All the news that’s fit to print

Or a reasonable facsimile thereof.

It’s been rather busy chez moi, as my work has just concluded their fall conference here in town. A lot of rolling out of bed at Oh My God It’s Early, putting on actualfax makeup, and tooling downtown in my nice work clothes in the pre-dawn, then dragging back to trip over the kitty at sundown. It’s a lot of work, but it is fun to see our members at these things. One conference down, one more to go before the year’s end.

Meanwhile, I decided to move on from storyboarding to actual work on the sequel to Ryswyck, which I’m calling The Lantern Tower. I have the first chapter finished and the second chapter started. When I’m working on a project, there’s sort of a breathing rhythm between my efforts to nail down an outline of the plot with lists of scenes and sketches of dialogue, and points at which I have to just start writing to draw down the pressure and provoke more insight. I’ll probably write until I hit a sticking place, let it percolate, and turn back to editing Household Lights, which I hope to get out next spring. It’s not really multitasking; it’s sequence tasking. I loathe multitasking both as a concept and as a requirement: I mean, does anybody really thrive on doing five things at once with equal quality? Don’t tell me if you do.

Anyway, some things about The Lantern Tower. I’ll be introducing two new viewpoint characters and changing POVs on a couple of others. I’ve already got some scenes sketched, and have organized the movements into roughly five short acts. And boy am I glad I siphoned off the opening sequence for Household Lights — that first chapter was a hell of a lot easier to write without dragging that weight.

There’ll be fencing, both literal and metaphorical, court intrigue, spycraft, love, hate, kissing, fightin’ words, secrets, reluctant partnerships, a dash of hurt/comfort, and of course beloved enemies. I wouldn’t tell myself a story without that!

So that’s the state of the state. Now, I must sally forth to get some goodies for the concert my church is hosting. Carry on, as you were, &c.

More thoughts about character

In my last post I had to get my snark on about character as an ideological flashpoint. But there’s a lot more to say about character as a key to good writing, and how one actually goes about forming a fictional character.

Now, I’ve read my share of writing advice, books and articles either by writers I admire or by writers I know little about. Following Lois Bujold on Goodreads recently led me to a blog post by Patricia Wrede, which keyed into something that I’ve long thought about writing character — and that is that character, like any other element of writing, is a gestalt function.

I think writers are too often tempted to talk about characters as if they have the same kind of agency functionally as they do in the plot — or at least as if they should. But I think they’re two different things. In the plot, yes, we want our characters to do things and not always have things being done to them; we want our characters to want things rather than take on the coloring of the situation around them all the time.

But functionally speaking, characters are affected by what surrounds them and who they interact with. As a color changes its perceived hue when framed by red and when framed by blue, any character’s personality is deeply affected by who they’re surrounded with. That’s the way it should be: after all, it’s how we are in real life. It’s one reason I’ve always been frustrated with personality tests. I could test myself out as an INFP, but throw me in a room with a bunch of other INFPs and ask us to choose a place to go out to dinner — and I’ll probably be one of the first people to go OH MY GOD JUST MAKE A DECISION. I tortured myself with the Enneagram one afternoon: “I’m not purely any of these types, and if I were, I wouldn’t interact with such-and-such type like that.”

As Wrede says, we want to discern the pattern, get it settled, and move on, whether testing for personality types or inventing fictional characters. But it’s never that simple and there is no order of operations for putting together a piece of fiction. Most of my stories start with a kernel of a scene, an incomplete interaction between two characters. Developing it involves asking myself questions: how do I justify this situation? Whose presence offstage is exerting influence on it? Who is that person and what would the situation be like if they were actually present? And as I ask more of these questions and begin to answer them, the kernel situation begins to change in its turn. I realize that no amount of world-manipulation will justify this or that aspect; or I decide that what I want out of the scene has mutated; or, inevitably, the character I invented for the purposes of the situation is not going to cooperate with my plans for them.

That’s always a gratifying moment. When a character begins to resist what I want to do to them and starts taking their cue from the situation I’ve developed them in, that’s when I know that I haven’t just constructed a lifeless figure. O mortal, prophesy to the breath. And then the breath prophesies back.

All the same, technical decisions do need to be made. A character of any significance in a story needs to have a trajectory of some kind. The situation isn’t staying the same; they shouldn’t either. After all, they’re going to be part of any reason the situation changes. A character is strong and unassailable: what kind of thing would make them not so? A character is inclined to hide: what would it take to force them out of avoidance mode? A character is a caretaker personality: what about this situation would complicate and mature their sense of compassion? Say all three of these characters are in the situation together: how would the situation change depending on which of them moves first? Do I like that, or would I like it better if another character is the one to move first?

I was talking with Erica about an edit she wanted to make to her current manuscript, and we noted that depending on where the new event falls in the existing series of events, it’s going to change certain scenes where particular characters interact; it would make those scenes about something else. Could be interesting, she remarked; but do I want to sacrifice the positive things in the scenes as they exist for that? For the time that these changes are contemplated, the story is a Schrodinger’s box, with all possible scenarios coexisting until the decision collapses them. Rather apropos for a time-travel story, but it works for other things too.

