Editorial notes, that is! There are a lot of little things, and the cumulative effect is, I suspect, a bit like being overrun by Raspberry Crazy Ants. But still. Progress, darlings. Progress has been made and continues to be made, and we are still on track for March 2015, unless I fall down a hole.
Which I might. I never rule that out.
Also: don’t click on the link above if you are easily freaked out by ants or the idea of ants. There’s a shared psychosis, wherein two people living together begin to believe they can see insects on themselves and each other. My husband and I once decided we were going to develop this psychosis someday. It’s an odd aspiration, but we have a number of odd aspirations. After reading this article, though… well, here’s the money quote, to my mind: “’It’s psychological,’ he said. ‘And yet, you actually do have them on you.’”
*commences ceaseless shuddering!*
There is nothing quite as wonderful as an essay that pinpoints something you hadn’t quite been able to put a name to previously, something that has been deeply bothering you in ways you couldn’t articulate. In this case, it hasn’t just been bothering me; it’s been obstructing my airways. This article, “On Smarm,” was like an intellectual Heimlich maneuvre. It’s long, but very worth reading for anyone who’s ever felt paralyzed by the demand to say something “nice” or say nothing at all.
Faced with that choice, I go silent very quickly. And I’m not a mean person, friends. I’m not. But it’s so easy to step on toes that you don’t even know are there – toes where there shouldn’t be toes! Most people have invisible toes, in absurdly huge quantities! If I am charged with the burden of never hurting anyone’s feelings EVER, I can’t do it except by staying silent. Indeed, no one can. Everything hurts somebody. People are amazingly woundable.
Before I posted that bit of mockery yesterday, oh the anxiety I felt! I was riddled with it. I almost didn’t publish, and even then I had to put that disclaimer at the beginning. Nothing but silliness to see here, folks. God forbid I should assert an opinion about something.
My anxiety isn’t all bad. It led me to make sure I focused my mockery at an idea – an idea abundantly deserving to be mocked, I must add – rather than a person. There were lines that bordered on meanness; I blunted those, or omitted them entirely. I think the results were good.
But maybe I don’t have to fret so much. When did I become so gun-shy? Eh, I know when, and I don’t really want to talk about it. But here’s the point: it has always been my rigorous belief that if I write honestly, I have nothing to be ashamed of. Sometimes my honest reaction is mockery, or criticism, or anger. I never wish to hurt anyone, and when I do, I will face it and deal with it. But I don’t have to be stymied by fear.
Tip o’ the hat to Alyssa Rosenberg for pointing me toward that essay. She also thinks Seraphina would make a good movie, so you know she’s a person discerning intellect and excellent tastes.
[The following contains hyperbolic silliness and should not be taken literally. I do not consider children or children's literature unworthy. I write it because I love it and believe in it. Also: don't mistake my tone for anger. This is me laughing merrily. I feel a bit silly explaining myself in such detail, but this is the internet. Tone is hard to hear on the internet.]
Ah, my darlings, the winter bear has been prodded from her slumber.
First there was an article about how Kent University was ‘penitent’ for belittling children’s literature. ”Huh,” I said to myself. “Is that Kent University in Canterbury? I played cello at a Messiah workshop there, long ago.”
Indeed it was, or one of their campuses, anyway. Close enough. Satisfied, I went back to sleep.
But then we get this follow-up article today: Children’s Fiction is not Great Literature.
I have to admit, I scoffed at first. However, I have come away transformed. I am a convert. Permit me to explain.
“Great adult literature aims to confront the full range of genuine human experience,” quoth the article. Of course it does! Except for children’s experience, which isn’t genuine experience after all. It’s barely what we’d call human. As some fellow on The Simpsons once said, “You kids don’t know what you want! That’s why you’re still kids! Because you’re stupid!”
It’s not like serious adult literature has never explored the experiences of childhood. I always thought James Joyce’s description of wetting the bed in A Portrait of the Artist as a Young Man was particularly sublime. Nobody understands bed-wetting like an adult, though, and this is the entire point! Children do things without understanding the nuances! They only discern black, white, good, evil, and bright cartoonish things. When Joyce wets the bed, it has gravitas. Pathos. Introspection. Of course, James Joyce was far too Great to spend an entire book wetting the bed. He grew up, as any sensible person ought, and moved on to genuine human experiences like sexual urges, fear of hellfire, and spiritual epiphany. None of which children have the faintest notion of. Don’t tell me they do. I can’t hear you, lalala.
