Author: lauraleeauthor

I'm the author of the novel Angel and a dozen other books on topics ranging from Elvis Impersonation to the science behind annoying things. The San Francisco Chronicle said, "Lee's dry, humorous tone makes her a charming companion… She has a penchant for wordplay that is irresistible."

Northern Exposure and Nostalgia for Places You’ve Never Been Before

 

Yesterday, on our travels, we had the opportunity to stop in Roslyn, WA where the exteriors of the television series Northern Exposure were shot. The famous mural that the moose strolled past in the opening credits is there, as is a preserved KBHR radio set, and The Brick. The facade that served as Dr. Fleischman’s office is now a Northern Exposure-themed gift shop where you can pick up a walking tour map.

The final episode of Northern Exposure wrapped up with Iris Dement’s melancholy “Our Town,” suggesting that the fictional Cicely, Alaska was the real star of the show.

10391758_233868150947_1219663_n Northern Exposure was a fresh new show at a time when I, like the viewpoint character Dr. Fleischman, had moved from a more urban area to a northern town in order to start what I then thought would be my career.

I was the afternoon drive announcer on WKJF FM/AM in Cadillac, MI.

Unlike Dr. Fleishman, who, in spite of himself, became central to a community with its own culture and habits he did not understand, I was mostly isolated. I never found a community outside of work, and the life of a radio announcer mostly consisted of being the only person in a building talking to the air. I watched Northern Exposure every week, and it provided a fictive community.

Cicely, Alaska was not a typical small town. It was a place where the entire community would turn out to witness a philosopher-turned-DJ engage in performance art. Although it was isolated and rural it was diverse, thanks to the Native American population, and a spiritual dimension– a mystic searching for meaning–permeated the place. The drama came from the quest to figure out what it means to be a human being in the world living with other human beings.

While I was playing music programmed by a “clock hour” and index cards (pictured above) and later by computers, Chris in the Morning was playing an ecclectic mix of different genres as his mood and his sermon of the day dictated. It was an ideal of local radio as the voice of the community in all of its human unpredictability.

In the years that have passed all three of the local radio stations that served as the setting of my career have gone out of business. Local radio has been largely homogenized and replaced by huge media companies with nationally syndicated content.

A few years ago I returned to Cadillac, Michigan. I wrote:

Early in my radio career, I lived in Cadillac. (I was the afternoon announcer at the now-defunct WKJF AM/FM, “Your Light Rock, More Music Station.”) Cadillac surrounds a lake, and each shore of the lake has a distinctly different feel. My house was on the non-tourist side. It was then one long highway of mom and pop shops. (An appliance repair shop was one of the prominent businesses.) It seemed to have changed little since the 1950s.

I lived in the town for half a year before I even knew the resort side of the lake, with its hotels and restaurants, was there.

There is a lot to do in Cadillac for the person who enjoys hunting, fishing or snowmobiling. I was more of an indoor girl…

Something has happened to the town-side of Cadillac. Most of the mom and pop operations have closed down and been bought up by chains with their plastic facades and bright colored logos. The 1950s era businesses that remain, which once had an untouched charm, have been made shabby and out of date by the juxtaposition. Cadillac seems somehow both more built up and more run down than I remember.

The radio station building where I once worked remains, although it is a lifeless, automated router for another station. The “Incredible Broadcast Machine”– a decidedly credible Winnebago painted with the station logo– has driven (or been towed) into the sunset. Half of the office space (which was once home to Muzak) has been given over to H&R Block.

A few years after that I revisited my second radio station, WFRA and Mix 99.3 FM (“The best mix of today’s hits and great oldies”) in Franklin, PA.

 

That’s me as the midday voice of the station in the early 1990s, and on the right is what the station looked like a couple of years ago. The door with the station logos and the empty rooms may be gone by now leaving no trace of the place.

Last year I learned that the house in a residential neighborhood that housed my last radio station WAGE AM in Leesburg, VA was up for sale. I might have bought it if I’d had the money.

The death of local radio is a metaphor for something larger, the loss of the community voice, the separate, quirky local cultures. As Chris in the Morning put it in this clip “The total blitzkreig towards isolation.”

In the Roslyn gift shop, a friendly woman handed me a map of all of the sites in the town that had been used in the show. On the wall were large photographs of all of the show’s cast. Something about them felt off to me, because it took me back to the fact that what had taken place there had been a television production. But I had not come to see a film set, and that was not what I had been feeling walking down that familiar street.

