Love has always been the most important business of life.
--- Anonymous
Showing posts with label short stories. Show all posts
Showing posts with label short stories. Show all posts

Wednesday, February 16, 2011

From the Mine of Great Short Stories



While I nurse the baby, I read.  This week, I've been mining anthologies for great short stories that are not only well written, but make me feel enlightened.  Here's one:

Thank You, Ma'am
by Langston Hughes

She was a large woman with a large purse that had everything in it but hammer and nails. It had a
long strap, and she carried it slung across her shoulder. It was about eleven o’clock at night, and she
was walking alone, when a boy ran up behind her and tried to snatch her purse. The strap broke
with the single tug the boy gave it from behind. But the boy’s weight and the weight of the purse
combined caused him to lose his balance so, intsead of taking off full blast as he had hoped, the
boy fell on his back on the sidewalk, and his legs flew up. the large woman simply turned around
and kicked him right square in his blue-jeaned sitter. Then she reached down, picked the boy up by
his shirt front, and shook him until his teeth rattled.
After that the woman said, “Pick up my pocketbook, boy, and give it here.” She still held him. But
she bent down enough to permit him to stoop and pick up her purse. Then she said, “Now ain’t
you ashamed of yourself?”
Firmly gripped by his shirt front, the boy said, “Yes’m.”
The woman said, “What did you want to do it for?”
The boy said, “I didn’t aim to.”
She said, “You a lie!”
By that time two or three people passed, stopped, turned to look, and some stood watching.
“If I turn you loose, will you run?” asked the woman.
“Yes’m,” said the boy.
“Then I won’t turn you loose,” said the woman. She did not release him.
“I’m very sorry, lady, I’m sorry,” whispered the boy.
“Um-hum! And your face is dirty. I got a great mind to wash your face for you. Ain’t you got
nobody home to tell you to wash your face?”
“No’m,” said the boy.
“Then it will get washed this evening,” said the large woman starting up the street, dragging the
frightened boy behind her.
He looked as if he were fourteen or fifteen, frail and willow-wild, in tennis shoes and blue jeans.
The woman said, “You ought to be my son. I would teach you right from wrong. Least I can do
right now is to wash your face. Are you hungry?”
“No’m,” said the being dragged boy. “I just want you to turn me loose.”
“Was I bothering you when I turned that corner?” asked the woman.
“No’m.”

“But you put yourself in contact with me,” said the woman. “If you think that that contact is not
going to last awhile, you got another thought coming. When I get through with you, sir, you are
going to remember Mrs. Luella Bates Washington Jones.”
Sweat popped out on the boy’s face and he began to struggle. Mrs. Jones stopped, jerked him
around in front of her, put a half-nelson about his neck, and continued to drag him up the street.
When she got to her door, she dragged the boy inside, down a hall, and into a large kitchenettefurnished
room at the rear of the house. She switched on the light and left the door open. The boy
could hear other roomers laughing and talking in the large house. Some of their doors were open,
too, so he knew he and the woman were not alone. The woman still had him by the neck in the
middle of her room.
She said, “What is your name?”
“Roger,” answered the boy.
“Then, Roger, you go to that sink and wash your face,” said the woman, whereupon she turned
him loose—at last. Roger looked at the door—looked at the woman—looked at the door—and went
to the sink.
Let the water run until it gets warm,” she said. “Here’s a clean towel.”
“You gonna take me to jail?” asked the boy, bending over the sink.
“Not with that face, I would not take you nowhere,” said the woman. “Here I am trying to get
home to cook me a bite to eat and you snatch my pocketbook! Maybe, you ain’t been to your
supper either, late as it be. Have you?”
“There’s nobody home at my house,” said the boy.
“Then we’ll eat,” said the woman, “I believe you’re hungry—or been hungry—to try to snatch my
pockekbook.”
“I wanted a pair of blue suede shoes,” said the boy.
“Well, you didn’t have to snatch my pocketbook to get some suede shoes,” said Mrs. Luella Bates
Washington Jones. “You could of asked me.”
“M’am?”
The water dripping from his face, the boy looked at her. There was a long pause. A very long
pause. After he had dried his face and not knowing what else to do dried it again, the boy turned
around, wondering what next. The door was open. He could make a dash for it down the hall. He
could run, run, run, run, run!
The woman was sitting on the day-bed. After a while she said, “I were young once and I wanted
things I could not get.”
There was another long pause. The boy’s mouth opened. Then he frowned, but not knowing he
frowned.
The woman said, “Um-hum! You thought I was going to say but, didn’t you? You thought I was

