Tasting Life Twice

Archive for the category “Storytelling”

The Secret of Gene Norris

In My Reading Life, Pat Conroy pays tribute to his high school English teacher who, in addition to being an important mentor, ended up becoming a very close friend. In their final phone conversation, as Gene Norris was dying with cancer, he said to Pat:

“Tell me a story,”he commanded, and I did.

Those were the last words he ever spoke to me, and they formed an exquisite, unimprovable epitaph for a man whose life was rich in the guidance of children not his own.  He taught them a language that was fragrant with beauty, treacherous with loss, comfortable with madness and despair, and a catchword for love itself.  His students mourned Gene all over the world, wherever they found themselves.  All were ecstatic to be part of the dance.

One student who was part of the dance of Gene Norris’ life was a young lady who showed up at the reception that followed Norris’ funeral. Conroy writes,

“As I walked along a side street, a beautiful young woman called out to me, ‘Mr. Conroy?’

I turned and this pretty woman kissed me and said, “You don’t know me, but we met when I was three years old.  You were the May king and my sister was the May queen.’”

“Ah!  Your sister is the lovely Gloria Burns,” I said.  “But why are you here?  Did you know Mr. Norris?  You’re too young to have been a student of his.”

“My first year at Robert Smalls,” she said, “I was such a mess.  In trouble.  Boys.  Drugs.  That kind of thing.  They sent me to Mr. Norris.”

“He was good, wasn’t he?”

“Mr. Norris told me to come to his office every day at lunch.  We could talk and get to know each other.  I went there for the next two years.  Two years. Yet he didn’t even know me.”

“You got the best of Gene,” I said.

“He saved my life.  He literally saved my life.”

“Come on in,” I said, putting my arm around her.  “I’ll introduce you to a couple of hundred people who’ll tell you the same thing.”

“Mr. Norris acted like I was the most important girl in the world,” she said.

“You were.  That was Gene’s secret.  All of us were.”

Literature as the Master of a Thousand Disguises

image Recently a friend gave me an excellent read by Pat Conroy, My Reading Life.  The book is a celebration of literature, language and the magic of storytelling.  Conroy talks about the significance of some important books in his life, including Gone With the Wind, Look Homeward, Angel and War and Peace.  He pays tribute to some influential people in his life, mentioning his mother,Frances, a mentor named Gene Norris and a bookstore owner named Cliff Graubart. 

Conroy tells of being a student at The Citadel and taking an English class with Colonel Harrison.  He writes of the day when Colonel Harrison read Walt Whitman’s poem, “When Lilacs Last in the Dooryard Bloom’d.”  This early excerpt describes the power of the spoken word and of fiction to transform a life.  It reminds me of something Yann Martel once said: “the great thing about books is that they give you more lives.”

Here’s the selection:

“With the softest of voices, he read to his class the poet’s moving elegy on the death of Abraham Lincoln.  Halfway through his recitation, he confessed to us that he always wept whenever he read that particular poem.  He apologized to the class for his lack of professionalism.  He wiped his glass and, with tears streaming down his face, he dismissed the class and headed toward his office.  The grandson of a Confederate office had been moved to tears by a poem commemorating the assassination of Abraham Lincoln.  For me that day will last forever.  I had no idea that poetry could bring a grown man to his knees until Colonel Harrison proved it.  It ratified a theory of mine that great writing could sneak up on you, master of a thousand disguises: prodigal kinsman, messenger boy, class clown, commander of artillery, altar boy, lace maker, exiled king, peacemaker, or moon goddess.  I had witnessed with my own eyes that a poem made a colonel cry.  Though it was not part of a lesson plan, it imparted a truth that left me spellbound.  Great words, arranged with cunning and artistry, could change the perceived world for some readers.  From the beginning I’ve searched out those writers unafraid to stir up the emotions, who entrust me with their darkest passions, their most indestructible yearnings, and their most soul-killing doubts.  I trust the great novelists to teach me how to live, how to feel, how to love and hate.  I trust them to show me the dangers I will encounter on the road as I stagger on my own trouble passage through a complicated life of books that try to teach me how to die.”

