Look back in anger dramatist crossword clue

Complete each note taking CHAPTER for "Professor". You may need to use more than one page template provided in the attachment for note taking depending on the the length of notes. For note taking for each chapter, include key moments of nuance and key details of the chapter. All notes must be bulleted.

For the questions for each chapter (provided in the second attachment), please answer all questions regarding "Professor". Please apply the key parts of each Professor chapter to the book "Frankenstein" (if possible). Note that when a chapter question only has you focus on Frankenstein, regarding another text is not necessary. Answers MUST be in the form of a developed paragraph. Chapter Note Templates, Questions, and Professor Book is in the attachment below.

Dedication

For my sons, Robert and Nathan

Contents

DEDICATION

PREFACE

INTRODUCTION How’d He Do That?

1. Every Trip Is a Quest (Except When It’s Not)

2. Nice to Eat with You: Acts of Communion

3. Nice to Eat You: Acts of Vampires

4. Now, Where Have I Seen Her Before?

5. When in Doubt, It’s from Shakespeare . . .

6. . . . Or the Bible

7. Hanseldee and Greteldum

8. It’s Greek to Me

9. It’s More Than Just Rain or Snow

10. Never Stand Next to the Hero

INTERLUDE Does He Mean That?

11. . . . More Than It’s Gonna Hurt You: Concerning Violence

12. Is That a Symbol?

13. It’s All Political

14. Yes, She’s a Christ Figure, Too

15. Flights of Fancy

16. It’s All About Sex . . .

17. . . . Except Sex

18. If She Comes Up, It’s Baptism

19. Geography Matters . . .

20. . . . So Does Season

INTERLUDE One Story

21. Marked for Greatness

22. He’s Blind for a Reason, You Know

23. It’s Never Just Heart Disease . . . And Rarely Just Illness

24. Don’t Read with Your Eyes

25. It’s My Symbol and I’ll Cry If I Want To

26. Is He Serious? And Other Ironies

27. A Test Case

POSTLUDE: Who’s in Charge Here?

ENVOI

APPENDIX: Reading List

ACKNOWLEDGMENTS

INDEX

About the Author

Praise for How to Read Literature Like a Professor

Also by Thomas C. Foster

Copyright

About the Publisher

Preface

THE AMAZING THING ABOUT BOOKS is how they have lives of their own. Writers think they know their business when they sit down to compose a new work, and I suppose they do, right up to the moment when the last piece of punctuation gets planted on the final sentence. More often than not, that punctuation is a period. It should be a question mark, though, because what occurs from then on is anybody’s guess.

The classic example is the writer whose best book goes thud upon release. Think Herman Melville or F. Scott Fitzgerald. Melville must have thought, after finding large readerships for earlier novels, that the crazed search for the white whale would be a smash. It wasn’t. Nor was Fitzgerald’s tale of a romantic dreamer trying to rewrite his past. The Great Gatsby is so much subtler, so much more insightful about human nature and its historical moment, than his earlier books that it is almost inconceivable that his huge audience turned away. On the other hand, maybe that is why it turned away. Successfully predicting the coming calamity looks a lot like an excess of gloominess—until the disaster arrives. Humankind, observed Fitzgerald’s contemporary T. S. Eliot, cannot bear too much reality. In any case, Fitzgerald lived only long enough to see his books largely out of print, his royalties nonexistent. It would take another generation for the world to discover how great Gatsby truly is, three or four times that for Moby-Dick to be recognized as a masterpiece.

There are also tales, of course, of unexpected bestsellers that go on and on, as well as flashes in the pan that flare up but then die out without a trace. But it’s the Moby-Gatsby kind of story that compels our attention. If you want to know what the world thinks about a writer and her work, check back with us in, oh, two hundred years or so.

Not all stories of publication switchbacks are so stark. We all hope to find an audience—any audience—and we believe we have some idea who that will be. Sometimes we’re right, sometimes we’re all wet. What follows is a confession of sorts.

The customary acknowledgments and thanks are typically placed at the back of the book. I wish, however, to recognize one special debt of gratitude to a group whose assistance has been monumental. Indeed, without them, this revision would not have been possible. A dozen or so years ago when I was drafting the original, I was pretty clear on the audience for my book. She was a thirty- seven-year-old returning student, probably divorced, probably a nurse forced back to coursework by changes in the licensure rules of the profession. Faced with the prospect of obtaining a bachelor’s degree, she chose to follow her heart this time around and pursue a degree in English. She had always been a serious reader, but she had felt that she was missing something in her experience of literature, some deep secret her teachers had known but not imparted to her.

You think I’m kidding, right? I’m not. Teaching at a branch campus of a famous university, I meet her, or her male equivalent, the guy (usually, although there are women as well) laid off from the

assembly line at General Motors, again and again. And again. One of the great things about teaching at the University of Michigan–Flint, as opposed to the University of Michigan, is ceaseless contact with adult learners, many of whom hunger for more learning. I also have plenty of the typical-college- student type, but the nontraditional students have taught me a few things. First, never assume anything about background experience. I’ve had students who have read all of Joyce or Faulkner or Hemingway, and one who had read more Czech novels than I could ever hope to get through, as well as students who had read pretty much only Stephen King or Danielle Steel. There have been Hitchcock fanatics and devotees of Bergman and Fellini, and others who thought Dallas was high art. And you can never tell which will be which.

Second, explain yourself. They expect, and are sometimes more vocal about it than their younger classmates, to see how the trick is done. Whether they think I am the high priest or the high charlatan, they want to know how the magic works, how I arrive at my sometimes idiosyncratic readings.

And third, teach precepts, then stand aside. Once I show these older students how I work with texts, I get out of the way. This is not because of the wonders of my approach or my teaching; chiefly, what happens is that I validate something about their own way of reading that gives them permission to run free, and run they do. Younger students do, too, but they are often more inhibited, having spent their whole lives inside classrooms. There’s nothing like being out on your own to make you intellectually self-reliant.

Are these older students all geniuses? No, although a few might be. Nor are they all closet intellectuals, although more than a few are—you know, the sort who get nicknamed “Professor” because they’re seen reading books on their lunch break. But however smart they may be, they push me and school me even as I do the same to them. So I figured there must be others out there like them. And it was for that group that I wrote this book.

Boy, was I wrong. I was right, too. I have heard from quite a lot of mature readers, some of whom fit the above descriptions, others who had been English majors in college but who had been left with the feeling that something was missing, that some key element of literary study had passed them by. I would receive the occasional e-mail from such readers. Then, about two years in, the nature of those missives changed. I started hearing from English teachers. Not often, but every once in a while. And about six months after that, I started hearing from high school students. The teachers were uniformly glowing in their praise, the students mostly so. With just enough hate mail to make it clear that this wasn’t a put-up job. One student said, in one of the more printable messages, “I don’t know what the big deal is. Everything in your book I learned in ninth grade.” I told her I would like to shake her ninth-grade teacher’s hand. And no refunds. It was also at about this time that I heard indirectly that the book was being discussed on a site for Advanced Placement English teachers.

In the years since, I have been blessed to have contact with teachers and students from around the country. There have been all sorts of inquiries, from “What did you mean by X?” to “Can I apply this notion to that book that you didn’t discuss?” to “Can you look over my thesis sentence (or my whole paper)?” The first two are great, the latter less so, since it puts me in an awkward ethical position. Even so, it is flattering that students trust a complete stranger enough to ask such questions.

I have also had plenty of direct interaction. I go into several classrooms a year to talk with classes

about the book and how they’re using it. These visits are a lot of fun and almost always involve a great question or two. Needless to say, the in-person visits are largely limited to places I can drive in a few hours, although I did once go as far afield as Fort Thomas, Kentucky. I have also, thanks to the wonders of the digital age, been able to engage with students electronically. Diane Burrowes, the queen of academic marketing at HarperCollins, stays up nights thinking of new and strange ways to get me, or at least a digital version thereof, into classrooms from New Jersey and Virginia to Flagstaff, Arizona. And of course the development of platforms like Skype has made such visits almost commonplace.

What has struck me most in the ensuing years is the endless inventiveness of secondary English teachers in general and AP teachers in particular. They have figured out ways to use this book that would never have occurred to me if I taught for a thousand years. In one class, each student is assigned as the keeper of a chapter; if Sam is in charge of rain and snow, he makes a poster explaining the significant elements of the chapter, and whenever the reading involves precipitation, Sam is prepared to discuss its implications. I suspect Sam got a raw deal and has to work harder than almost anyone else, but maybe he likes being busy. In another class, students work in groups to make short movies, and every movie must incorporate at least one concept from the book. At the end of the year, they have a mock-Oscar ceremony, complete with tuxedos and statuettes (used sports trophies, I’m told). Now that’s just brilliant. What I like best about many of the schemes is the degree of student autonomy built into them. I suspect that one of the appealing elements of the book is that it lacks the apparatus of a textbook, which allows teachers to make of it what they will—and they make many different things of it. In turn, many of them pass that open-endedness along to their students, permitting them to be creative with the text and their own insights.

Is that the key to the book’s popularity among teachers? I don’t know. I was amazed when I first heard that it was being adopted for courses, my thoughts revolving around the utter absence of academic trappings (things like notes, glosses, and questions at the end of chapters, which, by the way, I’ve always hated) and the scattershot organization. I grouped the discussions in a way that felt right to me, but that’s not the same as making sense for classroom use. Indeed, I am not sure what would make sense in a classroom setting, since I have never, and would never, use the book in a course. How’s that for a confession? It is not an excess of modesty, a thing of which I have never been accused, that prevents my using it. The reason is more practical. This book contains most of my literary insights and all my jokes. If I assigned it, I would have nothing left to do. The goal of education, as I see it, is to bring students to the point where they no longer need you—in essence, to put yourself out of a job . . . ​but that retirement would be a little more sudden than I’d prefer.

So when I heard that teachers were assigning the book as summer reading, I was more than a little astonished. That it has found a home in high schools is testament to the creativity and intelligence of secondary teachers of English. They’re working at a time when, we’re told, no one reads anymore, yet they somehow manage to inspire a love of reading among their students. They work incredibly hard, grading work by as many as 150 students at a time, a load that just thinking about would make most university professors woozy. They get far too little respect and not nearly enough pay for doing a remarkable job. One of my more waggish colleagues, noting my frequent visits to secondary classes,

says that I could have my pick of any high school teaching job in America. He’s wrong, of course. I couldn’t keep up with the people already there.

To the English teachers who have made How to Read Literature Like a Professor a success, I can offer only my profound gratitude. That this book is even in print, much less in the process of being revised, is all your fault. I can’t thank each of you individually, but I would like to thank some representative members of the tribe: Joyce Haner (now retired) of Okemos High School (Michigan), for many late-night discussions at, of all places, softball team parties, as well as for being my first welcomer among Michigan teachers; Amy Anderson and Bill Spruytte of Lapeer East High School (Michigan); Stacey Turczyn of Powers Catholic High School in Flint; and Gini Wozny of Academy of the Redwoods in Eureka, California, all of whom sent their—and their students’—recommendations and suggestions for the new edition. Literally dozens of others have offered suggestions in person or via e-mail over the years, and to each of you, many, many thanks. What you do is far more important than any book.

