Celebrity Writers

Do you know who this is?

 

   He's a celebrity author. He is one of the "world’s bestselling and critically acclaimed thriller writers" according to the publisher Simon and Schuster who's coming out with an anthology of stories from 23 thriller authors next year.

 

   Admittedly my sense of celebrity seems not to fit that of our general society. I have little interest in athletes or entertainers. Though I can admire the feats of a Michael Jordan or a Maggie Smith, I can't say that I would go out of my way to sit next to them at dinner. Though to be at table where they sat next to each other might be interesting.

 

   Celebrity writers, on the other hand, I would go out of my way to sit next to at dinner or at the same table or in the same hall. Wouldn't it be grand to listen to Ken Follett and hear him say in person that he did not sell his first novel nor indeed, his tenth? If he who has written so many good books and been so often published did not sell his first one then there is hope for me. And J.K. Rowling whose Harry Potter series was rejected by umpteen publishing houses before Scholastic picked it up, then my Rafael Sirocco series has a chance.

 

   Okay, for those two celebrities, it's more about me.

 

   Sometimes my admiration is for writers who have lived through and written about history that I'm interested in. Kurt Vonnegut, Jr.'s novels are among the best in American fiction, but for me his celebrity status comes from his own life experiences. He was a World War II prisoner of war held in Dresden, Germany, during the Allies' bombing and subsequent firestorm there. Later, his work with PEN International to focus attention on the plight of writers being persecuted in their own countries.

 

   Maya Angelou is in this same category of celebrity writers because of whom she had known--from famous leaders in our country's civil rights movement to unknowns in that same struggle. I get a thrill every time I drive through Stamps, Arkansas, because I know she lived there as a child.

 

   Then there are some of my favorite authors--John Irving, Robert Jordan, John Lescroart (That's his photo, by the way.) Diane Mott Davidson, Donna Leon, Patrick O'Brien. These are the writers I come back to time and again. Not because they feel like celebrities to me. I'm not even particularly interested in meeting them. It's their characters that I would like to spend time with, talk to, or just admire in person.

 

   I would like to know:

 

   John Wheelwright, best friend to John Irving's Owen Meany, from A Prayer for Owen Meany my favorite novel. It's about growing up. It's about friendship. It's about living with disability and mortality.

 

    Egwene, the country girl who becomes the head of the greatest institution in Robert Jordan's Wheel of Time world. She is only one of literally a world of characters with whom I would gladly spend time. Well, all except the truly scary villains and terrifying creatures. Those can stay on the pages of the book.

 

   Dismas Hardy and Abe Glitsky and their families from John Lescroart's San Francisco based crime novels. Beginning with the first of these novels we meet these people and follow them as they build their lives together. Maybe we could all meet at Lou the Greek's for lunch.

 

   Goldie Bear from Diane Mott Davidson's culinary mysteries. We follow Goldie and her best friend (who happens to share the same abusive ex-husband whom they both refer to as 'the jerk') and Goldie's son as they get involved in murder mystery after murder mystery. Goldie does meet and marry a Colorado, sheriff's detective named Schultz. Nice man. Nice country, since that's where I live. Goldie is a caterer so naturally there are recipes included, most of which I've tried in my own kitchen.

 

   Commissario Guido Brunetti from Donna Leon's murder mysteries set in Venice, Italy. This  policeman knows the vicissitudes of the Italian justice system but works to solve crimes and bring the bad guys to some kind of reckoning anyway. He loves and respects his wife. The stories don't always have an ending that satisfies my just-desserts sensibilities, but they feel real and I understand Brunetti's cynicism. Couldn't we have a great discussion about right and wrong?

 

   Patrick O'Brian's Jack Aubrey from Master and Commander and the other books in this series that follow the British navalman through the Napoleonic wars. And let me just say Jack was hot in the books before the movie folk cast Russell Crowe to play him in the movie version. I might even flirt a bit.