I came to see a place that I had once belonged, which I thought had vanished like so many other places of my past. In Roslyn, that magical place, and all of its possibilities, re-appeared like Brigadoon.

Cicely, Alaska was fictional and Chris in the Morning and all the others were fictional. They never lived there, and they will always live there.

 

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Does Art Belong to Its Audience or Its Creator?

…For many other artists, however, the arts network proves an unmitigated disaster. Sometimes it’s just that the freewheeling thought patterns that lead to artmaking don’t lead as gracefully to tidy record keeping. More often, though, the same artists who diligently follow a self-imposed discipline (like writing in iambic pentameter, or composing for solo piano) prove singularly ill-equipped to handle constraints imposed by others… Ideally (at least from the artist’s viewpoint), the arts network is there to handle all those details not central to the artmaking process… If all this evidence of the reach of today’s arts network still fails to impress you, consider the sobering corollary: once you’re dead, all your art is handled by this network.

David Bayles and Ted Orland, Art & Fear: Observations on the Perils (and Rewards) of Artmaking

As the artist works away, creating, revising, failing and starting again, she never knows if her work will live beyond her, if it will be cherished or forgotten; if it will be deemed classic or garbage. Much of this has little to do with the artist or the quality of her work at all. To become “a classic” a work has to have a champion who is determined to share it after the artist is gone. It has to have teachers who present it to students. It has to have archivists who deem it worthy of preservation. These are the artist-makers. Their passionate enthusiasm transforms a struggling artist, who may have died penniless, into a vital part of our culture. Sometimes these executors carry on in accordance with the artists’ wishes. Sometimes they do so in spite of the artist.

The Atlantic today featured a review of Benjamin Balint’s forthcoming Kafka’s Last Trial, a book about the posthumous legal battle over Kafka’s manuscripts. In his review Adam Kirsch wrote:

At the time of his death, in 1924, at the age of 40, Kafka hardly seemed like a candidate for world fame. He had a minor reputation in German literary circles, but he had never been a professional writer…

Famously, he had tried to keep it that way. Before he died, Kafka had written a letter to Brod, who found it when he went to clear out Kafka’s desk. In this “last will,” Kafka instructed Brod to burn all his manuscripts, including his letters and diaries. But Brod, who admired Kafka to the point of idolatry, refused to carry out his friend’s wishes. Instead, he devoted the rest of his life to editing, publishing, and promoting Kafka’s work—even writing a novel about him, in which Kafka was thinly disguised as a character named Richard Garta. In this way, Brod ensured not only Kafka’s immortality, but his own. Though Brod himself was a successful and prolific writer, today he is remembered almost exclusively for his role in Kafka’s story.

The question of whether Brod acted ethically in disregarding Kafka’s dying wishes is one of the great debates of literary history, and it lies at the core of Balint’s book. As he notes, “Brod was neither the first nor the last to confront such a dilemma.” Virgil wanted the Aeneid to be burned after his death, a wish that was also denied. Preserving an author’s work against his or her will implies that art belongs more to its audience than to its creator. And in strictly utilitarian terms, Brod undoubtedly made the right choice. Publishing Kafka’s work has brought pleasure and enlightenment to countless readers (and employment to hundreds of Kafka experts); destroying it would have benefited only a dead man.

Does art belong more to its audience than its creator?

Put another way: Is the life of the work of art more valuable than the human considerations of the artist and his relations?

Robert Baldwin Ross, who became Oscar Wilde’s literary executor a number of years after his death, was one who placed a high value on the life of works of art. In response to an editorial that said in a burning museum anyone would save a child over an old master, Ross wrote that he hoped he’d have the courage to save the art.

One of the great debates in Wilde circles is how closely Ross’s actions on behalf of Wilde’s estate followed Wilde’s wishes. Nowhere is this more relevant than in his handling of the manuscript of Wilde’s prison letter to Lord Alfred Douglas, which Ross named De Profundis. Ross was determined that the work was important, and he went to great lengths to preserve it. His efforts proved painful and detrimental to Douglas, and ultimately to himself as Douglas battled against them.

We, the modern-day readers and researchers who benefit from the continued existence of De Profundis, are grateful for Ross’s choice and therefore there is a strong bias in favor of the idea that Ross did act in accordance with Wilde’s wishes. We would like the ghost of Wilde to be pleased at his literary resurrection and our interest in his life.

