Thoughts on William Faulkner and Ernest Hemingway

A short post this week—it’s time to write final papers already!—and a simple one. In my short story class this week we are going to be discussing Hemingway and Faulkner, and I am more than excited.

I love Faulkner’s writing because, well, I love his writing. I honestly wish we were studying his novels, but this is a short story class after all, and his short stories are a bit easier to follow and understand than his novels. But Faulkner’s novels are what really make him a good writer, I think—his short stories are so typical, conventional. They’re very good, and they do contain hints of his stream-of-conscious style. But his novels are so much better, in my opinion.

Still, we’ll be looking at “Barn Burning,” a textbook favorite and one of my favorites, as well as “A Rose for Emily,” which isn’t bad but doesn’t excite me nearly as much. I don’t know why; maybe it’s because of the lack of strong voice, or the focus on a female main character. Anyway, I’m excited.

And I’m excited for Hemingway. I’ve never read any of his novels (it is true, sadly), and I am not the biggest fan of his writing style—it’s almost too sparse for me, too lacking in emotion, and most of all the rhythm of his phrases and sentences is too static, too unchanging, too similar. However, his style did revolutionize the short story and prose in general. When you read Hemingway, you know it’s Hemingway.  The sparseness of his prose makes the reader think deeply about what is really going on, and despite the inherent lack of emotion in the text, it does draw out a certain emotional quality. Every time I read Hemingway I am struck with some deep longing, even though I cannot exactly define it. All I know is it comes from what is unsaid—or, perhaps more correctly, from the difference between what is on the page and what is not. Maybe that’s the beauty of Hemingway.

If I’m not too busy writing papers I might update you all on it. I’m sure it will be an exciting week. If anyone doesn’t like Faulkner I will jump to his defense (maybe—or I might just repeat, “It’s just an opinion” to myself over and over). Do you like Faulkner and/or Hemingway? Why or why not? I’d like to know your thoughts, so please leave a comment.

Initial Thoughts on Katherine Mansfield

 

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Mansfield in 1920. She even looked independent. Courtesy of The National Library of New Zealand.

 

Recently for a short story class I had to read a couple of Katherine Mansfield short stories. I think I may have read one of them (“Miss Brill”) before, but if I have the recollection is entirely vague, and for all I know I may be making up the whole thing. The other story, “The Garden Party,” I had never read before, and it was delightful. Katherine Mansfield herself is delightful; I feel like I’ve just stumbled upon gold.

Without spoiling the stories for you, I thought I would give some of my thoughts on Mansfield’s style and why I enjoy her so much:

Her stories read like postmodern works. Virginia Woolf and James Joyce were writing at the same time as Mansfield, and yet for some reason Woolf’s and Joyce’s stories feel period-bound—I mean when you read them, you know the story was not written today.

But Mansfield is different. Of course she does not sound entirely contemporary, but her writing comes off much more contemporary than man of her peers’. This is in large part because of her stream-of-consciousness style that is not overbearingly stream-of-consciousness (like Joyce and Woolf are at times); she manages to combine great internal thought and dialogue with external description and action.

Also, even though many of Mansfield’s stories are written in third person, her characters have very strong voices, so it nearly feels as if you are reading a first-person narrative. Of course Woolf does this as well, brilliantly (see “A Mark on the Wall”), but Mansfield, I think, does it a bit subtler and a bit more naturally. I’ve read that Mansfield’s prose was radical for the time period; it reads wonderfully today as well. For some reason her stories read very timeless to me; I could see a contemporary author of today writing them, as sort of “historical fiction.”

Also, Mansfield evokes emotion without beating the reader over the head. (Joyce does this, too, but I don’t feel as much emotion with him as I do with Mansfield). She by no means reveals too much; if anything she is very subtle—typically modernist. I think especially of the ending of “The Garden Party”; I was struck with a very strong emotion, multiple emotions in fact, which I could not really identify but I knew very well. I knew what the protagonist was feeling; I knew that overwhelming mixture, even if I could not articulate it.

Women modernist writers don’t usually light my fire that much; but Mansfield is an exception. If I have time I might find read some more of her stories.