For me, that’s what it means to say that character is plot. In the gestalt that is a developing story, characters push and are pushed, they pull and are pulled. The “realer” they are, the more agile they will be in the situation, the more tensile. It’s not just that a character needs to act: it’s that they need to embody a justifiable response to the situation in which they find themselves. That’s an embodiment that transcends type, as we transcend the findings of a personality test.

From there, when it gets to the point of putting words on a page, it becomes a series of decisions about how to introduce, describe, and employ the perspective of the characters I’ve developed. Would this scene say the right thing about a character if it is written from their perspective, or should I use a different POV character to show what they’re doing/feeling? Do I want to play this trope to the hilt or push back on it? How much of the character’s inner thoughts should imbue the narrative of this scene?

And then there are the foundational scenes, scenes whose dialogue I’ve worked out almost from the beginning; when it comes time to actually write them down, it’s a perilous and exhilarating moment. Does it feel as right as it did in my head? We shall see.

And then there’s the fun of talking about one’s characters with beta readers. Post-structuralists be damned, it’s fun to discuss our characters as if they were real people. I’ll jump on any excuse. And I suppose that’s what I felt the need to add to my snarky blog of the other day. Characters, almost more than any other element of the art, make writing fun. And the more mimetic power you have and use, the funner it is.

And that, as Edith Ann says, is the truth.

Character and the fictional imagination: part four in a series

In the movie As Good As it Gets, a vapid receptionist asks Jack Nicholson’s novelist character gushingly, “How do you write women so well?” Nicholson replies: “I think of a man. Then I take away reason and accountability.” Given the earlier scene of him composing text, this is probably not how Melvin Udall actually conceives his characters; but the exchange does further confirm both Udall’s obnoxiousness in real life and what kind of books his novels are.

Regardless of the quality of literary art, it is character more than anything that attracts people to a book and compels them to keep reading it. This is my fourth blog post about Robert Alter’s The Pleasures of Reading in an Ideological Age, but the topic of character is only the second chapter of his book, preceded only by a discussion of the distinctions of literature itself. Of all the chapters, this is the one I am most tempted to quote in large chunks, and at the same time, it’s also the chapter I would most like to update for the 21st century, thirty years on from when he published the book.

A large part of Alter’s project is to push back against post-structuralist criticism that tends to view literary art as a closed system of arbitrarily exchangeable parts, driven in service of some ideology or other. Not only does late-20th-century criticism have no good critical tools for discussing character: it is actively hostile to the concept of character as an artistic endeavor that can be “representational” of anything like “reality.” Alter points out that to attack “character” as a naive delusion is to exhibit a different kind of naivete. Or, as C.S. Lewis put it in a different context: “The trouble about trying to make yourself stupider than you really are is that you very often succeed.”

No reader, Alter says, really thinks that a character in a book is “real” in a flesh-and-blood sense; else the world would be filled with Don Quixotes attacking puppet shows thinking they are fighting a real battle. But that is not to say that the representational art of drawing character is not a thing of great power. In our current times, I would point out, vast conflicts are being waged online and in public spaces about the nature of character in fictional media. Books and films overpeopled with women who have reason and accountability, oh my! Or, in another vein, showrunners killing off minority characters and depriving fans of viable representation in the stories they love. Critical discourse is no longer just the preserve of academics writing seminar papers; the conventions and habitual biases of people making fictional characters is daily fodder for public discussion.

For that reason I think Alter is right to wish for a really good critical apparatus for talking about character as an artistic function. The nexus between the multiple layers of our common reality and the characters we find compelling is something that we should be able to talk about, both with awareness of the ideological valences and with a practiced insight into how written representational art is produced and received.

But even academics, as Alter says, can suffer from a want of training in how to both frame and discuss the subject of character. And that’s where I think the insight of actual writers can be useful. I mean, writers talking about character is not guaranteed to be useful, especially if you have a couple of dogmatic voices dominating the conversation. You would need a fairly democratized situation where a large number of writers weigh in. And in the 21st century, we have something like that: we have communities of writers of fanfiction, who not only produce “transformative” works with existing characters, but also who are able to interact more and more freely with the original creators of those characters.

“Transformative” is the word chosen by the OTW to describe legally-defensible fanwork; in ground conditions, transformative fiction is so in large part because it is performative. Are characters from the modern drama White Collar still recognizably themselves when translated to a 1920s gangster scene? You decide! But the means by which such a fiction is produced depends on an imaginative act by the author to enter in to a character and work within what they feel to be essential to that character based on their life experience and literary skill. And in that sense, any writer of fanfiction is engaging in practical literary criticism.

The only thing about this that is truly new is the fact that it is all happening on an instantaneous basis in our age of global communication, where one can send an email on Tuesday afternoon to someone in Japan who will get it a nanosecond later where it’s already Wednesday. The Aeneid, meanwhile, uses the exact same critical and literary skillsets to address the Iliad and the Odyssey, by expanding the ‘verse of the original to accommodate new viewpoint characters in service of — a national story, to be sure, but one that has the same imaginative immediacy to its audience as the original Greek texts did to those who first heard them. This is, in fact, one of the ways in which literary continuity operates.