There is reason to doubt that Ross did follow Wilde’s instructions when it comes to the manuscript. He did not follow the only written instructions that were preserved– they said to send the handwritten original to Lord Alfred Douglas, which did not happen. He claimed to have received different verbal instructions. Of course, the only evidence for this is Ross’s own statement.

Ross did not always follow Wilde’s instructions when he disagreed with them while he was alive.  After Wilde was released from prison, they had a minor falling out over how The Ballad of Reading Gaol should be published. Ross felt, for artistic reasons, that it should only be put out as a book. Wilde’s concerns at that point were more down to earth and human. He’d lost everything when he went to jail and he wanted the biggest, fastest paycheck. That meant serial publication.

Unable to persuade Wilde to think long-term, he went behind Wilde’s back and tried to enlist Leonard Smithers in preventing serial publication. “I hope you will refuse to publish [the ballad] at all if the market is going to be spoiled by having it published in an English newspaper.” Ross wrote. When Wilde learned of this he was understandably annoyed with Ross.

One thing that I found interesting in Kirsch’s article on Kafka was the speculation that Kafka chose his literary executor precisely because they disagreed.

And in choosing Brod as his executor, he picked the one person who was certain not to carry out his instructions. It was as if Kafka wanted to transmit his writing to posterity, but didn’t want the responsibility for doing so… Brod, for his part, had no doubts about the importance of his friend’s writing.

Was a similar dynamic at work in Wilde’s reliance on Ross’s contrary advice and his decision to name him as his literary executor? Did he chose someone who he instinctively knew would value the art over even his own point of view about it?

Or would Ross’s handling of De Profundis have, in the words of their mutual friend Reggie Turner, “pained its author.”

Even Wilde’s desire to have Ross as his executor is contentious– a fact that has largely been forgotten. Ross’s position as executor was only won after lengthy litigation. His success in court was based on a single line in one of Wilde’s prison letters, the same one in which he instructs Ross to send De Profundis to Douglas.  The exact line is “If you’re going to be my executor you should have [De Profundis].” Ross used this letter in court to prove that he had the authority to be Wilde’s executor and also that De Profundis was his personal property. My personal theory is that Ross may have destroyed letters that contained more of Wilde’s instructions regarding the manuscript, but he had to retain the letter that called him Wilde’s executor. It was easier for him to make the claim that Wilde had given him verbal instructions that contradicted his first written ones than to support the claim that he had any right to act on Wilde’s behalf without it.

If he did edit the record to make his actions on the estate’s behalf clearer should we care? What if he took actions that went counter to Wilde’s own wishes? Should we care about that or is Wilde’s own view ultimately less important than ours as the audience?

I believe three things: First, I believe (though I cannot prove) that Wilde’s desires for De Profundis changed after he reunited with Douglas after his release from jail. Second, I believe (and also cannot prove) that Ross disregarded at least some of Wilde’s instructions for what he thought was the greater good.  Finally, I believe that the preservation of De Profundis was, in fact, a greater good.

What do you think?

It’s OK Not to Excel and Other Pep Talks

There is a well known writer who has lately been getting a lot of attention on twitter posting threads about how you’re a “real writer” regardless of what you write, regardless of whether it is published or read or has any kind of public recognition or success. She has moved on now to posting about how you’re “a real reader” no matter what kind of book  you read.  “Whatever you read you are a real reader, no exceptions.”

This has been annoying me, and I have spent some time trying to figure out why.

I agree that there are too many artificial hierarchies in literature. I am someone who has excelled in writing books that are considered “unserious” from The Pocket Encyclopedia to the Elvis Impersonation Kit. I know that they take skill, and that humor is not a lesser talent. I also recognize that the concept of “seriousness” is too often used to degrade work by and for women. I agree that you should like what you like and shouldn’t apologize for your tastes. While vampire romances are not something I prefer to read, I am certain there are good examples an bad examples of the genre.

Not all reading leads to great epiphanies, and there is nothing wrong with pure pleasure reading. Not all art has to aspire to immortality or greatness. Entertainment is just fine. And there are a lot of scholars who find a lot to explore in “low culture.”

So why does the statement that you’re a “real reader” no matter what you read stick in my craw?