The changes to this edition are modest but, I hope, significant. Most significant, to my troubled mind, is that I was able to remove or correct two or three howling blunders. No, I won’t tell you what they were. It’s bad enough I’ve had to live with them, so I certainly won’t broadcast my folly. And there are quite a few fit-and-finish issues I was able to resolve, little matters of grammar and orthography—needless repetitions of words or phrases, an unhappy word choice here or there, the usual niggling matters that make it so hard to read one’s own work and that make one think, “Surely I could have done better than that.” But there are also matters of substance. The chapter on sonnet shape was generally deemed not to fit the rest of the volume. It’s about form and structure, really, when the rest of the book is about figurative meaning and the way meaning deflects from one object or action or event at the surface level to something else on another. If, like me, you always liked that chapter, fear not. I’m planning a discussion of poetry, quite possibly in e-book form, so that chapter may reappear in a couple of years. The chapters on illness, heart and otherwise, have been shortened and run together; it felt as if the text was straining for length there.

In their place, I added a chapter on characterization and on why being buddies with protagonists is so bad for the health of second fiddles. There’s also a new discussion on public versus private symbols. One of the central precepts of the book is that there is a universal grammar of figurative imagery, that in fact images and symbols gain much of their power from repetition and reinterpretation. Naturally, however, writers are always inventing new metaphors and symbols that sometimes recur throughout their work, or that show up once and are never heard from again. In either case, we need a strategy for dealing with these anomalies, so I try to oblige.

I have also included, as a path toward increased analytical confidence, a meditation on taking charge of one’s own reading experience, of understanding the reader’s importance in the creation of literary meaning. It’s surprising to me how, even as they actively create readings of their own, students and other readers can still maintain an essentially passive view of experiencing texts. It’s high time they gave themselves more credit.

Of course, literature is a moving target, and thousands upon thousands of books have been published in the decade or so since the book appeared. While there is no need to overhaul the

references and examples from edition to edition, I have used a few illustrations from more recent publications. There have been some terrific developments in poetry, fiction, and creative nonfiction in the last few years, even for those of us who are not enthralled by teenage vampires or Jane Austen’s novels beset by monsters and parasitic adaptations. Mr. Darcy’s Second Cousin’s Wife Gets a Hangnail. That sort of thing. Against those trends, however, we can set the appearance of talented newcomers as well as work by established masters in the various genres, writers as diverse and interesting as Zadie Smith, Monica Ali, Jess Walter, Colum McCann, Colm Tóibín, Margaret Atwood, Thomas Pynchon, Emma Donoghue, Lloyd Jones, Adam Foulds, Orhan Pamuk, Téa Obreht, and Audrey Niffenegger. And that’s just the fiction writers. There have been startling new finds and painful losses. We sometimes hear of the death of literature or of this or that genre (the novel is a favorite whipping boy), but literature doesn’t die, just as it doesn’t “progress” or “decay.” It expands, it increases. When we feel that it has become stagnant or stale, that usually just means we ourselves are not paying sufficient attention. Whether it’s the untold story of a famous writer’s wife or the racial newcomers to a changing Britain or America or a boy in a lifeboat with a tiger or a tiger in a Balkan village or a man on a wire between the Twin Towers, new tales, as well as old tales with new wrinkles, continue to be told. Makes you want to keep getting up in the morning just to see what happens next.

While we’re on the subject of thanksgiving, I would like to express my gratitude to a critically important population. Every time I meet with students, I am inspired. In the course of my work, naturally I deal with college students, both undergraduate and graduate, on a frequent basis, and those interactions have been rich, full, frustrating, uplifting, disappointing, and sometimes downright miraculous. English majors form a large portion of that group, but thanks to the wonders of general education requirements, I have had a great deal of contact with majors in other fields (biologists are a special favorite), and they inevitably bring different skill sets, different attitudes, and different questions to the table. They make me pay attention.

I have also, for the last ten years or so, had frequent contact with high school students, an experience I wish everyone could have—not merely high-school-age young people, but teenagers in their capacity as students. A great deal has been written and said about this group, most of it negative —they don’t read, can’t write, don’t care about the world around them, don’t know anything about history or science or politics or, well, you name it. In other words, the same things that have been said about teenagers since I was one. And for a long time before that. I’m pretty sure that one day we will unearth a clay tablet or a papyrus scroll with those exact sentiments expressed. I’m sure some of it is true, that some of it has always been true. But here’s what I know, from my dealings in person and via e-mail, about high school students. They are thoughtful, interested and interesting, curious, rebellious, forward-looking, ambitious, and hardworking. When faced with the choice, many opt for the heavier workload and higher demands of AP classes, even though they could slide through something easier. They are readers. Many read—and some read a huge amount—beyond the syllabus. They write. More than a few aspire to write professionally. When told that it is nearly impossible to make a living as a writer and likely to get even harder, they still aspire to be writers. I know this from all the questions I field and the conversations we have together. And as long as there are young

people who are interested in language, in story, in poetry, in writing, there will be literature. It may move into digital realms, it may return to handmade manuscripts, it may take form in graphic novels or on screens, but it will continue to be created. And read.

A couple of years ago, I gave a talk and reading in Grand Rapids. Students from a local district came to the event to get me to sign books. Not the book that had just been published, but the one they had been assigned the previous year in tenth grade. This book. Now, lest you misunderstand, this event was after the school year, so there was no extra credit on offer. They were there because they loved their English class, which really means they loved the teacher who made the class great, and because the book was written by someone who was (a) in Michigan, (b) coming to their town, and (c) not dead. That last part made me a rarity in their school reading. The books were used. Hard used, lots of underlinings and broken spines and dog-eared covers. A couple seemed to have met a bulldozer. Several of the kids said a variation of the following statement, which I get with some frequency, “My heart sank when I saw that a book on reading was assigned, but it turned out to be pretty cool/not so bad/all right.” And they thanked me. They thanked me. I nearly wept.

Faced with all that, how could I be anything but grateful?

Introduction

How’d He Do That?

MR. LINDER? THAT MILQUETOAST? Right. Mr. Lindner the milquetoast. So what did you think the devil would look like? If he were red

with a tail, horns, and cloven hooves, any fool could say no. The class and I are discussing Lorraine Hansberry’s A Raisin in the Sun (1959), one of the great

plays of the American theater. The incredulous questions have come, as they often do, in response to my innocent suggestion that Mr. Lindner is the devil. The Youngers, an African American family in Chicago, have made a down payment on a house in an all-white neighborhood. Mr. Lindner, a meekly apologetic little man, has been dispatched from the neighborhood association, check in hand, to buy out the family’s claim on the house. At first, Walter Lee Younger, the protagonist, confidently turns down the offer, believing that the family’s money (in the form of a life insurance payment after his father’s recent death) is secure. Shortly afterward, however, he discovers that two-thirds of that money has been stolen. All of a sudden the previously insulting offer comes to look like his financial salvation.

Bargains with the devil go back a long way in Western culture. In all the versions of the Faust legend, which is the dominant form of this type of story, the hero is offered something he desperately wants—power or knowledge or a fastball that will beat the Yankees—and all he has to give up is his soul. This pattern holds from the Elizabethan Christopher Marlowe’s Dr. Faustus through the nineteenth-century Johann Wolfgang von Goethe’s Faust to the twentieth century’s Stephen Vincent Benét’s “The Devil and Daniel Webster” and Damn Yankees . In Hansberry’s version, when Mr. Lindner makes his offer, he doesn’t demand Walter Lee’s soul; in fact, he doesn’t even know that he’s demanding it. He is, though. Walter Lee can be rescued from the monetary crisis he has brought upon the family; all he has to do is admit that he’s not the equal of the white residents who don’t want him moving in, that his pride and self-respect, his identity, can be bought. If that’s not selling your soul, then what is it?

The chief difference between Hansberry’s version of the Faustian bargain and others is that Walter Lee ultimately resists the satanic temptation. Previous versions have been either tragic or comic depending on whether the devil successfully collects the soul at the end of the work. Here, the protagonist psychologically makes the deal but then looks at himself and at the true cost and recovers in time to reject the devil’s—Mr. Lindner’s—offer. The resulting play, for all its tears and anguish, is structurally comic—the tragic downfall threatened but avoided—and Walter Lee grows to heroic

stature in wrestling with his own demons as well as the external one, Lindner, and coming through without falling.

A moment occurs in this exchange between professor and student when each of us adopts a look. My look says, “What, you don’t get it?” Theirs says, “We don’t get it. And we think you’re making it up.” We’re having a communication problem. Basically, we’ve all read the same story, but we haven’t used the same analytical apparatus. If you’ve ever spent time in a literature classroom as a student or a professor, you know this moment. It may seem at times as if the professor is either inventing interpretations out of thin air or else performing parlor tricks, a sort of analytical sleight of hand.

Actually, neither of these is the case; rather, the professor, as the slightly more experienced reader, has acquired over the years the use of a certain “language of reading,” something to which the students are only beginning to be introduced. What I’m talking about is a grammar of literature, a set of conventions and patterns, codes and rules, that we learn to employ in dealing with a piece of writing. Every language has a grammar, a set of rules that govern usage and meaning, and literary language is no different. It’s all more or less arbitrary, of course, just like language itself. Take the word “arbitrary” as an example: it doesn’t mean anything inherently; rather, at some point in our past we agreed that it would mean what it does, and it does so only in English (those sounds would be so much gibberish in Japanese or Finnish). So too with art: we decided to agree that perspective—the set of tricks artists use to provide the illusion of depth—was a good thing and vital to painting. This occurred during the Renaissance in Europe, but when Western and Oriental art encountered each other in the 1700s, Japanese artists and their audiences were serenely untroubled by the lack of perspective in their painting. No one felt it particularly essential to the experience of pictorial art.

Literature has its grammar, too. You knew that, of course. Even if you didn’t know that, you knew from the structure of the preceding paragraph that it was coming. How? The grammar of the essay. You can read, and part of reading is knowing the conventions, recognizing them, and anticipating the results. When someone introduces a topic (the grammar of literature), then digresses to show other topics (language, art, music, dog training—it doesn’t matter what examples; as soon as you see a couple of them, you recognize the pattern), you know he’s coming back with an application of those examples to the main topic (voilà!). And he did. So now we’re all happy, because the convention has been used, observed, noted, anticipated, and fulfilled. What more can you want from a paragraph?

Well, as I was saying before I so rudely digressed, so too in literature. Stories and novels have a very large set of conventions: types of characters, plot rhythms, chapter structures, point-of-view limitations. Poems have a great many of their own, involving form, structure, rhythm, rhyme. Plays, too. And then there are conventions that cross genre lines. Spring is largely universal. So is snow. So is darkness. And sleep. When spring is mentioned in a story, a poem, or a play, a veritable constellation of associations rises in our imaginative sky: youth, promise, new life, young lambs, children skipping . . . on and on. And if we associate even further, that constellation may lead us to more abstract concepts such as rebirth, fertility, renewal.

