Patterns Were Set

After some discussion mainly of childhood and boyhood reading, Buechner comments: 

NOTHING WAS MORE remote from my thought at this period than theological speculation—except for Greene's, these books were all childhood or early boyhood reading—but certain patterns were set, certain rooms were made ready, so that when, years later, I came upon Saint Paul for the first time and heard him say, "God chose what is foolish in the world to shame the wise, God chose what is weak in the world to shame the strong, God chose what is low and despised in the world, even things that are not, to bring to nothing things that are," I had the feeling that I knew something of what he was talking about. Something of the divine comedy that we are all of us involved in. Something of grace. 

- Originally published in The Sacred Journey 

Books Like These

The following meditation is from a talk on the occasion of the presentation of the Whiting Writers' awards: 

THE WRITERS WHO get my personal award are the ones who show exceptional promise of looking at their lives in this world as candidly and searchingly and feelingly as they know how and then of telling the rest of us what they have found there most worth finding. We need the eyes of writers like that to see through. We need the blood of writers like that in our veins.  

* * * 

J.D. Salinger's The Catcher in the Rye was one of the first books I read that did it to me, that started me on the long and God knows far from finished journey on the way to becoming a human being—started making that happen. What I chiefly learned from it was that even the slobs and phonies and morons that Holden Caulfield runs into on his travels are, like Seymour Glass's Fat Lady, "Christ Himself, buddy," as Zooey explains it to his sister Franny in the book that bears her name. Even the worst among us are precious. Even the most precious among us bear crosses. That was a word that went straight into my bloodstream and has been there ever since. Along similar lines I think also of Robertson Davies' Deptford trilogy, Ford Madox Ford's The Good Soldier, Rose Macaulay's The Towers of Trebizond, George Garrett's Death of the Fox, some of the early novels of John Updike like The Poorhouse Fair and The Centaur, John Irving's A Prayer for Owen Meany. I think of stories like Flannery O'Connor's "The Artificial Nigger" and Raymond Carver's "Feathers" and works of non-fiction, to use that odd term (like calling poetry non-prose) such as Annie Dillard's Holy the Firm and Geoffrey Wolff's The Duke of Deception and Robert Capon's The Supper of the Lamb or plays like Death of a Salesman or Our Town. 

- Originally published in The Clown in the Belfry  

"Open a Vein"

The following meditation is from a talk on the occasion of the presentation of the Whiting Writers' awards: 

I WISH THAT I had told my writing students to give some thought to what they wanted their books to make happen inside the people who read them, and I also wish that I had told them what Red Smith said about writing although I suppose it is possible that he hadn't gotten around to saying it yet . . . What Red Smith said was more or less this: "Writing is really quite simple; all you have to do is sit down at your typewriter and open a vein"—another hematological image. From the writer's vein into the reader's vein: for better or worse a transfusion. 

I couldn't agree with Red Smith more. For my money anyway, the only books worth reading are books written in blood. . . 

Write about what you really care about is what he is saying. Write about what truly matters to you—not just things to catch the eye of the world but things to touch the quick of the world the way they have touched you to the quick, which is why you are writing about them. Write not just with wit and eloquence and style and relevance but with passion. Then the things that your books make happen will be things worth happening—things that make the people who read them a little more passionate themselves for their pains, by which I mean a little more alive, a little wiser, a little more beautiful, a little more open and understanding, in short a little more human. I believe that those are the best things that books can make happen to people, and we could all make a list of the particular books that have made them happen to us.  

- Originally published in The Clown in the Belfry and later in Listening to Your Life

Word and Deed

The following meditation is from a talk on the occasion of the presentation of the Whiting Writers' awards: 

I THINK OF PAINTING and music as subcutaneous arts. They get under your skin. They may get deeper than that eventually, but it takes a while, and they get there to some extent tinged by if not diluted by the conditions under which you saw them or heard them. Writing on the other hand strikes me as intravenous. As you sit there only a few inches from the printed page, the words you read go directly into the bloodstream and go into it at full strength. More than the painting you see or the music you hear, the words you read become in the very act of reading them part of who you are, especially if they are the words of exceptionally promising writers. If there is poison in the words, you are poisoned; if there is nourishment, you are nourished; if there is beauty, you are made a little more beautiful. In Hebrew, the word dabar means both word and also deed. A word doesn't merely say something, it does something. It brings something into being. It makes something happen. What do writers want their books to make happen?  

- Originally published in The Clown in the Belfry 

"Creative" Writing

The following meditation is from a talk on the occasion of the presentation of the Whiting Writers' awards: 

SOMETIME IN THE early 1950s, for two years running, I taught creative writing at the summer session of the Washington Square branch of N.Y.U. . . . I was uneasy about teaching creative writing for a number of reasons, one of which was that I've never been sure that it is something that can really be taught—for better or worse, I don't think anybody ever taught it to me anyway—and another that I had absolutely no idea how to teach it right if it was. But my main uneasiness came from somewhere else. Suppose, I thought, that by some fluke I did teach it at least right enough so that maybe a couple of people, say, learned how to write with some real measure of effectiveness and power. The question then became for me what were they going to write effectively and powerfully about? Suppose they chose to write effective and powerful racist tracts or sadistic pornography or novels about warped and unpleasant people doing warped and unpleasant things? Or, speaking less sensationally, suppose they used the skills I had somehow managed to teach them to write books simply for the sake of making a name for themselves, or making money, or making a stir. It seemed to me and still does that to teach people how to write well without knowing what they are going to write about is like teaching people how to shoot well without knowing what or whom they are going to shoot at. 

- Originally published in The Clown in the Belfry