MORNING REFLECTION:
DISCUSSION of Raymond Carver's stylistics and dirty realism. On the blog:
Which story did you respond to most favorably?
What as a writer can you learn from Carver's style? Would you try to write in that style?
Go to library to pick up In the Lake of the Woods. Return Carver and Age of Miracles (we need your books for the 10th grade!)
WORK ON SPECULATIVE FICTION STORIES!
HMWK: Read to CH. 7 O'Brien
In the Lake of the Woods
On its surface, In the Lake of the Woods suggests the classic locked-room mystery turned on its head. Sometime between the night and late morning of September 19, 1986, a woman vanishes near Lake of the Woods in northern Minnesota, "where the water was everything, vast and very cold, and where there were secret channels and portages and bays and tangled forests and islands without names." While the traditional locked-room mystery presents investigators - and readers - with the seemingly impossible, the disappearance of Kathy Wade poses too many possibilities, a wilderness of hypotheses. There are too many places she could have gone, too many things that could have happened to her.
As Tim O'Brien gradually reveals in this haunting, morally vertiginous novel, there were too many reasons for Kathy to vanish. All of them are connected to her husband, John, an attractive if morally confused 40-year-old politician whose career has lately ended in a defeat so humiliating that it has driven the Wades to an isolated cabin in the Minnesota woods.
A long-buried secret has resurfaced to bury John alive; perhaps it has buried Kathy along with him. John's disgrace originated in "a place with secret trapdoors and tunnels and underground chambers populated by various spooks and goblins, a place where magic was everyone's hobby...a place where the air itself was both reality and illusion, where anything might instantly become anything else."
Its geographic epicenter is the village of Thuan Yen in Vietnam. It was there, eighteen years before, that John Wade was transformed from a boy with a gift for performing magic tricks (his platoon-mates knew him as "Sorcerer") into an entranced killer.
What happened at Thuan Yen was not fiction. The events that took place there were widely reported and documented in official U.S. Army hearings and are known today as the My Lai massacre. At the heart ofIn the Lake of the Woods is its brutal re-creation of this wound in John Wade's history and his country's. Because Wade was one of many killers, Tim O'Brien intersperses his narrative with the testimony of real figures like Lieutenant Rusty Calley and U.S. Army Investigator William V. Wilson--not to mention Presidents Richard Nixon and Woodrow Wilson. Just as John's and Kathy's associates--his mother and campaign manager, her sister and co-worker--try to decipher the events at Lake of the Woods, those historical witnesses posit partial explanations for America's mysteriously aligned obsessions with politics and violence.
Clausewitz observed that war is the continuation of politics by other means. Tim O'Brien suggests that politics, at least in its American variety, is a continuation of needs more basic and more terrible even than the need for power. The craving for love, he reminds us, can drive the human soul toward acts of desperation, deceit, and even violence.
For O'Brien, as for the unnamed investigator who is his narrator, all explanations are hypotheses rather than proofs. Beyond the mystery of Kathy's disappearance and John's role in it, and even beyond the mystery of My Lai, are other riddles: What predisposed John to become a murderer? What sort of magic enabled him to make his past vanish for twenty years, and what disappeared along with it? How could he love Kathy with such self-annihilating ferocity while keeping an essential part of himself hidden from her? Was Kathy a victim of John's deceptions or a participant in them? Is John an autonomous moral agent or another victim-of a bad childhood or a bad war or the murderous pastel sunlight of Vietnam? With In the Lake of the Woods, O'Brien has reinvented the novel as a magician's trick box equipped with an infinite number of false bottoms. Kathy's disappearance remains a "magnificent giving over to pure and absolute Mystery." John believes that "to know is to be disappointed. To understand is to be betrayed." This brave and troubling novel neither betrays nor disappoints, but brings the reader into a direct confrontation with the insoluble enigmas of history, character, and evil.
Topics:
1. Almost from this novel's first page we know that Kathy Wade will vanish, and it is not long before we discover that her disappearance will remain unsolved. What, then, gives In the Lake of the Woods its undeniable suspense? What does it offer in place of the revelations of traditional mysteries?
2. Instead of a linear narrative, in which action unfolds chronologically, Tim O'Brien has constructed a narrative that simultaneously moves forward and backward in time: forward from John and Kathy's arrival at the cabin; backward into John's childhood, and beyond that to Little Big Horn and the War of Independence. It also moves laterally, into the "virtual" time that is represented by different hypotheses about Kathy's fate. What does the author accomplish with this narrative scheme? In what ways are his different narrative strands connected?