Stories from the Extraordinary Parish

The Scottish pastor/novelist George MacDonald wrote in the voice of one of his characters:

I have never sat down with my parishioners without finding that they actually possess a history, the most marvelous and important fact to a human being.  And I have come to the conclusion, not that this was an extraordinary parish of characters, but that every parish must be extraordinary from the same cause. (The Parish Papers)

Just this week in my extraordinary parish I have heard some extraordinary stories, of a bear kill in northern Ontario (from a tree stand with the bear shaking the tree); of a young man and his girlfriend who hiked four days on the Incan trail only to stop dead in their tracks at the sight of Machu Picchu which gloriously, suddenly appears out of the dense forest cover; a lady who has amassed two million frequent flier miles on her airline as gift to her retired self; of a small town news publisher who refuses to fire a sport writer who can’t write because of his loyalty to the man he hired; of a sixteen year old boy struggling to overcome a disease that has cost him forty pounds and his efforts to replace a used jeep that caught fire last spring and many other such stories. 

It was Wesley who used to say, “the world is my parish”, and even in its ordinariness, what an extraordinary place it is. 

Making Saints from an Old Bucket

image Yesterday at church I made reference to Wendell Berry’s essay, “The Work of Local Culture”.  He uses an evocative metaphor of an old bucket hanging on a fencepost and the miracle of making earth that takes place inside there over many years.  He connects what goes on inside that bucket with what goes on in the work of an individual life and community.  His image helps one appreciate the value of storytelling, the slow growth that is involved in becoming “a human being fully alive” and the role that our losses (“death, gravity and decay”) play in bringing about life. 

For many years, my walks have taken me down an old fencerow in a wooded hollow on what was once my grandfather’s farm.  A battered galvanized bucket is hanging on a fence post near the head of the hollow, and I never go by it without stopping to look inside.  For what is going on in” that bucket is the most momentous thing I know, the greatest miracle that I have ever heard of: it is making earth.  The old bucket has hung there through many autumns, and the leaves have fallen around it and some have fallen into it, or been carried into it by squirrels; mice and squirrels have eaten the meat of the nuts and left the shells; they and other animals have left their droppings; insects have flown into the bucket and died and decayed; birds have scratched in it and left their droppings or perhaps a feather or two.  This slow work of growth and death, gravity and decay, which is the chief work of the world, has by now produced in the bottom of the bucket several inches of black humus.  I look into that bucket with fascination because I am a farmer of sorts and an artist of sorts, and I recognize there an artistry and a farming far superior to mine, or to that of any human.  I have seen the same process at work immemorially over most of the land surface of the world.  All creatures die into it, and they live by it….

However small a landmark the old bucket is, it is not trivial.  It is one of the signs by which I know my country and myself.  And to me it is irresistibly suggestive in the way it collects leaves and other woodland sheddings as they fall through time.  It collect stories, too, as they fall through time.  It is irresistibly metaphorical.  It is doing in a passive way what a human community must do actively and thoughtfully.  A human community, too, must collect leaves and stories, and turn them into account.  It must build soil, and build that memory of itself – in lore and story and song – that will be its culture.  These two kinds of accumulation, of local soil and local culture, are intimately related.

Resurrecting Stories from the Ground

Resistance to tyranny and oppression can take many forms.  During the Holocaust, there were those who fled to other countries, took up arms, plotted an assassination attempt or retreated to the forests.  Another effort that is equally laudable and noteworthy took place in Warsaw, Poland beginning in 1940.  Emmanuel Ringleblum started a clandestine operation known as the Oyneg Shabes project.  The phrase means, “joyful Sabbath” and it involved a group of undercover researchers recording daily life inside the Warsaw Ghetto.  Ringleblum assembled a team of story-collectors, whose job it was to describe what what was happening to European Jewry under Nazi occupation.

Over a couple of years time, when everything was crumbling around them and image they were facing starvation, death, the loss of loved ones and possessions, these gallant individuals went about the ghetto collecting artifacts and stories.  Then they placed their collection of writings in milk bottles and tin cans to be buried in the earth in the hope that their stories would be raised to life after the terrible ordeal had passed.

Shortly after World War 2 had finished, resurrection happened.  Only a few of the project’s members had survived.  And one of them, Rachel Auerbach, knew where the archives were buried.  She led a team to the site and, in what was described as an “archaeological expedition”, they found the documents buried under the rubble of war.