So it really is, as Alter says, useless to think of literary texts as closed systems made up of propagandistic symbology. The perduring (I’m grateful he introduced me to that word) elements of human nature, threaded through eons of change, make the high art of literary character worth studying as a real function rather than a delusion.

I would point out, meanwhile, that the current Discourse going on in certain circles (“In my day,” she said archly, “we were honest enough to call it Wank”) is centered on the contentious axiom that Depiction is Endorsement: some people see little to choose between, say, the pedophile Humbert Humbert and Vladimir Nabokov who conceived and wrote him. People have rightly pointed out that this is mostly motivated by a desire for censorship: “I don’t want to read a story with a character like this” becomes “Nobody should ever read or write a story with a character like this.” And this contention is being shamelessly applied to writers of fanworks as well, as a criticism with teeth of the way in which a writer performs a canon character. This would be an example of a willful delusion: that a character is indistinguishable from an author such that the author is exactly as despicable as the worst character they invent.

Worse, any attempt to push back on this argument often draws scathing references to out-of-touch academics who don’t understand anything about the predatory dangers of the Real World. Given that post-structuralists were so intent on deconstructing the existence of any such thing, it appears that modern academia has been hoist by its own petard. Sad! That’s rather unfortunate, as a voice with recognized authority could be useful in such a discussion, just as the multiplicity of writers’ voices could broaden the discussion’s horizons.

Here’s an extended example of Alter’s critical skill, springing from his example of Stendhal in his discussion of character:

There is surely nothing in the structural necessities or formal requirements of the novel that could bring the writer to this moment of subtle comic illumination….If we look beyond the formal configurations of the text to the [person] that produced them, we will find scant support for a mystique of the writer as a special repository of wisdom….Between the unpredictable pattern of illumination in the work and the touching human foibles of the life, one is compelled to conclude that when fictional invention is going well, it is an activity that ‘privileges’ the writer in some uncanny way: in the incandescence of the imagination that produces good fiction, elements of knowledge and bits of perception variously collected, many of them no doubt stored subliminally in the mind of the writer, coalesce, take on revelatory form in the speech and acts of imaginary personages. It is as if the very process of writing allowed the writer to tap unguessed levels of [their] own self, to achieve a kind of nonvolitional heightening of ordinary insight, as, analogously, the process of free association in psychoanalysis is supposed to do.
Fiction, then, involves above all an imaginative intercourse between the experience of the writer, beautifully focused as it would not be elsewhere, and the experience of the reader, which is both necessary to recognize adequately what the writer has produced and capable of being deepened by what the work of fiction offers.

Now that is a not only useful but usable insight into the representational art that is fiction, and as a writer I find it relatable as a description of process. If someone were to ask me, “Now which of your characters do you most relate to?” I’d have a hard time answering. I’m not a caretaker like Speir, or calm and decisive like Douglas. I don’t have du Rau’s elegant fighting skill or sympathize with his patriarchal worldview. Barklay, my most “problematic” character, is not a transcript of my own temptations or a way for me to fulfill some wish toward exploitation. But the nature of literary art is to enter in to a character, to create and enjoy simultaneously the quiddity of their presence in the world, to work the wool of one’s own self into the thread of them where needed; it’s like knitting a sweater around one’s self. I’m not Speir, but I inhabit her. I get the fun of that private, indeterminate process of inhabiting, and I also get the fun of sharing her with the world. A friend who read Ryswyck remarked in casual conversation, “So you’ve just had these characters running around in your head the whole time I’ve known you.” Well, yeah, and now they’re running around in his head, too.

I mean, if that’s not the essence of “high fun,” nothing is.

Perspective in fiction: part three in a series

So, some time back I started writing blog posts in response to themes in Robert Alter’s The Pleasures of Reading in an Ideological Age. Then — you know, life — I lost momentum on it. But the other day I found myself on a website devoted to helping writers of speculative fiction, and read a couple of articles on the teasing subject of POV choice, and it reminded me of this chapter of Alter’s book, which was the chapter I found the most insightful of all of them, and which has borne a lot of influence on how I think about the question of perspective.

In fact, I recommend Alter’s book on the strength of this chapter alone, because among other things he takes the trouble to sketch the history of narratology both as practiced by writers and examined by critics. I can’t do justice to the entirety of his argument, so for this post I’ll just tackle two of his points: 1) That “the proliferation of narrative theory has brought with it a sometimes bewildering proliferation of competing views and terminologies,” which tends to garble both how we evaluate what we read and how we advise people to write, and 2) that “there is no hierarchy of narrative perspectives” and that great writing flows from an author’s choices of innovating or nuancing the “fluctuating play” of perspective, which gives “experiential depth and conceptual complexity” to the reader’s experience of the text.