First of all, it is a tautology. Yes, if you define “reader” as one who can read, then if you can decipher text on a cereal box you’re a reader, but then, so what? What do you get from calling yourself a “real reader?” You must view it as an honorific if you’re hung up on being one. I don’t hear people reassuring anyone that she is a “real TV viewer” regardless of what she watches, or a “real music listener…”

Focusing on whether you can claim to be a “real reader” is strange to me as it focuses on the personal identity of the person holding the book rather than the value of the contents of the book. It is a symptom of a culture in which how one brands herself–how she is seen by others– matters more than who she is when no one is watching.

Of course the quality of literature matters, or what are we doing here?

The author in question said that she was getting a lot of replies from men who said they never use the expression “guilty pleasure.” This is a gendered concept.

Women talk about romance novels being a “guilty pleasure” whereas men discuss the merits of the various authors in their pulp genres like sci fi and westerns.

If guilty pleasures are gendered, then so too must be the reassuring response that you’re a “real reader.”

Here is what I hear in the expression “guilty pleasure.” If you feel “guilt,” it means you aspire to something better.

When I read that the idea of a “guilty pleasure” was somewhat foreign to men, a lightbulb went off. The problem that I have with the expressions about “real writers” and “real readers” is that they are person praise not process praise. In other words, instead of praising people for achievements, it praises them for their inherent qualities which are seen to be immutable.

Person praise says “you’re a real reader.” (Regardless of what you read.)
Process praise says “congratulations on reading Remembrance of Things Past.”

I’ve written about this concept quite often here. Here’s an excerpt from a previous article:

Back in May, I posted an article called Unstoppable! Self-Esteem, Boy and Girl Style.  In the article I took a self-esteem program aimed at young women and flipped the genders to see how the encouragement felt when aimed at boys.

At the beginning of this article, I asked you to think about what an empowerment or self-esteem program for boys might consist of. You probably imagined something like the Boy Scouts or Outward Bound.  Young men test their limits, practice a sport, enjoy the outdoors, discover skills they didn’t know they had.  In short, they do.

When we try to “empower” girls we tell them to think positive and feel pretty.  If it is “empowerment” it is a strange use of the word “power” because it is entirely passive. The program focuses entirely personal qualities that make one attractive, not achievements and actions.

Today I was reading the BPS Research Digest and I came across a study that bolsters my subjective point of view.

Laboratory research pioneered by psychologist Carol Dweck has shown the short-term benefits of praising children for their efforts rather than their inherent traits. Doing so leads children to adopt a so-called ‘incremental mindset’ – seeing ability as malleable and challenges as an opportunity to learn. Now a new study co-authored by Dweck and led by Elizabeth Gunderson has made the first ever attempt to monitor how parents praise their young children in real-life situations, and to see how their style of praise is related to the children’s mindset five years later…The key finding was the more parents tended to praise their pre-school age children for effort (known as process praise, as in “good job”), the more likely it was that those children had a “incremental attitude” towards intelligence and morality when they were aged seven to eight. This mindset was revealed by their seeing intelligence and moral attributes as malleable. For example, such children tended to agree that people can get smarter if they try harder, and disagree with the idea that a naughty child with always be naughty…Finally, the study revealed that parents tend to use more person praise with girls and more process praise with boys, echoing similar results in earlier research. In turn, later on, boys tended to express an incremental mindset more often than girls. This tallies with the picture painted in the developmental literature that girls more than boys attribute failure to lack of ability, especially in maths and science.

Person praise values self-esteem over achievement.

To go back to the example of reading, a girl who felt “guilty” about not reading good literature sets to work to feel better about herself. A boy who feels bad that he is not well-read sets himself a goal of reading better literature.

As I pointed out in another post:

There is nothing wrong with loving yourself just as you are, of course. But when this message is given to only one gender, you end up with a constantly re-enforced dual message. Men achieve, women need to learn to be content while not achieving.

The study that I cited earlier notes that when children are given process praise they perceive of the challenge as learnable, improvable, masterable. They keep trying. It is not that they have failed because of an inherent quality, it is because they have not yet mastered the task. Children who receive person praise on the other hand, internalize everything. “I couldn’t build the tower because I am not good at that.” Personal qualities are seen as inherent and less changeable. If you are not a good builder, there is little reason to try. Those who receive person praise rather than process praise are more likely to give up.