3. What does O'Brien accomplish in the sections titled "Evidence"? What information do these passages impart that is absent from the straightforward narrative? How do they alter or deepen our understanding of John as a magician, a politician, a husband, and a soldier who committed atrocities in wartime? What connections do they forge between his private tragedy and the pathologies of our public life and history? Does the testimony of (or about) such "real" people as Richard Nixon, William Calley, or George Custer lend greater verisimilitude to John's story or remind us that it--and John himself--are artifices?
4. Who is the narrator who addresses us in the "Evidence" sections? Are we meant to see him as a surrogate for the author, who also served in Vietnam and revisited Thuan Yen many years after the massacre? (See Tim O'Brien, "The Vietnam in Me," in The New York Times Magazine, October 3, 1994, pp. 48-57.) In what ways does O'Brien's use of this narrator further explode the conventions of the traditional novel?
5. One of the few things that we know for certain about John is that he loves Kathy. But what does John mean by love? How do John's feelings for his wife resemble his hopeless yearning for his father, who had a similar habit of vanishing? In what circumstances does John say "I love you"? What vision of love is suggested by his metaphor of two snakes devouring each other? Why might Kathy have fallen in love with John?
6. Although it is easy to see Kathy as the victim of John's deceptions, the author at times suggests that she may be more conscious (and therefore more complex) than she first appears. We learn, for example, that Kathy has always known about John's spying and even referred to him as "Inspector Clouseau," an ironic counterpoint to John's vision of himself as "Sorcerer." At a critical moment she rebuffs her husband's attempt at a confession. And in the final section of "Evidence," we get hints that Kathy may have planned her own disappearance. Are we meant to see Kathy as John's victim or as his accomplice, like a beautiful assistant vanishing inside a magician's cabinet?
7. Why might John have entered politics? Is he merely a cynical operator with no interest in anything but winning? Or, as Tony Carbo suggests, might John be trying to atone for his actions in Vietnam? Why might the author have chosen to leave John's political convictions a blank?
8. John's response to the horrors of Thuan Yen is to deny them: "This could not have happened. Therefore it did not." Where else in the novel does he perform this trick? How does John's way of coping with the massacre compare to the psychic strategies adopted by William Calley or Paul Meadlo? Do any of O'Brien's characters seems capable of acknowledging terrible truths directly? How does In the Lake of the Woods treat the matter of individual responsibility for evil?
9. Each of this novel's hypotheses about events at the cabin begins with speculation but gradually comes to resemble certainty. The narrator suggests that John and Kathy Wade are ultimately unknowable, as well; that any attempt to "penetrate...those leaden walls that encase the human spirit" can never be anything but provisional. Seen in this light, In the Lake of the Woods comes to resemble a magician's trick, in which every assertion turns out to be only another speculation. Given the information we receive, does any hypothesis about what happened at Lake of the Woods seem more plausible than the others? With what certainties, if any, does this novel leave us?
As Tim O'Brien gradually reveals in this haunting, morally vertiginous novel, there were too many reasons for Kathy to vanish. All of them are connected to her husband, John, an attractive if morally confused 40-year-old politician whose career has lately ended in a defeat so humiliating that it has driven the Wades to an isolated cabin in the Minnesota woods.
A long-buried secret has resurfaced to bury John alive; perhaps it has buried Kathy along with him. John's disgrace originated in "a place with secret trapdoors and tunnels and underground chambers populated by various spooks and goblins, a place where magic was everyone's hobby...a place where the air itself was both reality and illusion, where anything might instantly become anything else."
Its geographic epicenter is the village of Thuan Yen in Vietnam. It was there, eighteen years before, that John Wade was transformed from a boy with a gift for performing magic tricks (his platoon-mates knew him as "Sorcerer") into an entranced killer.
What happened at Thuan Yen was not fiction. The events that took place there were widely reported and documented in official U.S. Army hearings and are known today as the My Lai massacre. At the heart ofIn the Lake of the Woods is its brutal re-creation of this wound in John Wade's history and his country's. Because Wade was one of many killers, Tim O'Brien intersperses his narrative with the testimony of real figures like Lieutenant Rusty Calley and U.S. Army Investigator William V. Wilson--not to mention Presidents Richard Nixon and Woodrow Wilson. Just as John's and Kathy's associates--his mother and campaign manager, her sister and co-worker--try to decipher the events at Lake of the Woods, those historical witnesses posit partial explanations for America's mysteriously aligned obsessions with politics and violence.
Clausewitz observed that war is the continuation of politics by other means. Tim O'Brien suggests that politics, at least in its American variety, is a continuation of needs more basic and more terrible even than the need for power. The craving for love, he reminds us, can drive the human soul toward acts of desperation, deceit, and even violence.
