Tag: fiction

The novel is quite different from the operas

~ Jnana Hodson ~ Leave a comment

You know the common declaration that the book was better than the movie. Almost nobody acknowledges the reality that a movie can cover no more than 20 pages of a novel, or so I’ve heard – basing it on a short story would be much more fitting. (Who’s counting, anyway? A lot of a movie script involves fleshing out details. Say for five pages here, five pages there, five more for the finale. You get the idea.) There’s also the problem that cinema presents surfaces, while fiction can delve into individuals’ perceptions, reflections, and emotions in ways that even a first-person narrator cannot equally convey. Falling back on a voiceover, from a critical point of view, usually reflects a shortcoming in the movie itself. Perhaps you’ll come up with exceptions, and I’m open to argument. The point is, a filmscript has to discard a lot to fit into an acceptable running time for commercial release.

All that got stirred up after hearing a broadcast of Puccini’s 1884 opera Manon Lescaut, a retelling of Massenet’s once popular 1874 opera Manon, which still gets performed, unlike Auber’s largely forgotten 1856 version.

Usually, the discussion involves comparisons between Puccini and Massenet’s works, which I’ll touch on later, but this time I picked up on a clue from Sir Denis Forman’s “irreverent guide to the plots, the singers, the composers, the recordings” A Night at the Opera, a go-to book I’ll highly recommend. Manon is not one of Puccini’s blockbuster hits, something Sir Denis dismisses as “rather a dim little affair. It is made up of scenes from the Abbe Prevost’s long novel and whole chunks of the narrative take place between acts. This is dramatically inept because we lose any sense of continuity in Manon’s downward spiral and the agony does not pile on as it should.” OK, so my lack of enthusiasm for this work isn’t my fault, even though there are dramatic high points throughout, as Sir Denis cites.

He really grabbed my attention when he proclaimed, “The libretto is not good. Puccini’s Manon has a worse script than Auber’s, a much worse one than Massenet’s, and all three fail to mobilize the original Prevost’s story, which is full of good stuff and could make a rattling good television series today.”

That was good enough to send me down the rabbit hole. The novel in question is Histoire du Chevalier des Grieux et de Manon Lescaut, the seventh and last volume of the Memoirs and Adventures of a Quality Man Who Retired from the World. First published in 1731, the novel was deemed scandalous in 1733 and 1735, seized and condemned to be burned, ultimately leading Prevost to revise and republish it in 1753, with an important episode added.

The operas – and I presume the stage and movie adaptations, too – all focus on the beautiful young woman in question, Manon Lescaut – but quickly diminish the storyteller, the young Chevalier des Grieux. The action begins when she’s being conveyed by coach on her way from school to a convent, accompanied by her brother, Lescaut. When they stop at an inn for the night, the normally shy des Grieux sees her, is stunned by her beauty, somehow strikes up a conversation, and immediately falls in love. Her brother, meanwhile, is engaged with Geronte di Ravoire, a very rich government official who instantly plots to abduct her, perhaps with her brother’s approval or assistance. In private, des Grieux boldly proposes that they run off to Paris together, she accepts, and they escape successfully. Just in time, of course.

End of Act I, more or less.

Puccini’s Act II begins with her being Geronte’s mistress, however bored and also yearning for des Grieux and some sexual stimulation. Massenet instead opens with her cohabitating in poor student squalor with des Grieux when his best friend, who plays a prominent role in the novel but is utterly absent in Puccini, arrives, ostensibly trying to intervene before des Grieux is surprised by the appearance of his brother, who abducts the kid and returns him to his father’s estate. The friend, in cahoots with the brother and stern father, has forewarned Manon, who then chooses to side with Guillot’s luxury (yes, the sugar daddy is given a different name, to the same effect). The novel paints a darker scene. Des Grieux has gloated of handing control of his purse over to his lover and is proud of all she’s been able to purchase; he’s shocked, of course, when he finally hears her explanation of “donations” from Geronte; she coyishly claims the exchanges do nothing to diminish her affection for the poor boy, who still believes she’s innocent in all ways. In the novel, she’s revealed as a coconspirator in facilitating the abduction, which then permits her to disentangle herself to commit to dissolute wealth and ease. Unlike the operas, the novel then plunges into des Grieux’ pits of despair and anger, including incarcerations, along with her string of rich patrons she fleeces and promptly flees, each time pulling des Grieux back into the picture to assist her escape. To thicken the plot, des Grieux has turned to seminary and priesthood, only to fall once more for Manon’s pleading and charms. In the book, she’s more manipulative, and the novel’s more about him than her.