Note the title of this post says “initial” thoughts; I may write more on Mansfield later. In the meantime, I would like to hear your opinion of Mansfield, if you’ve read her. (And if you haven’t, please do! “Miss Brill” is quite short.) As my professor might say, how does she “land” for you? Tell me in the comments!

The Wanderers Character Analysis: Richie Gennaro

 

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Richie Gennaro. Courtesy of Kino Lorber, kinolorber.com/film/view/id/2378

After a hiatus from analyzing characters in the film version of The Wanderers, I’m back on the ball . . . and on to the most important characters, at least in my opinion.

Here we come to the central character in this film: Richie Gennaro. Man of the hour. He is the most complex, and, I would say, realistic character in the film. (And Ken Wahl is of course a large reason for this. He gives a great performance.)

The first glimpse we get of Richie we see that he is sex-, and possibly love-, obsessed. But very soon we realize love takes a back seat to his buddies. Richie is a very loyal guy, when it comes to friendship. Girls are a different story; girls are less friends than girlfriends, signifying not friendship but romance. Yet Richie is very loyal to his friends.

He is an interesting leader for a gang. He seems confident, but right away we see he is just as insecure as the other members of the Wanderers, especially against the Baldies. He shakes and sweats just as much as Turkey and Joey and Buddy. When Perry comes on the scene, his calmness makes you think that maybe he should be the leader instead.

But Richie has been the leader, and it seems always will be. Perry never even questions his authority. Yet Richie’s insecurities are perhaps more obvious than the other members’. This is in part because the film focuses on specifically Richie’s insecurities a lot, but also because Richie does not always act “perfectly.” He is not always tough; not always one hundred percent confident; not always steady as a rock; not always blank-faced, as one might want a gang leader to be.

See his response to the impending football game/rumble with the Del Bombers. He is nervous, and even around Despie can’t seem to hide the fact. Later, with the Wongs, he is visibly spooked, at a time when you would think he would want to assert his toughness.

Side thought: later the Wongs do come through for Richie. Why? Is it because they respect Richie and the gang—and if so, do they respect the gang as a gang, or Richie himself as a leader, or both?—or just because they see the Ducky Boys’ reign of terror as inherently unfair? Or both?

Regardless, Richie is not the toughest gang leader out there, at least judging by appearances (and in these boys’ world, everyone judges and is judged by appearances). He certainly appears much less tough than Clinton Stitch or Terror. And with the Galasso brothers, he is just another scrawny teenage kid. He feels he has to play it cool because he is the gang leader, but really he is no calmer than Buddy or Joey. He is equal to them; just another boy like they are, scared of older, powerful men whom he respects.

In short, Richie is connected to his emotions, more than the other gang leaders—because he acknowledges them. As a result he often wears his heart on his sleeve. (I’d be interested to know how he has made it in his tough neighborhood with this tendency; where did he learn to act this way? What is his family like? We don’t get any information about his family life, sadly, so we’re left to guess.) He can’t help but let some emotions seep out—most of the time.

Sometimes, though, he is utterly cool; that is, when he is with girls. Girls, to Richie, are beauty and sex, and for some reason he can keep his emotions in check with them. I would propose this is so because girls mean less to him than his friends and gang life do. When something means less to you, you care less about it, and so you have less emotion to keep in check.

Nina, of course, messes this whole system up. Richie is genuinely infatuated with her, though she’s not his girl. It is precisely because Richie is gang leader and so loyal to his friends that his betrayal of Joey is so shocking—especially shocking to Joey himself. For once (possibly the first time, judging by both Richie’s and Joey’s reactions) Richie’s loyalty goes to the girl and not to his (purportedly best) friend. For once a girl has gotten through to Richie, made him feel some real emotion, not just a conjured-up desire for sex, and he leaves his gang life for a girl.

Yet his loyalties swing back to the gang very quickly. Whether he knows he can’t have Nina or not, Richie seems more than willing to forget and get back to the way things were. Joey’s quick acceptance of Richie’s simple, heartfelt apology shows that Richie is, to his gang members, a stand-up guy (or at least was until recently), a guy his buddies trust, who is honest and truly invested in the gang members’ well-beings.