Though I have lasting memories of graduate seminars in which diagrams and boxes were drawn (in chalk, because I am An Old) of narratological frameworks, the most sustained discussion of perspective and authorial choice I’ve encountered is in the arena of fanfiction. One reason for this is pretty obvious: the source text, the “canon,” of a book or TV show or film, has already got an array of established perspectives which the fanwork creator can either hew closely toward, or diverge from. Part of the pleasure, or lack of it, in reading and writing fanworks is to weigh the comparison with the source: is the author trying to match the canon? are they taking a different viewpoint of the same events? does the invention of an original character add perspective to the ‘verse?

Naturally, in an environment where lots of fiction is being written and read, there are undulating trends, and discussions of craft to go with them. For a long time, there was a prevailing trend of writing fanworks in tight third-person POV using the present tense — a trend which may parallel similar trends in modern original fiction, but in both cases was influenced by a small number of very skilled writers who used this perspective to great effect. The trend was and is so strong that in one of the articles on the site I linked above, the author actually recommended sticking to a close third-person perspective, as it was easier to master and also more desirable than “distant” third-person in terms of vivid and immediate wordcraft.

I…don’t agree with either of those assertions, and never have. Where to start? I guess I should start with what I absorbed as a young writer imitating different styles. I don’t remember reading a lot of tight-third stories, or at least not ones I wanted to emulate. What I read were stories with an omniscient narrator (Watership Down) and first-person narrators (To Kill a Mockingbird, Huckleberry Finn). Though I wasn’t attracted to tight-third perspective per se, the principle behind it certainly had its influence: namely, that really good fiction drew the reader into an encompassing reality, a world with immediacy, in which author intrusion was minimal.

Now, Richard Adams is so good that it was years before I noticed he’d written my favorite book in omni. And in part that was because he conceived the narrator of that story as a voice and perspective just as present as the rabbits whose journey he was following. But for the twentieth century it was an old-fashioned approach. The real cutting edge then was experimental perspectives that completely filled the frame and excluded the author-as-narrator to the greatest extent possible — Virginia Woolf, maybe, or James Joyce. Good writing became synonymous with that particular kind of immediacy, even bewilderment, that the reader was meant to share with the focal perspective of the text.

(Here’s a reason to read this chapter of Alter’s book if nothing else. He examines a passage of Joseph Conrad’s The Secret Agent — a book on the Edwardian Lit seminar syllabus that I did not enjoy, unlike The Man Who Was Thursday — and teases out the nuances of the perspective in a single pivotal paragraph, something that is not simply reportage or contextual storytelling or locked-in psychological sequence, but a threading of three needles at once. Alter reveals that one paragraph as a tour de force, and nails down his point that perspective is not a spreadsheet or a schematic. Gave me a better appreciation of Conrad’s abilities, too.)

I didn’t get much success with trying to write first-person narratives — an abandoned novel project and any number of first pages that never went anywhere. When I began to write fanfiction, however, I experimented with a perspective style I called “wide-angle” third (and which the Mythcreants author termed “distant” third — ye gods, the pejorative!) — and grew increasingly confident using it. I found it especially useful writing stories with an ensemble cast, using multiple POVs. Now, you can write ensemble casts in tight third POV, and a lot of people do. But for my purposes, I found it extremely useful for writing, say, Buffy Summers without having to present her thoughts as well as her dialogue in her inimitable voice. Especially if I was writing a story that also included the POV perspective of Giles, whose voice is, well, different. Too, I was writing stories with lots of angst, and there’s nothing worse for an angsty story than too much on-the-nose emoting. A wide-angle perspective, I reasoned, could give a reader the whole picture at any given time, without actually delving into omni.

I liked this so much that I actually went back to my first-person novel project and started it over with a wide-angle third perspective. It worked enough to reveal to me the real problem with the story, which was that it required some heavy research I didn’t care enough to do. So the story is still mothballed, but I feel less bad about it.

So, having written five hundred thousand words of fic (in one fandom) using wide-angle third, and having bridled at all the fandom praise being lavished on the opposite approach — and then getting over it, as one does — I was more or less free to consider what I wanted for my original fiction, with less arbitrary inward constraint or pressure of outward trends. For Ryswyck, I felt for and found a set of filters that would accommodate five very different POVs, which allowed for a bit more unabashed narration, especially when I wasn’t opening a scene with dialogue. Almost one of my first decisions in framing early drafts was to take a cinematic approach — or, something that would correspond to a cinematic approach if the story were being filmed: jump cuts, Sorkinesque walk-and-talks, repeated motifs: Speir being served a cup of tea on an artillery platform followed in the next scene by Douglas reaching for his cup on the desk — things that don’t have to be noticed, and are less apt to be noticed in a text medium, but which keep the eyeline steady from scene to scene.

And here’s a thing I miss about the old fandom venues: fic memes like “DVD commentaries,” in which the author of a fic interpolates comments on the process of a particular scene or story, including POV choices. It’s nice to discover (or tell) just what kind of on-purpose things a writer has done to achieve their effects.