Ultimately, in the operas, Geronte/Guillot has the police arrive as she’s trying to pack up jewelry she received in payment for her services. You might say she accidentally spills the beans. She’s imprisoned and convicted on theft and prostitution charges and sentenced to exile in frontier New Orleans. The operas cast her as a tragic victim of injustice in a cruel world. The novel, however, has her more of a repeat offender who never lives up to her end of the bargain with a succession of libertine benefactors. In contrast, des Grieux can be seen as darkly comical in his obsession even in the face of her repeated duplicities. Come here, come here, go away, go away. (The story painfully reminds me of a similar upheaval in my own past. I can’t say that he or I were truly victims of anything but our own fantasies or fancies.) The first stage adaptation cast the story as a dark comedy, but that effort fell flat.

From the novel one can venture that she’s not the innocent virgin des Grieux is when they run off together. Perhaps that’s the reason she was bound for the convent, a response to her earlier sexual behavior or escapades. She certainly appears experienced in their initial passionate coitus on the road to Paris, the deflowering of des Grieux. It’s enough for him to consider themselves married. Throughout both the book and the operas, it’s easy to view Manon’s brother as something of a pimp or procurer. He’s not exactly her protector at the inn or anytime thereafter. As Wikipedia says, despite its “poor critical reception, the novel quickly seduced the public.” Frankly, it does border on pornography.

The author, more formally Antoine Francoise Prevost, parallels much of his own life in Memoires and Adventures, which includes Manon.

And then? Let’s turn to Sophia Coppola’s third movie, Marie Antoinette, with all of the lavishness of French ruling class excess at the end of that century. Trace through the history of Marie’s husband’s grandfather, Louis XIV, and you’ll learn of the custom of mistresses – it seems every rich male had them, along with multiple estates – and clergy were often active in the arrangements.

In the end, I feel much more sympathy for the ill-fated queen than I do for the conniving courtesan. Puccini, though, compensates des Grieux with a big aria that expresses the rapture of desire, “Donna non vidi mai.”

~*~

The novel in digital formats is available for free in English translation at gutenberg.org and Internet Archive [https://archive.org/details/manonlescaut00pruoft or audiobook https://archive.org/details/manon_lescaut_1606_librivox%5D. It may also be purchased in Kindle and print editions at Amazon.

And here I thought it was a dark stretch

~ Jnana Hodson ~ Leave a comment

My time in Upstate New York did generate a prolific amount of poetry, which you can now find as free PDF chapbooks at my Thistle Finch editions blog. Among them are Susquehanna, Splitting the Rent, Halle Street, Riverside Neighbors, and Still Tender. There’s also a prose piece, Escapes to Cornell. So much of note was happening in my life when it seemed nothing of importance was. On top of that, I do wish I had been journaling back in the summer of ’68 when I lived in a boardinghouse across the river from the office and had only a bicycle and my feet for everyday transportation. Whatever scribblings I had from then, alas, have been lost in letters to a long-vanished lover.

Do take a look.

Welcome to another Rabbit Hole on the Internet. Maybe you’ll even sit beside the river with me. I won’t say anything about the bed.

Should you be interested in finding more …

~ Jnana Hodson ~ Leave a comment

As the Red Barn delves into my earliest journals, I’ve mentioned that we’re skipping over many of the entries that have already been distilled into my previously published poetry, fiction, and non-fiction prose. I do hope you find what’s turning up to be brilliant and, uh, let’s back up, somehow engaging. It was a unique time and journey.

Still, I’m coming across material that seems more suitable for a different typographic and visual presentation apart from a straight Red Barn post, and that’s led me to create a Chronicles category at my Thistle Finch editions free digital editions “bookstore.” Offerings at that site allow me more flexibility in formatting, especially for you to download or print. Quite simply, it often feels more “literary,” with its own satisfactions.

Initial posts there as an outcome of my journals review are now available as free PDF downloads. Among them are New Novelists Back Then, notes from a lively contemporary fiction course, meaning cutting-edge novelists back in the ‘60s; Hitching, drawing on thumbing-on-the-road encounters in the hippie era; and The Past Still Speaks, three literary quotes that still resonate.

Another presentation there is a photo album, Mulberry Row, with images of a dormitory quad that prompted much of the action in my novel Daffodil Uprising. Collecting those images, which become this “lookbook” or “storyboard” was helpful in re-envisioning the narrative. Perhaps it will help readers, too, in internalizing the scene.

Welcome to another Rabbit Hole on the Internet.

 

As I’ve said, writers’ advice goes beyond the page

~ Jnana Hodson ~ Leave a comment

Here are some more examples.

