Category Archives: books

Book Review: World War Z: An Oral History of the Zombie War by Max Brooks

I’ve had a hard time explaining this book to my friends. About all that comes out coherently is, “It’s nothing like the movie.”

Okay, so they both have zombies. And yes, Israel builds a giant walled city and shuts itself in. And that old guy whose job it is to believe the unbelievable, in hopes of preventing another 1973 “Arab sneak attack”? He’s in the book. But that’s about it. No Brad Pitt, no miracle plane crash survivals, no deus ex machina immunity and sneaking around a zombie-infested CDC. By the end of the book all is not peachy keen. We don’t all get inoculated against the virus and are instantly saved. We have to fight for decades against an enemy that is more like us than appearances suggest.

What I try to convey is that, to my NPR-and-Daily-Show-fueled brain, this book accurately depicts what people in the future would say if a Zombie Apocalypse were to hit our planet as it currently stands. Without naming names it manages to perfectly reflect our world. Therefore, this book is less about zombies and more about geopolitics, economics, fear and survival, and deeds both selfish and selfless. It’s a whole bunch about the military, soldiers from every corner of the globe, and the myriad ways there are to kill the undead. (It’s a lot more complicated than you might think.) It’s activists and mystics and detached teenagers and feral children, refugees and pilots and drug companies capitalizing on our panic.

Told in the form of interviews (the United Nations interviewer, unnamed and almost entirely without character, formed the basis of the Brad Pitt character in the movie) that range from just a few pages to dozens, the book is able to cover a wide range of topics and locations from Colorado and Micronesia to China and Finland. Soldiers, politicians, mercenaries and filmmakers recount their experiences in the Zombie War, and some truly are affecting. One woman recounts, with the help of her doctors, her harrowing experience that left her orphaned and alone at a very young age. Another gives a touching reflection on the nature of monarchy and castles in Europe, and another, a rollicking 20,000 Leagues Under the Sea-style adventure in a Chinese nuclear submarine. Many critics have pointed out that the voices of the many interviewees aren’t diverse enough, which may be a valid point, but I hardly noticed. Everything they recount is engaging and varied enough to overlook the fact they all sound like Max Brooks.

And about Mr. Brooks. I’d like to see his research notes, because oh my god this guy talks about everything. I felt smarter by the page.

So hopefully this little review has helped explain what this nifty little book is like. Because yes, while it’s nothing like the movie, it’s also so much more. I highly recommend it, whether you’re into zombies or not.

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Book Review: The Ocean at the End of the Lane by Neil Gaiman

ocean_at_the_end_of_the_lane_us_cover

I need to get this one out before it starts to fade. Normally I wait until my first impression is gone before talking about a book. But this time, the first impression is the true impression.

This book is childhood. We all had one. And at some point, it had to die. All that’s left are memories, which are completely separate from the real thing. Adults’ memories of childhood are like a child’s imaginings of adulthood: idealized and distorted, as if viewed from the bottom of a pond as deep as the ocean.

Or, as Gaiman puts it, “Childhood memories are sometimes covered and obscured beneath the things that come later, like childhood toys forgotten at the bottom of a crammed adult closet, but they are never lost for good.”

Our unnamed narrator starts off the story as a middle-aged man attending a funeral in his hometown. It’s been some years, and he goes back to visit the places of his childhood with a deep sense of loss, eventually making it to the farmhouse at the end of the lane. A girl used to live there, when he was seven. He can’t remember her exactly, other than she went somewhere far away–Australia, was it?–and she never came back. He sits on a bench beside the pond she told him was an ocean. Silly things, children say. A pond can’t be an ocean. Oceans are bigger than seas, which are much bigger than ponds.