Okay, let’s say you’re right and there is a set of conventions, a key to reading literature. How

do I get so I can recognize these? Same way you get to Carnegie Hall. Practice. When lay readers encounter a fictive text, they focus, as they should, on the story and the

characters: who are these people, what are they doing, and what wonderful or terrible things are happening to them? Such readers respond first of all, and sometimes only, to their reading on an emotional level; the work affects them, producing joy or revulsion, laughter or tears, anxiety or elation. In other words, they are emotionally and instinctively involved in the work. This is the response level that virtually every writer who has ever set pen to paper or fingertip to keyboard has hoped for when sending the novel, along with a prayer, to the publisher. When an English professor reads, on the other hand, he will accept the affective response level of the story (we don’t mind a good cry when Little Nell dies), but a lot of his attention will be engaged by other elements of the novel. Where did that effect come from? Whom does this character resemble? Where have I seen this situation before? Didn’t Dante (or Chaucer, or Merle Haggard) say that? If you learn to ask these questions, to see literary texts through these glasses, you will read and understand literature in a new light, and it’ll become more rewarding and fun.

Memory. Symbol. Pattern. These are the three items that, more than any other, separate the professorial reader from the rest of the crowd. English professors, as a class, are cursed with memory. Whenever I read a new work, I spin the mental Rolodex looking for correspondences and corollaries—where have I seen his face, don’t I know that theme? I can’t not do it, although there are plenty of times when that ability is not something I want to exercise. Thirty minutes into Clint Eastwood’s Pale Rider (1985), for instance, I thought, Okay, this is Shane (1953), and from there I didn’t watch another frame of the movie without seeing Alan Ladd’s face. This does not necessarily improve the experience of popular entertainment.

Professors also read, and think, symbolically. Everything is a symbol of something, it seems, until proven otherwise. We ask, Is this a metaphor? Is that an analogy? What does the thing over there signify? The kind of mind that works its way through undergraduate and then graduate classes in literature and criticism has a predisposition to see things as existing in themselves while simultaneously also representing something else. Grendel, the monster in the medieval epic Beowulf (eighth century a.d.), is an actual monster, but he can also symbolize (a) the hostility of the universe to human existence (a hostility that medieval Anglo-Saxons would have felt acutely) and (b) a darkness in human nature that only some higher aspect of ourselves (as symbolized by the title hero) can conquer. This predisposition to understand the world in symbolic terms is reinforced, of course, by years of training that encourages and rewards the symbolic imagination.

A related phenomenon in professorial reading is pattern recognition. Most professional students of literature learn to take in the foreground detail while seeing the patterns that the detail reveals. Like the symbolic imagination, this is a function of being able to distance oneself from the story, to look beyond the purely affective level of plot, drama, characters. Experience has proved to them that life

and books fall into similar patterns. Nor is this skill exclusive to English professors. Good mechanics, the kind who used to fix cars before computerized diagnostics, use pattern recognition to diagnose engine troubles: if this and this are happening, then check that. Literature is full of patterns, and your reading experience will be much more rewarding when you can step back from the work, even while you’re reading it, and look for those patterns. When small children, very small children, begin to tell you a story, they put in every detail and every word they recall, with no sense that some features are more important than others. As they grow, they begin to display a greater sense of the plots of their stories—what elements actually add to the significance and which do not. So too with readers. Beginning students are often swamped with the mass of detail; the chief experience of reading Dr. Zhivago (1957) may be that they can’t keep all the names straight. Wily veterans, on the other hand, will absorb those details, or possibly overlook them, to find the patterns, the routines, the archetypes at work in the background.

Let’s look at an example of how the symbolic mind, the pattern observer, the powerful memory combine to offer a reading of a nonliterary situation. Let’s say that a male subject you are studying exhibits behavior and makes statements that show him to be hostile toward his father but much warmer and more loving toward, even dependent on, his mother. Okay, that’s just one guy, so no big deal. But you see it again in another person. And again. And again. You might start to think this is a pattern of behavior, in which case you would say to yourself, “Now where have I seen this before?” Your memory may dredge up something from experience, not your clinical work but a play you read long ago in your youth about a man who murders his father and marries his mother. Even though the current examples have nothing to do with drama, your symbolic imagination will allow you to connect the earlier instance of this pattern with the real-life examples in front of you at the moment. And your talent for nifty naming will come up with something to call this pattern: the Oedipal complex. As I said, not only English professors use these abilities. Sigmund Freud “reads” his patients the way a literary scholar reads texts, bringing the same sort of imaginative interpretation to understanding his cases that we try to bring to interpreting novels and poems and plays. His identification of the Oedipal complex is one of the great moments in the history of human thought, with as much literary as psychoanalytical significance.

What I hope to do, in the coming pages, is what I do in class: give readers a view of what goes on when professional students of literature do their thing, a broad introduction to the codes and patterns that inform our readings. I want my students not only to agree with me that, indeed, Mr. Lindner is an instance of the demonic tempter offering Walter Lee Younger a Faustian bargain; I want them to be able to reach that conclusion without me. I know they can, with practice, patience, and a bit of instruction. And so can you.

1

Every Trip Is a Quest (Except When It’s Not)

OKAY, SO HERE’S THE DEAL: let’s say, purely hypothetically, you’re reading a book about an average sixteen-year-old kid in the summer of 1968. The kid—let’s call him Kip—who hopes his acne clears up before he gets drafted, is on his way to the A&P. His bike is a one-speed with a coaster brake and therefore deeply humiliating, and riding it to run an errand for his mother makes it even worse. Along the way he has a couple of disturbing experiences, including a minorly unpleasant encounter with a German shepherd, topped off in the supermarket parking lot where he sees the girl of his dreams, Karen, laughing and horsing around in Tony Vauxhall’s brand-new Barracuda. Now Kip hates Tony already because he has a name like Vauxhall and not like Smith, which Kip thinks is pretty lame as a name to follow Kip, and because the ’Cuda is bright green and goes approximately the speed of light, and also because Tony has never had to work a day in his life. So Karen, who is laughing and having a great time, turns and sees Kip, who has recently asked her out, and she keeps laughing. (She could stop laughing and it wouldn’t matter to us, since we’re considering this structurally. In the story we’re inventing here, though, she keeps laughing.) Kip goes on into the store to buy the loaf of Wonder Bread that his mother told him to pick up, and as he reaches for the bread, he decides right then and there to lie about his age to the Marine recruiter even though it means going to Vietnam, because nothing will ever happen for him in this one-horse burg where the only thing that matters is how much money your old man has. Either that or Kip has a vision of St. Abillard (any saint will do, but our imaginary author picked a comparatively obscure one), whose face appears on one of the red, yellow, or blue balloons. For our purposes, the nature of the decision doesn’t matter any more than whether Karen keeps laughing or which color balloon manifests the saint.

What just happened here? If you were an English professor, and not even a particularly weird English professor, you’d know

that you’d just watched a knight have a not very suitable encounter with his nemesis. In other words, a quest just happened. But it just looked like a trip to the store for some white bread. True. But consider the quest. Of what does it consist? A knight, a dangerous road, a Holy Grail

(whatever one of those may be), at least one dragon, one evil knight, one princess. Sound about right? That’s a list I can live with: a knight (named Kip), a dangerous road (nasty German shepherds), a Holy Grail (one form of which is a loaf of Wonder Bread), at least one dragon (trust me, a ’68 ’Cuda

could definitely breathe fire), one evil knight (Tony), one princess (who can either keep laughing or stop).

Seems like a bit of a stretch. On the surface, sure. But let’s think structurally. The quest consists of five things: (a) a quester, (b)

a place to go, (c) a stated reason to go there, (d) challenges and trials en route, and (e) a real reason to go there. Item (a) is easy; a quester is just a person who goes on a quest, whether or not he knows it’s a quest. In fact, usually he doesn’t know. Items (b) and (c) should be considered together: someone tells our protagonist, our hero, who need not look very heroic, to go somewhere and do something. Go in search of the Holy Grail. Go to the store for bread. Go to Vegas and whack a guy. Tasks of varying nobility, to be sure, but structurally all the same. Go there, do that. Note that I said the stated reason for the quest. That’s because of item (e).

The real reason for a quest never involves the stated reason. In fact, more often than not, the quester fails at the stated task. So why do they go and why do we care? They go because of the stated task, mistakenly believing that it is their real mission. We know, however, that their quest is educational. They don’t know enough about the only subject that really matters: themselves. The real reason for a quest is always self-knowledge. That’s why questers are so often young, inexperienced, immature, sheltered. Forty-five-year-old men either have self-knowledge or they’re never going to get it, while your average sixteen-to-seventeen-year-old kid is likely to have a long way to go in the self-knowledge department.

Let’s look at a real example. When I teach the late-twentieth-century novel, I always begin with the greatest quest novel of the last century: Thomas Pynchon’s Crying of Lot 49 (1965). Beginning readers can find the novel mystifying, irritating, and highly peculiar. True enough, there is a good bit of cartoonish strangeness in the novel, which can mask the basic quest structure. On the other hand, Sir Gawain and the Green Knight (late fourteenth century) and Edmund Spenser’s Faerie Queen (1596), two of the great quest narratives from early English literature, also have what modern readers must consider cartoonish elements. It’s really only a matter of whether we’re talking Classics Illustrated or Zap Comics. So here’s the setup in The Crying of Lot 49:

1) Our quester: a young woman, not very happy in her marriage or her life, not too old to learn, not too assertive where men are concerned.

2) A place to go: in order to carry out her duties, she must drive to Southern California from her home near San Francisco. Eventually she will travel back and forth between the two, and between her past (a husband with a disintegrating personality and a fondness for LSD, an insane ex-Nazi psychotherapist) and her future (highly unclear).

3) A stated reason to go there: she has been made executor of the will of her former lover, a fabulously wealthy and eccentric businessman and stamp collector.

4) Challenges and trials: our heroine meets lots of really strange, scary, and occasionally truly dangerous people. She goes on a nightlong excursion through the world of the outcasts and the

dispossessed of San Francisco; enters her therapist’s office to talk him out of his psychotic shooting rampage (the dangerous enclosure known in the study of traditional quest romances as “Chapel Perilous”); involves herself in what may be a centuries-old postal conspiracy.

5) The real reason to go: did I mention that her name is Oedipa? Oedipa Maas, actually. She’s named for the great tragic character from Sophocles’ drama Oedipus the King (ca. 425 b.c.), whose real calamity is that he doesn’t know who he is. In Pynchon’s novel the heroine’s resources, really her crutches—and they all happen to be male—are stripped away one by one, shown to be false or unreliable, until she reaches the point where she either must break down, reduced to a little fetal ball, or stand straight and rely on herself. And to do that, she first must find the self on whom she can rely. Which she does, after considerable struggle. Gives up on men, Tupperware parties, easy answers. Plunges ahead into the great mystery of the ending. Acquires, dare we say, self-knowledge? Of course we dare.

Still . . . You don’t believe me. Then why does the stated goal fade away? We hear less and less about the

will and the estate as the story goes on, and even the surrogate goal, the mystery of the postal conspiracy, remains unresolved. At the end of the novel, she’s about to witness an auction of some rare forged stamps, and the answer to the mystery may or may not appear during the auction. We doubt it, though, given what’s gone before. Mostly, we don’t even care. Now we know, as she does, that she can carry on, that discovering that men can’t be counted on doesn’t mean the world ends, that she’s a whole person.