Which brings me to the principle that undergirds all that I’ve learned about writing in the last twenty years. As a teaching assistant and adjunct instructor I used to tell students, “You have to know the rules to break them successfully,” and along with that goes its corollary: You can break almost any rule so long as you do it on purpose. That is — as the result of a decision process you came to about what would work better than any other technique in a given situation. This serves Alter’s larger point about how literary art is both craft and art, which can provide a reader with challenge and enjoyment, can speak to and evoke recognizable reality. If I were teaching now, I’d want my students to know something about the wider goals of using perspective, even as I drilled them on the disciplines of different perspective choices: how a take-six feels in the fencer’s hand, on the way to knowing without discursive thought when to use it in a bout.

Once you’ve encompassed that, the piste is wherever you say it is.

Review: Arkady Martine, A Memory Called Empire

I admit my reading is a bit peripatetic. So often do I clamber wearily through my weekly schedule without the energy to do anything more than open up, say, a Vorkosigan omnibus to some random place so I can have something to read while eating dinner, that it takes a critical mass of recs and/or an opportunity of mood to pick up something new.

This weekend, however, I haled my neurodivergent ass over to B&N and picked up A Memory Called Empire to read while consuming egg drop soup and dumplings. I read four chapters and let the remains of my dinner get cold — and the tea, too. Then I took the book home and read the rest of it in one gulp.

It’s not a short book by any means, but it does read very quickly, and the pacing is snappy without being frenetic or irrational. This is my second court-intrigue novel in a month — and strangely, like The Goblin Emperor, it involves a murder mystery, where the mystery is not really about who committed the murder as it is about why the murder was committed and the serious implications of the aftermath for the succession of the throne. Are a lot of court-intrigue stories like this? I’m not sure I’ve read enough of them to discern a pattern.

In any event, this is a particularly ambitious story. Apart from the court intrigue plot, Martine introduces us to a highly mannered and poetry-inflected world via a foreigner, the POV character who is the new ambassador to the Teixcalaan Empire’s central planet. Mahit was chosen as the hasty replacement of her murdered predecessor in no small part because she had fallen in love with the empire’s literary tradition and similarly struggles with the simultaneous insult of being branded a barbarian and desire not to be one. We find out all about the meaningful details of dress and mode of language and apparent alliance through her eyes. To add to this bewildering sensory onslaught, each chapter is headed by epigraphs from Teixcalaanli poetry, or history, or correspondence offstage and out of the POV character’s ken. It’s a lot to take in, and without the snappy pace of the plot itself, it might have been too much.

The characters, too, help carry the burden of introducing such a vivid and complex world. They are nearly all of them memorable individuals that have arcs of growth and nuance as the story unfolds. But if I want to be honest, the parts I want to reread — the parts I have gone back to reread, several times — are the parts where Mahit interacts with her imago memory implant, a technology of her home station whereby the experience and skill of previous generations is grafted onto the new people in their roles, with great psychological care taken to integrate them with their predecessors’ personalities. Not to spoil a major plot point, but Mahit’s relationship with Yskandr, the former ambassador whose murder she is investigating — hampered by sabotage early on in the conflict between her home and the Empire — became the heart of the story for me. I found the concept fascinating and exceptionally well-drawn, and I particularly loved the theme behind the idea, of being seen and understood and not alone, with all the intimacy and peril that implies. That, too, chimes somewhat with a theme in The Goblin Emperor, though the implications are not at all drawn out in the same way.

I gave this a solid four stars on Goodreads and would rec it unreservedly for people who like the kinds of things I’ve described. It was hard for me to not read it like a writer, which I’m not sure is a fault at all, but it did put a small remove in my own intimacy with the story, and in any case it was so well written that it didn’t suffer by that undercurrent of examination. Definitely worth the purchase.

The Love Between Enemies

Somehow, while I wasn’t looking, I became a Fandom Old. I mean, notwithstanding that the last three years have aged me about ten, somehow all the frivolous jargon of internet fandom when it was new is now, little by little, becoming museum pieces.

One such phrase is “bulletproof kink.” It used to be a catch-all term for any trope that reliably gets the user’s attention, whether it had anything to do with romantic/sexual relationships or not. I don’t see it being used anymore, and that’s a shame, because I don’t know of any replacement that really gets at that sense of idiosyncratic enthusiasm which is the whole point of participating in fandom in the first place.

All of which is to say that I have a bulletproof kink that has driven my interests since I was very small, and that is the trope of enemies who love one another.

There are a lot of things I don’t mean by that. I can enjoy stories about enemies becoming friends, enemies becoming lovers, or friends/lovers who have to be enemies for some reason, or enemies who are forced to be allies by some emergent situation. And I’m definitely not alone in enjoying such dynamics between characters.

But what I love in any of these stories is not at all based on the transmuting of enmity into something else. What I hunger for are stories about the love between enemies as a specific form of love in itself.

A love like that can manifest in all sorts of ways. Like “I will kill/insult you but by God I will not stand there and let anybody else kill/insult you” is one. Or, a series of encounters in which the enemies speak on a level of mutual respect even as they work uncompromisingly to thwart one another. G.K. Chesterton understood this love: the entire plot of The Ball and the Cross turns on it. There were some aspects of it in the Harry-Snape relationship in the Harry Potter series, but I was disappointed in my hope that there would be an endgame scene where they were forced reluctantly to fight back to back. I got one episode of Father Brown where he and Inspector Sullivan had to work together, but it was totally robbed at the end by an erasure of Sullivan’s character development; Chesterton would not have approved!