Then, as he looks into the still water of the pond, he starts to remember. Things that no adult can remember looking back on their own childhood, because he remembers not only what happened but also understands it through the lens of age and experience. What happened back then, what he’d forgotten up until this moment, seems very significant

So begins the story, which I will tell you nothing about. It needs to be experienced for yourself, and it will mean something different to you than it did to me. All I can tell you is that it’s beautiful, and terrible, and frightening and real. It will make your hair stand on end, it will make you nod your head in agreement. This is, using the narrator’s terminology, “true art.” It feel like it has been a part of the world forever, and we’ve only just recently unearthed it.

One sample, not even related to the plot, of how true this is. A lot of people have latched onto a quote of Lettie Hempstock about there being no adults anywhere, which is just fabulous, but this quote was the first of a great many to bring me to tears. The narrator had previously explained that his father doesn’t like toasters so he makes all the their toast on the broiler, where it inevitably burns:

At home my father ate all the most burnt pieces of toast. “Yum!” he’d say, and “Charcoal! Good for you!” and “Burnt toast! My favorite!” and he’d eat it all up. When I was much older he confessed to me that he had not ever liked burnt toast, had only eaten it to prevent it from going to waste, and, for a fraction of a moment, my entire childhood felt like a lie: it was as if one of the pillars of belief that my world had been built upon had crumbled into dry sand.

So read this. Please, if you read anything this year. One reviewer said this book is for anyone who’s ever been a child. And I will agree. Gaiman describes his magic in a way you could almost believe it, and certainly leaves you wishing such things existed, somewhere in the world outside of our memories.

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In Defense of Pretty Much Everything I Attacked Yesterday

Okay so this is why you don’t pick fights with English teachers. I sent my friend my account of our dinner discussion and this is what happened. I post the entirety of her response here, including her lighthearted sign-off because she is just that awesome. And I concede, the English teacher wins this round.

 

Regarding Hamlet, I hope that quote was not my exact language, and if it was, I was thoroughly in the wrong (or else being sassy!). I am confident that Shakespeare wants to present a literal ghost, but there is almost no topic in literature about which I am ready to profess absolutely certainty. Hamlet, perhaps the most notoriously debated work in the language, is certainly beyond certainty (!).

As far as the ghost, we know that Shakespeare makes him visible to the audience, to Marcellus and Bernardo, and to the pointedly steady-minded Horatio (bless him). We even introduce (“Horatio says ’tis but our fantasy”) and dismiss (“I might not this believe/without the sensible and true avouch/ of mine own eyes”) the idea that it is a fantasy. Is the sensible and true avouch of Horatio’s eyes trustworthy in the play? I think so.  I guess if Old King Hamlet’s appearance is a manifestation of madness, it may be the collective illness of an assuredly troubled Denmark rather than Hamlet’s mind alone.

In context of Shakespeare’s ghosts and visions, I don’t think this one is the strongest indicator of private insanity. Is Brutus’ visitation by Caesar’s ghost a sign of madness? I would contrast the stage corporeality of Caesar and Old King Hamlet with Macbeth’s invisible dagger, where the audience is not privy to the illusion, or even to Banquo’s ghost, which appears to only one character and without speech. The ghost’s second appearance in Gertrude’s chamber is not a shared vision, and is more nebulous in my mind…but do we have to insist that if Hamlet sees him authentically once, then this latter vision can’t be deluded? I don’t think so. (I also want to be clear: I am not objecting to the suggestion that the ghost is either wicked or deceptive. Hamlet’s concerns about the origin of the ghost are shared by critics; I am willing to consider that it may not really be good old dad.)

Hamlet’s sanity is a major issue in the play, although I don’t read it as simplistically as visual delusion. This is a demonstrably brilliant youth whose behavior is erratic, irrational, and inconsistent from first act to last. His troubled reasoning, disastrous relationships, and the broken process of his revenge are, in my mind, much more central to the issue of his sanity. (How does he end up fighting a Laertes he admires in the grave of an Ophelia he abused over protestations of love that involve eating a crocodile? Jesus, Hamlet, take a nap.) The hard questions about Hamlet are not what he sees, but how he thinks and why his elegant mind ultimately fails against the brutal reality of Claudius’ Denmark.