going to say, but I didn’t snatch people’s pocketbooks. Well, I wasn’t going to say that.” Pause.
Silence. “I have done things, too, which I would not tell you, son—neither tell God, if he didn’t
already know. So you set down while I fix us something to eat. You might run that comb through
your hair so you will look presentable.”
In another corner of the room behind a screen was a gas plate and an icebox. Mrs. Jones got up
and went behind the screen. The woman did not watch the boy to see if he was going to run now,
nor did she watch her purse which she left behind her on the day-bed. But the boy took care to sit
on the far side of the room where he thought she could easily see him out of the corner of her eye,
if she wanted to. He did not trust the woman not to trust him. And he did not want to be mistrusted
now.
“Do you need somebody to go to the store,” asked the boy, “maybe to get some milk or
something?”
“Don’t believe I do,” said the woman, “unless you just want sweet milk yourself. I was going to
make cocoa out of this canned milk I got here.”
“That will be fine,” said the boy.
She heated some lima beans and ham she had in the icebox, made the cocoa, and set the table.
The woman did not ask the boy anything about where he lived, or his folks, or anything else that
would embarrass him. Instead, as they ate, she told him about her job in a hotel beauty-shop that
stayed open late, what the work was like, and how all kinds of women came in and out, blondes,
red-heads, and Spanish. Then she cut him a half of her ten-cent cake.
“Eat some more, son,” she said.
When they were finished eating she got up and said, “Now, here, take this ten dollars and buy
yourself some blue suede shoes. And next time, do not make the mistake of latching onto my
pocketbook nor nobody else’s—because shoes come by devilish like that will burn your feet. I got to
get my rest now. But I wish you would behave yourself, son, from here on in.”
She led him down the hall to the front door and opened it. “Good-night! Behave yourself, boy!”
she said, looking out into the street.
The boy wanted to say something else other than “Thank you, m’am” to Mrs. Luella Bates
Washington Jones, but he couldn’t do so as he turned at the barren stoop and looked back at the
large woman in the door. He barely managed to say “Thank you” before she shut the door. And he
never saw her again.

Friday, February 11, 2011

Thoughts on writing

February 9, 2011
Thoughts about writing
I wrote a letter to my 8th grade daughter's principal this week.  The essence of the letter was a request that he encourage the teachers to give more challenging assignments, the kinds of tests and quizzes that students actually have to study to pass, and especially, lots of essay writing assignments. 
I have not seen one essay assignment this year-- not even from her English class.  They do it all in school, I am told.
I don't believe in that.
Having taught high school English for five years, third grade for two years, Freshman English and remedial English at the university for two years, and one semester of teaching a journalism lab, I feel qualified to say a few things about the importance of writing and teaching kids to write adequately.
My daughter has said that she wants to become a writer someday.  Well, this will be difficult if she is not exposed to many difficult writing assignments-- and not all self-imposed-- over many years.
So I wrote the letter.  I also attended her parent-teacher conference (last night) and politely let her English teacher know that on my wish list was a wish for more writing assignments outside of class.  She responded that she doesn't want to punish the students who are doing their classwork so well with extra work.  I smiled and nodded and decided that I need to return to teaching once Baby H. has grown up  and started kindergarten.
As for me, I can write essays and articles all day long.  But what I really want to write someday is great, classic literature-- fiction. 