Three Writing Styles

STYLES of Writing SOUNDS & Silence

I have always read a wide variety of material, generally with little discrimination. I was as happy with David McCullough’s histories as with Colleen McCullough’s historical fiction. I eagerly read Charles Dickens and J. K. Rowling. Margaret Atwood and John Lescroart both kept me on tenterhooks.

Now that I, too, write, I am no more choosy about my reading, but I am more analytical. This summer I went from Patrick O’Brian’s Master and Commander, a naval novel set in the early 1800’s. To a repeat reading of Robert Jordan’s The Eye of the World, Volume One of his epic fantasy The Wheel of Time. To Cormack McCarthy’s All the Pretty Horses, the first in his Borderland Trilogy. Three very different ways to present sound and silence.

From O’Brian this excerpt:

‘Why does he not fire?’ thought Jack. The Desaix’s bow-chasers had been silent these twenty minutes. Indeed, by now she was in musket-shot, and the people in her bows could easily be told from one another: seamen, marines, officers—one man had a wooden leg. ‘By God, he’s going to riddle us with grape.’
…the Desaix began to yaw. She answered her helm as quickly as a cutter, and in three heartbeats there were her thirty-seven guns coming round to bear. The broadside’s roar and the fall of the Sophie’s main top gallant mast and fore topsail yard came almost together—in the thunder a hail of blocks, odd lengths of rope, splinters, the tremendous clang of a grape-shot striking the Sophie’s bell; and then a silence.

And from Jordan:

The back door creaked as someone outside, or something, tried to push it open. His mouth went dry. A crash shook the door in its frame and lent him speed; he slipped through the window like a hare going to ground, and cowered against the side of the house. Inside the room, wood splintered like thunder.

At first when the trees surrounded him, he took comfort from them. They helped hide him from Whatever the creatures were that had attacked the farm. As he crept through the woods, though, moon shadows shifted, and it began to seem as if the darkness of the forest changed and moved, too. Trees loomed malevolently; branches writhed toward him. He could almost hear the growling chuckles stifled in their throats while they waited for him. The howls of Tam’s pursuers no longer filled the night, but in the silence that replaced them he flinched every time the wind scraped one limb against another. He  hardly dared to breathe for fear he might be heard.

Then I read McCarthy’s All the Pretty Horses.

Rawlins stood in the door of the kitchen and studied him.
You look like you been rode hard and put up wet, he said.
They sat at the table and ate. Rawlins leaned back and fished his tobacco out of his shirtpocket.

I keep waitin for you to unload your wagon, he said. I got to go to work here in a few minutes.

I just come up to see you.

What about.

It don’t have to be about something does it?

No. Dont have to. He popped a match on the underside of the table and lit his cigarette and shook out the match and put it in his plate.

I hope you know what you’re doin, he said.

John Grady drained the last of his coffee and put the cup on his plate along with the silver. He got his hat from the bench beside him and put it on and stood up to take his dishes to the sink.

Rawlins watched him go to the sink and watched him go to the door. He thought he might turn and say something else but he didn’t.

It was not the absence of an apostrophe here and there that most affected me about McCarthy’s work. Having just read O’Brian’s decorous and abundant language describing sea battles in the Napoleonic Wars with their hundreds of men crowded on ships amid smoke and thunderous cannon fire, I then read Jordan’s graphic descriptions of combat with fantastical, ravening creatures in a world where silence and darkness battered me as harshly as the sounds of raging battles.

And finally I read McCarthy, with whom I was unfamiliar. My reaction to the change in styles was sensory. I felt as if I had been struck partially deaf. He wrote a world where sounds and people are as spare and sparse as the nearly barren dry lands of the West Texas-Mexico borderlands. McCarthy led me through hot, open country, with few people and them slow to speak their few words. A country of far distances and vast silences.

Three very different writers using words printed on paper to build worlds of sounds and silences in my head.