So there, in fifty words or more, is why professors of literature typically think The Crying of Lot 49 is a terrific little book. It does look a bit weird at first glance, experimental and superhip (for 1965), but once you get the hang of it, you see that it follows the conventions of a quest tale. So does Huck Finn. The Lord of the Rings. North by Northwest. Star Wars . And most other stories of someone going somewhere and doing something, especially if the going and the doing wasn’t his idea in the first place.

A word of warning: if I sometimes speak here and in the chapters to come as if a certain statement is always true, a certain condition always obtains, I apologize. “Always” and “never” are not words that have much meaning in literary study. For one thing, as soon as something seems to always be true, some wise guy will come along and write something to prove that it’s not. If literature seems to be too comfortably patriarchal, a novelist like the late Angela Carter or a poet like the contemporary Eavan Boland will come along and upend things just to remind readers and writers of the falseness of our established assumptions. If readers start to pigeonhole African-American writing, as was beginning to happen in the 1960s and 1970s, a trickster like Ishmael Reed will come along who refuses to fit in any pigeonhole we could create. Let’s consider journeys. Sometimes the quest fails or is not taken up by the protagonist. Moreover, is every trip really a quest? It depends. Some days I just drive to work —no adventures, no growth. I’m sure that the same is true in writing. Sometimes plot requires that a writer get a character from home to work and back again. That said, when a character hits the road, we should start to pay attention, just to see if, you know, something’s going on there.

Once you figure out quests, the rest is easy.

2

Nice to Eat with You: Acts of Communion

PERHAPS YOU’VE HEARD THE ANECDOTE about Sigmund Freud. One day one of his students, or assistants, or some such hanger-on, was teasing him about his fondness for cigars, referring to their obvious phallic nature. The great man responded simply that “sometimes a cigar is just a cigar.” I don’t really care if the story is true or not. Actually, I think I prefer that it be apocryphal, since made- up anecdotes have their own kind of truth. Still, it is equally true that just as cigars may be just cigars, so sometimes they are not.

Same with meals in life and, of course, in literature. Sometimes a meal is just a meal, and eating with others is simply eating with others. More often than not, though, it’s not. Once or twice a semester at least, I will stop discussion of the story or play under consideration to intone (and I invariably intone in bold): whenever people eat or drink together, it’s communion . For some reasons, this is often met with a slightly scandalized look, communion having for many readers one and only one meaning. While that meaning is very important, it is not the only one. Nor, for that matter, does Christianity have a lock on the practice. Nearly every religion has some liturgical or social ritual involving the coming together of the faithful to share sustenance. So I have to explain that just as intercourse has meanings other than sexual, or at least did at one time, so not all communions are holy. In fact, literary versions of communion can interpret the word in quite a variety of ways.

Here’s the thing to remember about communions of all kinds: in the real world, breaking bread together is an act of sharing and peace, since if you’re breaking bread you’re not breaking heads. One generally invites one’s friends to dinner, unless one is trying to get on the good side of enemies or employers. We’re quite particular about those with whom we break bread. We may not, for instance, accept a dinner invitation from someone we don’t care for. The act of taking food into our bodies is so personal that we really only want to do it with people we’re very comfortable with. As with any convention, this one can be violated. A tribal leader or Mafia don, say, may invite his enemies to lunch and then have them killed. In most areas, however, such behavior is considered very bad form. Generally, eating with another is a way of saying, “I’m with you, I like you, we form a community together.” And that is a form of communion.

So too in literature. And in literature, there is another reason: writing a meal scene is so difficult, and so inherently uninteresting, that there really needs to be some compelling reason to include one in the story. And that reason has to do with how characters are getting along. Or not getting along. Come

on, food is food. What can you say about fried chicken that you haven’t already heard, said, seen, thought? And eating is eating, with some slight variations of table manners. To put characters, then, in this mundane, overused, fairly boring situation, something more has to be happening than simply beef, forks, and goblets.

So what kind of communion? And what kind of result can it achieve? Any kind you can think of. Let’s consider an example that will never be confused with religious communion, the eating scene

in Henry Fielding’s Tom Jones (1749), which, as one of my students once remarked, “sure doesn’t look like church.” Specifically, Tom and his lady friend, Mrs. Waters, dine at an inn, chomping, gnawing, sucking on bones, licking fingers; a more leering, slurping, groaning, and, in short, sexual meal has never been consumed. While it doesn’t feel particularly important thematically and, moreover, it’s as far from traditional notions of communion as we can get, it nevertheless constitutes a shared experience. What else is the eating about in that scene except devouring the other’s body? Think of it as a consuming desire. Or two of them. And in the case of the movie version of Tom Jones starring Albert Finney (1963), there’s another reason. Tony Richardson, the director, couldn’t openly show sex as, well, sex. There were still taboos in film in the early sixties. So what he does is show something else as sex. And it’s probably dirtier than all but two or three sex scenes ever filmed. When those two finish swilling ale and slurping on drumsticks and sucking fingers and generally wallowing and moaning, the audience wants to lie back and smoke. But what is this expression of desire except a kind of communion, very private, admittedly, and decidedly not holy? I want to be with you, you want to be with me, let us share the experience. And that’s the point: communion doesn’t need to be holy. Or even decent.

How about a slightly more sedate example? The late Raymond Carver wrote a story, “Cathedral” (1981), about a guy with real hang-ups: included among the many things the narrator is bigoted against are people with disabilities, minorities, those different from himself, and all parts of his wife’s past in which he does not share. Now the only reason to give a character a serious hang-up is to give him the chance to get over it. He may fail, but he gets the chance. It’s the Code of the West. When our unnamed narrator reveals to us from the first moment that a blind man, a friend of his wife’s, is coming to visit, we’re not surprised that he doesn’t like the prospect at all. We know immediately that our man has to overcome disliking everyone who is different. And by the end he does, when he and the blind man sit together to draw a cathedral so the blind man can get a sense of what one looks like. To do that, they have to touch, hold hands even, and there’s no way the narrator would have been able to do that at the start of the story. Carver’s problem, then, is how to get from the nasty, prejudiced, narrow-minded person of the opening page to the point where he can actually have a blind man’s hand on his own at the ending. The answer is food.

Every coach I ever had would say, when we faced a superior opposing team, that they put on their pants one leg at a time, just like everybody else. What those coaches could have said, in all accuracy, is that those supermen shovel in the pasta just like the rest of us. Or in Carver’s story, cube steak. When the narrator watches the blind man eating—competent, busy, hungry, and, well, normal—he begins to gain a new respect for him. The three of them, husband, wife, and visitor, ravenously consume the cube steak, potatoes, and vegetables, and in the course of that experience our narrator

finds his antipathy toward the blind man beginning to break down. He discovers he has something in common with this stranger—eating as a fundamental element of life—that there is a bond between them.

What about the dope they smoke afterward? Passing a joint doesn’t quite resemble the wafer and the chalice, does it? But thinking

symbolically, where’s the difference, really? Please note, I am not suggesting that illicit drugs are required to break down social barriers. On the other hand, here is a substance they take into their bodies in a shared, almost ritualistic experience. Once again, the act says, “I’m with you, I share this moment with you, I feel a bond of community with you.” It may be a moment of even greater trust. In any case, the alcohol at supper and the marijuana after combine to relax the narrator so he can receive the full force of his insight, so he can share in the drawing of a cathedral (which, incidentally, is a place of communion).

What about when they don’t? What if dinner turns ugly or doesn’t happen at all? A different outcome, but the same logic, I think. If a well-run meal or snack portends good things

for community and understanding, then the failed meal stands as a bad sign. It happens all the time on television shows. Two people are at dinner and a third comes up, quite unwished for, and one or more of the first two refuse to eat. They place their napkins on their plates, or say something about losing their appetite, or simply get up and walk away. Immediately we know what they think about the interloper. Think of all those movies where a soldier shares his C rations with a comrade, or a boy his sandwich with a stray dog; from the overwhelming message of loyalty, kinship, and generosity, you get a sense of how strong a value we place on the comradeship of the table. What if we see two people having dinner, then, but one of them is plotting, or bringing about the demise of the other? In that case, our revulsion at the act of murder is reinforced by our sense that a very important propriety, namely that one should not do evil to one’s dinner companions, is being violated.

Or consider Anne Tyler’s Dinner at the Homesick Restaurant (1982). The mother tries and tries to have a family dinner, and every time she fails. Someone can’t make it, someone gets called away, some minor disaster befalls the table. Not until her death can her children assemble around a table at the restaurant and achieve dinner; at that point, of course, the body and blood they symbolically share are hers. Her life—and her death—become part of their common experience.

For the full effect of dining together, consider James Joyce’s story “The Dead” (1914). This wonderful story is centered around a dinner party on the Feast of the Epiphany, the twelfth day of Christmas. All kinds of disparate drives and desires enact themselves during the dancing and dinner, and hostilities and alliances are revealed. The main character, Gabriel Conroy, must learn that he is not superior to everyone else; during the course of the evening he receives a series of small shocks to his ego that collectively demonstrate that he is very much part of the more general social fabric. The table and dishes of food themselves are lavishly described as Joyce lures us into the atmosphere:

A fat brown goose lay at one end of the table and at the other end, on a bed of creased

paper strewn with sprigs of parsley, lay a great ham, stripped of its outer skin and peppered over with crust crumbs, a neat paper frill round its shin and beside this was a round of spiced beef. Between these rival ends ran parallel lines of side-dishes: two little minsters of jelly, red and yellow; a shallow dish full of blocks of blancmange and red jam, a large green leaf-shaped dish with a stalk-shaped handle, on which lay bunches of purple raisins and peeled almonds, a companion dish on which lay a solid rectangle of Smyrna figs, a dish of custard topped with grated nutmeg, a small bowl full of chocolates and sweets wrapped in gold and silver papers and a glass vase in which stood some tall celery stalks. In the centre of the table there stood, as sentries to a fruit-stand which upheld a pyramid of oranges and American apples, two squat old-fashioned decanters of cut glass, one containing port and the other dark sherry. On the closed square piano a pudding in a huge yellow dish lay in waiting and behind it were three squads of bottles of stout and ale and minerals, drawn up according to the colours of their uniforms, the first two black, with brown and red labels, the third and smallest squad white, with transverse green sashes.

No writer ever took such care about food and drink, so marshaled his forces to create a military effect of armies drawn up as if for battle: ranks, files, “rival ends,” sentries, squads, sashes. Such a paragraph would not be created without having some purpose, some ulterior motive. Now, Joyce being Joyce, he has about five different purposes, one not being enough for genius. His main goal, though, is to draw us into that moment, to pull our chairs up to that table so that we are utterly convinced of the reality of the meal. At the same time, he wants to convey the sense of tension and conflict that has been running through the evening—there are a host of us-against-them and you- against-me moments earlier and even during the meal—and this tension will stand at odds with the sharing of this sumptuous and, given the holiday, unifying meal. He does this for a very simple, very profound reason: we need to be part of that communion. It would be easy for us simply to laugh at Freddy Malins, the resident drunkard, and his dotty mother, to shrug off the table talk about operas and singers we’ve never heard of, merely to snicker at the flirtations among the younger people, to discount the tension Gabriel feels over the speech of gratitude he’s obliged to make at meal’s end. But we can’t maintain our distance because the elaborate setting of this scene makes us feel as if we’re seated at that table. So we notice, a little before Gabriel does, since he’s lost in his own reality, that we’re all in this together, that in fact we share something.

