Posts Tagged ‘Mary Karr’
September 16, 2015 | by Dan Piepenbring
- Hey, kid—wanna get into print? Take some advice from a guy who’s been around the block: during the submissions process, it’s always better to lie and/or cheat. (The jury’s still out on stealing.) “I was a junior editor at an established magazine, and I decided to use this to my advantage. I typed up a cover letter on my employer’s very fine letterhead, slipped it and the story into an envelope embossed with our well-known logo … A few months later, an editor emailed me at work—stick it, SASE!—to say he would like to buy the story … What I’m counseling is cheating: You don’t have to be an asshole. The submission process is a rigged casino game, though, and all is fair in love and literary magazines.”
- The trope of the writer as a habitué of cafés—always bowing his head over a cappuccino or espresso, always pausing to scrawl something brilliant and hard-won in a coffee-stained Moleskine notebook—is irritating, both to the idea of writers and the idea of cafés. The history of the coffeehouse is a strange thing: it was long regarded not as a site for productivity but for procrastination, especially among men. “Coffee itself was often thought to be disgusting—a few of the names used by detractors were ‘syrup of soot,’ ‘a foreign fart,’ ‘a sister of the common sewer,’ ‘resembling the river Styx,’ ‘Pluto’s diet-drink,’ ‘horsepond liquor’ … While the early coffeehouses sometimes hosted what were called ‘improving activities,’ including scientific lectures—the scientist Robert Hooke, a member of the Royal Society, was a prominent coffeehouse lecturer, and in one particularly bizarre case, a porpoise was brought to a coffeehouse and dissected in front of an audience, in the name of natural philosophy—the culture of ‘improvement’ did little to assuage the sense that these places were black holes for the productive days of men in their best working years.”
- Imagine befriending various writers. Did you know? Most of them will be awful companions, including Joyce, Dickens, Hardy, and even Lawrence: “Later, when he takes the dog out he invites you to join him. He is looking for a man to form a blutsbrüdershaft, he says, a friendship so strong that you can both say exactly what you think of each other without putting the relationship at risk. As he says this, he places a hand on your wrist. He’s so seductive that you feel afraid.”
- In which Mary Karr sets the record straight on a thing or two, as is her wont: “David Foster Wallace wanted celebrity as much or more than any writer I’ve ever known … I had to talk David out of doing a Gap commercial at one point because I said, ‘Would Cormac McCarthy do it? Would Toni Morrison do it?’”
- Today in aged Lithuanian garage doors: “Lithuanian photographer Agne Gintalaite has documented a series of some 200 Lithuanian garage doors painted and weathered by the elements and time on the outskirts of Vilnius that look like Mark Rothko paintings left out in the rain, each its own stunning work of abstract art.”
January 27, 2012 | by Lorin Stein
I recently got out of serious relationship. Since then I have not been able to read, though I usually love sad, sappy love stories. Can you recommend some books that have zero romance or love in them? Some good post-breakup fiction?
Readers of this column know my high opinion of the Jeeves books and Life on the Mississippi. They cheer me up, and are rigorously free of mushy scenes. Sam Lipsyte’s Home Land is a post-breakup book, I mean the hero has been dumped by his wife, but really that's the least of his problems—and the one time they get back together (for about two and a half minutes) it’s enough to cure you of the whole idea of coupledom for at least the rest of the day.
Also: How do you feel about dogs? It’s not fiction, and it is full of love, but something tells me J. R. Ackerley’s 1965 memoir, My Dog Tulip—about the unlikely romance between a crusty, middle-aged English bachelor and his German shepherd—might make a welcome distraction.
I was talking to another writer-friend recently about the use of commas. I tend to err on the safe side, slipping too many of them, perhaps, around phrases I think are supposed to be identified. But is this precious or old-fashioned or out of style?
In this Paris Review interview with Mary Karr, she claims to have had a comma stutter in The Liars’ Club. Do you think there’s such a thing as a comma stutter, or is it more like a sentence stutter, reflecting hesitation, or something, from the writer? I’d like to smooth out, and I’d love to hear your thoughts.
Comma Stutterer in Manhattan
A good comma stutter never goes out of style. Where would Henry James be without his commas—or that real-life stutterer Charles Lamb? Here is Lamb on his gruff but cowardly friend John Tipp: “With all this there was about him a sort of timidity—(his few enemies used to give it a worse name)—something which, in reverence to the dead, we will place, if you please, a little on this side of the heroic.”
You can, of course, write in comma stutters then simply take out the punctuation. That is what Henry Green liked to do, for example when he describes what it was like to be unpopular at Eton:
These were the days when to be alone was to feel one had escaped for the moment not from any overt bullying but from what appeared to be the threat. There was a strain in trying to keep up with new friendships which probably did not exist. There was the dread of going into a friend's room to find one was not wanted, to be abandoned by the two leaders now that they were too busy to bother and worst of all the self questioning as to why this should be, the fear it might be a peer or one of the school’s racquet players and of what this meant if true. The best was to get away in those few hours we had on our own, to chance being seen lonely in the effort to forget.
Green teaches the reader to hear his pauses, to anticipate his hesitations, and, thus, to think like a man of his class and sensibility. Such is the magic. When women say of a good dancer that he knows how to lead, this must be what they mean.
Then of course there is Gertrude Stein, who so loved the comma stutter that she would abolish the punctuation altogether. This is the typographical equivalent of burning the village to save it:
A long complicated sentence should force itself upon you, make you know yourself knowing it and the comma, well at the most a comma is a poor period that lets you stop and take a breath but if you want to take a breath you ought to know yourself that you want to take a breath. It is not like stopping altogether has something to do with going on, but taking a breath well you are always taking a breath and why emphasize one breath rather than another breath. Anyway that is the way I felt about it and I felt that about it very very strongly. And so I almost never used a comma. The longer, the more complicated the sentence the greater the number of the same kinds of words I had following one after another, the more the very more I had of them the more I felt the passionate need of their taking care of themselves by themselves and not helping them, and thereby enfeebling them by putting in a comma.
The point is, if your sentences are guided by your feelings, you can race or hesitate as the spirit moves you. Your reader will understand. Read More »