Now – and here’s a poor transition – I don’t think the argument about whether the ghost is real is a discussion of symbolism at all, but symbolism is definitely the endless fight the world wants to have with its English teachers. In defense of teaching “symbols” in literature, I am going to put forth the following arguments:

1.      – Not everything “means” (or symbolizes) something, but we can draw well-supported conclusions what elements in a text most likely have significance.

2.      – Determining meaning is not random guessing and is not process unique to each reader. Encoding meaning is not a lucky accident on the part of good authors.

3.      – The possibility of multiple interpretations does not mean that every interpretation is valid, or that a work can “mean anything.”

Before I dive into this, I’ll concede a few things up-front. Playing the authorial intention game is a fool’s errand. Sure, Steinbeck may have meant for The Grapes of Wrath to be about that feeling you get when you love a puppy, and I can’t disprove that. If I slip into lazy language about what an author means, I should be talking about what they do. If that is Steinbeck’s intention, he’s a dismal failure. However, I can still talk about what he does in The Grapes of Wrath because I have the concrete artifact to work from. Do I know that Shakespeare meant the ghost to be real? Nope. But I think everything he does in the play indicates that it’s not imagined in Act 1.

Also, symbolism is a contentious, frustrating term. Sure, post-modernism has taught us that nothing “means” anything. So again, my intention is to look at what an element does in a work. (I’m talking strong interpretative verbs here: suggests, connotes, recalls, repeats, alludes, emphasizes, whatever.) If we want to talk about what imagery accomplishes instead of what symbols mean, that is cool by me as a permanent change.

I am going to start with the pink house and the issue of whether it “means” (or does) anything, and I’ll tie that into how we know that an element in a text may be significant. (I haven’t read The Secret Life of Bees, for the record, and I have no idea about the pink house.)

Now, this pink house could absolutely be a sensory detail. If this is, for instance, coastal Florida and the author is interested in detail-oriented literary realism, then that would be a great assumption. It is a detail that makes sense in the setting, and it fits the larger pattern of the work. Boom. That’s a reasonable reading, no secondary implications. Pink is also a color with connotative value in the Western world (femininity, romance, happiness, sweetness). I might notice, for instance, that the person living in this house matches a widely-held association with the color. I can either decide that it is a coincidence or that the author is doing it deliberately. It seems like a happy, romantic girl living in a black house might be a noteworthy choice. I’d tend towards thinking the same about one in a pink house. Pink houses are also rare in most parts of the world. If this is the wrong place for a pink house, I have more questions. One choice is that the author is a dum-dum. Maybe she is providing an inappropriate details on a whim, and it might distract or confuse readers; it may not be a decision that is effective in the text. Another option is that this detail does function in the text somehow, like drawing attention to a character or situation that is markedly different from the surroundings, or even emphasizing a surreal tone.

How do you decide between these “interpretations”? You look at context. Is this an author in control of their craft (characterization, language, thematic development, etc.), who you can assume chooses their details deliberately? Which understanding is most plausible when you look at the work as a whole? Are there other pieces of information to support an interpretation (Is the house mentioned again? Does the color association hold up? Are there other significant pink objects? Does the detail emphasize a key location in a meaningful way?)? You’re not looking for a single, inerrant answer. You’re looking for the understanding that makes the most sense overall and stands up the best to close scrutiny. The best answer might be “sensory detail; no deeper meaning,” but it might be “only an idiot ignores a pink house.” It is not skeptical to default to “it means nothing.” It is skeptical to look at context and draw a deliberate conclusion about likely meanings. My point here is that it might not have significant meaning, but we can evaluate that claim based on textual evidence.

