-dipping takes many forms.  The kind I’m talking about is trying to get more than your fair share by either taking twice, or by fooling others into buying the same thing two times.  I’ve fallen victim myself.  Some publishers will sell a hardcover book and then release the paperback with a different title a couple years later.  If you’re a fan of the subject, you’ll buy the same book twice because they won’t easily tell you that it is the same one.  On paper the strategy is to get libraries to buy the hardcover (which costs more) instead of waiting for the paperback.  Why change the title if not to fool someone?  Maybe I’m just embarrassed by the vegan egg on my own face because I realize that I’ve bought the same book more than once.  Maybe more than once.  With a limited budget, I don’t appreciate being deceived.

The egg is even older and more obvious when I realize that those of us of a certain age can’t keep our memories as sharp as they used to be.  I read a lot.  I try to get through 60 or 70 books a year.  Have done for over a decade now.  If a book doesn’t create a strong impact, it may go into that category of enjoyable but not really memorable.  So when I recently learned that a publisher had double-dipped with a book I’d bought and read—twice—I felt violated and embarrassed.  Even more troubling was the fact that I wrote blog posts about each of the books (about three years apart) without recognizing I’d already read it.  To be fair, buried on the copyright page (who reads that?) the paperback confessed that it was the same as the differently titled hardcover.  Of course, I’d already bought the book, read it, and blogged about it (twice) before someone pointed out to me that it was the same book.  Gotcha!

I hold myself to high ethical standards.  I hope that I’m an honest person; I tell the truth whenever possible.  I’d certainly not try to sell someone two of the same thing without telling them that they weren’t buying something new, but simply giving more money for something they already had.  Even Amazon says, “Purchased on,” and gives you the date if you call up a book you’ve already bought.  Publishers, I know, have a difficult time.  Publishing is a “low margin” business, which means that you have to sell lots in order to stay solvent, and each sale brings in only a small profit.  Temptation to double-dip must be very strong.  Still, I feel a bit silly to have fallen for it, even when it’s what I do for a living.

Being Perceived

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The philosopher George Berkeley argued that to be is to be perceived.  This perspective goes by the name of immaterialism and I have to admit to being sometimes seduced by it.  The real question comes down to who counts as a perceiver.  In any case, as a book author there’s always a worry that the book sent to the publisher isn’t real until it appears in print.  I’m Berkeleyian enough to think that ebooks aren’t really perceived, and so I mean in print.  Until I see a copy of the book, I don’t really believe it exists.  This entire week I’ve been waiting.  Sleepy Hollow as American Myth was released on either Monday or Wednesday, depending on who you believe about such things, and my author copies have been on their way.  At last, the book exists!

In the publishing industry there are those who consider a book like a box of puzzle pieces.  They often refer to books as “content,” or “product.”  Something that can be divided up and sold piecemeal in electronic form.  A chapter at a time.  Never mind what the author was trying to do when s/he wrote the book.  Such people, it seems to me, should be forced to spend several years working on an integrated project only to see the producer of said product take it apart and sell insubstantial pieces of the whole.  It feels like being eviscerated.  Books are objects and those who love them form cultures.  I know there are people who read ebooks, and I don’t judge them for it—readers are readers and we need more of them!  But for me, book culture involves, well, books.

One of the greatest thrills a writer can know is opening that first box of their author copies of a book.  Many academic publishers are cutting down the numbers, to save money, of course.  McFarland, I’m happy to report, still provides ten, which used to be standard.  So before I start doling them out, I have, for the moment, ten copies of my sixth book.  I have only one copy of the second edition of A Reassessment of Asherah and two copies of Nightmares with the Bible.  They’re both too expensive for me to buy more.  (Income from writing books may bring images of Stephen King or J. K. Rowling to mind, but they’re household names because their situation is so exceptional.)  Right now, however, I’m bathing in the glow of knowing, at least at the moment, my latest book is being perceived.

A Glimmer

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You just never know.  A few months back I emailed Liverpool University Press because my book, The Wicker Man, has apparently not sold any copies.  I had never received (have still never received) a royalty statement or any payment.  Now, I’m willing to accept that no copies have sold.  I’m not a recognized name and a bigger book came out in 2023, the fiftieth anniversary of the film.  I moved on.  Then, the day before my Sleepy Hollow as American Myth copies were scheduled to arrive, a friend sent me a text that made my day.  He’d seen on the MIT bookstore staff picks shelf, a copy of my humble little book.  I was floored.  Someone had read it and liked it.  And MIT!  I mean, that’s worth celebrating.  It also made me curious.

