I once had a creative-writing teacher who would tactfully condemn a line of student verse by saying, in the long-suffering yet indulgent tone with which a wife might scold her husband for once again forgetting to put the cat out, “It sounds like poetry.”
The New Yorker’s new lit blog opens by talking about Death of a Salesman, and whether we should now come to the conclusion, after all these years, that it sucks. And I have to admit, he makes a compelling argument.
But I also think it’s significant that he opens the essay by quoting a teacher of creative writing. This is an issue that comes up frequently among the MFA set, and I think among all serious writers: to what extend does writing poison our appreciation for texts?
Because no matter that Harvey might not life Salesman, or that he can find specific faults with it — on some level, clearly it works. I don’t just mean in the cynical sense of, “Gee, it’s made a lot of money over the years, so it must be doing something right!” I mean, many many people have been moved, provoked — have generally found great worth in this play. So can we really come along now and declare it broken? Or maybe it is broken, and maybe that doesn’t matter all that much.
In writing courses and clubs, you can’t help but pick up a handful of writing “truisms”: “Never use adverbs.” “Use dialogue tags when only absolutely necessary.” “Never have a character look in a mirror.” And then, inevitably, writers go off into the world with their new found knowledge and declare, “I can’t read Nabokov — there are adverbs everywhere!” “I had to throw Anna Karenina away when she looked in a mirror.”
Being an editor is even worse. When I was fiction editor for Fugue, I developed countless pet peeves that usually resulted in insta-rejects. Second person narration was one, stories about bad relationships was another. Do I really think the world has exhausted the topic of the bad relationship? That there is no more to say about such a scenario? Of course not. It’s just that it’s (naturally enough) a common topic, and after the 500th one, they start to develop a certain sameness. I got sick of it. But a reader who only reads 5-10 short stories a year is probably not so sick of hearing about bad relationships.
Recently some writer friends of mine were discussing their desire to “turn off” this hypercritical side of themselves, to be able to enjoy things once again as “regular” people do. I have mixed feelings, I guess. It’s nice to have the tools to explain why a certain piece of art — even a very famous and admired piece — leaves us cold. But it can be dangerous to extrapolate “rules” for an endeavor which is, at its best, inherently lawless.






He was jittery on their honeymoon, spilled a glass of red wine on her dress. “I’m sorry,” he told her, but she smiled placidly back. “I forgive you,” she said.