To give another example. Imagine two books that both mention a deer-stalker hat. One is a realist novel set in northern Canada. In a single scene, a man dressing for cold weather puts on a parka, boots, and a deer-stalker which covers his ears against the cold. The hat is never mentioned again. The second is a young adult novel about a middle-schooler who solves mysteries. She finds her grandfather’s old hat and plays dress-up on the same day she decides to uncover what her creepy neighbor is up to. The hat shows up a few more times, and once it reminds her of something she saw earlier and she discovers a clue. In the first work, you get to assume the hat means nothing. In the second, it’s is reasonable to say “this isn’t a coincidence. This hat is a lighthearted allusion to Sherlock Holmes, and she ‘becomes’ a detective when she puts it on.” It’s a context game, not an argument over opinions on an inscrutable detail.

Obviously, I see interpretation as a process. Can there be multiple interpretations of a single text or detail? Absolutely.Hamlet stands up to several thoughtful, complex, contradictory readings. It’s a complex text. Are there works that do not stand up to close reading? Tons. There’s more mediocre literature than good, it falls to pieces when you start to read closely. Not everything can be “interpreted” well, but again, you can make that evaluation logically.  Does the possibility of multiple interpretations means that everything is subjective? Absolutely not. You can say that the hat in the story represents the girl’s budding sexuality, but you probably can’t support that from the text.

The frustration that English teachers have towards high schoolers who roll their eyes at symbolism is that they are almost never looking at weak interpretations. Gatsby’s green light, The Scarlet Letter’s rosebush, Gilman’s wallpaper. If you don’t believe these elements carry any significance, then the works are bewildering: are the authors just idiots who didn’t realize they kept mentioning this irrelevant stuff at significant moments? If you believe they are significant but the standard interpretations are wrong, then I am genuinely interested in your support. (I admit I am skeptical about whether a close reading of Gatsby can genuinely support an explanation of the green light unrelated to dreaming and longing.) These are images laid out and utilized with repeated, deliberate, focused care. Their meanings are not suggested once, but throughout the works. We teach these specific works because they stand up to scrutiny and can be used to teach the process. Insisting that Hawthorne’s rosebush is a guessing game is insisting that the preponderance of evidence is insufficient for discussion. I don’t know a single English teacher who believes that symbolism is beyond debate: I debate it all the time. But English teachers don’t teach from vague, deeply flawed, frustrating works. We save that for our leisure reading.

High school students hate symbolism because they don’t know how to work through the process. A lazy teacher (or SparkNotes) tells a kid that all those mentions of clothing in Macbeth represent the fact that he does not fit his role, and the kid thinks “Screw you. Those clothes are clothes.” This is the problem if they don’t understand how we reach those conclusions: it supports the illusions that teachers just decide that an element has meaning.

The last thing I am going to address is the idea that symbolism is accidental.  I am tired, so this will be quick. Sure, we have some shared cultural consciousness in a Jungian sense, and sure, meaning often develops organically in writing. But do I believe that Shakespeare’s patterns of symbolically appropriate imagery just show up one per play by luck (growth for Richard III, birds for Macbeth, sea for Twelfth Night, overgrowth and pollution for Hamlet)? No. These things appear in discernible, appropriate patterns.  Yes, there are tons of shitty authors who throw in some cheap symbols now and again. But the authors who have been scrutinized to exhaustion are generally people I believe are thoughtful, deliberate, contentious craftsmen. Can they impose their meaning on my reading? No. But my reading is only valid if I can support my interpretation from the text they craft.

JORDAN IT IS EMBARRASSING THAT I WROTE THIS MUCH AND I AM UNCERTAIN ABOUT SENDING IT. IF YOU ARE NOW FORCED TO TERMINATE THE FRIENDSHIP, YOU MAY REPLY WITH “FIRED” AND I WILL UNDERSTAND.

CHEERS.

THE END.

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Pink Houses, Yellow Wallpaper, and Green Lights: Your Guess Is as Good as Mine

(I apologize to any and all English teachers in advance. I really do love you.)

Last night we had dinner with a lovely group of people I haven’t seen in ages. Our conversation bounced from funny work stories and weddings to physics and Breaking Bad, took a strange detour into dirty Shakespeare jokes before coming back around to the terrible things teachers do to their students (several of us are teachers). After relaying a couple stories about eating in front of kids and not giving a crap, somehow, we ended up back at Shakespeare.

