Charles Dickens by Jane Smiley

Dedicated readers of this site know that I am a big fan of the Penguin Lives series. These succinct – usually under 20 pages – but lively biographies written by famous authors from a variety of fields provide a great introduction to their respective subjects. They are also a lot easier to carry around than the massive tomes that seem the staple of academic biography. In her take on Charles Dickens Pulitzer Prize winning novelist and dedicated letter writer, Jane Smiley fulfills the promise of this series by illuminating the life, work, and impact of this great literary figure in a mere 207 pages. Smiley situates Dickens in his time, connects him to contemporary writers, provides insights into his work, and even provides some thought provoking opinions about writing. She accomplishes all of this with a light touch and flair for cultural commentary.

In taking on Charles Dickens Smiley has a daunting challenge. As she notes in the introduction, Dickens’ “literary sensibility” is perhaps the “most amply documented literary sensibility in the world.” Dickens prodigious output – fifteen novels, ten of which were 800 pages or more, not to mention untold articles, stories, plays, etc. – and public life made him a true celebrity before the age of celebrity. In this way, Smiley views Dickens as a sort of precursor or bridge to modernity. In the way he chose to live his life, in the subjects he dealt with, and in way the public reacted to him Smiley shows Dickens to be a subject modern readers can relate to.

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Thought for the day: Why write fiction?

I still do not know what impels anyone sound of mind to leave dry land and spend a lifetime describing people who do not exist. If it is child’s play, an extension of make believe – something one is frequently assured by people who write about writing – how to account for the overriding wish to do that, just that, only that, and consider it as rational an occupation as riding a bicycle over the Alps?

Mavis Gallant, Selected Stories (1996)
(found in The Oxford Dictionary of Literary Quotations)

Thought for the day: Why write fiction?

I still do not know what impels anyone sound of mind to leave dry land and spend a lifetime describing people who do not exist. If it is child’s play, an extension of make believe – something one is frequently assured by people who write about writing – how to account for the overriding wish to do that, just that, only that, and consider it as rational an occupation as riding a bicycle over the Alps?

Mavis Gallant, Selected Stories (1996)
(found in The Oxford Dictionary of Literary Quotations)

Collected Miscellany from the Twilight Zone

Miscellaneous Thoughts on Books and Boxes and Boxes of Books.

During the last week I have been moving…home and office…and experiencing various degrees of displacement. I often think that our [human beings] location in the world…that physical place we reside…defines much of who we are. If we choose to stay in one particular place, a certain apartment, a certain house, a certain suburb or city, it’s because we find it comfortable to do so. This does not mean we are comfortable in that place. Nor does it mean we are happy there.

Observation of people around me indicates that for the most part we are creatures of habit– prefering to ‘make do’ despite the ability to ‘make change.’ Hence, we allow ourselve to become part of the overall landscape of the place we are in, slowly losing the ability to uproot ourselves and make positive changes in our lives; relocate to a more prosperous place, exploring options that beckon us in our dreams, prefering, instead, to settle in, allowing life to ‘happen’ all around us, but not within us.

Moving from a small ranch home, where my office took up the back bedroom and my fiance’s office took up the dining room, to a house where we have office space totally separate from the living areas of the house, was our attempt to uproot ourselves from a comfortable existence that was becoming slightly moldy. Certainly, we recognized that we could not continue to exist in that cramped space we had overfilled with file cabinets and bookcases.

It was the bookcases, finally, that convinced us we needed to move. They were threatening to devour the file cabinets, the desks, the rugs– overflowing into the living room and basement, threatening to qualify us for the Guiness Book of World Records as “the couple that disappeared into their vast, unchartered library.”

The move was not pleasant. It didn’t merely rain, it poured! The grown children participated reluctantly and, in the end, banded together to inform us that the next time we move, they are staging a Fahrenheit 451 on the front lawn. The books, they declared, would make a nice bonfire!

The thought of giving up even one book apalled us so greatly we could do little more than stare at these strange creatures we used to call our children, wondering who, really, had spawned them?

Books are the places we escape to…those otherworld universes that deport us to places we cannot reach by car or bike or foot. Between the two of us, my fiance and I have a full library, of sorts. Books on knowledge management, on law, on writing, on business, sales, marketing, children’s literature. We have bookcases of classics, bookscases of popular fiction writers, bookcases of reference materials. And, as I write this, there are more books winging their way to us through the U.S. postal service.

While the books, and their preservation, were a prime reason for our move (we wanted more space for more books, you see, not necessarily more space for ourselves, although the two are not mutually exclusive), the move itself was to suck us out of the comfortable place we were slowly sinking into, in the other house. We had great need for progress. The kind of progress in life and in work that only comes with physical change; a new mindset, a new thought process, a review of who we are and where we are going.

That we guarded the carting of the books more closely than the furniture, the kitchen utensils or the knick-knacks, is testament to our commitment to their value in our lives. Our books are part and parcel of our collected beings. They represent the knowledge of who we are; sum and substance of our need to learn, to motivate ourselves to achieve, to connect with other human beings via words; words meant to convey something unique to each pair of eyeballs reading them.