Now, does this mean that any individual work Great Literature must encompass the entirely of human experience? Of course not. That would be silly. Nobody has time for that. No, no, Great Literature merely has to be capable of containing anything. As the article explains: “a novel written for children omits certain adult-world elements which you would expect to find in a novel aimed squarely at grown-up readers.” So you see, virtue lies in not omitting – in omitting to omit, if you will – those elements of the adult world which would disturb, confuse, or just plain bore a child to tears. All the really genuine stuff, in other words.
Greatness in literature is like the load-bearing capacity of a bridge: nobody’s really going to drive a ten-billion-ton truck over your bridge, but it has to be strong enough, just in case. Because seriously, you never know. Somebody might have a truck that’s beyond your feeble imagination. We must allow for the full range of possible trucks, even the ones that don’t exist.
Children’s books, on the other hand, are like little wobbly rope bridges, capable of carrying only the wee-est, twee-est widdle emotions, only the fluffiest kittens of experience. Is there anything more futile and ridiculous than a fluffy kitten of experience? Surely the universe could get on quite well without fluffy kittens at all. No one would miss them. Stop blubbing, you.
It is therefore self-evident that the more Human Complexity a work is capable of containing, the Greater it can be. This is why (self-evidently) more greatness may be found in epic poetry than in sonnets. There’s only so much complexity you can cram into a sonnet, especially if you’re being strict with the rhyme scheme (I prefer English, myself). And don’t even get me started on haiku. How much Genuine Human Experience can 17 syllables possibly hold? I’ve had complex adult emotions with more syllables than that. I had one just now. It was self-congratulatory-dyspeptic-smugtasticrabby-glibberishness. Haiku that, darlings.
In sum: it’s not enough to write children’s emotions or experiences well because they are inherently unworthy of literary consideration. A Great book potentially contains anything (except silly kid stuff). The problem with Harry Potter (which I think we all agree exemplifies the entirety of children’s literature) is not that there isn’t anything Complex and Genuine in such books, but that there can’t be, by definition. QED, thank you, and goodnight.
The Viola Organista! It’s like a harpsichord and a cello had a baby! Read this article about it, and be sure to listen to the performance as well. I’m loving this so hard. It sounds like a string quartet to me, playing Baroque-style without vibrato. Incredible.
In other news: I’ve been relaxing most arduously, playing Mass Effect 2, doing housework, attending to all the things that need attending (the dog, largely; she’s been ill, poor thing). I keep having ideas for fiction. I am jotting them down, then letting them float away, which feels like the height of luxury to me. I’ll get to them; there will be time.
I hope November is treating you gently, too.
Love Terry Pratchett? Well, there’s a Tumblr for that: Terry Pratchett Appreciation. I have a short piece on there, along with other fabulous authors like Cory Doctorow and Megan Whalen Turner. I believe they are also taking submissions, if you feel inspired.
Sorry this is brief, but my poor whippet is unwell. *sigh* Off to the vet with us.
We’re singing several good songs in choir this session, but my favourite by far is “Ach Lieb, ich tu dir klagen,” by Hans Leo Hassler. It’s Renaissance-tastic. Here’s the only YouTube recording I could find:
Isn’t it gorgeous? It’s in five parts. I usually sing alto, but since I’m technically a mezzo-soprano, I decided to sing the second soprano part this time (our conductor is very easy-going and doesn’t mind). I always think whichever part I’m singing is the most beautiful, but in this case I’m pretty sure it’s true. The second soprano line is something special.
German has a bad rep in some circles as a harsh-sounding language, but I don’t think it’s harsh. It’s super fun to sing. During one of our more melodic moments as second sopranos, we’re singing “die grossen Schmerzen mein,” which doesn’t look like it ought to be beautiful, but it is. It takes a lot of mouth-effort to pronounce correctly, but I like that in a language. I think it gives the song some additional timbre and nuance. The sound of the words, separate from their meaning, is an interesting and integral part of the whole.
I had never heard of this book before, and then it’s come to my attention twice within a month: Codex Seraphinianus. Read the article; admire the artwork. It’s gently, humanely surreal, and right up my alley.
Seraphina – from my novel – is not named after Luigi Serafini or his Codex, and yet she could have been. It would have been apropos. These images would fit right in with her Garden of Grotesques, I think.