  1. “Always carry a note-book. And I mean always. The short-term memory only retains information for three minutes; unless it is committed to paper you can lose an idea for ever.” – Will Self
  2. “[F]ocus on your own journey, and try not to worry about what’s going on in the lane next to you. I know it’s hard, because it feels natural to compare. And sometimes it’s important, to know what barriers exist and how they impact marginalized writers. But from a productivity standpoint, the comparisons tend to do more harm than good. Because everyone’s publishing journey is different.” – Akemi Dawn Bowman
  3. “Everyone has ups and downs at different moments, and paying too much attention to what other people are getting is only going to slow you down. Focus on the page, and the words, and do what you do best—write.” – Akemi Dawn Bowman
  4. “We’re all students of the craft and every book we read is another chance to learn. Read voraciously. And write exactly the kinds of books you like best.” – Mindy Mejia
  5. “Always stop while you are going good and don’t worry about it until you start to write the next day. That way your subconscious will work on it all the time. But if you think about it consciously or worry about it, you will kill it and your brain will be tired before you start.” – Ernest Hemingway
  6. “Words have extraordinary power—their definitions and colloquial meanings, the way they evolve, and where they come from. Be deliberate and selective about the words you choose. Be voracious about collecting new words for your authorial toolkit. Always look up words you’ve never met before. And above all, wield your words for good, for creativity, and for the cultivation of knowledge.” – Jeff Zafarris
  7. “You’re most likely going to spend a long time writing a book, and then more time promoting it, so make it something you’re passionate about so that even when you collapse into bed exhausted at the end of the day (or fall asleep on your couch with your laptop open, as I’m prone to do), you’ll feel fulfilled.” – Haley Shapley
  8. “A successful career in writing typically takes too long to achieve to be writing something you’re not passionate about. Write from your heart, and write what gets you excited to sit at your computer every day. Most of all, make sure you have a life while doing it—exercise, teach, build, vote, explore, learn, grow, fellowship, and most of all, love. It will not only inform your writing but you’ll also be a healthier person for it, mentally and physically.” – Christopher J. Moore
  9. “Write often. I won’t go so far as to say you have to write every day, but I do think you need to make this a part of the texture of your life, something that you do on a regular basis, like a workout schedule.” – Leslie Lutz
  10. “Then, learn to let go. Let go of old drafts that aren’t going anywhere, or scenes that don’t work. Don’t spend months tweaking a fundamentally flawed project when you can move on to the wonderful new projects that are percolating in your head. The ‘you must start what you finish’ attitude—although admirable—can actually be a pitfall, because it prevents you from taking a necessary course correction when you need it.” – Leslie Lutz

Naturally, I’ve collected tips on writing over the years

~ Jnana Hodson ~ Leave a comment

Often, writers’ advice can be extended to life beyond writing itself. Here’s a sampling.

  1. “Trust your idea, and just start writing. It can seem like a huge task, especially if you have had your work commissioned and there is a relatively fixed deadline, but once you start putting words on the page it will come together, and there is always someone you can ask for a little bit of support.” – Jaime Breitnauer
  2. “Don’t tell me the moon is shining; show me the glint of light on broken glass.” – Anton Chekhov
  3. “Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.” – Elmore Leonard
  4. “It has become increasingly plain to me that the very excellent organization of a long book or the finest perceptions and judgment in time of revision do not go well with liquor. A short story can be written on the bottle, but for a novel you need the mental speed that enables you to keep the whole pattern inside your head and ruthlessly sacrifice the sideshows … I would give anything if I hadn’t written Part III of Tender Is the Night entirely on stimulant.” – F. Scott Fitzgerald
  5. “[S]tay focused and write what you enjoy writing. Don’t write for money or follow the trends of what might be selling at the time. Write something that you cannot only be proud of, but also enjoy the process of writing.” – Christopher J. Moore
  6. “Read it aloud to yourself because that’s the only way to be sure the rhythms of the sentences are OK (prose rhythms are too complex and subtle to be thought out—they can be got right only by ear).” – Diana Athill
  7. “Write what you love, what truly piques your curiosity every day. I’ve met authors who have told me they were sick of the subject matter in their books by the time they came out. I’m so glad I don’t feel this way!” – Haley Shapley
  8. “Fiction that isn’t an author’s personal adventure into the frightening or the unknown isn’t worth writing for anything but money.” – Jonathan Franzen
  9. “Looking back, I imagine I was always writing. Twaddle it was, too. But better far write twaddle or anything, anything, than nothing at all.” — Katherine Mansfield
  10. “How do you write? You write, man, you write, that’s how, and you do it the way the old English walnut tree puts forth leaf and fruit every year by the thousands. … If you practice an art faithfully, it will make you wise, and most writers can use a little wising up.” – William Saroyan

Thoughts on Genji and more

~ Jnana Hodson ~ Leave a comment

Another gleaning from my files, one that had me thinking of the influence of Chinese and Japanese writing on my own.