This is why Richie is leader of the Wanderers. His loyalty will ultimately always be to his friends. He doesn’t get Despie pregnant on purpose, because he loves her and wants to be with her forever; he is using her for his own enjoyment. He would never truly use his friends for his own enjoyment, at least not to the same extent I don’t think. Yes, Richie may tease his friends, even harshly at times, but he is also responsible for them, and comes through for them (most of the time). And the person he teases most, Joey, is stated more than once to be his best friend.

Richie is a bit fond of teasing, as we see in the scenes of him and Joey in Perry’s car and waiting for Nina, and by his snide remark that “Perry can sing.” Like any other teenage boy he likes a good laugh, and it seems he most teases those people about whom he most cares. But deep down he is a very serious kid. He takes things seriously and thinks deeply—even about romance, though in that case he is perhaps less serious because he’s less caring; less emotionally invested.

Thus Richie never openly teases girls, because he wants to earn their trust so he can get what he wants. I wouldn’t say Richie doesn’t care about girls—but he definitely is okay with loving and leaving them. He may or may not come through if his girl is in trouble.

While Richie’s loyalty is a positive attribute, it is also his undoing. He can’t let the gang go. This is most obvious when Joey and Perry announce their eminent departure. Richie can’t believe it. “You can’t do this to me,” he says to Joey—a plea if I ever heard one. Deep down, Richie craves loyalty, even more, I think, than sex. This is also why he is the leader of a gang; as leader, he is responsible for promoting loyalty, both in himself and in the other boys.

So Richie is a rather serious, incredibly loyal, sex-obsessed, and very typical teenage kid. He isn’t prone to thinking too much about consequences or the future. He is afraid of people who can hurt him, and admits that fear at least to himself. He seeks to hide his “negative” emotions and remain cool at all times, but utterly fails. In short, he is like every one of us. He is quite real.

Happy Birthday to Sodapop Curtis!

Happy birthday to Sodapop Curtis!

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Courtesy of Kaylee Rhoades on Pinterest.

According to S. E. Hinton, October 8th is Soda’s birthday. (S. E. Hinton gave this date when she was asked about characters’ birthdays on the set of The Outsiders TV show-the best proof I can provide is a Yahoo! Answers post, so I’m sorry.) Today he would be sixty-seven or sixty-eight, depending on when you believe The Outsiders takes place.

If you’re a reader who believes in sticking to the author’s game plan, then you know Soda’s been gone for a quite a while now, a very young victim of the infamous Vietnam draft and warfare. (This is per The Outsider Complete Novel DVD commentary and a very obscure interview Hinton did with Penguin. I tried to find that interview, as I’ve found it before, but it seems to be missing.) Yet he will live on in our hearts.

Regardless, we hope this “always happy-go-lucky and grinning” guy with “lively, dancing, recklessly laughing eyes that can be gentle and sympathetic one moment and blazing with anger the next” still gets drunk “on just plain living.” If anyone knows how to live life, it’s Sodapop.

So happy birthday Soda, wherever you are. Drink some chocolate milk and eat some green pancakes, or maybe purple, and eggs with grape jelly, and chocolate cake for us. Lots of chocolate cake. Try to leave some for Steve, though since it is your birthday you’re fully allowed to eat all the cake.

And to all who served in Vietnam, still with us or not, thank you for your courage and your strength. You will never be forgotten.

Why I Prefer Fiction to Nonfiction (And Why It’s Not Crazy to Do So)

After a bit of an absence, I return to my blog wondering about . . . fiction. (Surprise!) Fiction in general.

Why do I like fiction? More specifically, why do I like fiction more than nonfiction?

Truly, I do. I’ve tried to appreciate nonfiction, and as I’ve grown as a person and a reader and writer, I have grown to like some nonfiction, like creative nonfiction and biographies. But overall, fiction gets me much more excited than nonfiction. I look at a book about a fictional pioneer girl traveling West in the 1840s with her family, and I think, “Ooh, sounds good.” And I look at a book about pioneers traveling West in the 1840s, and I think, “Oh yeah, probably is informative,” but I dread having to read it. (Usually I don’t ever end up reading it.)

I’m not trying to bash nonfiction; much of it is good, and many people like nonfiction more than fiction. But I’m not one of those people. And maybe, if you’re reading this blog, you’re not either.