Catch Me if You Can and its daughter-story White Collar are favorites of mine because of this dynamic; and, now that I think about it, I could go down the whole list of books and shows I’ve made fanwork for and point out how a spark of this dynamic drew my interest. But the point is, a love between enemies exists not in spite of the enmity, but as a function of it. It is not a comfortable love; nor is it a destabilizing one. If I had my druthers the proportion of books and movies driven by this trope would dwarf that of media full of squabbles between people who call themselves friends and lovers.

So naturally, any story I write is going to have this trope in it, in spades. And probably the other suits as well. And I’m just getting started. I’ve been in the process of storyboarding Ryswyck‘s sequel, and the most fun lately has been hatching in the dynamic not only between Speir and du Rau, but Speir and Selkirk as well. Love for enemies is definitely Speir’s jam.

So if, like me, you have a bulletproof kink for the love between enemies, I’m here with my scoop, dishing it out.

Turning point books

It’s the dog days of summer, which I suspect to be an astrological expression but in my case means that lying around rereading books is much more my speed than anything else. So I thought I would respond to a meme going around FB and do a post about books that are meaningful to me. Specifically, I thought I’d write about fiction books that entered my life at certain watershed moments and stuck with me to the present.

Richard Adams, Watership Down

Let’s start with the earliest. My recollection is that a relative rented the movie for a cousin’s birthday party, thinking hey, animated film, should be good for a kids’ sleepover, right? I was the only person left finishing it. So when I was in a used bookstore some time later and ran across the paperback, I picked it up. I carried that book around with me everywhere I went for a year. When my mother took us to get our Social Security cards, the person at the desk demanded a second form of ID for me, so I ran out to the car and got Watership Down and showed her my name on the Garfield bookplate sticker inside the cover, carefully inscribed with a felt-tip calligraphy pen. I no more understand why that was sufficient than why they demanded more ID in the first place, but okay. Sometime in the future Richard Adams’s book will figure in a post I plan to make about POV, but for now I’ll just say that it has what have turned out to be some of my enduringly favorite tropes: found family, loyalty to unlikely leaders, deceptions with cover identities, journeys, uncanny connections between individuals. And stories. It’s the only book I know of where the epigraphs consistently add something to the text and the glossary is not a vast annoyance. Of all the books that could have found me at a formative time, this one was a great piece of good fortune.

G.K. Chesterton, The Man Who Was Thursday

I have talked to people who read this book hoping to like it and were disappointed. I was fortunate; I approached it from the opposite headspace, because it was a book I had to read for a graduate seminar on Edwardian literature. You’re not supposed to like books that you have to read, but I found myself crying with laughter when Syme starts planning the exact dialogue by which he is going to challenge an enemy to a duel. And it had an even more profound effect than that. Syme, as Thursday, sets out to topple the fearsome Sunday, precisely, he says, “because I am afraid of him. And one should never leave in the universe anything of which one is afraid.” There’s something so quixotic about Chesterton in general, but the idea of going up to strike God in the mouth changed something in my viewpoint forever; revealed to me the utter safety of expressing my anger in the presence of the divine. This is not something I would have discovered in my environment up to that point: I had never experienced anger, my own or anyone else’s, as anything but chaos and peril. I don’t know where I’d be, spiritually, without this book.

Connie Willis, To Say Nothing of the Dog

I could have chosen for this spot another book, like The Beekeeper’s Apprentice, a comfort read that introduced me to online fandom and some of my oldest friends. It was on the RUSS-L book discussion email list that I heard about TSNOTD, and many other enduring favorites, like the Lord Peter Wimsey series. I could have put Gaudy Night on here, which opened up a world that is small in itself but from which you can see everything — all the kingdoms of this world and the glory of them. I could have put Doomsday Book on here, which I read much later and which unlocked a great grief that I had been unable to access. But this is the book that I referenced for all my online handles for the next fifteen years, the book that reconciled me with chaos by making me laugh. Connie Willis can write Very Serious, and she can write Very Slight, but this one strikes the perfect knife-edge balance. It’s brilliant and awesome and, for good and ill, is more and more of an AU to our world, but it remains a needed reference point.

Charles Williams, Descent Into Hell

Let’s just say it: Charles Williams is the most difficult of all the Inklings to read. None of his books are long, but they are full of sentences so intensely calibrated to get at spiritual states of being that one has to put down the book and recover from the brain-ache for a while. Descent Into Hell is no different; in fact it may be the most impenetrable of Williams’s books, but at the encouragement of the friend who recced it to me, I persevered with it and was deeply rewarded. Somehow it addressed things in me that I had forgotten to hope could ever be articulated — nameless fears, unphysical joys, simple loves. And of course I wound up shamelessly stealing the Doctrine of Substitutionary Love for Ryswyck. If Williams has a fault, it’s an over-reliance on masculinity and femininity as essential archetypes; but he’s able to see and name so much else with astounding accuracy that I can forgive him that with this book in particular.