The thing we share is our death. Everyone in that room, from old and frail Aunt Julia to the youngest music student, will die. Not tonight, but someday. Once you recognize that fact (and we’ve been given a head start by the title, whereas Gabriel doesn’t know his evening has a title), it’s smooth sledding. Next to our mortality, which comes to great and small equally, all the differences in our lives are mere surface details. When the snow comes at the end of the story, in a beautiful and moving passage, it covers, equally, “all the living and the dead.” Of course it does, we think, the snow is just like death. We’re already prepared, having shared in the communion meal Joyce has laid out for us, a communion not of death, but of what comes before. Of life.

3

Nice to Eat You: Acts of Vampires

WHAT A DIFFERENCE A PREPOSITION MAKES ! If you take the “with” out of “Nice to eat with you,” it begins to mean something quite different. Less wholesome. More creepy. It just goes to show that not all eating that happens in literature is friendly. Not only that, it doesn’t even always look like eating. Beyond here there be monsters.

Vampires in literature, you say. Big deal. I’ve read Dracula. And Anne Rice. Good for you. Everyone deserves a good scare. But actual vampires are only the beginning; not

only that, they’re not even necessarily the most alarming type. After all, you can at least recognize them. Let’s start with Dracula himself, and we’ll eventually see why this is true. You know how in all those Dracula movies, or almost all, the count always has this weird attractiveness to him? Sometimes he’s downright sexy. Always, he’s alluring, dangerous, mysterious, and he tends to focus on beautiful, unmarried (which in the social vision of nineteenth-century England meant virginal) women. And when he gets them, he grows younger, more alive (if we can say this of the undead), more virile even. Meanwhile, his victims become like him and begin to seek out their own victims. Van Helsing, the count’s ultimate nemesis, and his lot, then, are really protecting young people, and especially young women, from this menace when they hunt him down. Most of this, in one form or another, can be found in Bram Stoker’s novel (1897), although it gets more hysterical in the movie versions. Now let’s think about this for a moment. A nasty old man, attractive but evil, violates young women, leaves his mark on them, steals their innocence—and coincidentally their “usefulness” (if you think “marriageability,” you’ll be about right) to young men—and leaves them helpless followers in his sin. I think we’d be reasonable to conclude that the whole Count Dracula saga has an agenda to it beyond merely scaring us out of our wits, although scaring readers out of their wits is a noble enterprise and one that Stoker’s novel accomplishes very nicely. In fact, we might conclude it has something to do with sex.

Well, of course it has to do with sex. Evil has had to do with sex since the serpent seduced Eve. What was the upshot there? Body shame and unwholesome lust, seduction, temptation, danger, among other ills.

So vampirism isn’t about vampires? Oh, it is. It is. But it’s also about things other than literal vampirism: selfishness, exploitation, a

refusal to respect the autonomy of other people, just for starters. We’ll return to this list a bit later on.

This principle also applies to other scary favorites, such as ghosts and doppelgängers (ghost doubles or evil twins). We can take it almost as an act of faith that ghosts are about something besides themselves. That may not be true in naive ghost stories, but most literary ghosts—the kind that occur in stories of lasting interest—have to do with things beyond themselves. Think of the ghost of Hamlet’s father when he takes to appearing on the castle ramparts at midnight. He’s not there simply to haunt his son; he’s there to point out something drastically wrong in Denmark’s royal household. Or consider Marley’s ghost in A Christmas Carol (1843), who is really a walking, clanking, moaning lesson in ethics for Scrooge. In fact, Dickens’s ghosts are always up to something besides scaring the audience. Or take Dr. Jekyll’s other half. The hideous Edward Hyde exists to demonstrate to readers that even a respectable man has a dark side; like many Victorians, Robert Louis Stevenson believed in the dual nature of humans, and in more than one work he finds ways of showing that duality quite literally. In The Strange Case of Dr. Jekyll and Mr. Hyde (1886) he has Dr. J. drink a potion and become his evil half, while in his now largely ignored short novel The Master of Ballantrae (1889), he uses twins locked in fatal conflict to convey the same sense. You’ll notice, by the way, that many of these examples come from Victorian writers: Stevenson, Dickens, Stoker, J. S. Le Fanu, Henry James. Why? Because there was so much the Victorians couldn’t write about directly, chiefly sex and sexuality, they found ways of transforming those taboo subjects and issues into other forms. The Victorians were masters of sublimation. But even today, when there are no limits on subject matter or treatment, writers still use ghosts, vampires, werewolves, and all manner of scary things to symbolize various aspects of our more common reality.

The last decade of the twentieth century and the first decade (and counting) of the twenty-first could be dubbed the teen vampire era. The phenomenon can likely be traced to Anne Rice’s Interview with the Vampire (1976) and its successors in the Vampire Chronicles series (1976–2003). For a number of years Rice was a one-woman industry, but slowly other names came forward. Vampires even made it to weekly television with the unlikely hit Buffy the Vampire Slayer, which debuted in 1997. Things really took off with Stephenie Meyer’s Twilight (2005) and the series of teen-and-vampire tales it spawned. Meyer’s great innovation is to center the stories on a nonvampire teenage girl and young (these things are relative, I guess) vampire who loves her but must fight his bloodlust. Much has been made of the element of the bloodsucking (and therefore sexual) restraint of the novels, notable in a genre where traditionally the main figures have had no self-control at all. What turned out to be unrestrained was the reading appetite of teenagers; Meyer was the top-selling American author in 2008 and 2009. Critics generally cringed, but, clearly, adolescents don’t read book reviews.

Try this for a dictum: ghosts and vampires are never only about ghosts and vampires. Here’s where it gets a little tricky, though: the ghosts and vampires don’t always have to appear in

visible forms. Sometimes the really scary bloodsuckers are entirely human. Let’s look at another Victorian with experience in ghost and nonghost genres, Henry James. James is known, of course, as a master, perhaps the master, of psychological realism; if you want massive novels with sentences as long and convoluted as the Missouri River, James is your man. At the same time, though, he has some shorter works that feature ghosts and demonic possession, and those are fun in their own way, as well as a good deal more accessible. His novella The Turn of the Screw (1898) is about a governess who

tries, without success, to protect the two children in her care from a particularly nasty ghost who seeks to take possession of them. Either that or it’s about an insane governess who fantasizes that a ghost is taking over the children in her care, and in her delusion literally smothers them with protectiveness. Or just possibly it’s about an insane governess who is dealing with a particularly nasty ghost who tries to take possession of her wards. Or possibly . . . well, let’s just say that the plot calculus is tricky and that much depends on the perspective of the reader. So we have a story in which a ghost features prominently even if we’re never sure whether he’s really there or not, in which the psychological state of the governess matters greatly, and in which the life of a child, a little boy, is consumed. Between the two of them, the governess and the “specter” destroy him. One might say that the story is about fatherly neglect (the stand-in for the father simply abandons the children to the governess’s care) and smothering maternal concern. Those two thematic elements are encoded into the plot of the novella. The particulars of the encoding are carried by the details of the ghost story. It just so happens that James has another famous story, “Daisy Miller” (1878), in which there are no ghosts, no demonic possession, and nothing more mysterious than a midnight trip to the Colosseum in Rome. Daisy is a young American woman who does as she pleases, thus upsetting the rigid social customs of the European society she desperately wants to approve of her. Winterbourne, the man whose attention she desires, while both attracted to and repulsed by her, ultimately proves too fearful of the disapproval of his established expatriate American community to pursue her further. After numerous misadventures, Daisy dies, ostensibly by contracting malaria on her midnight jaunt. But you know what really kills her? Vampires.

No, really. Vampires. I know I told you there weren’t any supernatural forces at work here. But you don’t need fangs and a cape to be a vampire. The essentials of the vampire story, as we discussed earlier: an older figure representing corrupt, outworn values; a young, preferably virginal female; a stripping away of her youth, energy, virtue; a continuance of the life force of the old male; the death or destruction of the young woman. Okay, let’s see now. Winterbourne and Daisy carry associations of winter—death, cold—and spring—life, flowers, renewal—that ultimately come into conflict (we’ll talk about seasonal implications in a later chapter), with winter’s frost destroying the delicate young flower. He is considerably older than she, closely associated with the stifling Euro-Anglo-American society. She is fresh and innocent—and here is James’s brilliance—so innocent as to appear to be a wanton. He and his aunt and her circle watch Daisy and disapprove, but because of a hunger to disapprove of someone, they never cut her loose entirely. They play with her yearning to become one of them, taxing her energies until she begins to wane. Winterbourne mixes voyeurism, vicarious thrills, and stiff-necked disapproval, all of which culminate when he finds her with a (male) friend at the Colosseum and chooses to ignore her. Daisy says of his behavior, “He cuts me dead!” That should be clear enough for anyone. His, and his clique’s, consuming of Daisy is complete; having used up everything that is fresh and vital in her, he leaves her to waste away. Even then she asks after him. But having destroyed and consumed her, he moves on, not sufficiently touched, it seems to me, by the pathetic spectacle he has caused.

So how does all this tie in with vampires? Is James a believer in ghosts and spooks? Does “Daisy Miller” mean he thinks we’re all vampires? Probably not. I believe what happens here and in other

stories and novels (The Sacred Fount [1901] comes to mind) is that he deems the figure of the consuming spirit or vampiric personality a useful narrative vehicle. We find this figure appearing in different guises, even under nearly opposite circumstances, from one story to another. On the one hand, in The Turn of the Screw, he uses the literal vampire or the possessing spook to examine a certain sort of psychosocial imbalance. These days we’d give it a label, a dysfunctional something or other, but James probably only saw it as a problem in our approach to child rearing or a psychic neediness in young women whom society disregards and discards. On the other hand, in “Daisy Miller,” he employs the figure of the vampire as an emblem of the way society—polite, ostensibly normal society—battens on and consumes its victims.

Nor is James the only one. The nineteenth century was filled with writers showing the thin line between the ordinary and the monstrous. Edgar Allan Poe. J. S. Le Fanu, whose ghost stories made him the Stephen King of his day. Thomas Hardy, whose poor heroine in Tess of the D’Urbervilles (1891) provides table fare for the disparate hungers of the men in her life. Or virtually any novel of the naturalistic movement of the late nineteenth century, where the law of the jungle and survival of the fittest reign. Of course, the twentieth century also provided plenty of instances of social vampirism and cannibalism. Franz Kafka, a latter-day Poe, uses the dynamic in stories like “The Metamorphosis” (1915) and “A Hunger Artist” (1924), where, in a nifty reversal of the traditional vampire narrative, crowds of onlookers watch as the artist’s fasting consumes him. Gabriel García Márquez’s heroine Innocent Eréndira, in the tale bearing her name (1972), is exploited and put out to prostitution by her heartless grandmother. D. H. Lawrence gave us any number of short stories where characters devour and destroy one another in life-and-death contests of will, novellas like “The Fox” (1923) and even novels like Women in Love (1920), in which Gudrun Brangwen and Gerald Crich, although ostensibly in love with one another, each realize that only one of them can survive and so engage in mutually destructive behavior. Iris Murdoch—pick a novel, any novel. Not for nothing did she call one of her books A Severed Head (1961), although The Unicorn (1963) would work splendidly here, with its wealth of faux gothic creepiness. There are works, of course, where the ghost or vampire is merely a gothic cheap thrill without any particular thematic or symbolic significance, but such works tend to be short-term commodities without much staying power in readers’ minds or the public arena. We’re haunted only while we’re reading. In those works that continue to haunt us, however, the figure of the cannibal, the vampire, the succubus, the spook announces itself again and again where someone grows in strength by weakening someone else.