So what is it about fiction? Why do I care so much about worlds that are—let’s face it—not real? Isn’t it smarter to focus on the real world?

Nonfiction Is, Well . . . Dry

I interned at a newspaper this summer. I learned a ton, and to my great surprise found I really enjoy reporting. I do.

Nearly every day this summer, I read at least one newspaper article. And honestly, I found most of those articles interesting.

But there’s something—well—dry about newspapers. I read them to become a better reporter, but not for fun. Maybe it’s because I get most of my news from TV. I do read the paper every so often now, however, and I appreciate different reporters’ perspectives.

But if I’m going to sit down and read something, I want to enjoy it. Somehow I enjoy watching the news on TV—and debating it—but reading it in a paper is not so fun. Likewise, I find many nonfiction books rather dry. Not all of them, of course, as I will show below. But generally, nonfiction comes off, at least to me, as static. A bit dull.

When I read I want to have fun.

And Fiction Is, Well . . . Fun

Part of what makes fiction so enjoyable, for me, is that it is personal. It brings worlds to life by focusing on the life of one individual (or maybe a few).

I’m not a big sci-fi or fantasy person, but I can see how, if you like those worlds, those stories are very enjoyable. I’m much more of a fan of realistic fiction. Some might ask, “Why do you like that stuff so much? Don’t you have enough real life as it is?”

Yes, I do have enough—of my life. The joy of realistic fiction, for me, is getting to live as somebody else, in that somebody else’s world. Even if their world is in the 21st-century United States, even if it’s in my home state, it’s still their world, not mine, and so it is inherently different from mine.

I suppose I like fiction because it expands my views and mind, but in a very fun way. I’m not bored when I read fiction (unless of course the book is The House of the Seven Gables–Hawthorne fans, don’t shoot!); at least not in the way I may be bored reading nonfiction.

Choosing to Dwell In Dreamland—A Mental Health Concern?

But what about that fictional aspect? A nonfiction piece might put me in the perspective of one person, just as fiction does. Why do I enjoy being a fictional character more?

First of all, there are a few nonfiction books that I’ve devoured exactly because of this reason (and because, usually, I’m interested in the subject at hand). For example, Rosemary: The Hidden Kennedy Daughter, by Kate Clifford Larson, is very good. So is Jack and Lem by David Pitts. The latter focused very much on one person; while the former did not as much, it did focus on one family. Thus, both books were very personal—very narrow in scope, somewhat like a novel. My enjoyment of them was also helped by the fact that I am very interested in the Kennedy family.

But overall, nonfiction books just don’t hook me as much as fictional ones. And I love history. Again, why the love for fictional characters? Do I have some sort of mental imbalance, that I prefer learning about and living the life of a made-up person to that of a real one?

I don’t think mental imbalance has much to do with the issue.

The only reason I can think of is that novelists tend to write from their characters’ perspectives in much more creative ways than nonfiction authors. Nonfiction authors often write in a detached, reporting, historian-like style. This is ideal when transferring information, but not quite so ideal for getting the reader truly into a person’s mind.

Fictional writers tend to dwell on their characters’ motivations, thoughts, and internal conflict to a much greater extent. Of course authors sometimes do let their third-person narrators go off on rants—and in this way one could possibly argue first-person novels are even more fun than third-person novels (which I believe, but that’s only one reader’s opinion). Yet even third-person novels are often much “closer” to their characters, in a personal way, than nonfiction books.

Maybe showing versus telling has something to do with it.

Think of Ray Bradbury’s Dandelion Wine compared to, say, a book on middle-class life in the early 20th century. The scene of Douglas trying to convince his father to buy him new shoes, as compared to, say, “When he saw those shoes in the store window that day, the young Douglas knew he had to have them, but try as he might he couldn’t answer his father’s question as to just why he need them. So he went home empty-handed . . .”

Maybe that claim about novels being “closer” to their characters is unwarranted. But that’s the only reason I can think of for why, ultimately, fiction draws me in more than nonfiction.

Dialogue also has something to do with it—nonfiction often can’t include the details fiction can, because the writer doesn’t know for sure what a person said. In fiction, the author knows exactly what the person said.

Fiction personalizes. That’s about the gist of it.

What do you think?