A Month of Short Stories 2017, Day 10 – Shooting an Elephant, by George Orwell

Dallas Zoo

Over several years, for the month of June, I wrote about a short story that was available online each day of the month…. It seemed like a good idea at the time. My blog readership fell precipitously and nobody seemed to give a damn about what I was doing – which was a surprising amount of work.

Because of this result, I’m going to do it again this year – In September this time… because it is September.

Today’s story, for day 10 – Shooting an Elephant, by George Orwell

Read it online here:
Shooting an Elephant, by George Orwell

In Moulmein, in lower Burma, I was hated by large numbers of people–the only time in my life that I have been important enough for this to happen to me.
—-George Orwell, Shooting an Elephant, opening line.

When you think of George Orwell, you think of 1984 first, and then, a little later, you think of Animal Farm.

And rightfully so – few works of literature have coined as many frightening words and phrases that have entered our daily life as 1984 – Big Brother, Thought Police, Doublethink, thoughtcrime, memory hole. When watching the news today the phrase, “Oceania was at war with Eurasia; therefore Oceania had always been at war with Eurasia,” keeps ghosting through my mind without me willing it.

But for me, the most impressive book by Orwell isn’t fiction, it is his (pretty much) autobiographical book, Down and Out in Paris and London. Somewhere on the early internet I found some kid recommending this tome, saying it was the best book he had ever read. He wrote about it in a way that I tended to think he was on to something, so I bought and read the book.

There is plenty of misinformation on the internet (Oceania was at war with Eurasia) but in this case, the kid was right

Excerpt from Down and Out in Paris and London, chapter III:

It is altogether curious, your first contact with poverty. You have
thought so much about poverty–it is the thing you have feared all your
life, the thing you knew would happen to you sooner or later; and it, is
all so utterly and prosaically different. You thought it would be quite
simple; it is extraordinarily complicated. You thought it would be
terrible; it is merely squalid and boring. It is the peculiar LOWNESS of
poverty that you discover first; the shifts that it puts you to, the
complicated meanness, the crust-wiping.

You discover, for instance, the secrecy attaching to poverty. At a
sudden stroke you have been reduced to an income of six francs a day. But
of course you dare not admit it–you have got to pretend that you are
living quite as usual. From the start it tangles you in a net of lies, and
even with the lies you can hardly manage it. You stop sending clothes to
the laundry, and the laundress catches you in the street and asks you why;
you mumble something, and she, thinking you are sending the clothes
elsewhere, is your enemy for life. The tobacconist keeps asking why you
have cut down your smoking. There are letters you want to answer, and
cannot, because stamps are too expensive. And then there are your meals–
meals are the worst difficulty of all. Every day at meal-times you go out,
ostensibly to a restaurant, and loaf an hour in the Luxembourg Gardens,
watching the pigeons. Afterwards you smuggle your food home in your
pockets. Your food is bread and margarine, or bread and wine, and even the
nature of the food is governed by lies. You have to buy rye bread instead
of household bread, because the rye loaves, though dearer, are round and
can be smuggled in your pockets. This wastes you a franc a day. Sometimes,
to keep up appearances, you have to spend sixty centimes on a drink, and go
correspondingly short of food. Your linen gets filthy, and you run out of
soap and razor-blades. Your hair wants cutting, and you try to cut it
yourself, with such fearful results that you have to go to the barber after
all, and spend the equivalent of a day’s food. All day you are telling
lies, and expensive lies.

You discover the extreme precariousness of your six francs a day. Mean
disasters happen and rob you of food. You have spent your last eighty
centimes on half a litre of milk, and are boiling it over the spirit lamp.
While it boils a bug runs down your forearm; you give the bug a flick with
your nail, and it falls, plop! straight into the milk. There is nothing for
it but to throw the milk away and go foodless.

You go to the baker’s to buy a pound of bread, and you wait while the
girl cuts a pound for another customer. She is clumsy, and cuts more than a
pound. ‘PARDON, MONSIEUR,’ she says, ‘I suppose you don’t mind paying two
sous extra?’ Bread is a franc a pound, and you have exactly a franc. When
you think that you too might be asked to pay two sous extra, and would have
to confess that you could not, you bolt in panic. It is hours before you
dare venture into a baker’s shop again.

You go to the greengrocer’s to spend a franc on a kilogram of
potatoes. But one of the pieces that make up the franc is a Belgian piece,
and the shopman refuses it. You slink out of the shop, and can never go
there again.

You have strayed into a respectable quarter, and you see a prosperous
friend coming. To avoid him you dodge into the nearest cafe. Once in the
cafe you must buy something, so you spend your last fifty centimes on a
glass of black coffee with a dead fly in it. Once could multiply these
disasters by the hundred. They are part of the process of being hard up.

You discover what it is like to be hungry. With bread and margarine in
your belly, you go out and look into the shop windows. Everywhere there is
food insulting you in huge, wasteful piles; whole dead pigs, baskets of hot
loaves, great yellow blocks of butter, strings of sausages, mountains of
potatoes, vast Gruyere cheeses like grindstones. A snivelling self-pity
comes over you at the sight of so much food. You plan to grab a loaf and
run, swallowing it before they catch you; and you refrain, from pure funk.