That’s what this figure really comes down to, whether in Elizabethan, Victorian, or more modern incarnations: exploitation in its many forms. Using other people to get what we want. Denying someone else’s right to live in the face of our overwhelming demands. Placing our desires, particularly our uglier ones, above the needs of another. That’s pretty much what the vampire does, after all. He wakes up in the morning—actually the evening, now that I think about it—and says something like, “In order to remain undead, I must steal the life force of someone whose fate matters less to me than my own.” I’ve always supposed that Wall Street traders utter essentially the same sentence. My guess is that as long as people act toward their fellows in exploitative and selfish ways, the vampire will be with us.

4

Now, Where Have I Seen Her Before?

ONE OF THE GREAT THINGS about being a professor of English is that you get to keep meeting old friends. For beginning readers, though, every story may seem new, and the resulting experience of reading is highly disjointed. Think of reading, on one level, as one of those papers from elementary school where you connect the dots. I could never see the picture in a connect-the-dot drawing until I’d put in virtually every line. Other kids could look at a page full of dots and say, “Oh, that’s an elephant,” “That’s a locomotive.” Me, I saw dots. I think it’s partly predisposition—some people handle two-dimensional visualization better than others—but largely a matter of practice: the more connect-the-dot drawings you do, the more likely you are to recognize the design early on. Same with literature. Part of pattern recognition is talent, but a whole lot of it is practice: if you read enough and give what you read enough thought, you begin to see patterns, archetypes, recurrences. And as with those pictures among the dots, it’s a matter of learning to look. Not just to look but where to look, and how to look. Literature, as the great Canadian critic Northrop Frye observed, grows out of other literature; we should not be surprised to find, then, that it also looks like other literature. As you read, it may pay to remember this: there’s no such thing as a wholly original work of literature . Once you know that, you can go looking for old friends and asking the attendant question: “now where have I seen her before?”

One of my favorite novels is Tim O’Brien’s Going After Cacciato (1978). Lay readers and students generally like it, too, which explains why it has become a perennial strong seller. Although the violence of the Vietnam War scenes may turn some readers off, many find themselves totally engrossed by something they initially figured would just be gross. What readers sometimes don’t notice in their involvement with the story (and it is a great story) is that virtually everything in there is cribbed from somewhere else. Lest you conclude with dismay that the novel is somehow plagiarized or less than original, let me add that I find the book wildly original, that everything O’Brien borrows makes perfect sense in the context of the story he’s telling, even more so once we understand that he has repurposed materials from older sources to accomplish his own ends. The novel divides into three interwoven parts: one, the actual story of the war experience of the main character, Paul Berlin, up to the point where his fellow soldier Cacciato runs away from the war; two, the imagined trip on which the squad follows Cacciato to Paris; and three, the long night watch on a tower near the South China Sea where Berlin manages these two very impressive mental feats of memory on the one hand

and invention on the other. The actual war, because it really happened, he can’t do much about. Oh, he gets some facts wrong and some events out of order, but mostly, reality has imposed a certain structure on memory. The trip to Paris, though, is another story. Actually, it’s all stories, or all those Paul has read in his young lifetime. He creates events and people out of the novels, stories, histories he knows, his own included, all of which is quite unwitting on his part, the pieces just appearing out of his memory. O’Brien provides us with a wonderful glimpse into the creative process, a view of how stories get written, and a big part of that process is that you can’t create stories in a vacuum. Instead the mind flashes bits and pieces of childhood experiences, past reading, every movie the writer/creator has ever seen, last week’s argument with a phone solicitor—in short, everything that lurks in the recesses of the mind. Some of this may be unconscious, as it is in the case of O’Brien’s protagonist. Generally, though, writers use prior texts quite consciously and purposefully, as O’Brien himself does; unlike Paul Berlin, he is aware that he’s drawing from Lewis Carroll or Ernest Hemingway. O’Brien signals the difference between novelist and character in the structuring of the two narrative frames.

About halfway through the novel, O’Brien has his characters fall through a hole in the road. Not only that, one of the characters subsequently says that the way to get out is to fall back up. When it’s stated this baldly, you automatically think of Lewis Carroll. Falling through a hole is like Alice in Wonderland (1865). Bingo. It’s all we need. And the world the squad discovers below the road, the network of Vietcong tunnels (although nothing like the real ones), complete with an officer condemned to stay there for his crimes, is every bit as much an alternative world as the one Alice encounters in her adventure. Once you’ve established that a book—a man’s book at that, a war book —is borrowing a situation from Lewis Carroll’s Alice books, anything is possible. So with that in mind, readers must reconsider characters, situations, events in the novel. This one looks like it’s from Hemingway, that one like “Hansel and Gretel,” these two from things that happened during Paul Berlin’s “real” war, and so on down the line. Once you’ve played around with these elements for a while, a kind of Trivial Pursuit of source material, go for the big one: what about Sarkin Aung Wan?

Sarkin Aung Wan is Paul Berlin’s love interest, his fantasy girl. She is Vietnamese and knows about tunnels but is not Vietcong. She’s old enough to be attractive, yet not old enough to make sexual demands on the virginal young soldier. She’s not a “real” character, since she comes in after the start of Berlin’s fantasy. Careful readers will find her “real” model in a young girl with the same hoop earrings when the soldiers frisk villagers in one remembered war scene. Fair enough, but that’s just the physical person, not her character. Then who is she? Where does she come from? Think generically. Lose the personal details, consider her as a type, and try to think where you’ve seen that type before: a brown-skinned young woman guiding a group of white men (mostly white, anyway), speaking the language they don’t know, knowing where to go, where to find food. Taking them west. Right.

No, not Pocahontas. She never led anyone anywhere, whatever the popular culture may suggest. Somehow Pocahontas has received better PR, but we want the other one.

Sacajawea. If I need to be guided across hostile territory, she’s the one I want, and she’s the one Paul Berlin wants, too. He wants, he needs, a figure who will be sympathetic, understanding, strong

in the ways he’s not, and most of all successful in bringing him safely to his goal of getting to Paris. O’Brien plays here with the reader’s established knowledge of history, culture, and literature. He’s hoping that your mind will associate Sarkin Aung Wan consciously or unconsciously with Sacajawea, thereby not only creating her personality and impact but also establishing the nature and depth of Paul Berlin’s need. If you require a Sacajawea, you’re really lost.

The point isn’t really which native woman figures in O’Brien’s novel, it’s that there is a literary or historical model who found her way into his fiction to give it shape and purpose. He could have used Tolkien rather than Carroll, and while the surface features would have been different, the principle would have remained the same. Although the story would go in different directions with a change of literary model, in either case it gains a kind of resonance from these different levels of narrative that begin to emerge; the story is no longer all on the surface but begins to have depth. What we’re trying to do is learn to read this sort of thing like a wily old professor, to learn to spot those familiar images, like being able to see the elephant before we connect the dots.

You say stories grow out of other stories. But Sacajawea was real. As a matter of fact, she was, but from our point of view, it doesn’t really matter. History is story,

too. You don’t encounter her directly; you’ve only heard of her through narrative of one sort or another. She is a literary as well as a historical character, as much a piece of the American myth as Huck Finn or Jay Gatsby, and very nearly as unreal. And what all this is about, finally, is myth. Which brings us to the big secret.

Here it is: there’s only one story. There, I said it and I can’t very well take it back. There is only one story. Ever. One. It’s always been going on and it’s everywhere around us and every story you’ve ever read or heard or watched is part of it. The Thousand and One Nights. Beloved. “Jack and the Beanstalk.” The Epic of Gilgamesh. The Story of O. The Simpsons.

T. S. Eliot said that when a new work is created, it is set among the monuments, adding to and altering the order. That always sounds to me a bit too much like a graveyard. To me, literature is something much more alive. More like a barrel of eels. When a writer creates a new eel, it wriggles its way into the barrel, muscles a path into the great teeming mass from which it came in the first place. It’s a new eel, but it shares its eelness with all those other eels that are in the barrel or have ever been in the barrel. Now, if that simile doesn’t put you off reading entirely, you know you’re serious.

But the point is this: stories grow out of other stories, poems out of other poems. And they don’t have to stick to genre. Poems can learn from plays, songs from novels. Sometimes influence is direct and obvious, as when the twentieth-century American writer T. Coraghessan Boyle writes “The Overcoat II,” a postmodern reworking of the nineteenth-century Russian writer Nikolai Gogol’s classic story “The Overcoat,” or when William Trevor updates James Joyce’s “Two Gallants” with “Two More Gallants,” or when John Gardner reworks the medieval Beowulf into his little postmodern masterpiece Grendel. Other times, it’s less direct and more subtle. It may be vague, the shape of a novel generally reminding readers of some earlier novel, or a modern-day miser recalling Scrooge. And of course there’s the Bible: among its many other functions, it too is part of the one big story. A female character may remind us of Scarlett O’Hara or Ophelia or even, say, Pocahontas.

These similarities—and they may be straight or ironic or comic or tragic—begin to reveal themselves to readers after much practice of reading.

All this resembling other literature is all well and good, but what does it mean for our reading? Excellent question. If we don’t see the reference, it means nothing, right? So the worst thing that

occurs is that we’re still reading the same story as if the literary precursors weren’t there. From there, anything that happens is a bonus. A small part of what transpires is what I call the aha! factor, the delight we feel at recognizing a familiar component from earlier experience. That moment of pleasure, wonderful as it is, is not enough, so that awareness of similarity leads us forward. What typically takes place is that we recognize elements from some prior text and begin drawing comparisons and parallels that may be fantastic, parodic, tragic, anything. Once that happens, our reading of the text changes from the reading governed by what’s overtly on the page. Let’s go back to Cacciato for a moment. When the squad falls through the hole in the road in language that recalls Alice in Wonderland, we quite reasonably expect that the place they fall into will be a wonderland in its own way. Indeed, right from the beginning, this is true. The oxcart and Sarkin Aung Wan’s aunties fall faster than she and the soldiers despite the law of gravity, which decrees that falling bodies all move at thirty-two feet per second squared. The episode allows Paul Berlin to see a Vietcong tunnel, which his inherent terror will never allow him to do in real life, and this fantastic tunnel proves both more elaborate and more harrowing than the real ones. The enemy officer who is condemned to spend the remainder of the war down there accepts his sentence with a weird illogic that would do Lewis Carroll proud. The tunnel even has a periscope through which Berlin can look back at a scene from the real war, his past. Obviously the episode could have these features without invoking Carroll, but the wonderland analogy enriches our understanding of what Berlin has created, furthering our sense of the outlandishness of this portion of his fantasy.