“I can tell you with absolute certainty that Shakespeare meant for the ghost of Hamlet’s father to be real,” said the one English teacher in attendance. I wanted to bring out that the uncertainty of Hamlet’s sanity (arguably one of the major themes of the play) puts even the existence of the ghost into doubt, since the ghost is what triggers his host of erratic behavior. However, I felt it unwise to argue with an English teacher.

My husband though is not so skittish. He recalled his experience in high school reading Sue Monk Kidd’s The Secret Life of Bees as one long argument with his teacher. One major point of contention: the color of the famous pink house. She posed the question to the class, “Why did the author choose to make the house pink?” My husband, revealing himself as maybe not a literary scholar but certainly a budding skeptic, replied, “Because she wanted to add some descriptive detail and pink is very descriptive.”

BZZZZ! WRONG ANSWER! While many things in literature are up for interpretation, according to your garden variety English teacher, symbols are DEFINITELY NOT ONE OF THEM. Disagree with this sentiment and prepare yourself to do battle.

Following the relaying of this anecdote, my physics teacher friend piped up with three little words: “The Yellow Wallpaper.” Everyone groaned. 

“I don’t see why it had to mean anything more than her going crazy!” she said. “Because she was definitely going crazy.”

“Well it has to mean something. It’s called ‘The Yellow Wallpaper,’ for Pete’s sake!”

It definitely means something. I’ve just come to the conclusion, after years of reading and years of writing, that authors (and especially English teachers), have no business telling us what that something is.

Let me make one point clear: I’m a big fan of symbols. What I’m not a fan of is being dogmatic about them.

Oh sure, there has to be limits. I’m not calling for Anarchy in the UK Lit:

“The green light represents the color of dollar bills, therefore symbolizing Gatsby placing money above his aspirations of true love!”

“M. Night used the color red to symbolize life because red is the color of blood which is the essence of life!”

“Dorothy’s Kansas was black and white because Oz was real and Kansas was the dream world! It’s the Matrix with Munchkins, baby!”

(Okay all these are American examples sorry I failed at extending my comic metaphor.)

Maybe the author intends a certain interpretation. Maybe the entire work is constructed around that interpretation. But I’m going to be so bold as to say that’s her interpretation, and she has no business imposing that upon her readers, beyond the words she’s written in the book. Sure, it’s her book, I’ll grant her that, but that doesn’t give her the right to be dogmatic. If that was her goal, she would have become an English teacher, or included a decoder ring and handy glossary of literary definitions telling us exactly what her crap’s about. Instead, she spent 100k words getting us to think about what her crap’s about. If she could have said it in any less, she wouldn’t have written a novel. She would have written a term paper.

It’s like any work of art. I can stand in front of the wall that is Guernica in the Museo Reina Sofía in Madrid and know the history behind the painting, know what Guernica is and what Picasso had painted about, but what I bring to my viewing is entirely my own. Maybe I can’t look at it and say it’s about any old thing (like making breakfast or slaying giants), but no one can tell me my reaction to it is wrong if I view it in complete honesty (and I stood in front of that thing for half an hour with tears dripping down my cheeks).

The best part is, you don’t have to know a thing about the Spanish Civil War to have an honest reaction. Some things are universal while some things are intensely personal. Often, the two overlap.

I say all this not because I’ve had battles with many an English teacher, but because I’ve noticed symbols cropping up in my own writing, completely without my bidding. I understand how fragile they are. Once I seize on one, try to pin it down, nurture it and extend it throughout the rest of the work, more often than not it disappears.

Symbols aren’t deliberate. They’re fungus, sprouting from the very makeup of the work, from the fertile ground of the subconscious. As the writer I can have a hunch about what it means, but anything more tends to kill the mystery and smacks of mental and emotional shoehorning. I try not to tell my reader how to feel or what to think. I trust her to be able to do that herself.