You discover the boredom which is inseparable from poverty; the times
when you have nothing to do and, being underfed, can interest yourself in
nothing. For half a day at a time you lie on your bed, feeling like the
JEUNE SQUELETTE in Baudelaire’s poem. Only food could rouse you. You
discover that a man who has gone even a week on bread and margarine is not
a man any longer, only a belly with a few accessory organs.

This–one could describe it further, but it is all in the same style
–is life on six francs a day. Thousands of people in Paris live it–
struggling artists and students, prostitutes when their luck is out,
out-of-work people of all kinds. It is the suburbs, as it were, of poverty.

I continued in this style for about three weeks. The forty-seven
francs were soon gone, and I had to do what I could on thirty-six francs a
week from the English lessons. Being inexperienced, I handled the money
badly, and sometimes I was a day without food. When this happened I used to
sell a few of my clothes, smuggling them out of the hotel in small packets
and taking them to a secondhand shop in the rue de la Montagne St
Genevieve. The shopman was a red-haired Jew, an extraordinary disagreeable
man, who used to fall into furious rages at the sight of a client. From his
manner one would have supposed that we had done him some injury by coming
to him. ‘MERDE!’ he used to shout, ‘YOU here again? What do you think this
is? A soup kitchen?’ And he paid incredibly low prices. For a hat which I
had bought for twenty-five shillings and scarcely worn he gave five francs;
for a good pair of shoes, five francs; for shirts, a franc each. He always
preferred to exchange rather than buy, and he had a trick of thrusting some
useless article into one’s hand and then pretending that one had accepted
it. Once I saw him take a good overcoat from an old woman, put two white
billiard-balls into her hand, and then push her rapidly out of the shop
before she could protest. It would have been a pleasure to flatten the
Jew’s nose, if only one could have afforded it.

These three weeks were squalid and uncomfortable, and evidently there
was worse coming, for my rent would be due before long. Nevertheless,
things were not a quarter as bad as I had expected. For, when you are
approaching poverty, you make one discovery which outweighs some of the
others. You discover boredom and mean complications and the beginnings of
hunger, but you also discover the great redeeming feature of poverty: the
fact that it annihilates the future. Within certain limits, it is actually
true that the less money you have, the less you worry. When you have a
hundred francs in the world you are liable to the most craven panics. When
you have only three francs you are quite indifferent; for three francs will
feed you till tomorrow, and you cannot think further than that. You are
bored, but you are not afraid. You think vaguely, ‘I shall be starving in a
day or two–shocking, isn’t it?’ And then the mind wanders to other
topics. A bread and margarine diet does, to some extent, provide its own
anodyne.

And there is another feeling that is a great consolation in poverty. I
believe everyone who has been hard up has experienced it. It is a feeling
of relief, almost of pleasure, at knowing yourself at last genuinely down
and out. You have talked so often of going to the dogs–and well, here
are the dogs, and you have reached them, and you can stand it. It takes off
a lot of anxiety.

Dallas Zoo

A Month of Short Stories 2017, Day 9 – The Hurricane, by Lord Dunsany

(click to enlarge) “Approaching Storm” by Claude-Joseph Vernet, Dallas Museum of Art

Over several years, for the month of June, I wrote about a short story that was available online each day of the month…. It seemed like a good idea at the time. My blog readership fell precipitously and nobody seemed to give a damn about what I was doing – which was a surprising amount of work.

Because of this result, I’m going to do it again this year – In September this time… because it is September.

Today’s story, for day 9 – The Hurricane, by Lord Dunsany

Read it online here:
The Hurricane, by Lord Dunsany

‘Old friend,’ said the Hurricane, ‘there are cities everywhere. Over thy head while thou didst sleep they have built them constantly. My four children the Winds suffocate with the fumes of them, the valleys are desolate of flowers, and the lovely forests are cut down since last we went abroad together.’

—-Lord Dusany, The Hurricane

Today, with Houston starting its long recovery from Harvey and Irma bearing down on Florida with its horrors to come, I thought I’d link to a short little bit of fantasy called The Hurricane.

Article on Lord Dunsany

It’s hard to underestimate the impact that Dunsany had in the fantasy genre, and he remains one of the literary movement’s most notable figures, influencing many authors who would become major figures in and of themselves. Authors such as H.P. Lovecraft and Robert E. Howard noted their appreciation and influence of the man, with Lovecraft saying of The King of Elfland’s Daughter: “Inventor of a new mythology and weaver of surprising folklore, Lord Dunsany stands dedicated to a strange world of fantastic beauty.”

Dallas, Texas

A Month of Short Stories 2017, Day 8 – Haunting Olivia, by Karen Russell

Dallas Arts District
Dallas, Texas

Over several years, for the month of June, I wrote about a short story that was available online each day of the month…. It seemed like a good idea at the time. My blog readership fell precipitously and nobody seemed to give a damn about what I was doing – which was a surprising amount of work.

Because of this result, I’m going to do it again this year – In September this time… because it is September.

Today’s story, for day 8 – Haunting Olivia, by Karen Russell

Read it online here:
Haunting Olivia, by Karen Russell

The goggles are starting to feel less like a superpower and more like a divine punishment, one of those particularly inventive cruelties that you read about in Greek mythology.
—-Karen Russell, Haunting Olivia

Magical realism is a tricky thing. It is much easier to pull off in Spanish than in English. If not done correctly it simply feels strange and twee.