After a lifetime of process praise for boys and person praise for girls, men and women react to rejection differently. Men tend to think, “I have not yet mastered this process, I need to keep trying.” Women tend to think, “Maybe I am not good enough.”

 
When I get into a writer funk, as I do from time to time, there is one thing you should never do to try to cheer me up: and that is to say that I am a “real writer” whether I achieve anything or not. That does not make me feel better, it is like pouring salt in the wound. Why? Because I am ambitious, and I’m tired of feeling that I should apologize for being upset when I fail to reach goals I set for myself. Don’t tell me that it’s OK that my book didn’t get reviews, or that I couldn’t find a publisher for my novel, because I don’t want to feel OK about that. I want to be dissatisfied with that. It hurts when you fail to live up to your ambitions, but feelings pass. The solution is not to pretend that the ambitions don’t matter. The solution is to get back up and keep working, to regroup, find another route, and keep trying. You may not get there, but you are taking the steps. If you want to get me out of a writer funk, remind me of things I have achieved. Get me fired up about what I can do next. Don’t tell me that I’m beautiful just as I am.

I want to see women succeed, and I think a good first step is to stop giving each other these “It’s ok not to excel” pep talks.

Books and Ballet

I am on a ballet tour, but I am not a dancer.

My primary career is writer, and my other job is ballet master class tour producer. It is not a “day job” it is a five months of the year job. Twice a year– two months in winter and three in summer– I bring over a Russian ballet dancer and we travel the country. He teaches classical ballet classes. I do the bookings, the driving. I play the music. Five months of driving across 47 U.S. states. Five months of plotting tour routes, checking in and out of hotels, keeping track of class times. The dancer is the star of the show. In Hollywood, I bought a t-shirt that has “crew” written on the front as an inside joke about my apparent role in things.  I’ve been called Mr. Lantratov’s helper a number of times. His assistant more often than I can count. One student said “it sounds like you’re his slave.” In reality I am the manager.

For a writer, it is a fragmented life. Ideas that come behind the wheel get written on hotel scratch pads and stowed away until I get home and have time to make them into novels, research, or book proposals. (Although I do some writing on the road as well when the situation warrants it. Parts of Oscar’s Ghost were written in a hotel in Dallas, most of the revisions of The Pocket Encyclopedia of Aggravation were written in Cincinnati.)

Years ago, in a draft for an abandoned novel about a performance tour, I wrote:

Ballet, especially every day road ballet, is an endurance sport. The principal dancers glide effortlessly on stage, but once they’ve crossed the threshold of the curtain into the wings, they put their hands on their knees and bend forward, their chests and stomachs pumping in and out with every labored breath. They are sweaty, of course, and a little dazed from the rush of adrenalin and hormones. And after a few moments, they capture their breath, and leap on the stage again, looking, for all the world, like they are suspended by wires and need no energy at all to perform the feat.

That’s performing. I don’t know if it applies to what I do: writing. Having a front row seat to my partner’s work as a ballet master teacher, I find that while they are both arts, writing and ballet do not have much in common. In many ways, they seem to be opposite arts: the verbal and the non-verbal, motion and stillness.

They are, however, both old forms of expression that seem a bit antiquated in a modern digital world. There is something pleasingly quixotic in trying to preserve and pass along these arts to a new generation.

Touring involves both constant novelty and the constant familiarity of hotel and road life. It informs the imagination and produces its own kind of creativity, but opportunities to sit for a while in solitude and just write are few and far between. I come to find that writing in a state of flow is a bit like a drug. You crave it when it is missing.

I started reading ballet dancer David Hallberg’s memoir A Body of Work. He is the only author listed on the cover, no “as told to.” So if he had no ghost writer (authors always wonder about such things) he has a writing talent. He writes about the memory of being in an artistic state of flow, and missing it when he is away from the stage.

I remember what it feels like to dance. To move so freely that my body releases ad creative intuition takes over, leading me beyond the worry of executing technique to a realm where nothing exists but the movement, the music, the emotions… Moments like this are worth it all. The doubt. The sacrifice. The injuries. The scrutiny. The burden of expectation. Those moments of living so intensely and fully on the stage are why I danced. Now, each day, I face one towering question: will I ever experience that euphoria again?

Flow is common to artists. It is why we persist in ridiculous careers. Yet as with most things ballet and writing, the process is inverted. For the dancer, the moment of flow is a culmination. For a writer, flow is that moment of inspiration. The writing that comes before the hard work, the revising, the attempts to get published. It all happens long before there is an audience.

