There’s a story here

Angela's Ashes

'Tis

Teacher Man

Frank McCourt's trilogy

Frank McCourt ended his career as a teacher of creative writing without having written a single book. They would only come afterwards. Reading Teacher Man, one would think that it was through his pupils that he learned that the best stories are often hidden behind everyday events.

His students tended to understimate their own experiences as writing material. Who cares about my life, they would think. In this monographic week devoted to McCourt we will review some of the scenes these young boys and girls shared in his class, and we’ll dig for those stories that McCourt brings to us even though their own protagonists could not see them.

But today we’ll talk about McCourt himself and where he found his stories. I might spoil some details, but the books are portraits and not plot-oriented, so I hope you’ll forgive me. Last Friday I already summarized what each novel is about – they’re all strictly autobiographical. But there’s a nice detail that weaves them together.

The first novel ends when, after many tribulations, teenage Frank finally manages to find a passage out of Ireland.

I stand on the deck with the Wireless Officer looking at the lights of American twinkling. He says, My God, that was a lovely night, Frank. Isn’t this a great country altogether?
Thus ends the chapter and apparently the book. However, when you turn the page, you find a final chapter, number XIX, whose full text I copy here:
‘Tis.

With this last sentence, McCourt (the author and the character) makes an assertion which is a wish: that it be, that America will be the promised land he’s longed for. Those two words encompass a whole story, from the hoping to the checking and we don’t know if to realization or disappointment. That’s why these two words are the title of the sequel, which tells this story.

Last week I finished the third volume, Teacher Man, whose ending follows a similar pattern. After teaching his final class before retiring, as he walks away along the corridor, a voice calls:

Hey, Mr. McCourt, you should write a book.

After passing the page, the final chapter reads:

I’ll try.

Isn’t that sentence a wohle story? That could have been the title of a fourth volume telling the event after his retiring, the process of writing Angela’s Ashes and getting it published, the massive reception, the success, the incredulity of the author himself, encoumbered from high school teacher to media star. Isn’t that quite a story? Frank McCourt knew how to find it, and surely only his demise kept him from telling it.

Death will be a recurring theme this week. For now, start ordering these books and asking yourself if your life couldn’t be good enough for several novels as well.

Empathy and resemblance

Un libro es un espejo
A book is a mirror?

On sesion 17 of our Spanish-language podcast we discussed how resemblance generates empathy, while difference creates curiosity: two opposite poles that we can use to attract the attention of readers. Today I’d like to emphasize the first idea with several examples.

For example romantic novels have a mainly female readership, and indeed their protagonist is most frequently a woman. Of course there’s also always a male main character to complete the couple, but the true heroin is, in 99,9% of the cases, the girl.

Similarly, tipically masculine genres like trial or spy novels are always populated by cops, lawyers and soldiers – of the masculine gender.

But we find the most evident examples in cinemas. Aren’t the protagonists in children’ movies always children? Aren’t teenagers, in horror flicks? Or women, in romantic movies? There are exceptions -as with everyhing else in life- but the standard is clear, right?

I am aware that most of my readers don’t write genre fiction or with a specific audience in mind, but rather follow literary fiction and write for themselves. That’s why I won’t advice anyone to “think about your objective audience and try to bring your protagonist as close to them as possible”, even though I could say it – in fact I just have. Instead we can also apply the rule backwards: from your main character you may infer the main body of your potential audience. Such information can be quite useful, for example when deciding what contests or publishing houses to send the work to, or who among your friends and contacts can give you an appropriate opinion, similar to your potential real readers.

As often, just a topic to think about.

The reader’s role

I just happened upon this quote:

We’re not as clever as people think. Intelligence is letting the book open so the reader can finish it as they wish.

Colum McCann

It reminded me of one of the epigrams that form the preface to the wonderful The Picture of Dorian Gray.

It is the spectator, and not life, that art really mirrors.

Oscar Wilde

They’re not the only ones who think the reader wirtes as much as the writer.

I see the role of the writer as creating a room with big windows and leaving the reader to imagine. It’s a meeting on the page.

Kevin Crossley-Holland

Every novel is an equal collaboration between the writer and the reader and it is the only place in the world where two strangers can meet on terms of absolute intimacy.

Paul Auster

What do you think?

Stolen ideas

Our Spanish commenters are debating writing contests and how some are an opportunity while others are a theft.

From this topic of stolen ideas comes another interesting debate: Which of these statements is true?

  • Don’t refrain from moving your ideas by fear of having them stolen – there are more where those came from.
  • Any single person will have, at most, ONE great idea in their whole life.

What do you think?

(Español) Criticar por criticar

Sorry, this entry is only available in Español.

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