But if done right it is entertaining and can carry an emotional wallop.

I like what Karen Russell has done in today’s story. It is mostly realism tinged with just the right amount of magic. At first you aren’t sure – the story of two young boys looking for the ghost of their beloved baby sister – their imaginations are expected to run wild. But there are just enough clues to tell you that the world of Haunting Olivia isn’t quite the same dreary one that we get up and go to work in every day.

She pulls it off. In English.

Interview with Karen Russell from Guernica:

Guernica: The term “magical realism” refers to a specific movement in Latin American literature, though it’s now used to encompass a range of writers, from Rushdie to Díaz, Kafka to Aimee Bender. To what extent have magical realist writers influenced you? Do you see yourself in that tradition?

Karen Russell: It’s funny, for a long time I would go watermelon-red and deny that I was a magical realist. It felt imprecise to me, a misrepresentation. Because, as you say, that term refers to a very specific historical moment and movement in Latin American literature. Now, of course, you see the term “magical realist” applied to basically any story told with a little shimmer on the lens.

I still get shy about applying the term “magical realism” to my own work. But I would not be writing the way I do today had I not fallen in love with Borges, Rulfo, Márquez. I was hugely excited to read One Hundred Years of Solitude, and Rulfo, and Julio Cortázar’s Blow-Up: And Other Stories and Hopscotch. European fabulists like Calvino and Kafka and American dark romantic weirdos like Poe also expanded my ideas of what fiction could be, and could do.

Dancers, Arts District, Dallas

A Month of Short Stories 2017, Day 7 – Why Don’t You Dance?, by Raymond Carver

The bartender pouring the absinthe, note the clear green color.
Pirate’s Alley Cafe, New Orleans

Over several years, for the month of June, I wrote about a short story that was available online each day of the month…. It seemed like a good idea at the time. My blog readership fell precipitously and nobody seemed to give a damn about what I was doing – which was a surprising amount of work.

Because of this result, I’m going to do it again this year – In September this time… because it is September.

Today’s story, for day 7 – Why Don’t You Dance?, by Raymond Carver

Read it online here:
Why Don’t You Dance?, by Raymond Carver

He considered this as he sipped the whiskey.

—-Raymond Carver, Why Don’t You Dance?

If I could write like anyone, I would want to write like Raymond Chandler.

His stories are a revelation to me. His characters real, with flaws and good points, – with the flaws winning out in the balance by quite a bit.

What I like the best is the way he leaves stuff out. He doesn’t tell us everything, only what’s important. In today’s story, he doesn’t tell us how or why everything has come to the state it is, because that isn’t important. He doesn’t even tell us what happened… because that isn’t important.

He does tell us that they drank, and that they drank too much, and that they danced, and that the records were crappy.

Because that is what is important.

Interview with Raymond Carver:

INTERVIEWER
But what made you want to write?
CARVER
The only explanation I can give you is that my dad told me lots of stories about himself when he was a kid, and about his dad and his grandfather. His grandfather had fought in the Civil War. He fought for both sides! He was a turncoat. When the South began losing the war, he crossed over to the North and began fighting for the Union forces. My dad laughed when he told this story. He didn’t see anything wrong with it, and I guess I didn’t either. Anyway, my dad would tell me stories, anecdotes really, no moral to them, about tramping around in the woods, or else riding the rails and having to look out for railroad bulls. I loved his company and loved to listen to him tell me these stories.
—-Raymond Carver, from the Paris Review

A cute couple.

A Month of Short Stories 2017, Day 6 – And of Clay Are We Created, by Isabel Allende, translated by Margaret Sayers Peden

Statue on top of a crypt, Saint Louis Cemetery Number One, New Orleans

Over several years, for the month of June, I wrote about a short story that was available online each day of the month…. It seemed like a good idea at the time. My blog readership fell precipitously and nobody seemed to give a damn about what I was doing – which was a surprising amount of work.

Because of this result, I’m going to do it again this year – In September this time… because it is September.

Today’s story, for day 6 – And of Clay Are We Created, by by Isabel Allende, translated by Margaret Sayers Peden

Read it online here:

And of Clay Are We Created by Isabel Allende, translated by Margaret Sayers Peden

First a subterranean sob rocked the cotton fields, curling them like waves of foam. Geologists had set up their seismographs weeks before and knew that the mountain had awakened again. For some time they had predicted that the heat of the eruption could detach the eternal ice from the slopes of the volcano, but no one heeded their warnings; they sounded like the tales of frightened old women. The towns in the valley went about their daily life, deaf to the moaning of the earth, until that fateful Wednesday night in November when a prolonged roar announced the end of the world, and walls of snow broke loose, rolling in an avalanche of clay, stones, and water that descended on the villages and buried them beneath unfathomable meters of telluric vomit.

—-Isabel Allende, And of Clay Are We Created

There isn’t much I can add to today’s story. Any comment would seem trivial and trite. This one is the real deal. Just read it.

Interview with Isabel Allende:

Q. Can you elaborate on the idea of writing fiction—of telling a truth, of telling lies, of uncovering some kind of reality? Can you also talk about how these ideas might work together or against one another?