That being said (and here is where I add another disclaimer), we all owe a great deal to English teachers. Good ones show you how to approach literary criticism on your own terms, show you how to have a dialogue with the text, and open up new worlds of critical thinking and reflection. Without English teachers, I’d probably still be reading Illustrated Classics.

Possibly easier to read than the original.

(I promise I’m getting to that post about taking “Show, don’t tell” too seriously. The ideas are mostly there but need a good stitching together with a healthy dose of narrative logic. I swear, if tell myself I’m going to produce something my brain rebels and goes on hiatus. I’m reminded of the famous Douglas Adams quote: “I love deadlines. I love the whooshing noise they make as they go by.” I’d never make it as a freelancer. Even traditionally published novelist is looking unlikely.)

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Trust Your Readers, They Know What’s Up

“Reading Corner” by Greg Williams. This is where I grew up.

Recently I started reading a book (which I will not name, however I can tell you it’s a debut YA published this year). It had a very intriguing premise and wonderful opening but somehow felt. . . wrong. Tension was high, pacing snappy, it was peopled with interesting and sympathetic characters, but my reading experience felt distant, separate. I was more aware of the physical act of reading the book than I was of the story. It made me feel self-conscious, like I was reading my own work. Was I being too critical? Was I actively on the lookout for poor writing, and therefore vindicated when I found it?

So I put the book away and started another, from an author whose debut came out in the late 80s. Same ingredients: interesting premise, wonderful opening, great pace and characters. Except this time, I was immediately immersed in the story and lost several pleasant hours before I even stopped to take a breath.

What happened? Why was this book different from the first? I tried to chalk it up to personal preference, perhaps even my state of mind at the time, but the more I thought about it, the more concrete my thoughts became. It wasn’t until writing yesterday’s post that I realized exactly what the problem was.

The first author hadn’t trusted me enough to figure things out for myself.

Reading is an experience. What the reader experiences is completely separate from what the writer experiences–and not just because the writer has a backstage pass. Readers bring a lot of baggage into a story: preconceived notions, different upbringing, prejudices and preferences. For example: they can be told over and over that a beautiful woman has blond hair, but if they personally find blond hair displeasing, they’re going to cast her as a brunette. That’s part of the magic of reading. We’re not restricted to the vision of anyone, not even the writer.

However. That magic can be impeded. And when it is, it’s usually the writer’s fault.

It can be very tempting to spell everything out for a reader. After all, they don’t know, do they? They only have what you tell them, and hey–you’re the artist here, not them. How can you trust them to get it right? So you hold their hand, explaining everything they need to know to fully experience your world, your ideas, your. . . unmitigated genius.

Because of this tendency, a common piece of advice given to inexperienced writers is this: “Show, don’t tell.” Let the reader figure things out from well-placed evidence and concrete details instead of blatant explanations.

This is great advice. It allows readers to be more engaged in the magic of the story and avoids insulting their intelligence. Ultimately, I think that’s why I couldn’t get into that first author’s book. He didn’t trust me, didn’t leave me any room to figure things out for myself. He connected all the dots, covered every point, even told me how to feel about what was happening to his characters.

I don’t like that. I don’t like that at all. And neither does anyone else.

Reading something like this pushes readers out of the story, effectively telling them, “You don’t know any better.” Most of the time it’s not overt; most readers won’t be able to pinpoint what’s wrong with the story. But the cumulative effect is strong enough to alienate them, and, worst-case scenario, kick them out of your story.

How do you know what to show and what to tell? Another piece of advice, closely related to the first, is: “Do not confuse what the writer needs to know with what the reader needs to know. They are not the same thing.” And this is where things start to get complicated. Because, as an inexperienced writer (heck, any writer), it’s hard to know the difference.

Next time, I’ll share some thoughts about what happens when writers take “Show, don’t tell” too far, swinging toward the opposite end of the spectrum and not telling readers anything. It’s an easy trap to fall into, and one I’m just now starting to climb out of.

