Some Thoughts on Reading and Writing Fiction

Blogger Here. I recently began teaching an online creative writing class. In the first unit I share my philosophy of fiction with my students. Below is that “lecture” I posted to the class website:

Why do we tell stories?

Storytelling has been a part of the human experience for as long as men and women have walked this planet. From the earliest of civilizations to today, we have related to each other by telling each other stories. But why?

American author David Foster Wallace once said, “Fiction is about what it means to be a f***ing human being.”

Writer and Professor Thomas C Foster said, “I suppose what the one story, the ur-story, is about is ourselves, about what it means to be human.  I mean, what else is there?”

Tom Clancy said this: “The difference between reality and fiction is that fiction has to make sense.”

Author and philosopher Ralph Waldo Emerson said, “Fiction reveals truth that reality obscures.”

And Francis Bacon once said, “Truth is so hard to tell, it sometimes needs fiction to make it plausible.”

Fiction helps us make sense of the human experience.

As these writers have articulated so well, storytelling helps us better understand the world around us. It always has. Ancient societies used stories to explain natural phenomena that they witnessed on a daily or even yearly basis. They saw a large, bright light come up in the east every morning and go down in the west each evening. To explain this, they attributed what they observed to some god or divine being. If their crops failed one year, they concocted a story about how they had upset one of their gods. All these stories they told themselves, over time, were codified as myths and legends that are now only told in ancient history or classical literature courses.

Additionally, storytelling is an essential component to our religious experiences. Every major religion’s holy texts are based around stories of how men on earth relate to their gods in heaven. These narratives explain how we got here, how we are to live our lives, and how the world will one day end.

Stories make the abstract concrete.

Just as stories help us make sense of that which we can’t comprehend – like unexplainable natural phenomena or religious principles – they also help us better grasp the abstract and theoretical aspects of life. Love. Betrayal. Jealousy. Grief. How do you explain these feelings to those who have never experienced them? Through a story. A well-told story gives flesh and blood – so to speak – to these otherwise intangible concepts.

Fiction gives us a safe, vicarious experience of feelings that are foreign to us. We can fall in love, be a hero, or grieve a loss without actually risking anything, without running the risk of actually getting hurt. Fiction provides us a safe, sterile laboratory for probing the depths of the human experience.

Stories help us relate to others.

British scholar and author CS Lewis said, “We read to know we’re not alone.”

David Foster Wallace once said, “I guess a big part of serious fiction’s purpose is to give the reader, who like all of us is sort of marooned in her own skull, to give her imaginative access to other selves. Since an ineluctable part of being a human self is suffering, part of what we humans come to art for is an experience of suffering, necessarily a vicarious experience, more like a ‘generalization’ of suffering. Does this make sense? We all suffer alone in the real world; true empathy’s impossible. But if a piece of fiction can allow us imaginatively to identify with a character’s pain, we might also then more easily conceive of others identifying with our own. This is nourishing, redemptive; we become less alone inside.”

There is no way we can truly understand or experience the feelings of another person. And the opposite is true: no one else will ever truly understand what we feel. We can imagine another’s feelings, or assume their feelings are similar to our own, but as Wallace says, “true empathy’s impossible.”

But in the words of a story, we can see a character’s emotions, his suffering and pain or joy and elation. We experience what he experiences. And if we can understand the experiences of this character – even though he is the figment of a writer’s imagination – we can imagine that someone somewhere understands our emotions and experiences as well.

What will your verse be?

The great American poet, Walt Whitman, in a poem that asks the daunting question of what is the purpose and meaning of our existence, wrote, “The powerful play [this life] goes on and you will contribute a verse.”

As readers, we attempt to better understand ourselves and those around us by reading and experiencing the fictional lives of those who inhabit the pages of our favorite books. We read the verses they contribute to the powerful human drama.

As writers, we contribute to the great human story, in the words of Thomas C Foster, the “ur-story.” Through the writing process, we gain insight into the human condition and then share that with our readers, allowing them another glimpse into “what it means to be a f***ing human being.”

So what will you contribute? What will your verse be?

It’s not you, it’s me.

Dear Dave,

I think I need a break. I’ve spent the past three years reading your stuff almost exclusively. Don’t get me wrong, I’ve loved it. Your writing has opened up new worlds to me and allowed me to see things in an entirely new light. I’ll never be the same because of it.

But I need to take a break. Not a long one. Maybe just a month or two or three. I’ve got a huge stack of books people have told me I need to read. And I am pretty backlogged in my own writing.

So I’m going to take a break from my blog. I may post something now or then if the spirit moves me. Or I might open it up to guest posts again (that went really well last time).

This isn’t goodbye; it’s just see you later. It’s not you, it’s me.

I’ll be back… in a little while.

 

On finally finishing Infinite Jest

A lot has taken place in the approximately 230 days that it has taken me to finish reading the nearly 1100 pages of Infinite Jest:

  • LeBron James finally won an NBA championship.
  • Barack Obama won a second term as President.
  • A tragedy of unimaginable proportions occurred at Sandy Hook Elementary School.
  • Kanye West and Kim Kardashian announced that they are expecting a child together.
  • The world did not come to an end on December 21.

Not only has it been an eventful seven-and-a-half months in the world of sports, entertainment, and politics, but an eventful time in my own little corner of the world. While reading David Foster Wallace’s magnum opus, I also:

  • Travelled to Louisville, Kentucky to participate in the AP English Language Exam Reading.
  • Set new personal bests in my AP Exam pass rates.
  • Began my thirteenth year as a high school English teacher.
  • Endured two weeks of pure hell as I weaned myself off of a prescribed medication.
  • Congratulated my oldest daughter for earning Gold Honor Roll.

Infinite Jest is the longest novel I’ve ever read and the most difficult novel I’ve ever read. As such, it took me longer to get through than any other book I’ve read. When I reached that final line on page 981 and closed the back cover, I felt a sense of relief and of accomplishment. I had done it. I had actually finished it.

And yet, despite my feelings of satisfaction and fulfillment, I was left with a number of questions. I’ve read enough of Wallace’s stories to know not to expect closure or to expect a story to be wrapped up with a big pretty bow. But I feel compelled to ask my questions, even if they have no answers.

  • Did CT kill James Incandenza? It sorta makes sense, given the whole Hamlet motif. Is blowing up a guy’s head in a modified microwave the Subsidized Time’s equivalent of poison in the ear?
  • What’s with Don Gately’s dream of digging up JOI’s grave with Hal (presumably)? What prompts this dream? Is it an allusion to the grave-digging scene in Hamlet, which would kinda make sense given that JOI’s movie production company is called Poor Yorick Entertainment?
  • Who or what exactly is Lyle, the forehead licker in the ETA boys’ locker room?
  • Is the wraith that visits Don Gately the ghost of James Incandenza?
  • Do the Wheelchair Assassins get their hands on a master copy of “The Entertainment”?
  • I understand that the first chapter takes place after the end of the book, but how does Hal get to the state he is in in that opening chapter? At the end of the book, he is considering injuring himself to avoid playing tennis, but how does he go from that to the mute, convulsing young man who is wrestled to the ground and hauled away on a gurney?

I know there are probably answers to some of these questions can likely be found in a variety of commentaries, academic dissertations, and in the recent IJRR on Wallace-l. And I know some of these questions will go unanswered forever. But if you’d like to add your two cents, feel free.