Charles Dickens

I can't do it, because I am too scared.  I am overeducated, too:  I can recognize great stuff and the not so great stuff, and it makes me shudder to think of being guilty of producing the not so great.  That's my paralysis.  Like that guy in the movie "Amadeus" who was Mozart's friend.
I tremble at the feet of the writers I see as great-- Charles Dickens, for example-- whose witty characterizations, poetic descriptions and intriguing plots I'd never be able to match. 
But my inferiority complex about fiction writing used to be much worse.  I used to assume that any published fiction writer was a good one, better than me.  I used to think that if a short story or a poem made it into an anthology, it was worthy, and if not, not.  Ha!  Now I am judgmental, (although also a better judge) and I'm finicky and overcritical and hard to please and much less easily impressed.  Yet, still, I want to learn how the truly great fiction writing is done, and do it myself.  I'm afraid to try.
I just borrowed a short story anthology from the library yesterday and read two stories that I hadn't read before.  One was about an insane man who hated his cats and murdered his wife, by Poe.  The other was called "Elk" and I don’t know who wrote it.  Both were well written, but neither was good.

They were in the anthology because of Ray Bradbury --and, by the way, I have not only met him and have had him autograph my book (in my college Freshman days), but I also kissed him on his large, pink, writerly cheek, and heard him speak on three separate occasions in two different states.  Ray Bradbury liked and chose the stories.  So I'm going to keep reading them.  And if there are too many more that I don't like, I am returning the book to the library with a happy sigh that I didn't purchase it with my husband's hard-earned salary. 
Part of the reason that  I borrow books like this is that I am still attempting to train my mind to know what great writing is, so that I can write wonderful stories myself. 

I am forty-one, and have yet to publish anything other than blogs which nobody reads, a bundle of newspaper articles, some concert reviews, a  400-page thesis on Literary Journalism, and a few vehement letters to the editor.  I'm no Dickens.  But I still have half of my life left.  (Or more.) And I don't think it's too late to start.
I do have stories that I'd like to tell --but only if I can do it very, very well-- up to my own high critical standard as an overeducated English teacher. 


"The greats" inspire me: short stories and books like Katherine Anne Porter's "The Jilting of Granny Weatherall," or Charles Dickens' "Great Expectations," or Leif Enger's "Peace Like a River," or Bryce Courtenay's "The Power of One," or John Steinbeck's "Of Mice and Men," or even the sweet script of Nancy Oliver's "Lars and the Real Girl."
Willa Cather

A friend of mine is writing a book of short stories and has asked me to edit them for her.  I am happy to.  I know where the commas are missing.  I know which words require capitalization.  I can give advice about which parts are too slow-paced and which parts need clarifying additions.  But being able to edit is like being able to set a table and carve a roast that someone else has cooked.  What I really want to do is make up my own feast, my own recipes, from my own garden, grown with herbs and vegetables I've grown-- new inventions of hybrids, all to delight the table guests. 
What stops me is fear and the inability to juggle time.  Mostly fear.  Time comes when it's really wanted.  I have to put my flag in the sand and say, "This is what I'm writing.  It might not be perfect.  It might lack important qualities.  It might make someone mad.  I could be wrong.  But this is my best, wisest choice and I am going to have confidence in it."  This is what I want to say, and then just do it.  Okay, New Year's Resolution # 2:  Write a short story; post it here. 
Thursday, I read "Paul's Case," by Willa Cather.  I very much admired the first two pages.  The descriptions were vivid, the imagery rich, the story interesting-- "I've found another Great story", I thought.  But as the story continued, I found it to be mercilessly spiraling into suicide, which it did.  I was disappointed that it was a story without hope, because it started out so well.  I mean, I loved the beginning so much that I re-read it, just for the awe it inspired in me-- Cather can write!
I also read "The Black Cat," by Edgar Allen Poe, and hated it.  Although Poe is psychologically fascinating, and his descriptions are superb and his command of the language is great, I hated that story, as I hate most everything Poe writes.  It depicts ugliness of character, wickedness of soul.  Yuck.
Friday, I re-read "The Celebrated Jumping Frog of Calaveras County" by Twain.  What was the purpose of the weird framing of the story?  It was really about the lead pellets weighing down the frog, the outsmarting of Mr. Smiley  --not about the people in the story's frame.  I liked the way Twain captured dialect-usage, but did not love the story.  I liked it, though.
Mark Twain