The downside for the performer is that he needs the audience to have that moment. The writer can sit down and write no matter what, a lack of an audience is no barrier to achieving the state of flow. The downside for the writer is that this results in a constant lack of closure. By the time a book gets to its audience, it is disconnected from the writer, there is no great sense of culmination. The only soothing balm is to go back and write and start that process again.

 

Now I need to check out of this hotel and get on the road…

What is “a Writer” and Who Gets to Decide?

If you post the phrase “if you write you are a writer” on social media you will get a lot of likes.

This is because writing as a career is more than difficult, the odds are stacked against you at every turn. It is almost impossible to make a living at it, and it keeps getting harder as publishers consolidate, professional book reviewers disappear, outlets paying in “exposure” replace the magazines that once sustained freelancers, and massive online retailers keep looking for ways to make books as cheap as dirt. On top of this you have the glut of self-published titles, all vying for attention, with few authorities to really sort out their quality. The ease of publishing means book stores and reviewers are inundated, and they are suspicious of anyone who shows up calling herself a writer. This makes marketing books much harder than it used to be.  (And it never was easy.)

So there is a great need for writers, at all stages of their careers, to get some reassurance that even though they have either decided to make writing a part-time job or have taken a self-imposed vow of poverty to pursue it full-time, what they are doing matters. I have had this existential crisis myself many a time, and over the years have found ways to cope with it. The solidarity and reassurance from fellow writers can be a balm, at least a temporary one. So I recognize what people are trying to express when they say “everyone who writes is a writer.”

I still hate the phrase.

I have ranted on this before.

I especially hate it when combined with the sentiment that “you are a writer if anyone reads your work or not.” (You can follow the link if you would like to read my reasons for that.)

These phrases make me seethe.

One of the things that is particularly difficult about assuming the mantle of “writer” is that it is not a career in which you get a diploma that qualifies you. No external authority bestows a title on you. And it has always been true that the most talented are not necessarily the ones who get the most attention. Many a great writer has struggled in obscurity. Moreover, a successful book doesn’t mean that your publisher will necessarily want your next one or your agent will get any interest in your next idea. Each new book is a fresh struggle to get published. It is a career where even some of the most prolific and busy professionals find they can not pay their bills from their labors, so making a living or not making a living is not the mark of a professional. Nor in an era of publishing consolidation is independent vs. traditional publishing a clear-cut way to separate the wheat from the chaff.  Some great writers and great books are indies. The question of who is a “real writer,” and who gets to decide, is complex.

That doesn’t mean that there is not a difference between the person who posts a pdf of self-indulgent poems about her break up on a blog (or even writes for herself and publishes nothing at all) and the person who has gone through all those professional hoops and who makes the decision to keep doing so.  The biography or novel that took a decade to craft, revise and market and someone’s unreadable attempts at self-expression are both are written, and therefore under the “everyone who writes is a writer” standard, both writers share the same title. I know of few careers where the aspirant, trainee or apprentice is granted the same status as the master in quite the same way. Not everyone who cooks is a chef.

I am paraphrasing another writer here, whose quote I cannot find at the moment: You do not have a novel in you waiting to get out, the novel is a peak experience that you are entitled to after a great deal of training and work. This, I will add, includes the work of rejections, revisions and even the frustrating marketing process of trying to get the book to its audience. As the uncredited writer put it, “I do not have a Boston marathon in me waiting to get out.”

To say that if you write, you are a writer is like giving the medal at the beginning of the race.

To continue with the marathon metaphor, this robs the person who has done all the training, suffered the aching muscles, hit the wall and kept going, of meaningful recognition. The struggle matters, and the persistence in the face of struggle matters, and that is what makes the medal matter.

When even the most accomplished struggle to make a living wage for their work, recognition as a professional is often the only real currency a writer has.

I do not think it does any favors for the passionate amateur either. If she is already “a writer” from the moment she picks up a pen, the same as a best-selling internationally renowned writer, there is not anything meaningful to work towards. There are no promotions if those at every level are granted the same title.

There is nothing wrong with being an amateur or writing for pleasure. The existence of professional ballerinas doesn’t keep people like me from dancing. I move my body to the music from time to time, I just don’t claim to be “a dancer.”