Image credit: a friend

I checked a website that tracks classroom adoptions.  The Wicker Man had been adopted for a class at Kennesaw State University in Georgia.  Ironically, just the day before my friend’s text arrived, a colleague at a nearby seminary asked if I’d come and give a talk about Weathering the Psalms.  This is all very dizzying to me.  I am an obscure private intellectual because no schools will open resident scholar or any other such non-tenure positions to me.  I can’t even verify myself on Google Scholar.  But a few people, it seems, have found my books.  In case you might think otherwise, I’m very well aware that the scholarly world is small (and the current administration would like to make it smaller by the day).  But I tend to think of myself as lost in that small world.

The Wicker Man was a departure for me, as is Sleepy Hollow as American Myth.  In these two books I moved away from my identity as a scholar of religion.  Don’t get me wrong, I’ve used my background and experience, and even latent knowledge of religious studies in both books, but they aren’t fronting religion.  It remains to be seen if the just curious will pick them up.  I know many people don’t default to, “I find this interesting, I’ll buy a book on it,” as I do.  And I’m more than willing to suppose that others aren’t interested in what I have to say.  Still, just when I’m starting to feel down on all my efforts, a little ray of hope shines through.  Someone in a bookstore somewhere has recommended one of my books.  And it feels good.

Letting Go

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I should’ve known from the title that this would be a sad story.  Kazuo Ishiguro’s Never Let Me Go won the Nobel Prize in Literature, despite being speculative.  It’s only mildly so, but enough that it is sometimes classed as science fiction.  It’s appropriate that a twentieth anniversary edition was released because it is an extended consideration of the price of technology as well as dehumanization.  I’ll need to put in some spoilers, so here’s the usual caveat.  I read this novel because it’s often cited as an example of dark academia and it certainly fits that aesthetic.  It starts out at a private school called Hailsham, in England.  The students are given some privileges but their lives aren’t exactly posh.  Most of their possessions are purchased on days when a truck sells them things they can buy with money they earn by creating art.  They aren’t allowed to leave the school.  Spoilers follow.

The special circumstances of the children are because they’re clones being grown for replacement organs.  The public doesn’t want to know about them or interact with them.  In fact, most people believe they don’t have souls, or aren’t really human.  They’ve been created to be used and exploited until they die, always prematurely.  While this may sound grim, the story is thoughtfully told through the eyes of one of these children, Kathy.  She becomes best friends with Ruth and Tommy, who later become a couple.  Ruth is a difficult personality, but likable.  As they grow they’re slowly given the facts about what their life will be.  They’re raised to comply, never to rebel or question their role.  Most simply accept it.  Kathy, Ruth, and Tommy, in a submissive way, try to get a deferral regarding their “donations.”

I suppose it’s presumptuous to say of a Nobel Prize winner that it’s well written, but I’ll say it anyway.  Ishiguro manages to capture the exploratory friendships of youth and reveals what you need to know in slow doses, all told with a compelling, if sad and accepting voice.  Although the genre could be sci-fi, it’s set in the present, or, more accurately, about twenty years ago.  The technology, apart from the cloning, is about what it was at the turn of the century, or maybe a decade or two before that.  With what we see happening in the world right now, people should be reading books like this that help them understand that people are people, not things to be exploited.  And that Nobel Prizes should be reserved for those that are actually deserving for their contributions to humanity. 

Publish, Perish

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Publish or perish has been around for quite a while and I feel for younger scholars who are trying to publish their collected essays as their second book.  Collected essays, in case you’re not familiar with dark academia, are generally what senior scholars do before they retire and they can’t be bothered to rewrite everything into a proper book.  Or maybe the topics are disparate and don’t easily fit together in one category.  When I was teaching the general rule was an article a year and a second book for tenure.  I was able to do this without a sabbatical, and with a heavy teaching load and administrative duties at Nashotah House.  It’s a lot of work.  My biggest challenge was coming up with ideas for new books.  Eventually I published my collected essays on Asherah in the second edition of my dissertation.