~*~

Nearly a fairy-tale in its beauty and precision, the first two-thirds concerns Genji and his many affairs.

He’s the most shining, the best musician, becomes ever more attractive as he ages, et cetera.

And even while fooling around, still, in his own way, is devoted and faithful. But just as I’m forming a deep aversion for the bastard who’s little more than another spoiled, beautiful Rich Kid, etc. – I notice the real protagonist turns out to be his favorite wife, Murasaki, whom he raised as a child and trained to his tastes. She’s one of the rare Truly Good People in Literature who’s also interesting.

Indeed, the way she welcomes her rivals into Genji’s home compound, and so on, while overcoming her own hurt and transforming her own jealousy is wonderfully shaded. All the same, the reader makes much use of the list of characters in the end pages, a wise editor was at work there! Especially, when, in the final third, Murasaki and then Genji die the story focuses on two of his grandsons.

And there, the work turns dark, brooding, contemporary in its psychological depth – including the hanging ending.

And then My Lady of Hyde Park winter informed me of more, which I’ve unfortunately since lost.

~*~

More recently, a Chinese exchange student who spent a month with us in Dover gifted me with a pencil cup that was inscribed with the works of four great poets. She included a paper where she copied their translations.

Aspiring novelists, good luck

~ Jnana Hodson ~ Leave a comment

This is the month many aspiring writers sit down and try to complete a draft of a novel before December sets in. For perspective, here are ten points as inspiration

“If you have any young friends who aspire to become writers, the second greatest favor you can do them is to present them with copies of The Elements of Style. The first greatest, of course, is to shoot them now, while they’re happy.” ― Dorothy Parker

“If it sounds like writing, I rewrite it. Or, if proper usage gets in the way, it may have to go. I can’t allow what we learned in English composition to disrupt the sound and rhythm of the narrative.” – Elmore Leonard

“Your writing voice is the deepest possible reflection of who you are. The job of your voice is not to seduce or flatter or make well-shaped sentences. In your voice, your readers should be able to hear the contents of your mind, your heart, your soul.” – Meg Rosoff

“I just give myself permission to suck. I delete about 90 percent of my first drafts, so it doesn’t really matter much if on a particular day I write beautiful and brilliant prose that will stick in the minds of my readers forever, because there’s a 90 percent chance I’m just going to delete whatever I write anyway. I find this hugely liberating.” – John Green

“Anyone who says writing is easy isn’t doing it right.” – Amy Joy

“You fail only if you stop writing.” – Ray Bradbury

“Do not hoard what seems good for a later place in the book, or for another book; give it, give it all, give it now.” – Annie Dillard

“If my doctor told me I had only six minutes to live, I wouldn’t brood. I’d type a little faster.” – Isaac Asimov

“I taught my brother everything he needs to know about writing.” – Stan Asimov

“There is no real ending. It’s just the place where you stop the story.” – Frank Herbert

Look for the witness in the work, too

~ Jnana Hodson ~ Leave a comment

Cinema critic Roger Ebert was talking of the importance of the witness in every movie and pointing to the places where the character appeared in the film under discussion, mostly in a lower corner. The comment flashed me to the reality of how often the hardest thing to see is what should be the most obvious. It’s not just the elephant in the room, but also smaller things we take for granted.

One way or another, all fiction is built on the observer, who is also to some degree an outsider or misfit, too. (If there are any exceptions, I’d love to hear them.) Four of my novels, for instance, were intuitively built around a photographer, a profession that makes Cassia’s father a well-trained witness. In turn, as she investigates his archives, she, too, becomes a witness, even before she starts commenting on his earlier life.

Of course, as a reader, you also become a witness. Or even a voyeur, as Camille Paglia has contended. It’s almost like every page is a microscope slide to be interpreted.

Curiously, I now see this also at play in a long-term non-fiction project in my life. Forty 40 years ago, seemingly by accident, I became involved in trying to uncover my father’s ancestry. I thought we were simply homogenous Midwesterners who had always been in Ohio from its beginning. What I discovered, though, was that one branch was – but German-speaking and largely akin to Amish. My name-line, however, was Quaker by way of North Carolina and its slaveholding culture. Both strands were outsiders to the larger society and also pacifist. It opened my eyes to alternative histories and to a recognition that stories don’t always have to resolve nicely – three people may record their memories quite differently, and maybe all three are true, if not factually accurate.