Everyone should feel free to dabble in art of all kinds for pleasure. Art is not owned by the professionals. No one should let the fear of making bad art keep them from making art. Nor do I have any intention of denigrating the work or efforts of those who are just beginning. Your efforts deserve respect. Keep at it, and good luck to you. It’s hard, and when the world fails to acknowledge your work (and it will) it doesn’t render it meaningless. It matters that you create, because you make it matter.

I imagine that there is a heaven somewhere where all of the unread literary works go. Their life of the earth is temporary, but their souls are immortal.

I have no doubt that the platitude about being a “real writer” no matter what you produce will continue to be popular. There are far more people in the category of aspirants than those who have successfully run our metaphorical race. I know that my views will get far fewer “likes” and retweets than the more reassuring and inclusive sentiment. I will continue to hate it.

Thus endeth my rant.

 

 

 

 

 

 

The Many Shades Between Vilification and Admiration

Today’s Times (London) features an article by director Dominic Dromgoole on his production of The Importance of Being Earnest being staged at the Vaudeville Theater.

Wilde has also shown us something beyond the chill of certainties. As he knew, people come to the theatre to escape certainty; it is the place for adventure and questioning and imagination. It has been a pleasure to watch our audiences relishing Wilde’s ability to balance several different points of view in one paradoxical sentence. Not for him the hammer-headed tweet, with its partial point of view. Theatre, as he knew, is in a constant state of searching for more complex moral judgments; it uses interrogation and empathy to reveal the multifaceted nature of human choice and human transaction. In an age when left and right search for new ways to express monochrome absolutes, one can feel the audience relishing a few hours’ holiday in a world of maturity and nuance.

Wilde knew that charity is more likely to be found among sinners than among the pious; and that kindness is more likely to be found in the free of mind than in the closed. He had lived with wolves and had lived out his own wolfishness. Each of his puritans discovers that those they thought of as all bad have reserves of the greatest kindness, and those they idolised as perfect are capable of meanness and clumsiness.

That sense of complexity and nuance is something that has always drawn me to Wilde. He uses paradox to show that opposites are not opposites, he resists polarization and easy judgment.

I’ve been thinking about this in relation to Matthew Sturgis’ review of Oscar’s Ghost in the latest edition of The Wildean. I mentioned the review earlier, but now that the issue has been out for a while, I think it is safe to quote it a bit more.

The joint review of Oscar’s Ghost and Nicholas Frankel’s The Unrepentant Years begins: “These two books are useful– and enjoyable–additions to the Wildean canon…They are both full of good things, novel insights and interesting asides…”

So you’ve got to like that.

“The intricacies and repetitions of the various court cases initiated by Ross, Douglas, Crosland and others can be fascinating, tedious, dispiriting and incomprehensible– almost all at the same time… There is much impressive research here and [Lee] lays it out with a light, sometimes humorous touch…Lee brings a certain freshness to her project.”

It is a detailed review of both books, thorough and knowledgeable, as one would expect of The Wildean. In all it is a thoughtful and balanced review.

NonameThere is one word of it, however, that has been playing on my mind. The word is “admiration.”

“Both Lee and Frankel are broadly sympathetic to Bosie, emphasising his eduring love and loyalty to Wilde at the time of his incarceration–and afterwards. It is a useful corrective,” Sturgis writes before discussing some of the questions of whether or not Wilde and Douglas only split because they were forced to by circumstances, or whether their romance had run its course.

My view is that they intended to have a future together but found it too difficult to live together given all of the external pressure. I also suspect they had a row over this just before they stopped living together in Naples, with Douglas wanting to keep fighting the world and Wilde not wanting to.

I also suspect, incidentally, that part of Douglas’s anger when Wilde insisted that he should set aside some of his inheritance to support Wilde post-Naples (see my previous post on the film The Happy Prince) derived from the fact that it was Wilde, not Douglas, who had given up on their living together.  Had they still been living together, they would have pooled their resources, and Douglas’s inheritance would have benefited them both. If Wilde did break up with him, then came back insisting that he should be set up financially for life, Douglas’s anger becomes quite a bit more comprehensible.

But given that their relationship was never exclusive, and that they continued to spend time together and to fall back into old habits, I’m not sure it is actually all that clear whether they broke up or not.  Beyond that, whether the relationship formally ended is a separate question from whether their feelings for each other ended. In essence, as with most things Wilde related, I don’t think it is a simple yes or no question.