I’d written a 50-page article on Shapshu, the Ugaritic sun deity, that was intended to be my second book.  Then J. C. L. Gibson retired and I had to have something for his Festschrift.  There it went.   It was about that time that I started Weathering the Psalms.  That was my “tenure book.”  There was over a decade between that and Holy Horror, for a number of reasons.  The main one was that I was trying to cobble together a career between Gorgias Press and moonlighting as an adjunct at Rutgers University.  There was no time for research and publication.  Ironically, that only came after I gave up academia to enter the commercial world of publishing.  I see younger scholars now expected to produce that second book, and some of them go for the collected essays approach.  I understand.

Back when I was applying for first jobs—and the scene was already very tight, I assure you, despite promises just a few years earlier—I applied for everything.  One search committee chair wrote a scolding letter saying I wasn’t senior enough to apply.  By the end of his dressing down, he concluded with something along the lines of “unless you’re applying because there are so few positions, in which case it’s understandable.”  He was right.  So few jobs and so much student debt!  I landed at Nashotah and began cranking out the articles.  In a moment of weakness I offered to write some further academic treatments after my horror movie books appeared.  They don’t do anything for my career, of course.  And they take away time from popular writing practice.  Who knows?  Maybe some day I’ll gather them into a book.  Then again, maybe I’ll find myself growing younger too.

Naming Sleepy Hollow

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Local history has always been an interest of mine.  Although I’ve never lived in Sleepy Hollow, my book on “The Legend of Sleepy Hollow” is due out this week.  I try to keep an eye out for further information on the region.  Christopher Skelly’s The Origin of Sleepy Hollow: The Name and the Village, an Untold History appeared after I’d submitted my manuscript to McFarland, but I wanted to read it regardless.  A new father living in Wisconsin at the time, I was not aware of the name change in 1996.  I do remember looking at a map after we’d moved to New Jersey and seeing, for the first time, the name Sleepy Hollow along a route we planned to take to a point further up the Hudson.  I remember thinking, “I didn’t know there was an actual place called Sleepy Hollow.”  Well, that may have been because prior to 1996, there wasn’t.

This self-published account of how the name came about is valuable local history.  Not exactly belles-lettres, it nevertheless begins at the earliest Dutch naming of the area as the Dutch version of Sleepy Hollow.  By the time Washington Irving wrote his story around 1819, the area had already gone by several names but the village of Tarrytown was well established.  And, over time what was vaguely called Sleepy Hollow by the Dutch became North Tarrytown.  I learned here that the haven, or harbor on the Tappan Zee that was first called some version of “Sleepy” had been the victim of landfill so that a railroad could be put in.  The author is clear that the “Hollow” is still visible if you know where to stand and look.  He also explains the motivations behind changing the village name that began in 1988. 

One things I learned in my own study of ancient history is that place names tend to be remarkably resilient.  European settlers ignored much of the indigenous nomenclature, but did adapt many examples of it.  Our species needs to reference where things, or other people, are over very large distances.  We know where Edinburgh is, even if we live in Australia.  Names are important.  Personally, I’m glad that some citizens of North Tarrytown decided to change the name of their village to Sleepy Hollow.  And not just because I have a book coming out on the topic.  I’m sure the change has boosted tourism immensely, even if that wasn’t the initial motivation.  It’s nice to know that the change was actually back to the first Dutch ideas about the place.  And that a visit to Sleepy Hollow is possible because of one influential little story.

Sad Joy

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I sometimes make the mistake of thinking a short book will be a quick read.  Melancholic Joy is a case in point.  Every time I indulge in a book of philosophy I wonder if I missed my true calling.  As my wife is well aware, I’m prone to philosophical musings about the meaning of life although I tend to place myself among the existentialists.  As soon as I saw the title of Brian Treanor’s book it went on my reading list.  It’s short and I thought maybe a week would be enough.  But it wasn’t.  I do hope I can remember much of it.  A word to the wary, the first chapter is very depressing.  Treanor doesn’t sugarcoat the world in his quest on a Life Worth Living.  Those of us who ponder things deeply tend toward melancholy, in my experience.  But stick with it.  There is gold in this book.  Starting with chapter two I was reminded why I took so much philosophy in college.