Friday, I also read "Where Are You Going, Where Have You Been," by Joyce Oates.  Ditto the strengths and weaknesses of Cather's "Paul's Case" story, and Poe's cat murderer story; good description, good suspense, interesting characters, but depressing, hopeless ending.  Existentialism.  I keep thinking about that verse from the Book of Mormon:   "the natural man is an enemy to God…unless he/she yields to the enticings of the holy spirit…becometh a saint…willing to submit…to God."  (willing to submit to hope, to strength beyond your own, to the love and faith that surrounds us from both the seen and unseen worlds)
Why are so many famous, classic, literary stories such illustrations of the natural man/woman being a clueless, and wicked, enemy to God?  Maybe because of the apostasy and its attendant effects on society's understanding and consciousness collectively.  The best and brightest writers in such a state are only aware of the missing-ness of light.  They don't know how to describe that light, but only its absence.
If that is the case, then why aren't many LDS writers (except Shannon Hale and her "Book of A Thousand Days," which I loved) writing GREAT literature?  The stuff I've read has been lacking in plain old interest, for the most part.  They are so "I can take it or leave it" dull to me, lacking that imagery and poetry and realness that I love --the kind from Katherine Porter and Willa Cather and F. Scott Fitzgerald and Charles Dickens-- also lacking truly involving (Real, unique-as-a-snowflake) characters, poetic depictions, and suspenseful plots.  (Except Stephanie Meyer, whose plot was good but everything else was yuck.  --I only could get through half of one of the Twilight books, because even though the plot was suspenseful, there was no richness to the descriptions, no poetry, and so much twisted teenage low self-esteem that it made my eyes roll). I crave that literary stuff that should be wrapped around a tale like a cozy sleeping bag.
I admire any writer who actually writes rather than just analyzing writing so much, as I do.  Maybe I am still in the embryonic stage and once I get what it is I need to write, I will be able to write it.  Maybe LDS writers, too, are suffering the neglect of our own limited reaching toward truth and light, either in the gospel and the scriptures and our view of our lives in God's eyes, not learning what God's gospel truth really is,so that we can depict people in its light, more fully, or else in not studying the great ancestral writers enough to learn how to write richly and literarily.
I re-read "The Jilting of Granny Weatherall" by Katherine Anne Porter last night.  Now, that's rich characterization, description, imagery, insight (like the first three stories) but it adds the glorious element of hope, and of humble, even noble, endurance --and character-pluck.  It took me all night long, mulling over these stories in my sleep, to discover why this story alone matched my expectations for good stories. 
Hope and  humble, ---maybe even noble--  endurance, and pluck.  These characteristics matter more to a literary story than even the dazzling qualities of descriptive perfection and suspense.  (although without the latter, you likely won't read it in the first place.)
This morning, DH said that he'd been computer programming in his sleep.  I said I'd been analyzing short stories in my sleep.  He said that during his scripture reading time today, he decided to write, and he started writing down stories from his life.  He felt like crying when he remembered many of his childhood stories, because of how vulnerable, hurt, and also foolish he was.  But he remembered moments of nobleness.  And he remembered some stories in a new light.  For example, the story about when a woman he knew used butter to try to oil a bicycle gear used to be a story that illustrated  cluelessness; now, DH sees that story as illustrating her sweetness and her determination to try to help with what resources she had.
This morning, I read "Open Boat" by Stephen Crane.  I had to jump to the end to make sure it wasn't another depressing, existential-death ending.  I read the last page, and then went back to the first and dared continue through.  Crane writes with wonderful, painterly descriptiveness about the qualities of the waves in the sea.  He also explores the faith/doubt of men in God, while they are in the face of great peril. 
  Stephen Crane

There's the image of a fist being shaken at the clouds, but there's also the image of the correspondent being tossed --by a miracle-- over the last section of the sea that was between him and the shore.  It seemed as if just the thought of God, wondering about him (or them:  the seven gods), even without a formal prayer, counted as prayer to Crane's unspoken faith.  Yet not all his characters escaped drowning. 

Well, I am typing one-handedly, pecking at the keyboard like a one-fingered wonder because the baby woke up.  And thar's another reason I'm an obscure blogger instead of a great novelist:  I like hanging out with people-- especially my own folk. 

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