And now we come to the point in the review where the word “admiration” rears its head: “An authorial admiration for Lord Alfred Douglas, moreover, has to be sustained in the face of much terrible behaviour…”

This comes in a paragraph of the review that does a good job describing the complexities of the battle between Ross and Douglas over Wilde’s legacy.  “Ross for– for all the personal and professional admiration that he enjoyed– could be a touchy and difficult character… not for nothing did Max Beerbohm dub him the ‘botherationist.’ But Douglas was far touchier and far more difficult.”

It is not entirely clear that “authorial admiration for Lord Alfred Douglas” is supposed to refer to my book, but it seems as though it is. So knowing my feelings better than anyone else, I will say for the record that “admiration” is not what I feel about Lord Alfred Douglas. There is a wide swath between “broadly sympathetic” and “admiration.”

Douglas has always been a polarizing character– it is part of his fascination. The polarization tends to create a “with him or against him” mindset where anything short of condemnation can be seen as approval or even admiration.

Here is my point of view on Douglas. I think that he has been too much blamed for some things and not enough blamed for others. I do not believe he deserves to be condemned as much as he has been for wanting to be loved by Oscar Wilde while having a difficult personality. (Wilde was often drawn to people with challenging personalities, judging by many of the other friends in his circle, including Ross.)

On the other hand, the way Douglas treated his good friend Freddie Manners-Sutton was appalling. (After Sutton refused to invest in Douglas’s literary journal The Academy, he dragged him into court to expose his personal secrets, bad behavior that it seems he had, himself, encouraged.) He had no excuse for it, and few have commented much on that aspect of it, focusing instead on what the libel trial revealed about Douglas’s relationship with Wilde. As I wrote in the book, I suspect that some of Douglas’s emotional and behavioral extremes were influenced by what we would today term mental illness, (Manners-Sutton’s correspondence with Olive Douglas suggests that even as he was being abused by Douglas, his former friend viewed him as not being entirely in control of himself and maintained a certain pained sympathy) but that is an explanation, not an excuse.

Facebook status: “it’s complicated.”

The more I dug into the characters of Douglas and Ross, the more I discovered contradictions and episodes that didn’t fit well with the polar views of these characters: Douglas as chaos, Ross as stability. Ross, like Douglas, was litigious. He seems to have been drawn to difficult people and conflict. Ross was probably as promiscuous as Douglas. Douglas, not only Ross, tried to find Wilde work after he got out of prison. Some of Ross’s efforts to help Wilde were as ill-conceived as some of Douglas’s, and so on.

But, indeed, Douglas was more extreme in his feud with Ross. He was more extreme in everything. He was a man who was hardwired with poor emotional control (call it bipolar disorder or something else) who was also pushed by extreme circumstances and the combination was combustible.

My view of Douglas is best summed up in the epilogue of Oscar’s Ghost: “Douglas was a class snob, capable of great selfishness, petulant self-pity and outbursts of irrational rage, but… [he] was a more complex, multifaceted individual than he is often given credit for.”

I do find Douglas (and Ross) fascinating, but I did not intend for this to read as admiration.

In any case, I am grateful for the thorough and thoughtful review in The Wildean, and if you have any interest in Wilde, I recommend subscribing.

 

 

 

A Crime to be Different

There is a question that has come up lately when I talk about my book. Rupert Everett’s new film The Happy Prince and Nicholas Frankel’s The Unrepentant Years as well as my own Oscar’s Ghost all explore the aftermath of Wilde’s arrest and incarceration in different ways. Why has this topic suddenly become of interest?

“Sudden” is, of course, not quite the right word. As I understand it The Happy Prince took 10 years to make. I spent 6 years on Oscar’s Ghost and I assume The Unrepentant Years was not written overnight. That makes it all the more interesting that, indeed, this story does seem of the moment.

I was thinking about this when I read a quote from the dancer Mikhail Baryshnikov that came up as a Facebook meme. Baryshnikov said that this era of Brexit and Trumpism is one in which it is “a crime to be different.”

When we convict someone of the crime of being different what happens next? What happens to the person who was punished after the public has moved on to other worries? What happens to the people who love him? In an era like ours it feels important to stare this in the face.

For those of us who believe in an inclusive society these are depressing times. We have gotten through hard times before, which is in some ways comforting, but it neglects an important point: We got through it collectively, but many individuals did not.