Lately I’ve been enjoying Mark Steyn’s articles more. The New Criterion has featured Theodore Dalrymple rather less frequently of late (although, really, to feature him more they would have to rename the magazine “All Dalrymple, All the Time”), and I found that Mr. Steyn had filled the favorite-author void. The nice thing about his articles is that when he mentions people I have never heard of, I feel interested and pleased to learn about them (much like the man I saw in the ER who had been brought in for alcohol/vicaden/gunk-his-dog-found-under-the-fridge overdose—I don’t know if I’ve ever seen a human over the age of three with a more pleased, interested, and self-satisfied expression). This is a nice change from the way I feel when the editors of that magazine mention unknown people. Really the only appropriate reaction to them is to slit your wrists in despair at ever having presumed to try to learn anything, and then write in the last spurts of life-blood, “Sorry about all that…aw…damn…presumed aga…” So anyhow, I found that my mental picture of Mr. Steyn was changing from an intelligent skull to a kind of kindly skull.
The last page of this month’s New Criterion substituted a “Dartmouth Review” ad for their regular nekkid-girl-in-New-York picture. Again, pleased, I looked it over. In the middle, I was shocked to see a picture of a lumberjack on his yearly day in the city. My gaze bounced around to something more congenial. Ah, Father Rutler, looking very fatherly and intellectual. Then, yarrgghh, mountain man. Back to Father. Finally I hit on the words: “Mark Steyn,” then “Keynote speaker: Mark Steyn.” Then … Good Lord.
There seem to be two things to say. One is that there seems to be much more of Mr. Steyn to fill the void than I had imagined. The other is that I’m not certain if he looks like a skull or not, since there’s a noble growth of bushy beard between him and the onlooker.
Friday, April 28, 2006
Thursday, April 06, 2006
Mark Helprin
This review was supposed to be part of a "Reviews of cool books you want to read even when not forced" article someone was writing for the school newspaper. I got jumped by old mister migraine (sometimes he's coy, sometimes he's brutal), so communicating with my species was temporarily removed from the list of possible activities. I finished it anyhow, and thought it would be a shame to waste it entirely.
Review of A Soldier of the Great War and Winter's Tale
Mark Helprin’s novels are magical realism, which accepts as truth everything in the half-world of imagination that you feel is true but must remind yourself is not. And in that it differs from fantasy, which is only what you wish were true.
What this means is that a 20-year-old feels that he can out-race the girl he loves, though her horse is far better than his, the mounted police, though they are trained soldiers, and even a train—and he does. A teenage boy is terrified that the smutty pictures hidden under his bed will defy the laws of physics and burn through the floor, dropping to the floor below and into his father’s hands at dinner—and they do. A white horse escapes his master, and the exhilaration of freedom explodes within him, so that he no longer runs, but flies.
The greatness of the novels is that in freeing the world of imagination, intuition—which is also felt to be true—is freed and allowed to speak clearly. In the novel, a father is able to respond correctly when his son hurts him. The rational faculty might prompt him to forgive so that he will be forgiven, because his son didn’t really mean it, or because his relationship with his son is too precious to be lost. These are all true, but they merely surround the center of truth, which is that the father forgives the son because he knows that his son may never forgive himself.
And throughout, each sentence is a delight. Mr. Helprin clearly loves the English language and revels in his beloved’s charms.
Review of A Soldier of the Great War and Winter's Tale
Mark Helprin’s novels are magical realism, which accepts as truth everything in the half-world of imagination that you feel is true but must remind yourself is not. And in that it differs from fantasy, which is only what you wish were true.
What this means is that a 20-year-old feels that he can out-race the girl he loves, though her horse is far better than his, the mounted police, though they are trained soldiers, and even a train—and he does. A teenage boy is terrified that the smutty pictures hidden under his bed will defy the laws of physics and burn through the floor, dropping to the floor below and into his father’s hands at dinner—and they do. A white horse escapes his master, and the exhilaration of freedom explodes within him, so that he no longer runs, but flies.
The greatness of the novels is that in freeing the world of imagination, intuition—which is also felt to be true—is freed and allowed to speak clearly. In the novel, a father is able to respond correctly when his son hurts him. The rational faculty might prompt him to forgive so that he will be forgiven, because his son didn’t really mean it, or because his relationship with his son is too precious to be lost. These are all true, but they merely surround the center of truth, which is that the father forgives the son because he knows that his son may never forgive himself.
And throughout, each sentence is a delight. Mr. Helprin clearly loves the English language and revels in his beloved’s charms.
Teaching
As I walked around my writing class this morning, looking for students with questions, I saw more clearly that my relationship with them was not that of a peer, but rather that for these eight weeks of the teaching-relay I had the enormous responsibility of leading each one of these different people through to enjoying writing and being good at it.
It is a very great honor to be allowed to give new writers creative writing assignments, and to be allowed to read their writings. Some of them take my assignments and make them their own, showing me anew how little of me and how much of each student teaching is. Today, a student showed me a tender and beautiful essay about playing in the rain as a child. It is a beauty that I will treasure, and far more than I expected from my assignment of an autobiographical story.
It is a very great honor to be allowed to give new writers creative writing assignments, and to be allowed to read their writings. Some of them take my assignments and make them their own, showing me anew how little of me and how much of each student teaching is. Today, a student showed me a tender and beautiful essay about playing in the rain as a child. It is a beauty that I will treasure, and far more than I expected from my assignment of an autobiographical story.
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