For O'Brien, as for the unnamed investigator who is his narrator, all explanations are hypotheses rather than proofs. Beyond the mystery of Kathy's disappearance and John's role in it, and even beyond the mystery of My Lai, are other riddles: What predisposed John to become a murderer? What sort of magic enabled him to make his past vanish for twenty years, and what disappeared along with it? How could he love Kathy with such self-annihilating ferocity while keeping an essential part of himself hidden from her? Was Kathy a victim of John's deceptions or a participant in them? Is John an autonomous moral agent or another victim-of a bad childhood or a bad war or the murderous pastel sunlight of Vietnam? With In the Lake of the Woods, O'Brien has reinvented the novel as a magician's trick box equipped with an infinite number of false bottoms. Kathy's disappearance remains a "magnificent giving over to pure and absolute Mystery." John believes that "to know is to be disappointed. To understand is to be betrayed." This brave and troubling novel neither betrays nor disappoints, but brings the reader into a direct confrontation with the insoluble enigmas of history, character, and evil.
Topics:
1. Almost from this novel's first page we know that Kathy Wade will vanish, and it is not long before we discover that her disappearance will remain unsolved. What, then, gives In the Lake of the Woods its undeniable suspense? What does it offer in place of the revelations of traditional mysteries?
2. Instead of a linear narrative, in which action unfolds chronologically, Tim O'Brien has constructed a narrative that simultaneously moves forward and backward in time: forward from John and Kathy's arrival at the cabin; backward into John's childhood, and beyond that to Little Big Horn and the War of Independence. It also moves laterally, into the "virtual" time that is represented by different hypotheses about Kathy's fate. What does the author accomplish with this narrative scheme? In what ways are his different narrative strands connected?
3. What does O'Brien accomplish in the sections titled "Evidence"? What information do these passages impart that is absent from the straightforward narrative? How do they alter or deepen our understanding of John as a magician, a politician, a husband, and a soldier who committed atrocities in wartime? What connections do they forge between his private tragedy and the pathologies of our public life and history? Does the testimony of (or about) such "real" people as Richard Nixon, William Calley, or George Custer lend greater verisimilitude to John's story or remind us that it--and John himself--are artifices?
4. Who is the narrator who addresses us in the "Evidence" sections? Are we meant to see him as a surrogate for the author, who also served in Vietnam and revisited Thuan Yen many years after the massacre? (See Tim O'Brien, "The Vietnam in Me," in The New York Times Magazine, October 3, 1994, pp. 48-57.) In what ways does O'Brien's use of this narrator further explode the conventions of the traditional novel?
5. One of the few things that we know for certain about John is that he loves Kathy. But what does John mean by love? How do John's feelings for his wife resemble his hopeless yearning for his father, who had a similar habit of vanishing? In what circumstances does John say "I love you"? What vision of love is suggested by his metaphor of two snakes devouring each other? Why might Kathy have fallen in love with John?
6. Although it is easy to see Kathy as the victim of John's deceptions, the author at times suggests that she may be more conscious (and therefore more complex) than she first appears. We learn, for example, that Kathy has always known about John's spying and even referred to him as "Inspector Clouseau," an ironic counterpoint to John's vision of himself as "Sorcerer." At a critical moment she rebuffs her husband's attempt at a confession. And in the final section of "Evidence," we get hints that Kathy may have planned her own disappearance. Are we meant to see Kathy as John's victim or as his accomplice, like a beautiful assistant vanishing inside a magician's cabinet?
7. Why might John have entered politics? Is he merely a cynical operator with no interest in anything but winning? Or, as Tony Carbo suggests, might John be trying to atone for his actions in Vietnam? Why might the author have chosen to leave John's political convictions a blank?
8. John's response to the horrors of Thuan Yen is to deny them: "This could not have happened. Therefore it did not." Where else in the novel does he perform this trick? How does John's way of coping with the massacre compare to the psychic strategies adopted by William Calley or Paul Meadlo? Do any of O'Brien's characters seems capable of acknowledging terrible truths directly? How does In the Lake of the Woods treat the matter of individual responsibility for evil?
9. Each of this novel's hypotheses about events at the cabin begins with speculation but gradually comes to resemble certainty. The narrator suggests that John and Kathy Wade are ultimately unknowable, as well; that any attempt to "penetrate...those leaden walls that encase the human spirit" can never be anything but provisional. Seen in this light, In the Lake of the Woods comes to resemble a magician's trick, in which every assertion turns out to be only another speculation. Given the information we receive, does any hypothesis about what happened at Lake of the Woods seem more plausible than the others? With what certainties, if any, does this novel leave us?
My favorite of the Raymond Carver stories would have to be "Are These Actual Miles". The description was finely tuned so you only knew as much as the main character, Leo, did. Carver used simple language and short sentences to get his message across, which was interesting because there was a very deep message in the story. It dealt with trust and how much you should trust someone who doesn't trust you, as well as what happens when you break that trust. Carver was very good at staying ahead of the reader and left the ending open to interpretation, which was an interesting way to end the story.