A. The first lie of fiction is that the author gives some order to the chaos of life: chronological order, or whatever order the author chooses. As a writer, you select some part of a whole. You decide that those things are important and the rest is not. And you write about those things from your perspective. Life is not that way. Everything happens simultaneously, in a chaotic way, and you don’t make choices. You are not the boss; life is the boss. So when you accept as a writer that fiction is lying, then you become free. You can do anything. Then you start walking in circles. The larger the circle, the more truth you can get. The wider the horizon—the more you walk, the more you linger over everything—the better chance you have of finding particles of truth.

Q. Where do you get your inspiration?

A. I am a good listener and a story hunter. Everybody has a story and all stories are interesting if they are told in the right tone. I read newspapers, and small stories buried deep within the paper can inspire a novel.

Q. How does inspiration work?

A. I spend ten, twelve hours a day alone in a room writing. I don’t talk to anybody. I don’t answer the telephone. I’m just a medium or an instrument of something that is happening beyond me, voices that talk through me. I’m creating a world that is fiction but that doesn’t belong to me. I’m not God; I’m just an instrument. And in that long, very patient daily exercise of writing I have discovered a lot about myself and about life. I have learned. I’m not conscious of what I’m writing. It’s a strange process—as if by this lying-in-fiction you discover little things that are true about yourself, about life, about people, about how the world works.

—-Isabel Allende, from her website

The land of lakes, volcanoes, and sun. A painting I bought on my last trip to Nicaragua.

A Month of Short Stories 2017, Day 5 – Pending Vegan, by Jonathan Lethem

The Wyly Theater in the Dallas Arts District

Over several years, for the month of June, I wrote about a short story that was available online each day of the month…. It seemed like a good idea at the time. My blog readership fell precipitously and nobody seemed to give a damn about what I was doing – which was a surprising amount of work.

Because of this result, I’m going to do it again this year – In September this time… because it is September.

Today’s story, for day 4 – Pending Vegan, by Jonathan Lethem
Read it online here:

Pending Vegan, by Jonathan Lethem

And, after the insipid triumphalist overture of music and video and prancing androgynous spandex, when the orcas finally entered the arena and began their leaping, SeaWorld was overwritten by their absolute and devastating presence. By their act of stitching two realms together, sky and water, merely for the delight of a stadium full of children—children who, in response, leaped, too, and vibrated in their seats, and gurgled incoherently, practically speaking in tongues. Other kids, older and more intrepid than his own, raced down to the plastic barrier to be splashed, to stand with their arms flapping. The killer whales, with their Emmett Kelly eyes, were God’s glorious lethal clowns. Their plush muscular bodies were the most unashamed things Pending Vegan had ever seen. Like panda bears redesigned by Albert Speer.

—-Jonathan Lethem, Pending Vegan

A few years ago, my son Lee and I went down to the Dallas Theater Center’s Wyly Theater to see a new musical, The Fortress of Solitude, adapted from Jonathan Lethem’s eponymous novel. It was Pay What You Can Night (pretty much the only way I can see quality live theater on an ongoing basis) – which is cool, though what we saw was essentially a dress rehearsal open to the public. Because of this, there was a bit of confusion and we discovered that our assigned seats weren’t there (the Wyly is infinitely reconfigurable and they had configured our seats out of existence). No problem, the box office had alternate seats which were better anyway (not that the Wyly has any bad seats) – we were placed in a line of vacant seats right up front. Two men sat next to us at the last minute.

The play was excellent, very enjoyable. I never read the novel, so I don’t know if it followed or did justice, but as a night of live musical entertainment, it fit the playbill. As the play ended, the man sitting next to Lee started asking him a series of questions, “Did you like the musical?” “What songs did you like?” – the inquiry seemed more pointed than curious. I looked at the man and at the Playbill folder in my hand and realized this was the author (of the play, not Jonathan Lethem, alas). The idea was to premiere the musical in the hinterlands (Dallas), iron out the rough spots, them move to Off Broadway (Public Theater) then, eventually, to the Great White Way.

It looks like the momentum has stalled and it probably never will make it to Broadway… but at least I saw it.

Today’s story, also by Jonathan Lethem, is a chronicle of a family’s trip to Sea World in San Diego. The protagonist is struggling with a sudden attack of giving a damn about animals and, possibly more importantly, just now coming off his prescription to anti-depressants. His doctor warns him he might, “see bums and pickpockets.” Worried that he might hallucinate, the doctor assures him that he won’t imagine them, he may simply notice them.

I, of course, have been to Sea World (the San Antonio version) with unruly children a couple of times. I dealt with it a little bit differently than the father in the story – I didn’t think about it. It was a day for the kids and all I was responsible for was trying my best they didn’t get eaten by sharks or destroy an expensive exhibit. All other thoughts were put on hold.

For about a quarter century.

—–

In the interview below, Lethem says, “I’d also have trouble imagining a fiction writer who, after visiting the place, wouldn’t start fooling around with story ideas.” When I first read this I disagreed – I couldn’t think of any story ideas from SeaWorld.

Then I remembered seeing the Shamu show one year. The Orca wasn’t in a good mood and basically stayed at the bottom of his tank and refused to do any tricks. He was the male in the pod and the two females were in the lake outside of the arena. They kept surfacing and making these loud sounds. There is no doubt they were laughing at him.