The world is full of depressing facts.  By the time I was born we’d already devised ways to wipe out the entire human race.  Many, far too many, people live lives of suffering, much of which could be prevented if we didn’t have people like Donald Trump running things.  The political situation is so bad that I’ve disengaged.  Yet still, amid my melancholy, I do feel joy.  You need to parse words carefully here.  Treanor knows that joy and happiness aren’t the same thing.  For those of us predisposed toward melancholy, joy is probably much more common in our lives than happiness.  This book is one that led me to start underlining again.  I do hope to come back to it when my outlook becomes too bleak.  Treanor interacts with both other philosophers and other writers, even some who aren’t always classified as philosophical.  It is a nepenthe.

Some of us think incessantly and can’t help doing so.  It’s a bit difficult to be cheerful if that’s the case.  Melancholic Joy, if I can keep it in mind, may help with that.  There are sections where I had to go back and re-read because my attention had wandered (it happens to us all), but to do so was rewarding.  For anyone who finds many aspects of the world oppressive, and depressing, and who has a philosophical bent, this book is for you.  Just be careful with that first chapter.  Whatever you do, don’t stop there.

Cat Tales

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Sometimes I go into an independent bookstore and just look what’s on the shelf.  Often this ends up being an attempt to find a book that isn’t monstrous in length.  Much of what’s currently on offer is long, but I grew up reading 128-page paperbacks (not great literature, granted) that set my expectations.  Now, I do read long books.  Since books and movies are staple topics for discussion on this blog, however, I need to keep things moving in both kinds.  All of which is to say that I picked up Sosuke Natsukawa’s The Cat Who Saved Books because it was short.  This particular bookstore was one where I know and trust the owner’s taste.  I’d bought Haruki Murakami’s works there before.  I really didn’t know what I was getting into this time, though.  I like cats.  I like short books.  I like the Japanese authors I’ve read.  So.

The BISAC code on the back of this one didn’t state that it was fantasy.  I like some fantasy fiction, but my tolerance is limited.  The fault is mine entirely; I own that.  I enjoy speculative fiction and a book with a talking cat felt like it might fit that niche.  I thought the story of The Cat Who Saved Books was good, and the message was sound.  But it felt a bit trite.  The previous Japanese author I’d read was Murakami, and he’s pretty incredible.  I can give you a taste of this book, however, and raise a question about it.  A teenage boy is left taking care of his grandfather’s bookshop after his guardian dies.  A talking cat appears and leads him to four labyrinths where the boy has to rescue books that are being misused.  His arguments to save them don’t seem profound, but something might’ve been lost in translation.

The question is that one of the characters claims to be a book almost two-thousand years old that has had more influence than any other book. Was this the Bible?  Interestingly, nearly every book mentioned in this novel is from the “western canon.”  I have to wonder if this particular book, which is a rather severe character, is the Good Book.  I don’t suspect there’s any way to find out, really.  Still, it seems to fit the sense that Natsukawa uses.  This is an innocent enough fantasy novel.  I guess I prefer my fantasy to have solid rules laid down so that I have an idea what to expect.  But then again, my perspective is that of a primarily western reader, and one who craves short books now and again. I’m open to learn.

Death in Cambridge

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In an effort not to give too much away, I’ll try to give only the bare bones and some impressions.  The Maidens, by Alex Michaelides, is considered a dark academia novel.  It revolves around a series of murders in Cambridge and the informal investigations by a psychologist (Mariana), whose niece attends St. Christopher’s College.  There is, not surprisingly, a lot of psychological tension.  It’s also a good illustration of the human condition—our psychology can often be disrupted by those closest to us.  We’re a complex lot.  The whole story is also set against the backdrop of classic Greek tragedies.  Mariana is half Greek herself, living in England.  She’s also a widow and, although not a minor, a woman without parents or siblings.  As a psychologist, she tries to help others sort out their lives.

Perhaps some of us are born prone to trauma through some combination of naiveté, innocence, and neurodivergence.  It’s well known that what simply rolls off one person will traumatize another.  People sometimes comment that it’s surprising that I watch horror, but the fact is that it’s generally removed from my personal traumas.  Looking back over some sixty years, I see quite a lot of trauma and I empathize with Michaelides’ characters who experienced such deficits, some of them without even knowing it.  This really stood out to me while reading the novel.  With the exception of some of the maidens, just about everybody is hurting.  Who are these eponymous maidens?  A group of students who have coalesced around an American professor of ancient literature.  And they’re also the ones who tend to get bumped off.

