Where Books and Readers Come Together
Many readers who cross the literary environs and pages of Frankenstein, or The Modern Prometheus by Mary Shelley (1818) will close the last pages of the book and consider Victor Frankenstein as one who is tragically flawed.
Even though E.M. Forster’s Aspects of the Novel was first written and used for lectures inside the classroom at Trinity College, Cambridge, I cannot help but to imagine sitting in a stuffy classroom, loosening my collar, briefly staring out the window onto a sunny spring day in 1927 only to be drawn back to a powerful sermon concerning the craft of writing, given by a professional who knew what he was talking about.
In Blood Meridian, Cormac McCarthy provides the reader with an overwhelming experience of cowboys roaming the range in search of scalps, either Mexican or American Indians.
In The Art of Fiction’s preface, Gardner writes: “About all that is required is that the would-be writer understand clearly what it is that he wants to become and what he must do to become it.”
Master Class in Fiction Writing (2006) by Adam Sexton is a useful tool and guide along the way of crafting memorable fiction.
One Hundred Years of Solitude (1967) by Gabriel García Márquez is a brilliant book by a true master, storyteller and magician. While on a family vacation in Acapulco, Gabriel García Márquez became struck with a vision of a story that, in two years, would become the sensational novel called One Hundred Years of Solitude.
Not only has Coetzee brought David’s character to life and allowed to live his own life the way the character desires, the reader is simultaneously not repulsed but compelled to keep reading, keep digging, keep hoping like David that punishment will not go on forever.
”The fair girl advanced and bent over me till I could feel the movement of her breath upon me. Sweet it was in one sense, honey-sweet, and sent the same tingling through the nerves as her voice, but with a bitter underlying the sweet, a bitter offensiveness, as one smells in blood.”
In most of Cormac McCarthy’s books there is usually a male character on some sort of quest.
Alice’s Adventures in Wonderland (1865) and Through the Looking Glass (1871) by Charles Lutwidge Dodgson illustrate the child-ego’s attempt to mature and understand its own mortality in a world often found morally strange and ridiculous, a world that adults eventually learn to accept as normal.
The Hero with a Thousand Faces (1949) by Joseph Campbell is the book that awakened in writers and storytellers in publishing and in screenwriting to the larger scope of mythology as metaphor and to the underlining structure of stories.
The Stranger or L’Etranger (1946) by Albert Camus (who was awarded the Nobel Prize for Literature in 1957) is translated from the French in my edition of the book by Matthew Ward.
“There was nothing to do about his father, and he had thought it all through many times. The handsome job the undertaker had done on his father’s face had not blurred in his mind and all the rest of it was quite clear, including the responsibilities.”
Immediately there is a question of metaphor in the title itself. ”A day made of glass” has an untold number of connotations. First, glass can either be extremely durable (as advertised in the video) but it can also be fragile. The future itself, as presented in the video, would be in a delicate state, or flux, of durability and destruction.
The collection starts with a bang with ”The Garden Party” (1922) by Katherine Mansfield and then tumbles its way through some well-known stories that are usually read in high school and college. There’s Hemingway’s ”The Three-Day Blow” (1925), E.M. Forster’s ”The Other Side of the Hedge” (1947), Henry James’s ”Brooksmith” (1892), Rudyard Kipling’s ”The Courting of Dinah Shadd” (1899) and Alexander Poushkin’s ”The Shot” (1894) translated by T. Keane.