Oh yes, the research was often collaborative, with correspondence going and coming from others working on parts of the puzzle. It wasn’t always quite as lonely as drafting fiction or poetry.

To my surprise, as my novel What’s Left was taking shape, Cassia started assembling bits about her Greek-American grandparents, who had died before her birth, and then beyond to her great-grandparents, who brought the family to the New World. Like me, she found valuable clues in the surviving snapshots and formal portraits regarding their personalities, as she also did in the letters and other documents.

None of my ancestors came by way of Ellis Island, and on Dad’s side they were all in this country by the time of the Revolutionary War. I once pondered doing a series of novels on them, but I’m still intimidated by the technical challenges – a realistic language they can speak and we can understand being high among them.

Witness, I might add, has an extra dimension in Quaker thinking. It’s not just what one sees or hears but how one lives. The goal is integrity, as in wholeness or consistency. Is that what others see in us or our lives and work? Or even as our goal and ideal, even when we fall short reaching for it?

And, as a final twist, I’m realizing that the Indigenous perspective of looking back seven generations when making decisions for the future would take me back to the birth of Orphan George in 1701.

I do find that mindboggling.

~*~

You can find my genealogical gleanings on my Orphan George blog.

The novels, meanwhile, are available in the digital platform of your choice at Smashwords, the Apple Store, Barnes & Noble’s Nook, Scribd, Sony’s Kobo, and other fine ebook retailers. They’re also available in paper and Kindle at Amazon, or you can ask your local library to obtain them.

A baroque twist runs through my distilled expression

~ Jnana Hodson ~ Leave a comment

Samuel Johnson and his baroque literary constructions gave a big push to my writing ambitions after high school. Let me just say I’ve loved the clarity of Mozart from my adolescence on, and Bach and Handel have risen in my estimation in the years since. The brash English master fell right into that, though I now see again just how irreverent he was, despite all of his professed orthodoxy.

What it means it that I’m comfortable reading and writing certain kinds of complex sentences that are foreign to modern readers. Perhaps I should apologize? At least it’s not the only way I put sentences in line. Still, there’s a richness that’s missing in Hemingway and his progeny.

And here I am, drilled in the newspaper journalism Papa Ernie claimed was his inspiration. Think again. (Ernie? Makes me think of Pyle, and his big desk at the Indiana Daily Student, where I once collaborated.)

But then there’s Nicholson Baker’s effortless spinning of sentences of 250 to 300 words spanning a full book page. What wonder!

My wife has noted the dichotomy between my fondness for many Old Ways and the rule-breaking, experimental edge of so much of my writing and thinking. She can point, for instance, to my fascination with the fiery writings of early Quakers in the mid-1660s placed in contrast to wild hippie extremes.

Are they really that different, though? I feel they enrich and deepen each other.

Well, to go back to the late ‘60s, let me share a personals ad I placed in the Purdue Exponent, which charged by the word.

~*~

ANNOUNCING

Dr. Samuel Johnson’s first eventful super cosmic transcendental celestial love in, incorporating the essence of mystical human enigmatic & existential psychic understanding & zodialogical causes of karmic experiences in the metaphysical process.

Syllogistic examination of cerebral chemo electrical phenomena are hitherto banished to the outermost polarities of unconscious stimulation for the duration of the aforesaid soiree.

All persons, souls, and spirits seeking admittance to the heurese beuverie must present evidence of psychological and physical preparedness & predispositions for the event. Mind blowing, seclusivenessly introverted behavior, and abstinence from mind-liberating drugs, drink, or sex, will be considered detrimental to the well-being of the sociological matrix selected for hedonistic propensities &, to avoid contamination & empoisonment of the purity of the greater society therein gathered, will be cause for expulsion.

Adoption & encasement in persona & masquerade are desired for the happening; the playwright hereby assumes no further responsibility for the roles assumed by the characters. Coming soon at your local neighborhood hanging, where all else be suspended for the duration.

RSVP

~*~

In case you’re wondering, she wasn’t impressed.

I have come a long way since then, in more ways than one.

My, that is embarrassing.

That said, you can find my novels in the digital platform of your choice at Smashwords, the Apple Store, Barnes & Noble’s Nook, Scribd, Sony’s Kobo, and other fine ebook retailers. They’re also available in paper and Kindle at Amazon, or you can ask your local library to obtain them.