This is a book that moves along.  Part of the reason is that it has short chapters, something I’ve come to appreciate over my life as things get busier and busier.  Long chapters can be a challenge.  A novel I read recently had no chapters at all (but at least there were scattered extra-spaces between collections of paragraphs).  But what really keeps the pages turning is the story.  Michaelides is very good at misdirection, which is why I didn’t describe the plot in any detail.  You have to read it to see how things unfold and I don’t want to spoil that for anyone.  A literary murder-mystery, it has no speculative elements, apart from a few coincidences.  It does, for at least some readers, have quite an impact.  For me, it influenced my thought process for the rest of the day after I finished it.  At that, with all the books I read, is pretty rare.

More Writing

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I keep a list.  It includes everything that I’ve published.  It’s not on my CV since I keep my fiction pretty close to my vest.  The other day I stumbled across another electronic list I’d made some time ago of the unpublished books I’d written.  Most were fiction but at least two were non, and so I decided that I should probably print out copies of those I still had.  As I’ve probably written elsewhere, I started my first novel as a teenager.  I never finished it, but I still remember it pretty well.  Then I started another, also unfinished.  After my wife and I got engaged and before we moved to Scotland, I’d moved to Ann Arbor to be in her city.  Ann Arbor, like most university towns, has many overqualified people looking for work and I ended up doing secretarial support for companies that really had nothing for me to do quite a bit of the time.  I wrote my first full novel during dull times on the job.

My writing was pretty focused in Edinburgh.  My first published book was, naturally, my dissertation.  I started writing fiction again when I was hired by Nashotah House, but that was tempered by academic articles and my second book.  An academic life, it seems, doesn’t leave a ton of time for writing.  What really surprised me about my list was what happened after Nashotah.  In the years since then I’ve completed ten unpublished books.  Since my ouster from academia I’ve published five.  I honestly don’t know how many short stories I’ve finished, but I have published thirty-three.  What really worries me is that some of these only exist in tenuous electronic form.  I guess I trust the internet enough to preserve these blog posts; with over 5,700 of them I’d be running out of space.

I see a trip to buy some paper in my future.  For my peace of mind I need to make sure all of this is printed out.  My organizational scheme (which is perhaps not unusual for those with my condition) is: I know which pile I put it in.  Organizing it for others, assuming anybody else is interested, might not be a bad idea.  I know that if I make my way to the attic and begin looking through my personal slush pile of manuscripts I’ll find even more that I’ve forgotten.  That’s why I started keeping a list.  Someday I’ll have time to finish it, I hope.

Re-Ruins

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I discovered Scott B. Smith’s The Ruins after having seen the movie version.  The film is scary but the book is scarier.  I wrote about the movie last year, so I won’t worry about spoilers here.  I will say that even with its bleak ending the film has a happier resolution.  If you read my post, and remember it, the following summary may not be necessary, but here goes: two couples and two friends vacationing in Mexico set off in search of one of the friends’ missing brother.  They travel to a very remote location and discover that the missing brother is dead.  Worse, that he was killed by the natives for trying to escape a vine-covered ruin.  The vine is carnivorous, and, unlike in the movie, clearly intelligent, and sentient.  It tricks the young people into harming themselves and then it begins to eat them.  It especially preys on open wounds, but it can smother a person if it so desires.

The book is full of tension.  Although a couple of injuries take place early on, it’s over halfway through before someone actually dies.  And the others don’t follow quickly.  The narrative asks probing questions about ethics and mercy.  When (if ever) is it okay to kill someone who clearly has zero chance of survival?  Is it still murder?  Complicating things, for me, was the fact that I couldn’t remember clearly how the movie ended.  Eventually it came back to me, but this is one of those cases where the film and book, although with the same writer, diverge a bit.  The characters are clearly sketched here but defy expectations and stereotypes.  And it is sometimes the case that you aren’t sure who might be telling the truth and who might be trying to protect themselves through prevarication.