Ann Leckie, Ancillary Justice

I’ve already said stuff about Leckie and Ancillary Justice on this blog, so I won’t repeat myself. I was too shy to go up and talk to her at her booth when Worldcon was in Kansas City, which is a shame as I’m not a huge con-goer and may not get another chance. But the cumulative effect of reading this trilogy coincided with a process in which I finally understood the not-brokenness of my human instrument. For many years I had suffered under a debilitating — and highly gendered — suspicion of myself as incapable of right perception and possibly even evil at bottom. Events unrelated to this book led me to quietly unravel that mesh of beliefs; and so when I read a book in which all humans were referred to as “she,” I understood the revelation that I don’t have to step outside myself to be representative of humanity, or perceive its essence, or write about it. Oh, these were all things I knew intellectually, but there’s something about taking them in in story form that sets them off in living color. Not to mention more of my favorite tropes: there’s a vast amount of hurt/comfort in this series, along with the found family, non-romantic love, and unlikely leaders.

I could do a different post with all different books that I love for other reasons, but these are books that I met at important nodes of my life and which stick with me even to this day.

I aten’t dead

Such used to be a favorite heading for when people posted to their LiveJournals after an unexpected hiatus. I found it amusing even before I knew the context, but of course now that I have read an appreciable amount of Discworld stories about Granny Weatherwax, it’s even more so.

The author in all her convalescent gravitarse.

Of course, to switch fandoms for a moment, I didn’t exactly have time for being even Partially Dead, but gastroenteric infections are no respecter of to-do lists. At least I got rested up from my adventures in two different emergency departments in time to write the sermon I was slated to give today!

I’m now feeling better and oddly pain-free, so perhaps I may post something this week in between catching up on my bullet journal and triaging my work email.

Meanwhile, I would just like to note my gratitude for the kindnesses shown to me by friends — beyond expectation in some cases — and even by people I don’t know, like the nice person in Panera who brought me a blueberry muffin for the road when I was packing up after finishing my sermon. For the nurse who covered me in warm blankets and the doctor who listened attentively to my case. Nobody’s obliged to be hospitable.

But it sure does brighten the universe when they are.

Saturday gallimaufry

Here I am, on a Saturday morning, with cat paralysis, in an idle mood. So here are some idle thoughts.

Authors in bagel shops getting coffee

It was very fortunate that I was slated to host the book club this month, as I needed some kind of impetus to unearth my kitchen from, let’s be honest, months of neglect. It’s…still a work in progress, but reasonably presentable. Or at least I hope so, because right after that I had a houseguest — my longtime friend, beta reader, and fellow author Erica Smith — for two days of playing with the cat and chilling on the porch with tea (when I wasn’t at work). I did manage to take a selfie of us at the bagel shop, but didn’t get any other pictures — dammit, apparently even a new camera is not enough to remind me of such things.

Ah well; Erica and I had some good in-person confab about our respective works in progress, which is what’s really important. And Erica didn’t seem to mind my dubious hospitality, which is as much the mark of a friend as going to a friend’s house and finding they didn’t overclean it for your arrival.

It’s my turn to choose the book club book again come September, so in hopes of finding something new to present, I bought a Kindle copy of The Goblin Emperor by Katherine Addison. It was entirely worth the recs I’d seen for it: the story was absorbing from the first moment, emotionally complex, with an intricate world and a fantastical, slightly steampunk-flavored atmosphere. And I read it all in one sitting — or I would have, if my eyes hadn’t given out at 96% at which point I realized I was in desperate need of sleep. I finished it first thing the next morning. This book is not, I fear, the kind of universal crowd-pleaser that To Say Nothing of the Dog and Doomsday Book (the most recent book club book) were — but then, what is? I may make them read it anyway, and get loaded on wine before it’s time to have the discussion.

Anyway, thanks to book club my nightstand currently looks like the quintessence of my mental space, so I took a picture of it to use for the category in future.

And finally, there was really no contest this morning between going out to run errands and getting out my watercolors. I had an idea of trying to represent what a prayer-light bowl looks like, based on a memory of a dish I used to have and with a tea-light in a different bowl as a guide. The result is not impressive but the color is all right. I may try this again on black paper, which would save me attempting a satisfactory background wash.

And that, I think, is all the news that’s fit to print.

Music and the Ryswyck ‘verse

It’s Saturday, nothing in particular is required of me, and though I certainly have a good deal of housework to do before the book club shows up here next Thursday, I have spent the morning puttering, going out only briefly to get an everything bagel with a garlic-herb schmear and a coffee.

I’ve also gone down the rabbit hole looking up music on Youtube. Seriously, sometimes I love living in the future. When I was a kid, if I wanted to sample a composer’s music, I had to walk uphill both ways to the library to put a hold on a CD. Now I can just click through to the next sample ad libitum. Which is precisely what I’ve been doing.