The neoprene-wet-suited show people tried to get on with the act. They even brought a volunteer from the audience out to try and coax him into getting to work. I thought, “Man, if I had a humiliated, cranky, and uncooperative killer whale at the bottom of a tank, the last thing I’d want to do is lean out and wiggle a fish over him.”

Hmmm. I guess that is an idea for a story.

Interview with Jonathan Lethem about this story:

This week’s story, “Pending Vegan,” follows one family, a husband and wife and their four-year-old twin daughters, on a trip to San Diego’s SeaWorld. When did you start thinking about using SeaWorld as the setting for a story? Did you ever consider inventing the theme park and fictionalizing everything, or was it important that the story be set in a real place?

This story really began with a class I taught, called Animals in Literature. I assigned Jack London, William Faulkner, Franz Kafka, Olaf Stapledon, Lydia Millet, J. R. Ackerley, and a bunch of other stuff, including some essays and theory. (Animals are actually pretty “hot” in theory now.) In the spirit of due diligence, I also read a bunch of animal-rights and vegan manifestos, which is how I blundered into the realm of “Fear of the Animal Planet” and so forth—books I purchased, and which sit staring at me from the shelf, even if I failed to assign them or, in many cases, even to read them. I suppose some of this bad faith leaked into the characters: What would it be to think you’ve gone about halfway, or not even halfway, down some irreversible ethical path, then got stuck there?

Of course all this remained inchoate until suddenly I visited SeaWorld. I can’t imagine anyone setting a story there who hadn’t visited. (I’d also have trouble imagining a fiction writer who, after visiting the place, wouldn’t start fooling around with story ideas.) Long ago, I’d have been certain to disguise it as “Fathomverse,” or “Poseidon’s Playhouse,” or “Orcasm,” or something. But that wouldn’t really be likely to fool anyone, would it? A lot of fiction—most?—derives some of its effects, and energy, from its hybrid nature: half documentary, or half confession or argument or whatever, and full of references outside itself, whether obvious to the reader or not. I’ve made my peace with this. Besides, I’d have had to give up “Sea World, Eat World.”

The story’s protagonist, Paul Espeseth, is going through a crisis of sorts, which he has hidden from both his family and his shrink. He’s renamed himself Pending Vegan as a way of acknowledging his increasing uneasiness with the relationship between man and beast, yet he’s acutely aware of his daughters’ ability to reconcile “their native animal-love and the pleasures of eating.” What’s it like to imagine a child’s version of the animal world versus an adult’s?

Forget “animal world” —what about just “world”? Where’s the script for breaking the news, to a kid, of reality’s roaring wackness? Its moral bankruptcy? Imagine a scene from the breakfast table with a six-year-old listening to an NPR report on the firing of nine air-force commanders over cheating on the tests to qualify as officers for oversight of nuclear missiles.
Six-year-old: “What did they cheat on?”
Father (already in trouble): “Well, see, they were in, like, ‘soldier school’…”
Six-year-old: “Don’t they know it was wrong?”
Father: “———”
Six-year-old: “What are nuclear missiles?”
Father: “———”
Six-year-old: “Why would they cheat? Don’t they want to be good at fighting?”
Father (suddenly impassioned, intense): “Well, actually, the reason this matters so much is that nuclear missiles are these weapons we don’t want anyone ever to use…” (He stops at brink of disaster.)
Six-year old: “—?!?—”
Father: “Uh, eat your pineapple.”
Six-year old: “My teacher told me that pineapple was bad for your skin.”
Father (with relief): “She’s definitely wrong.”

A dog bounds into the story in its final page. It’s not the first time dogs have shown up in your work (“Ava’s Apartment,” for example, an excerpt we published from your novel “Chronic City,” features a memorable three-legged dog). Do dogs hold a particular place in your imagination? Can you imagine a cat exercising as much power?

Cat person or dog person? Funny about that. I grew up with cats; I’m more familiar with them, more fond of them, and I identify with them more. My parents bred Siamese cats for a while, and in a lot of baby pictures I’m seen swimming in a mass of kittens. Dogs were in stories, first: “Nobody’s Boy,” “The Incredible Journey,” Jack London’s and—especially—Albert Payson Terhune’s work. I was probably the last boy in the history of boys to drink deep at the well of “Lad: A Dog” and “His Dog.” Meanwhile, real dogs terrified me. This lasted a while. Even after we got a dog, other people’s dogs terrified me. I was 33clear to me. As in the case of my character, dogs are a problem I can’t solve; they throw me back into the question of self and other. For a writer, that’s good. Writing a story about a cat would be like writing a story about my arm or my ear.

—- Interview with Jonathan Lethem in The New Yorker

The Wyly Theater.

A Month of Short Stories 2017, Day 4 – Attitude Adjustment, by Tim Gautreaux

Big Boy 4018

Over several years, for the month of June, I wrote about a short story that was available online each day of the month…. It seemed like a good idea at the time. My blog readership fell precipitously and nobody seemed to give a damn about what I was doing – which was a surprising amount of work.

Because of this result, I’m going to do it again this year – In September this time… because it is September.