An effectively written novel, it had me looking askance at plants from time to time.  We have a quite aggressive vine in our yard that seems determined to be the Trump of all the plants.  I suspect someone planted it long before we moved in, unless it’s simply a successful exploiter of happy happenstance.  I’ve tried uprooting it every year, but I can’t seem to get to the brain of the operation.  It’s easy to believe that if plants were sentient, and could move a bit faster than they tend to, that such a scenario as in The Ruins might unfold.  The question remains whether the local Mayans simply can’t eradicate it or if they might indeed have some worshipful regard for it.  The two may end up being nearly the same thing as human power is unable to tell nature what to do.

Hugo’s Invention

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After watching Hugo, and wishing that the story were history, I found a copy of Brian Selznick’s The Invention of Hugo Cabret.  Martin Scorsese’s adaptation is fairly close to the book but there are, of course, additions and omissions.  One key character is left out and some subtleties to the book didn’t find their way obviously into the movie, or at least not until having read the book.  The story of Georges Méliès’ life in the book is largely accurate.  Hugo, however, and Isabelle, are fictional.  As is the automaton around which the story is based.  The lovable train station vendors in the movie are quite a bit less lovable in the book.  And the station inspector isn’t shown until late in the story and he doesn’t have the leg brace that lends a kind of steampunishish vibe to the film.

Apart from being a tale of redemption—in real life Méliès’ rediscovery didn’t lead to an end of his poverty—the story is an exploration in psychology.  Méliès lost his dream job due to competition after the First World War.  The book makes clear that the clicking of heels drives him to rage because his films were reputedly melted down to make shoe heels.  The story in the book goes so far as to say that ghosts follow those who clack their heels loudly.  The ghosts, of course, are those of Méliès’ lost success as a filmmaker.  One of the reasons this story appeals to me is that I too lost a job that gave my life a sense of purpose.  My writing largely does that now, even if it doesn’t sell.  I can relate to a man who is ready to retire but can’t, daily reminded that he once had a satisfying job but now has to sit behind a desk all day.

The Invention of Hugo Cabret is a book for younger readers.  About half of the book’s 500-plus pages are illustrations.  The images include stills from Méliès’ surviving films, but mostly drawings by Selznick.  The focus on the young people makes this a children’s book, but the truths it tells of adults with lost dreams are especially appropriate for those who’ve learned that life isn’t always kind to dreamers.  The book, like the movie, inspires me to seek out the surviving films of Georges Méliès and think of what can indeed happen to those who dare to dream, even when the world has already discarded them as irrelevant.

Storytelling

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Those who know me personally say that I’m a good storyteller.  My own head houses, however, my harshest critic.  Since I tend to work alone this creates an inherent conflict.  This is most evident in my fiction.  I finished a draft of my eighth novel earlier this year, but it still needs work.  (No, really it does—not just harsh critic speaking.)  Part of the problem is obviously time.  My morning writing period is frequently held hostage by my moods.  Some of my past novels are, I think, publishable.  I’ve tried repeatedly with one of them, getting as far as having a signed contract, but things collapsed after that.  It sits brooding on my hard drive.  Another—I think it may be number four or five—seems publishable but it requires reworking with magic pixie dust.  Sometimes my supply of it runs low.  (Moods again.)

I sometimes wonder if I read too much nonfiction.  I’m a curious sort of chap, interested in the world around me.  When that world seems to be falling apart, however, fiction is my friend.  I’ve been reading a lot of novels and I’m often struck by the beauty of the prose.  Head critic says, “why can’t you do that?”  Then I recall the writing advice that I picked up from Stephen King’s nonfiction, On Writing.  Adjectives may be bad for your health.  Just tell the story.  With style.  My current novel (eight) tells an interesting story, I think.  If I’m honest I’ll say that I started working on this before any of the other completed novels (except number one, and that was a throwaway).  It was an idea that just wouldn’t go away.  I knew the beginning and the ending, and part of the middle.  I even found a potential publisher, but it has grown too long for them.

About three chapters from the end I realized that I hadn’t tied things up as well as I’d initially thought.  What I need is time away from work to think about it.  Thinking time is rare, even in the time I manage to wrestle from the 9-2-5.  There’s always more to be done, trying to stay healthy and out of the weather.  And really, maybe I should be reading even more fiction.  But what about the “real world” out there, which requires nonfiction to face it boldly and with informed decisions?  It’s dramatic, isn’t it?  Like a protagonist (hardly a hero) on the edge of a cliff.  How does the story end?  Perhaps an actual storyteller might know.