It all started when my friend Erica relayed the compliments of a friend who had bought and read Ryswyck on her recommendation. She mentioned rehearsing for a performance of Bruckner’s 7th symphony while she was reading it and thought they went well together. Now till yesterday, I had never heard any Bruckner; I have a sneaking affection for the Late Romantics, but my tastes tend toward the Slavs and the English rather than the Germans. So to the internets I went. On a cursory listen I can see why someone might find the symphony a good running background for Ryswyck, although (at a glance) I notice that the most salient feature of Bruckner’s 7th is that it is rather long, which I suppose is no more than I deserve, heh. It sounds like an interesting piece to play, which is something I would not say about Brahms or, God forbid, Mahler.

But naturally my thoughts turned to what music was/is in my mental background when I was writing or thinking about Ryswyck. Unfortunately, it’s rather like asking myself what I had for dinner two weeks ago: the fact is I just don’t recall listening to anything in particular while writing, and if any particular piece recommended itself to my mood, or to my concept of the atmosphere of the book, I can’t recall that either. Many years ago now I went ahead with the very bad idea of listening to Holst’s Hammersmith on repeat while writing a traumatic scene of a now-abandoned project; the experience rather soured me on the concept of composing under the influence, so to speak.

But, I finally recalled, I did put myself in the writing mood on at least one occasion with Vaughan Williams’s Sinfonia Antarctica, at least the first movement anyway. So I listened to that again yesterday, and because that opening two minutes just fascinates the hell out of me, I googled for commentary on it (three cheers for the future!) and found someone’s music theory dissertation of nonatonic collections in Vaughan Williams and Bax. A lot of music theory is over my head; for a while I labored under the mistaken idea that “nonatonic” meant “non-atonic” before realizing it meant “nine tones.” Anyway it certainly satisfied my curiosity (and then some) about the chord structure of the opening theme, with its application of opposing forces and the way it takes what could have been a straight harmonic minor scale and makes a parallelogram of it.

And that in a nutshell is the problem I have trying to summon musical quotations for a Ryswyckian playlist. The ‘verse is not our world; it doesn’t have the same religious history, for example, and though the ethnicities are coded (in longstanding tradition) to groups we recognize as vaguely Anglo/Scots/Breton/Alsatian, the peoples in the ‘verse aren’t really those things. Yet music is very important in the story, as a cultural matrix and a motive (in many senses of the word) for the characters; if I had the facility for musical genius that Tolkien had for languages, I would be highly tempted to write the kind of music I imagine my characters singing. (I wonder if Howard Shore does pro bono work?)

As it is, I put some thought into assembling some of the eclectic flavors that go into the mood and outlook of Ryswyck. Besides the Vaughan Williams, a contemporary piece I’ve linked before by Sarah Kirkland Snider, Something for the Dark, moved me when I heard it in performance. I am not very enamored with the opening statement, but the fragile persistence of the second theme made me think right away of Speir, and the overall eclecticism seems fitting to me for a post-nuclear age.

A song I do remember listening to, though it doesn’t speak directly to anything in the book, is Agnes Obel’s “The Curse.” The collection needs an elegiac ostinato in there, and this one strikes a very appropriate note.

The “chants” described in the book are, to some extent, inspired by plainsong tones such as can be found in the Plainsong Psalter, particularly the Tonus Peregrinus, except that Ilonian chant supports both polyphony and drones, the latter of which would set it apart from Anglican chant. At its most sublime it would strike a note much like Ola Gjeilo’s “The Spheres,” from the Sunrise Mass.

In more martial contexts, and in the seasonal songbooks, the effect is similar to shape-note tunes like “Clamanda” and “Tender Thought.” (For the former I’m indebted to Ann Leckie; it’s not the only time I have progressed in my labors only to discover later that AL had broken the ground before me.) This is one example of the many ways in which I decided to put my own American eclecticism to use delineating a world in which cultures have painstakingly put themselves back together like the fractures of a bone. It’s more invocation than description.

The more playful songs, along with the reels, owe a lot to anything in our world played with the bodhran, the fiddle, the Celtic flute, and the pipes. But do you know just how much Session music there is to trawl through? I’d be reduced to a cobweb-draped skeleton before I could find the perfect tune to evoke the sense of it without indebting myself too much to the history built up behind so many of these tunes. I did find the fiddle virtuoso Liz Carroll, however; a representative track (though sans bodhran) gets near the kind of thing that’s in my head.

And because it’s July and my friend K has got Summerfest tickets again, I have chamber music on tap every Sunday of the month. Till I started going to these concerts I did not realize just how much of the charm of chamber music depends on being in the same room with it — and that too is a part of the ‘verse. Recorded music is not a popular means of consumption in Ilona, nor do people go to large concerts unless they live in the capital. Music is very much a cottage industry, made by people whose names you know because you grew up with them, or the next town over; it’s the only form of corporate worship there is, and thus is oriented to the community rather than the individual. That’s one way in which eclecticism plays us false, I think: we have so much to choose from that it’s hard to get past thinking about what one likes and dislikes, about one’s own empirical autobiographical experiences, to the context of the people knitted in with us. A poised engagement: that is the ethic I’m reaching for here.

So, there you have it: an off-the-cuff playlist for the Ryswyck ‘verse. Probably ten minutes after I post this I’ll be slapping my brow at what I forgot, but it can’t be helped. Happy Saturday!