Today’s story, for day 4 – Attitude Adjustment, by Tim Gautreaux

Read it online here:
Attitude Adjustment, by Tim Gautreaux

Sometimes he would close his eyes tight and try to remember what had happened—how, in the heavy forest south of Passion Gap, a train had been trumpeting a monstrous chord of warning through the snow, but Father Jim, driving toward his church, creating a new homily in his head, had failed to hear it. He was proud of his sermons and wanted to get this latest one just right. The road twisted through a railway crossing, but with no crossing arms or blinking signals, Father Jim never saw the locomotive of a 100-car coal train explode into his vehicle, shoving it a quarter mile in a veil of flames and coppery sparks. The impact thrust the priest through a million diamonds of windshield and he landed in the middle of Highway 16, his skull fractured like a dropped melon, his hands tracked with cuts, both legs broken and bleeding. He lay in the snowy road for an hour while an ambulance crew came up the mountain through the developing blizzard, the engineer and brakeman crouching over his body, trying to stop the bleeding with shop rags.

—-Tim Gautreaux, Attitude Adjustment

A long time ago, I worked for the EPA as a consultant on a technical assistance team. My job was to provide my expertise on various technical subjects (emergency response, chemical cleanups, analytical chemistry, safety plans… that sort of thing) to oil spills, chemical accidents, and Superfund Emergency Removals. In 1982 I was sent to Livingston, Louisiana to help after the derailment of a train carrying a large amount of chemicals in the center of town. I spent about a month there working on various parts of the response and cleanup.

If you really want to know, I’m visible in the video at the 8:57 point, wearing blue coveralls and a blue cap leaning on the door of the van.

Years later, at a Writing Marathon in New Orleans, I told the story of the derailment and cleanup. Someone said that a local well-known writer Tim Gautreaux had written a fictional short story based on the Livingston train derailment called Waiting for the Evening News. I had read Gautreaux before and enjoyed his short stories. I dug around and found the collection with Waiting for the Evening News in it and eagerly read the story. Though his point of view on the accident was very different than mine – it was pretty cool.

I think I sent the author an email… maybe not. At any rate, I never met or talked to him, but still felt some sort of a connection.

Today’s story, Attitude Adjustment is a simple tale of a Catholic Priest that survives a horrific car accident – a collision with a coal train. He comes out the other side severely damaged, both physically and mentally. It becomes almost impossible for him to deliver a proper sermon or confession. He resorts to a lot of little tricks simply to help his mind get through a normal day.

This leads to a misunderstanding with the Federal Government, specifically the Bureau of Alcohol, Tobacco, and Firearms… and things don’t go very well for him.

Or maybe they do. He is a good man after all, and a tough man, and it looks like he might make it through after all.

Tim Gautreaux Interviews:

I’m not interested in labels; I’m interested in storytelling. And nobody even knows what a Cajun is. I put a redneck character in one of my stories in Welding with Children, and a lot of people have called him a Cajun, and he’s from Alexandria, which is the most un-Cajun place on the face of the earth. And he’s not Catholic, and he doesn’t have an Acadian surname. Anybody from the region understands who that fellow is, but people out of the region will read other things into it. I just can’t worry about that.
—-An Interview with Tim Gautreaux: “Cartographer of Louisiana Back Roads”, from Southern Spaces

I think most little towns in America present a mixture of all sorts of cultures, and this makes me suspicious of stereotypes based on the assumption that a certain region is peopled by one type of person. Back in the 1950s I thought Texas was all cowboys and oil men listening to Hank Williams or Bob Wills, yet traveling by train through Texas with my transistor radio I picked up Mexican polka music played on German accordions. This marriage of musical cultures introduced me to the idea that no region is one thing only. A writer has to keep this in mind when he deals with setting. Don’t oversimplify, and pay attention to what’s around you culturally. Awareness of class and culture is money in the bank for a fiction writer.
—-A Conversation with Tim Gautreaux, from Image

Three generations. The smoking diesel pulling the steam Big Boy, while the electric DART train zooms by overhead.

A Month of Short Stories 2017, Day 3 – The Ambush, by Donna Tartt

M41 Walker Bulldog
Liberty Park
Plano, Texas

Over several years, for the month of June, I wrote about a short story that was available online each day of the month…. It seemed like a good idea at the time. My blog readership fell precipitously and nobody seemed to give a damn about what I was doing – which was a surprising amount of work.

Because of this result, I’m going to do it again this year – In September this time… because it is September.

Today’s story, for day 3 – The Ambush, by Donna Tartt

Read it online here:

The Ambush, by Donna Tartt

“Oh my God!” he said. “Stay with me, Hank! You can’t die, you son of a bitch!”

I grimaced and tossed my head from side to side in agony as Tim – in a desperate effort to revive me – pounded on my chest. I was impressed by his profanity, but even more impressed that he had taken the Lord’s name in vain on my behalf.

Far away, from the back porch, Tim’s grandmother called out to us in a thin, irritating voice: “Do you all want lemonade?”

—-Donna Tartt, The Ambush

A while back I read Donna Tartt’s The Secret History and liked it more than I anticipated. The Goldfinch is on my list of books to read – a long list that is, unfortunately, growing rather than shrinking.

Maybe before I die.