Two of three collections would eventually be found and with them, 35,000 documents that remembered both a horrific crime and the people who suffered.

A recently published book, Who Will Write Our History by Samuel Kassow tells the story of the Oyneg Shabes project and offers another valuable contribution to Holocaust studies.  Both the Warsaw project of Ringleblum and this recent book by Kassow remind us of the power of a narrated life.

Imagination and Morality

“To me, imagination is the key to morality.  If you can’t imagine yourself as someone else, to walk in their skin, you’re more likely to hurt them or demean them or legislate against them.  The golden rule depends on the power of imagination.”

Michael Chabon

Finding our Voice

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Last evening Ron Powers was our guest at William Woods.  He spoke on the occasion of the centennial of Mark Twain’s death.  In his lecture, Powers noted how Twain not only captured the voice of the voiceless in writing in the vernacular, but he gave America a distinct literary voice. 

At age 4, little Sammy Clemens emerges from a sickbed in his family’s cabin on his Uncle John’s Quarles’s farm in Florida, MO and toddles on over to the slave quarters on the farm’s far edge. He thus enters a 300-year-old, tightly compacted subculture that within a quarter-century will be abolished. The residue of those visits will flavor his writing for the rest of his life.

Sammy can’t stay away. He plays with the children there. He listens to the speech and the singing and the storytelling of this tightly compacted subculture. He is mesmerized by the urgency of the voices and by the terrifying imagery they convey: lightning bolts, apparitions from the spirit-world, chariots swooping down from heaven, skies of blood, animals crying out.

He seems to sense that the slaves treat spoken language as a living and cherished creature, to be passed around and partaken of.

He hears music in the language. In writing Twain’s biography, I came to believe that he heard spoken language as music, and reproduced it as well as he did by calling back its tonal shifts and rhythms.

This ear for the song of the people continued throughout his life.  It was out West:

where he becomes Mark Twain. He hears the vernacular speech of the West, far from the jurisdiction of Emerson and Holmes. It is pared down to the bare bones, at once factually outrageous and emotionally true. He notices the behavior of western men; outsized and risk-taking and often drunken; and imitates it, and writes about it for the Enterprise.

The River of Characters – Real and Imagined

Sam Clemens worked as a riverboat pilot on the Mississippi River from 1857-1860.  It was there:

I got personally and familiarly acquainted with about all the different types of human nature that are to be found in fiction, biography, or history…When I find a well-drawn character in fiction or biography, I generally take a warm personal interest in him, for the reason that I have known him before – met him on the river.

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“It’s the Story, Stupid”

The children and I have been watching American Idol together and I have pointed out to them how it is not just the song that sells the singer, but the story.  That is, there are thousands of contestants across the country who can hit a wide range of notes, stay in tune and choose a good song for their voice.  But Fox distinguishes their contestants by the back stories they feature.  They are trying to sell us “likability”.  And so it is, we have stories of what people have suffered and the challenges they face:  “In our next episode, we’ll meet a divorced father of fifteen who had to get a tracheotomy after ingesting a chicken bone while performing CPR for a fellow diner at a Chinese buffet.  You won’t want to miss this.”

This is not unexpected, of course.  The advertising industry has been doing this for years.  Alan Schwartz says in The Paradox of Choice:

The point of advertising is to sell brands.  According to James Twitchell, the key insight that has shaped modern advertising came to cigarette manufacturers in the 1930s. In the course of market research, they discovered that smokers who taste-tested various cigarette brands without knowing which was which couldn’t tell them apart.  So, if the manufacturer wanted to sell more of his particular brand, he was either going to have to make it distinctive or make consumers think it was distinctive, which was considerably easier.  With that was born the practice of selling a product by associating with a glamorous lifestyle.”

How to Tell a Story: Reservoir Dogs

In the movie Reservoir Dogs, Holdaway (played by Randy Brooks who is pictured below) gives advice to Mr. Orange (played by Tim Roth) on how to go undercover as a cop and gain the trust of an organized crime cell. What follows is Quentin Tarantino’s tribute to the art of storytelling. Warning: explicit language follows. Though necessary to the character depictions and the plot of the movie, it contains offensive language.

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