{"id":114873,"date":"2017-09-06T13:00:42","date_gmt":"2017-09-06T17:00:42","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=114873"},"modified":"2017-09-06T16:22:20","modified_gmt":"2017-09-06T20:22:20","slug":"postsurgical-reading-questions","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/09\/06\/postsurgical-reading-questions\/","title":{"rendered":"Postsurgical Reading, and Other Questions"},"content":{"rendered":"

Have a question for the editors of\u00a0<\/em>The Paris Review?\u00a0Email<\/a>\u00a0us.<\/em><\/p>\n

 <\/p>\n

\"\"<\/a><\/em><\/p>\n

 <\/p>\n

Dear\u00a0<\/em>Paris Review,<\/em><\/p>\n

My writing mentor said that if I want to raise my writing to the next level, then I have to learn to write suggestively in addition to writing descriptively. Is this true and where can one learn to write suggestively?<\/em><\/p>\n

Yours,<\/em><\/p>\n

Stuck in the Basement<\/em><\/p>\n

 <\/p>\n

Dear Stuck,<\/p>\n

Suggestive is good! Suggestive is a plus. Your mentor\u2019s advice has the weight of the entire modernist movement behind it\u2014all the way back to Paul Verlaine\u2019s 1882 verse manifesto \u201cArt po\u00e9tique,\u201d \u201cGive us more nuance, \/ Not color, nothing but nuance!\u201d It sounds better in French. And it\u2019s easier said than done. Here is Ernest Hemingway\u2019s advice on how to write a suggestive short story:<\/p>\n

If you leave out important things or events that you know about, the story is strengthened. If you leave or skip something because you do not know it, the story will be worthless. The test of any story is how very good the stuff is that you, not your editors, omit. A story in this book called Big Two-Hearted River<\/em>\u00a0is about a boy coming home beat to the wide from a war … So the war, all mention of the war, anything about the war, is omitted. The river was the Fox River, by Seney, Michigan, not the Big Two-Hearted. The change of name was made purposely, not from ignorance nor carelessness but because Big Two-Hearted River is poetry, and because there were many Indians in the story, just as the war was in the story, and none of the Indians nor the war appeared. As you see, it is very simple and easy to explain.<\/p><\/blockquote>\n

See issue no. 70, Spring 1981 for the rest<\/a> (including Hemingway\u2019s definition of \u201cbeat to the wide,\u201d which I omitted in the\u00a0spirit of the thing).\u00a0<\/p>\n

*<\/p>\n

Dear\u00a0<\/em>Paris Review,<\/em><\/p>\n

D. H. Lawrence once advised a young writer, \u201cIf you cannot tell people of something they have not seen, or have not thought, it is hardly worthwhile to write at all.\u201d I guess he\u2019s right, but it\u2019s still a pretty tall order. Surely there are books that have dealt with well-trodden subjects and ideas successfully?<\/em><\/p>\n

Yours,<\/em>
\n Daunted in Denver<\/em><\/p>\n

 <\/p>\n

Dear Daunted,<\/p>\n

D. H. Lawrence was a master of the neg. In the letter you mean<\/a>\u2014written to his college classmate and sometime girlfriend Louie Burrows\u2014Lawrence is warning her off hackneyed adjectives:<\/p>\n

\u201cShapely heads\u2014fallen heroes\u2014white bear on aged breast\u201d you know these are in everybody\u2019s mouth. If you would write, try to be terse and in some measure original\u2014the world abounds with new similes and metaphors.<\/p><\/blockquote>\n

I for one would like to see a white bear on an aged breast\u2014at least once. But maybe that\u2019s a typo. The point is, Lawrence doesn\u2019t mean we shouldn\u2019t write about\u00a0ordinary stuff, only that we should try to look at the ordinary through fresh eyes. A few good\u00a0examples of that? The Mezzanine<\/em>, Nicholson Baker\u2019s 1998 novel about a ride up an escalator; the poem \u201cSoap<\/a>\u201d by Francis Ponge; or \u201cFive Stories<\/a>\u201d by Lydia Davis.<\/p>\n

*<\/p>\n

Dear\u00a0<\/em>Paris Review,<\/em><\/p>\n

A friend of mine with a good heart turns out to have a bad one. The young fellow needs a repair and it is going to be months of waiting and months of recovery.\u00a0<\/em>The Good Soldier\u00a0seems a bit on the nose\u2014or heavy on the heart\u2014as the case may be. What might I send the man for pre-procedure limbo and\/or for\u00a0postsurgical convalesce? He\u2019s a stout Scot, but he\u2019ll be down for the count.<\/em><\/p>\n

Yours,<\/em>
\n Heartsick<\/em><\/p>\n

 <\/p>\n

Dear Heartsick,<\/p>\n

Your poor friend! The Good Soldier<\/em> does seem a little bit on the nose, ditto The Magic Mountain<\/em>. The hero of Ben Lerner\u2019s second novel, 10:04<\/em>, spends part of the book fretting over\u00a0an enlarged aorta\u2014but maybe your friend would rather not read about other people\u2019s cardiac conditions.<\/p>\n

Recently a friend of mine who\u2019s been laid up complained that it was hard to keep track of plots (I\u2019ve noticed the same thing, postsurgery). I sent him a copy of Music: I-LXXIV<\/em>, August Kleinzahler\u2019s collection of mini-essays on music\u2014jazz and classical mostly, but with forays into blues and pop. My friend declared the book infuriating but perfect. For nonsequential comfort reading, maybe your friend would like Mrs. Miniver<\/em>, a popular collection of newspaper columns by Jan Struther, published in 1939, about life in a suburban British household on the eve of World War II. When my grandfather was sick, he plowed\u00a0through lots of Anthony Trollope. If I were about to be confined to a sickbed, I think I would buy the entire set of A\u00a0Dance to the Music of Time<\/em>, then start right at the beginning so I could remember who everyone was, or try.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Have a question for the editors of\u00a0The Paris Review?\u00a0Email\u00a0us.     Dear\u00a0Paris Review, My writing mentor said that if I want to raise my writing to the next level, then I have to learn to write suggestively in addition to writing descriptively. Is this true and where can one learn to write suggestively? Yours, Stuck […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[56],"tags":[6047,1623,8585,3263,5733,1760,571,4482,17601,30385,15272,576,24290,29811,46,2660,2653,10919,30383,30384,1073,13149],"class_list":["post-114873","post","type-post","status-publish","format-standard","hentry","category-ask-the-paris-review","tag-anthony-powell","tag-anthony-trollope","tag-august-kleinzahler","tag-ben-lerner","tag-correspondence-2","tag-d-h-lawrence","tag-ernest-hemingway","tag-ford-madox-ford","tag-francis-ponge","tag-jan-struther","tag-louie-burrows","tag-lydia-davis","tag-manifesto","tag-modernists","tag-music","tag-nicholson-baker","tag-paul-verlaine","tag-surgery","tag-the-good-soldier","tag-the-mezzanine","tag-thomas-mann","tag-writing-advice"],"acf":[],"yoast_head":"\nPostsurgical Reading: Advice from \u2018The Paris Review\u2019<\/title>\n<meta name=\"description\" content=\"What would Verlaine, Hemingway, and Lawrence do? 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