Today’s story, The Ambush, is a spectacularly well written tale of childhood and war. The descriptions are all too precise and knowing for a child of eight (the narrator) and you know it is being told from a point far in the future. That the memories are so strong and accurate shows how important the events are to the character, the author, and the reader.

It is a story of the time, a time gone, but of a time I remember. It’s a story of the death of a friend’s father and of the death of a certain kind of life we used to live.

This is something that the novel does better than any other art form: reproducing the inner life and the inner experience of another person, particularly extreme forms of consciousness like grief, dreams, drunkenness, spiritual revelations, even insanity. Unlike movies, where we’re always onlookers, in novels we have the experience of being someone else: knowing another person’s soul from the inside. No other art form does that. And I like dealing with particularly intense inner experiences because I think that in many ways, this is what the novel does best.
—-Donna Tartt

A Month of Short Stories 2017, Day 2 – The Itch, by Don DeLillo

Crow Collection of Asian Art
Sculpture Garden
Dallas, Texas

Over several years, for the month of June, I wrote about a short story that was available online each day of the month…. It seemed like a good idea at the time. My blog readership fell precipitously and nobody seemed to give a damn about what I was doing – which was a surprising amount of work.

Because of this result, I’m going to do it again this year – In September this time… because it is September.

Today’s story, for day 2 – The Itch, by Don DeLillo.

Read it online here:
The Itch, by Don DeLillo

But nobody showed up, so he sat awhile looking at the wall. It was one of those Saturdays that feel like Sunday. He didn’t know how to explain this. It happened intermittently, more often in the warmer months, and it was probably normal, although he’d never discussed it with anyone.
—-Don DeLillo, The Itch, opening lines

I have read some of Don Dellilo’s work… not what I would say a lot of it… not by any means all of it. The most notable absence is the massive novel Underworld which I have been meaning to read for a couple decades. Tomes of that weight and size require a commitment that I have been unable to grant for some time. Maybe soon.

Maybe before I die.

At any rate, I loved his novel White Noise enough that the other things he has written pale in my mind. That novel rotates around a bucolic modern scene that is interrupted by an Airborne Toxic Event of some kind… something that I am sort of familiar with in real life. It is an entertaining and haunting work of fiction.

In modernist fiction, there is an interesting difference between novels and short stories. In a novel, the strange detachment of modern life has to be dealt with and resolved… at least partially. In a short story, the author is free to wallow in the surrealism of daily life in this best of all possible worlds.

In today’s story that surrealism takes the form of an itch. The protagonist bounces from doctor to doctor… getting no help, and towards a possible love interest. But always present, if sometimes latent, is the itch, possessing a strange and fearful symmetry, and a perverse unpredictability. It doesn’t make life unbearable, but it probably makes it less fun. Which seems pretty unbearable.

Interviews:

I’m thinking of two dimensions of a screen or a page on which people read. We hope, writers hope, that in fact their characters are living in a three-dimensional world, first in the writer’s mind, then in the minds of readers.

When I’m conceiving a scene, do I see it in three dimensions? It’s not so easy to answer what appears to be a simple question. I see it — I see characters, I see people, I see streets, cars — and they seem to exist in this special level of mental reality. I could not distinguish the features of a character’s face when I have an idea concerning this character, when I see him or her in a room, and in most cases the room itself is fairly generic — except when I’m actually describing a room — this does happen somewhere in “Zero K” — and then I see a room much more clearly.
—-from an LA Times Interview

INTERVIEWER
Do you have any idea what made you a writer?
DON DeLILLO
I have an idea but I’m not sure I believe it. Maybe I wanted to learn how to think. Writing is a concentrated form of thinking. I don’t know what I think about certain subjects, even today, until I sit down and try to write about them. Maybe I wanted to find more rigorous ways of thinking. We’re talking now about the earliest writing I did and about the power of language to counteract the wallow of late adolescence, to define things, define muddled experience in economical ways. Let’s not forget that writing is convenient. It requires the simplest tools. A young writer sees that with words and sentences on a piece of paper that costs less than a penny he can place himself more clearly in the world. Words on a page, that’s all it takes to help him separate himself from the forces around him, streets and people and pressures and feelings. He learns to think about these things, to ride his own sentences into new perceptions. How much of this did I feel at the time? Maybe just an inkling, an instinct. Writing was mainly an unnameable urge, an urge partly propelled by the writers I was reading at the time.
—-From The Paris Review

Crow Collection of Asian Art
Sculpture Garden
Dallas, Texas

The Creature from Cleveland Depths

“Who’s kidding?”
“You are. Computers simply aren’t alive.”
“What’s alive? A word. I think computers are conscious, at least while they’re operating. They’ve got that inner glow of awareness. They sort of … well … meditate.”
“Gussy, computers haven’t got any circuits for meditating. They’re not programmed for mystical lucubrations. They’ve just got circuits for solving the problems they’re on.”
“Okay, you admit they’ve got problem-solving circuits—like a man has. I say if they’ve got the equipment for being conscious, they’re conscious. What has wings, flies.”
—–Fritz Leiber, The Creature from Cleveland Depths

Artwork for The Creature from Cleveland Depths, Galaxy Magazine, December 1962 Artwork by Wally Woods

Artwork for The Creature from Cleveland Depths, Galaxy Magazine, December 1962
Artwork by Wally Woods

For me, one of the pleasures of being my age is recalling literature, especially short stories, that I read long ago, when I was only a sprout. For the life of me, I can’t remember my bank PIN or my work password on Monday mornings, but short stories I read, only once, more than a half-century ago are epoxy-stuck in my rapidly petrifying cabeza neurons. The plots are there, sometimes a little hazy or changed, as are the characters – but the authors and titles have long dissolved into the mist. That makes it a challenge to find the darn things when the fancy strikes me to revisit the fiction of my youth.