This dialogue between old texts and new is always going on at one level or another. Critics speak of this dialogue as intertextuality, the ongoing interaction between poems or stories. This intertextual dialogue deepens and enriches the reading experience, bringing multiple layers of meaning to the text, some of which readers may not even consciously notice. The more we become aware of the possibility that our text is speaking to other texts, the more similarities and correspondences we begin to notice, and the more alive the text becomes. We’ll come back to this discussion later, but for now we’ll simply note that newer works are having a dialogue with older ones, and they often indicate the presence of this conversation by invoking the older texts with anything from oblique references to extensive quotations.

Once writers know that we know how this game is played, the rules can get very tricky. The late Angela Carter, in her novel Wise Children (1992), gives us a theatrical family whose fame rests on Shakespearean performance. We more or less expect the appearance of elements from Shakespeare’s plays, so we’re not surprised when a jilted young woman, Tiffany, walks onto a television show set distraught, muttering, bedraggled—in a word, mad—and then disappears shortly after departing, evidently having drowned. Her performance is every bit as heartbreaking as that of Ophelia, Prince Hamlet’s love interest who goes mad and drowns in the most famous play in English. Carter’s novel is about magic as well as Shakespeare, though, and the apparent drowning is a classic bit of

misdirection. The apparently dead Tiffany shows up later, to the discomfort of her faithless lover. Shrewdly, Carter counts on our registering “Tiffany = Ophelia” so that she can use her instead as a different Shakespearean character, Hero, who in Much Ado About Nothing allows her friends to stage her death and funeral in order to teach her fiancé a lesson. Carter employs not only materials from earlier texts but also her knowledge of our responses to them in order to double-cross us, to set us up for a certain kind of thinking so that she can play a larger trick in the narrative. No knowledge of Shakespeare is required to believe Tiffany has died or to be astonished at her return, but the more we know of his plays, the more solidly our responses are locked in. Carter’s sleight of narrative challenges our expectations and keeps us on our feet, but it also takes what could seem merely a tawdry incident and reminds us, through its Shakespearean parallels, that there is nothing new in young men mistreating the women who love them, and that those without power in relationships have always had to be creative in finding ways to exert some control of their own. Her new novel is telling a very old story, which in turn is part of the one big story.

But what do we do if we don’t see all these correspondences? First of all, don’t worry. If a story is no good, being based on Hamlet won’t save it. The characters

have to work as characters, as themselves. Sarkin Aung Wan needs to be a great character, which she is, before we worry about her resemblance to a famous character of our acquaintance. If the story is good and the characters work but you don’t catch allusions and references and parallels, then you’ve done nothing worse than read a good story with memorable characters. If you begin to pick up on some of these other elements, these parallels and analogies, however, you’ll find your understanding of the novel deepens and becomes more meaningful, more complex.

But we haven’t read everything. Neither have I. Nor has anyone, not even Harold Bloom. Beginning readers, of course, are at a

slight disadvantage, which is why professors are useful in providing a broader context. But you definitely can get there on your own. When I was a kid, I used to go mushroom hunting with my father. I would never see them, but he’d say, “There’s a yellow sponge,” or “There are a couple of black spikes.” And because I knew they were there, my looking would become more focused and less vague. In a few moments I would begin seeing them myself, not all of them, but some. And once you begin seeing morels, you can’t stop. What a literature professor does is very similar: he tells you when you get near mushrooms. Once you know that, though (and you generally are near them), you can hunt for mushrooms on your own.

5

When in Doubt, It’s from Shakespeare . . .

QUICK QUIZ: What do John Cleese, Cole Porter, Moonlighting, and Death Valley Days have in common? No, they’re not part of some Communist plot. All were involved with some version of The Taming of the Shrew, by that former glover’s apprentice from Stratford-upon-Avon, William Shakespeare. Cleese played Petruchio in the BBC production of the complete Shakespeare plays in the 1970s. Porter wrote the score for Kiss Me, Kate, the modern musical-comedy version on Broadway and on film. The Moonlighting episode called “Atomic Shakespeare” was one of the funniest and most inventive on a show that was consistently funny and inventive. It was comparatively faithful to the spirit of the original while capturing the essence of the show’s regular characters. The truly odd duck here is Death Valley Days, which was an anthology show from the 1950s and 1960s sometimes hosted by a future president, Ronald Reagan, and sponsored by Twenty Mule Team Borax. Their retelling was set in the Old West and completely free of Elizabethan English. For a lot of us, that particular show was either our first encounter with the Bard or our first intimation that he could actually be fun, since in public school, you may recall, they only teach his tragedies. These examples represent only the tip of the iceberg for the perennially abused Shrew: its plot seems to be permanently available to be moved in time and space, adapted, altered, updated, set to music, reimagined in myriad ways.

If you look at any literary period between the eighteenth and twenty-first centuries, you’ll be amazed by the dominance of the Bard. He’s everywhere, in every literary form you can think of. And he’s never the same: every age and every writer reinvents its own Shakespeare. All this from a man who we’re still not sure actually wrote the plays that bear his name.

Try this. In 1982 Paul Mazursky directed an interesting modern version of The Tempest . It had an Ariel figure (Susan Sarandon), a comic but monstrous Caliban (Raul Julia), and a Prospero (famed director John Cassavetes), an island, and magic of a sort. The film’s title? Tempest. Woody Allen reworked A Midsummer Night’s Dream as his film A Midsummer Night’s Sex Comedy . Natch. The BBC series Masterpiece Theatre has recast Othello as a contemporary story of black police commissioner John Othello, his lovely white wife Dessie, and his friend Ben Jago, deeply resentful at being passed over for promotion. The action will surprise no one familiar with the original. Add that production to a nineteenth-century opera of some note based on the play. West Side Story famously reworks Romeo and Juliet, which resurfaces again in the 1990s, in a movie featuring contemporary

teen culture and automatic pistols. And that’s a century or so after Tchaikovsky’s ballet based on the same play. Hamlet comes out as a new film every couple of years, it seems. Tom Stoppard considers the role and fate of minor characters from Hamlet in his play Rosencrantz and Guildenstern Are Dead. And that bastion of high culture, Gilligan’s Island, had an episode where Phil Silvers, famous as TV’s Sergeant Bilko and therefore adding to the highbrow content, was putting together a musical Hamlet, the highlight of which was Polonius’s “Neither a borrower nor a lender be” speech set to the tune of “Habanera” from Bizet’s Carmen. Now that’s art.

Nor is the Shakespeare adaptation phenomenon restricted to the stage and screen. Jane Smiley rethinks King Lear in her novel A Thousand Acres (1991). Different time, different place, same meditation upon greed, gratitude, miscalculation, and love. Titles? William Faulkner liked The Sound and the Fury. Aldous Huxley decided on Brave New World . Agatha Christie chose By the Pricking of My Thumbs, which statement Ray Bradbury completed with Something Wicked This Way Comes . The all-time champion for Shakespeare references, though, must be Angela Carter’s final novel, Wise Children. The children of the title are twins, illegitimate daughters of the most famous Shakespearean actor of his age, who is the son of the most famous Shakespearean of his age. While the twins, Dora and Nora Chance, are song-and-dance artists—as opposed to practitioners of “legitimate” theater— the story Dora tells is full to overflowing with Shakespearean passions and situations. Her grandfather kills his unfaithful wife and himself in a manner strongly reminiscent of Othello. As we saw in the previous chapter, a woman seems to drown like Ophelia, only to turn up in a hugely surprising way very late in the book like Hero in Much Ado About Nothing. The novel is full of astonishing disappearances and reappearances, characters in disguise, women dressed as men, and the two most spiteful daughters since Regan and Goneril brought ruin to Lear and his kingdom. Carter envisions a film production of A Midsummer Night’s Dream more disastrously hilarious than anything the “rude mechanicals” of the original could conceive of, the results recalling the real-life film version from the 1930s.

Those are just a few of the uses to which Shakespeare’s plots and situations get put, but if that’s all he amounted to, he’d only be a little different from any other immortal writer.

But that’s not all. You know what’s great about reading old Will? You keep stumbling across lines you’ve been

hearing and reading all your life. Try these:

To thine own self be true

All the world’s a stage, / And all the men and women merely players

What’s in a name? That which we call a rose / By any other name would smell as sweet

What a rogue and peasant slave am I

Good night, sweet prince, / And flights of angels sing thee to thy rest!

Get thee to a nunnery

Who steals my purse steals trash

[Life’s] a tale / Told by an idiot, full of sound and fury, / Signifying nothing

The better part of valor is discretion

(Exit, pursued by a bear)

A horse! a horse! my kingdom for a horse!

We few, we happy few, we band of brothers

Double, double, toil and trouble; / Fire burn and cauldron bubble

By the pricking of my thumbs, / Something wicked this way comes

The quality of mercy is not strained, / It droppeth as the gentle rain from heaven

O brave new world, / That has such people in’t!

Oh, and lest I forget,

To be, or not to be, that is the question.

Ever heard any of those? This week? Today? I heard one of them in a news broadcast the morning I started composing this chapter. In my copy of Bartlett’s Familiar Quotations, Shakespeare takes up forty-seven pages. I will admit that not every one of the citations is all that familiar, but enough of them are. In fact, the hardest part of compiling my list of quotations was stopping. I could have gone on all day expanding the list without getting into anything too obscure. My first guess is that you probably have not read most of the plays from which these quotations are taken; my second guess is that you know the phrases anyway. Not where they’re from necessarily, but the quotes themselves (or the popular versions of them).

All right, so the Bard is always with us. What does it mean? He means something to us as readers in part because he means so much to our writers. So let’s

consider why writers turn to our man. It makes them sound smarter? Smarter than what? Than quoting Rocky and Bullwinkle, for instance. Careful, I’m a big fan of Moose and Squirrel. Still, I take your point. There are lots of sources that

don’t sound as good as Shakespeare. Almost all of them, in fact. Plus, it indicates that you’ve read him, right? You’ve come across this wonderful phrase in the

course of your reading, so clearly you’re an educated person. Not inevitably. I could have given you Richard III’s famous request for a horse from the time I was

nine. My father was a great fan of that play and loved to recount the desperation of that scene, so I began hearing it in the early grades. He was a factory worker with a high school education and not particularly interested in impressing anybody with his fancy learning. He was pleased, however, to be able to talk about these great stories, these plays he had read and loved. I think that’s a big part of the motivation. We love the plays, the great characters, the fabulous speeches, the witty repartee even

in times of duress. I hope never to be mortally stabbed, but if I am, I’d sure like to have the self- possession, when asked if it’s bad, to answer, “No, ’tis not so deep as a well, nor so wide as a church door; but ’tis enough, ’twill serve,” as Mercutio does in Romeo and Juliet. I mean, to be dying and clever at the same time, how can you not love that? Rather than saying it proves you’re well-read, I think what happens is that writers quote what they’ve read or heard, and more of them have Shakespeare stuck in their heads than anything else. Except Bugs Bunny, of course.