And, that, in a sentence, is the moral of the story. In order to be unique, to offer the world some measure of difference, one needs to learn the art of change; the art of reinvention; to enter the Twilight Zone and make it your own. To embrace change as a goal, change from home to home, office to office, city to city, country to country, skill to skill, is to evolve and morph beyond the essence of plots or themes created in books written in the last century or the last millennium. It’s the continuing evolution of the human condition that begins in the womb when your mother or father reads aloud from Dr. Seuss, Stuart Little, or Charlotte’s Web, thus exposing you to ideas and realms that become a sort of Twilight Zone, until you learn to make sense of them. It should continue for a lifetime, this eagerness to read and learn and embrace opportunity, because without books, humanity becomes little more than perfecting survival skills.

Let’s hear it for boxes of books and welcoming change in the Twilight Zone.

Even in the rain.

MJ Rose

MJ Rose the author of THE HALO EFFECT did a virtual book tour earlier this week. She is interviewed herewith.

CM: Welcome to Collected Miscellany. Can you tell us something about
your background?

M.J. Rose: I’m the author of five novels, Lip Service, In Fidelity, Flesh
Tones
, Sheet Music and most recently The Halo Effect. I’m also is a contributor
to Writer’s Digest, Poets & Writers, Oprah Magazine, The Readerville Journal,
and Pages. I’m the co-writer of How to Publish and Promote Online with Angela
Adair Hoy of, and with Doug Clegg of Buzz Your Book.

I graduated from Syracuse University and spent the ’80s in advertising. I was the Creative Director of Rosenfeld Sirowitz and Lawson and have a commercial in the Museum of Modern Art in NYC. I live in Connecticut with Doug Scofield, a composer, and our very spoiled dog, Winka. You can contact me here

CM: Your first novel was self-published. How did you find a New York
publisher?

Getting published has been an adventure for me. I self-published Lip Service late in 1998 after several traditional publishers turned it down. Editors had loved it, but didn’t know how to position it or market it since it didn’t fit
into any one genre. Frustrated, but curious and convinced that there was a
readership for my work, I set up a web site where readers could download my book for $9.95 and began to seriously market the novel on the Internet.
After selling over 2500 copies (in both electronic and trade paper format)
Lip Service became the first e-book and the first self-published novel chosen by
the LiteraryGuild/Doubleday Book Club and then my agent got back into the process and sold Lip Service to Pocket Books making Lip Service the first e-book to go on to be published by a mainstream New York publishing house.
Since then I’ve been called the “poster girl” of e-publishing by Time magazine and have been profiled in Forbes, The New York Times, Business 2.0, Working Woman, Newsweek, Poets & Writers and other publications, both in the U.S. and abroad. I’ve also appeared on The Today Show, Fox News & The Jim Lehrer NewsHour.

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The Film People Are Here

This coming Friday I’ll be attending a Writers Conference. If you’ve never attended one, you should know that conferences are the wellspring of great literature.

Badges are color-coded. Editors and publishers are the rarest form of life at these things; there may be a half dozen of them and several hundred writers. To control the deranged behavior of the writerly mob, ‘pitch sessions’ are organized; editors and agents, the gatekeepers, are seated in a ballroom. They have little tables with their names displayed along with a pitcher of water, two glasses and a handy periodical in the event your pitch proves less interesting than the current cover of People Magazine.

The ‘pitch’ is typically ten minutes long. The writer has coughed up about twenty bucks for the opportunity to reduce years of work to a pithy ‘hook.’ After a quick handshake, it’s important to remember your name (it’s on your badge), title and genre of your work, reasons why you wrote it and your qualifications. For fiction it’s helpful to be really famous; if you’re on the cover of People that week, your pitch will go extremely well.

A waiter from an exotic land may stop by to spill water on your synopsis; don’t panic. Most literature is water soluble.

After your pitch, volunteers will lead you away to a crying room. There you’ll compare notes with other writers who suddenly recall in vivid detail what they’d intended to say during the now completed pitch.

You’ll lurk in the hallway while famous agents and editors speed by on their way to the restroom; even you’re trained in downfield tackling, it’s not recommended you leap at them with a story idea.

Thus refreshed, you sign up for another pitch. The atmosphere changes and a hush comes over the throng; book people retreat because THE FILM PEOPLE ARE HERE.

Pitching to ‘film people’ is different. First of all, they talk fast. The sunglasses they wear reflect the ballroom lighting in a weird and distracting manner. When they ask you see in the film version of work, say something like ‘Charles Laughton.’ Go ahead, it’s fun. Thumb through People; strike a pose.

A film pitch is kind of like receiving CPR for a heart attack you haven’t had yet. If they remove their sunglasses at any point during your pitch, make eye-contact. It builds trust.

This is how deals are made, careers launched, books and movies are bought. Adam Smith once said the marketplace is efficient; of course, he’s never been to a Writers Conference.