The internet, of course, is a vast and mind-boggling resource for idiotic flights of nostalgia. It is a never-ending maze of rabbit holes and time sinks – even if you can sometimes find what you are looking for.

But you already know all that.

I have written before about a story I read once about giant killer snails. In the years since I wrote that blog entry, a number of folks have emailed me that they had read the same story back in the day, and had been searching for it. I wrote a sequel and am thinking about a sequel to my sequel.

But there was one story that I remembered clearly (though, again, not the author or the title) from long, long ago. It kept coming back to my mind because it had been so prescient. The story, written long, long, before its time, concerned the invention of the Personal Digital Assistant and the smart phone… and, I guess, SIRI. There was this inventor that was having trouble remembering his appointments. So he developed a device, attached to his shoulder that contained a magnetic wire on reels (I remembered the magnetic wire in particular) and as the wire unwound, it would give the wearer a reminder at the appropriate time through a voice in an earpiece.

Things spun out of control rather quickly, however. The company that designed these devices made them more and more sophisticated, adding bigger and better features, and then connecting them together in a sort of internet. But as they became more refined and ingrained into everybody’s daily life the machines became self-aware and began to take over the world. The human race were reduced to slaves to their own machines.

Obviously, this story, as I remembered it, has more than a little applicability to our lives today. I thought about the tale the other evening as I tried to maneuver my bicycle through the park next to my house (I have to go through the park to reach the trails that lead to the West – to my work and to the DART train lines). It was a Saturday evening and all the parking lots associated with the park and the associated elementary school were full – cars were filing up along our street and the other neighborhood feeder roads.

The trails themselves were packed with throngs of people wandering in seemingly random routes. They were all oblivious to the world around them, walking zombie-like, staring into their phones. I had to dismount and walk my bike through the park. It was simply too dangerous to ride as the human automatons would cross the path at unpredictable intervals and stride into my path without warning. I don’t understand how they managed to avoid hitting each other.

They were, of course all playing Pokemon Go. There must be some valuable virtual critters in the park next to my house, because at peak times there might be a thousand folks there (though it is already dying down, of course). I don’t want to sound critical – I love that these people are getting out and using the park. But I do wish they would look where they are going… at least a little.

And the sight of all these people lost in their virtual world couldn’t help but remind me of this ancient story… where the same thing happened, more or less, and then went horribly wrong.

So back to the internet, where I ran search after search (PDA, computer, shoulder, wire recorder, short story, science fiction, on and on) to no avail. I could not find any reference to the story.

Then, when I wasn’t thinking about it, a word popped into my head. The word was, “Tickler.” That was what they called the machines, the reminder units with the wire recorder, “ticklers.” It is amazing that that word was still hiding back there in the cobwebs of my head, and that it finaly came back out.

Adding “tickler” to my searches brought immediate success. The story was written by Fritz Leiber in 1962, and was called “The Creature from Cleveland Depths.” Not only did I find out the author and title, but I found that they had let the copyright expire, and the story (actually more of a novela) was available, free of charge, on Gutenberg.org.

So I downloaded the Mobi version and read it again on my Kindle. I had remembered the main plot points pretty well. I had forgotten the semi-humorous style and some of the sociological aspects (probably over my head) but the rest was spot-on.

Artwork for The Creature from Cleveland Depths, Galaxy Magazine, December 1962 Artwork by Wally Woods

Artwork for The Creature from Cleveland Depths, Galaxy Magazine, December 1962
Artwork by Wally Woods

Artwork for The Creature from Cleveland Depths, Galaxy Magazine, December 1962 Artwork by Wally Woods

Artwork for The Creature from Cleveland Depths, Galaxy Magazine, December 1962
Artwork by Wally Woods

I looked at the publication history and found the original version in the December, 1962 Galaxy Magazine (with cool illustrations from Wally Wood). I was only five in 1962 – which is a bit young – so I must have read it years later. It was in a 1966 Fritz Leiber collection called “The Night of the Wolf” and that cover looks familiar to me… that must be where I read it.

So, I’m sure you are asking… How did the hero inventor defeat the evil “tickler” that had taken over society and the world? You really want to know? You should, it’s a crackerjack ending.

I’m afraid I’m not going to tell. You’ll have to download the ebook, or read it here, or, listen to it here.

It is a bit dated, but extremely up to date too. Read it, you’ll like it. It’s amazing that the story, which foreshadows so much of today’s technology was written in 1962. This is what computers looked like in 1962.

Artwork for The Creature from Cleveland Depths, Galaxy Magazine, December 1962 Artwork by Wally Woods

Artwork for The Creature from Cleveland Depths, Galaxy Magazine, December 1962
Artwork by Wally Woods