ReplyDelete
ReplyDeleteMy favorite story was A Serious Talk. I went in thinking that it would be about two people talking, however, it wasn’t. Throughout the story, the husband keeps trying to talk to the wife, but she doesn’t want to. I liked how at the end, it is left open about what will happen next. All we know is that there will be a serious talk that is probably about their marriage. As a writer, I can learn that I can build up to an event, but not really get to the event. I can leave it open for the reader to decide what happens next. I will try to write in that style because I enjoyed reading it, and I want to see if I can write like that.
My favorite \Raymond Carver story was "What we talk about when we talk about love" i find it extremely interesting for how simple it is. Carvers Writing style is interesting because he doesn't use very difficult diction, most of his sentences are very short and realistic. His endings are very clever and I admire that. I could potentially try to write like that however, I don't think im clever enough to pull it off.
ReplyDeleteI like Carver's style, in the way that he starts with simple characters doing simple things but his endings shock. Like in "Tell the Women Were Going" two young men who have known each other forever go out together at first just for a drive to find something to do, but in the end it is alluded to that they raped and killed two girls. Carver captures so much. In just a few pages he is able to captivate and surprise, which is really important in short fiction. I would love to try to emulate this style and create a story all my own, but with a twist; like a punch in the chest.
ReplyDeleteThe Raymond Carver story I enjoyed the most was "Tell the Women Were Going". Everything was rather simplistic starting off, and didn't delve too much into the back stories of the two men, other than that they were simply lifelong friends. The writing features two men living a simple life and sets the story up as something completely different. Its only right at the end that the story pulls a fast one and leaves the reader completely bewildered. I feel that is why this story had the most effective impact on me, as the writing is not only deceptive, but also demonstrates, in terms of plot, that the ending is most effective part. His style of writing makes everything appear rather innocent, but can also give the tone an underlying darkness. In this matter, the story can be left to interpretation, as well as evoke strong emotions towards the audience.
ReplyDeleteThe Carver stories I found most moving were "Are These Actual Miles?" and "Popular Mechanics" because of the simple wording and surprise endings.His work is a brilliant commentary and representation of the struggles of middle class living and substance abuse. There is a lot one can take and learn from his style as he is straight to the point but still effectively describes the scene and actions without taking three pages to talk about how the sun shined through the window. I personally am heavy with my descriptions when writing fiction so it would be beneficial to attempt his "less is more" style of writing. However, I do not think I will use the "he said then she said" style in my own work. It works for Carver because he is an established writer but I fear it may come off as poor in my work.
ReplyDeleteThis was my favorite piece of literature that I've read this entire school year. His unique writing style is what really made me continue to read his short stories. His use of simplistic sentences and "he says, she says" made the short stories more effective. It made the plot easier to follow and more abrupt. I also love the anticipation of a crazy ending because it makes the reading more enjoyable and exciting. Along with Ms. Gamzon the story "Tell the Women We're Going" sticks with me the most from this collection. I had to reread the ending multiple times do to the last sentence: "Jerry used the same rock on both girls, first on the girl called Sharon and then on the one that was supposed to be Bill's". It caught me completely off guard and at first I didn't want to even guess what Raymond Carver meant by using a rock. Eventually I would like to explore writing in his format because I've never written a story that ever ended unhappy and I tend to use longer sentences.
ReplyDeleteSo far from what I've read I would have to say I responded more favorably to "Tell the women we're going" not because of the violence and cruelty during the end , but more so because of the suspense. As I'm reading this story I can't help but worry and keep reading about what is going to happen to these girls. The climax at the end was even more unexpected because what you could have guess was going to happen at the end was even more elevated and brutal than normal. Raymond Carver's style of writing is realism and risky , but that is what makes him stand out because none of his stories are sugar coated , the truth is not illustrated in a nicer way to appeal to the weak minded. He also leaves you with questions while giving you the ability in some of his stories to create your own vision of what has happened. As far as Raymond Carvers style of writing I would write like this because it is my favorite style of writing because it is exciting and real.
ReplyDeleteMy favorite story was "Gazebo". The way that Raymond Carver's stories are simple yet meaningful really draws me into the book. It seems like he writes so effortless and his work isn't like other authors. Writing in Carver's style would definitely be a change from all the unnecessary details and babbling that I usually do in stories.
ReplyDeleteI really admire Raymond Carver's style of writing. the amount of raw and realistic life situations really help captivate my attention because its something I really like to exercise and study. I love writing things that are realistic for others to read because I feel that if you do write on real life topics, more people will be able to relate and more people will favor your work. it really just reals in a general, mature audience.
ReplyDelete