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The Novelist’s Wife Speaks Out

To wrap up my series on writers and their secret worlds, I’d like to share with you the thoughts of Amanda Palmer, a musician who happens to be married to a writer whose secret world is as big as they come: Neil Gaiman.

I’ve always had a deep and abiding respect for Neil Gaiman. His work brings to mind Hemingway’s Iceberg Theory: seven-eighths of the meaning is hidden beneath the surface. Reading him is like dipping your toe into what you think is a puddle but turns out to be an entire freaking ocean. That is the most important quality a writer can have, in my opinion. The power of subtext, the ability to say things by not saying them.

Amanda Palmer isn’t like that. As an artist she admits she’s often very literal, not well-versed in metaphor, The Queen of Feelings. The experiences of her life go into a blender on low speed and come out only slightly pureed. She’s not afraid to repurpose her life for the sake of her art.

When Neil Gaiman was writing his latest book, The Ocean at the End of the Lane, he read it aloud to his wife each night before bed. To her it was terrifying and beautiful but ultimately, just a story. When the galleys came in, and she could read it for herself, she started to see the meaning behind the words, but it wasn’t until her husband patiently explained the significance of the story that it finally hit her. This was a glimpse into the secret world of the man she loved.

I just started The Ocean at the End of the Lane last night, so I only know what the few glowing reviews I’ve read reveal, but I do know this: it’s personal. Amanda traces it back to a moment the two of them shared–or more accurately, failed to share. Neil wanted to tell her something, something personal, but she had a new song budding in her head so she asked him to wait until she could get it out on piano. Later on, when she was ready, the moment had passed. The window into her husband’s secret world had shut with them trapped on opposite sides.

Neil writes on the dedication page:

For Amanda, who wanted to know.

And Amanda writes, in the blog post:

one thing i have learned, being an artist married to another artist:
you cannot separate the self from the relationship and you cannot separate the relationship from the work.
call it poison, or call it the muse.

I’m very conscious of what I choose to share about my marriage here on my blog, but in my writing, my fiction? Anything’s game. I’ve been writing about crap that’s happened to me even before I knew it was happening.

Marriage? It’s traumatic. It knocks you upside the head, knocks you flat, even when you think you’re ready for it. It’s two completely separate lives trying to merge. Things are going to break. People don’t tell you about that. Going into it, you think you’re immune to those kinds of problems.

So I know my marriage is going to come through in my writing, because everything does. I can’t help it. I write about relationships, and marriage is the ultimate relationship. When I write about someone’s feelings getting hurt, I will pull from my memory of stored emotions. Ditto falling in love, feeling misunderstood, feeling drawn to someone you shouldn’t like, resenting someone you should. And if these feelings are produced by my marriage, so be it. I’m thankful that I’m able to feel and express the wide range of human emotion, able to make sense of it, able to relate to others and make connections.

But I’m not going to write about it on my blog. Not in any deep and meaningful way, not without permission from my husband. He’s not an artist. He’s not interested in baring his soul before the world. I’m not going to betray his wishes for something as silly as a blog. Even Amanda Palmer, The Queen of Feelings, has come to the same conclusion:

…but our *actual* relationship…the feelings and fevers and discussions and layers of attachment and complication underneath…that’s….for us. our close friends follow the intimacies of this strange journey we’re on with each other. but it’s not for the blog, it’s not really for the public.

Go read her post, “The Ocean at the End of the Lane (A Book & Marriage Review).” Very rarely do I come across something that resonates with me so deeply. (And she’s not even a Neil Gaiman fan. How incomprehensible.)

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Gift Idea!

Essential gift for families and friends of writers everywhere!

From the description:

Melia wants to be a writer just like her mom. She’s not exactly sure what a writer does, though. She sees her mom staring at the typewriter and then she sees her opening up boxes of books. But what comes in between?

Exactly what I would like to know, Melia. Exactly what I would like to know.

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