And it gives what you’re saying a kind of authority. As a sacred text confers authority? Or as something exquisitely said confers authority? Yes, there is

definitely a sacred-text quality at work here. When pioneer families went west in their prairie schooners, space was at a premium, so they generally carried only two books: the Bible and Shakespeare. Name another writer to whom high schoolers are subjected in each of four years. If you live in a medium-sized theater market, there is precisely one writer you can count on being in production somewhere in your area every year, and it is neither August Wilson nor Aristophanes. So there is a ubiquity to Shakespeare’s work that makes it rather like a sacred text: at some very deep level he is ingrained in our psyches. But he’s there because of the beauty of those lines, those scenes, and those plays. There is a kind of authority lent by something being almost universally known, where one has only to utter certain lines and people nod their heads in recognition.

But here’s something you might not have thought of. Shakespeare also provides a figure against whom writers can struggle, a source of texts against which other texts can bounce ideas. Writers find themselves engaged in a relationship with older writers; of course, that relationship plays itself out through the texts, the new one emerging in part through earlier texts that exert influence on the writer in one way or another. This relationship contains considerable potential for struggle, which as we mentioned in the previous chapter is called intertextuality. Naturally, none of this is exclusive to Shakespeare, who just happens to be such a towering figure that a great many writers find themselves influenced by him. On intertextuality, more later. For now, an example. T. S. Eliot, in “The Lovesong of J. Alfred Prufrock” (1917), has his neurotic, timorous main character say he was never cut out to be Prince Hamlet, that the most he could be is an extra, someone who could come on to fill out the numbers onstage or possibly be sacrificed to plot exigency. By invoking not a generic figure—“I am just not cut out to be a tragic hero,” for instance—but the most famous tragic hero, Hamlet, Eliot provides an instantly recognizable situation for his protagonist and adds an element of characterization that says more about his self-image than would a whole page of description. The most poor Prufrock could aspire to would be Bernardo and Marcellus, the guards who first see the ghost of Hamlet’s father, or possibly Rosencrantz and Guildenstern, the hapless courtiers used by both sides and ultimately sent unknowing to their own executions. Eliot’s poem does more, though, than merely draw from Hamlet. It also opens up a conversation with its famous predecessor. This is not an age of tragic grandeur, Prufrock suggests, but an age of hapless ditherers. Yes, but we recall that Hamlet is himself a hapless ditherer, and it’s only circumstance that saves him from his own haplessness and confers on him something noble and tragic. This brief interplay between texts happens in only a couple of lines of verse, yet it illuminates both Eliot’s poem and Shakespeare’s play in ways that may surprise us, just a little, and that never would have been called into existence

had Eliot not caused Prufrock to invoke Hamlet as a way of addressing his own inadequacy. It’s worth remembering that comparatively few writers slavishly copy bits of Shakespeare’s work

into their own. More commonly there is this kind of dialogue going on in which the new work, while taking bits from the older, is also having its say. The author may be reworking a message, exploring changes (or continuities) in attitudes from one era to another, recalling parts of an earlier work to highlight features of the newly created one, drawing on associations the reader holds in order to fashion something new and, ironically, original. Irony features fairly prominently in the use not only of Shakespeare but of any prior writer. The new writer has his own agenda, her own slant to put on things.

Try this for slant. One of the powerful voices to come out of resistance to apartheid in South Africa is Athol Fugard, best known for his play “Master Harold” . . . and the Boys (1982). In creating this play Fugard turns to you-know-who. Your first instinct might be that he would grasp one of the tragedies, Othello, say, where race is already at issue. Instead he turns to the history plays, to Henry IV, Part II, to the story of a young man who must grow up. In Shakespeare, Prince Hal must put his hard-partying ways behind him, stop his carousing with Falstaff, and become Henry, the king who in Henry V is capable of leading an army and inspiring the kind of passion that will allow the English to be victorious at Agincourt. He must learn, in other words, to wear the mantle of adult responsibility. In Fugard’s contemporary reworking, Henry is Harold, Hally to the black pals with whom he loafs and plays. Like his famous predecessor, Hally must grow up and become Master Harold, worthy successor to his father in the family business. What does it mean, though, to become a worthy successor in an unworthy enterprise? That is Fugard’s question. Harold’s mantle is made not only of adult responsibility but of racism and heartless disregard, and he learns to wear it well. As we might expect, Henry IV, Part II provides a means of measuring Harold’s growth, which is actually a sort of regression into the most repugnant of human impulses. At the same time, though, “Master Harold” makes us reexamine the assumptions of right—and rights—that we take for granted in watching the Shakespearean original, notions of privilege and noblesse oblige, assumptions about power and inheritance, ideas of accepted behavior and even of adulthood itself. Is it a mark of growing up that one becomes capable, as Harold does, of spitting in the face of a friend? I think not. Fugard reminds us, of course, even if he does not mention it directly, that the grown-up King Henry must, in Henry V, have his old friend Falstaff banished. Do the values endorsed by Shakespeare lead directly to the horrors of apartheid? For Fugard they do, and his play leads us back to a reconsideration of those values and the play that contains them.

That’s what writers can do with Shakespeare. Of course, they can do it with other writers as well, and they do, if somewhat less frequently. Why? You know why. The stories are great, the characters compelling, the language fabulous. And we know him. You can allude to Fulke Greville, but you’d have to provide your own footnotes.

So what’s in it for readers? As the Fugard example suggests, when we recognize the interplay between these dramas, we become partners with the new dramatist in creating meaning. Fugard relies on our awareness of the Shakespearean text as he constructs his play, and that reliance allows him to say more with fewer direct statements. I often tell my students that reading is an activity of the

imagination, and the imagination in question is not the writer’s alone. Moreover, our understanding of both works becomes richer and deeper as we hear this dialogue playing out; we see the implications for the new work, while at the same time we reconfigure our thinking, if only slightly, about the earlier one. And the writer we know better than any other, the one whose language and whose plays we “know” even if we haven’t read him, is Shakespeare.

So if you’re reading a work and something sounds too good to be true, you know where it’s from. The rest, dear friends, is silence.

6

. . . Or the Bible

CONNECT THESE DOTS: garden, serpent, plagues, flood, parting of waters, loaves, fishes, forty days, betrayal, denial, slavery and escape, fatted calves, milk and honey. Ever read a book with all these things in them?

Guess what? So have your writers. Poets. Playwrights. Screenwriters. Samuel L. Jackson’s character in Pulp Fiction, in between all the swearwords (or that one swearword all those times) is a Vesuvius of biblical language, one steady burst of apocalyptic rhetoric and imagery. His linguistic behavior suggests that at some time Quentin Tarantino, the writer-director, was in contact with the Good Book, despite all his Bad Language. Why is that James Dean film called East of Eden? Because the author of the novel on which the film is based, John Steinbeck, knew his Book of Genesis. To be east of Eden, as we shall see, is to be in a fallen world, which is the only kind we know and certainly the only kind there could be in a James Dean film. Or a Steinbeck novel.

The devil, as the old saying goes, can quote Scripture. So can writers. Even those who aren’t religious or don’t live within the Judeo-Christian tradition may work something in from Job or Matthew or the Psalms. That may explain all those gardens, serpents, tongues of flame, and voices from whirlwinds.

In Toni Morrison’s Beloved (1987), four white men ride up to the house in Ohio where the escaped slave Sethe has been living with her small children. In a fit of determination to “save” her children from slavery, she tries to kill them, succeeding only with her two-year-old daughter, known later as Beloved. No one, neither ex-slave nor free white, can believe or understand her action, and that incomprehension saves her life and rescues her remaining children from slavery. Does her violent frenzy make sense? No. It’s irrational, excessive, disproportionate. They all agree on that. On the other hand, there’s something about it that, to us, makes sense. The characters all see four white men from slave country riding up the road. We see, and Sethe intuits, that what’s coming in the front gate is the Apocalypse. When the Four Horsemen come, it’s the Last Day, the time for Judgment. Morrison’s color scheme isn’t quite that of St. John’s original—it’s hard to come up with a green horse—but we know them, not least because she actually calls them “the four horsemen.” Not riders, not men on horses, not equestrians. Horsemen. That’s pretty unambiguous. Moreover, one of them stays mounted with a rifle slung across his lap. That looks a lot like the fourth horseman, the one who in Revelation rides the pale (or green) horse and whose name is Death. In Pale Rider Clint Eastwood actually has a character speak the relevant passage so we don’t miss the point (although the unnamed stranger in an

Eastwood western is pretty much always Death), but here Morrison does the same with a three-word phrase and a pose. Unmistakable.

When the Apocalypse comes riding up your lane, what will you do? And that is why Sethe reacts as she does. Morrison is American, of course, and raised in the Protestant tradition, but the Bible is

nonsectarian. James Joyce, an Irish Catholic, uses biblical parallels with considerable frequency. I often teach his story “Araby” (1914), a lovely little gem about the loss of innocence. Another way of saying “loss of innocence,” of course, is “the Fall.” Adam and Eve, the garden, the serpent, the forbidden fruit. Every story about the loss of innocence is really about someone’s private reenactment of the fall from grace, since we experience it not collectively but individually and subjectively. Here’s the setup: a young boy—eleven, twelve, thirteen years old, right in there—who has previously experienced life as safe, uncomplicated, and limited to attending school and playing cowboys and Indians in the Dublin streets with his friends, discovers girls. Or specifically, one girl, his friend Mangan’s sister. Neither the sister nor our young hero has a name, so his situation is made slightly generic, which is useful. Being in early adolescence, the narrator has no way of dealing with the object of his desire, or even the wherewithal to recognize what he feels as desire. After all, his culture does all it can to keep boys and girls separate and pure, and his reading has described relations between the sexes in only the most general and chaste of terms. He promises to try to buy her something from a bazaar, the Araby of the title, to which she can’t go (significantly, because of a religious retreat being put on by her convent school). After many delays and frustrations, he arrives at the bazaar just as it’s closing. Most of the stalls are closed, but he finally finds one where a young woman and two young men are flirting in ways that are not very appealing to our young swain, and she can scarcely be bothered to ask what he wants. Daunted, he says he wants nothing, then turns away, his eyes blinded by tears of frustration and humiliation. He suddenly sees that his feelings are no loftier than theirs, that he’s been a fool, that he’s been running this errand on behalf of an ordinary girl who’s probably never given him a single thought.

Wait a minute. Innocence maybe. But the Fall? Sure. Innocence, then its loss. What more do you need? Something biblical. A serpent, an apple, at least a garden. Sorry, no garden, no apple. The bazaar takes place inside. But there are two great jars standing by

the booth, Joyce says, like Eastern guards. And those guards are as biblical as it gets: “So he drove out the man; and he placed at the east of the garden of Eden Cherubims, and a flaming sword which turned every way, to keep the way of the tree of life.” That would be Genesis 3:24 for those of you keeping score. As we all know, there’s nothing like a flaming sword to separate you from something, and in this case, that something is a former innocence, whether of Eden or of childhood. The thing about loss-of-innocence stories, the reason they hit so hard, is that they’re so final. You can never go back. That’s why the boy’s eyes sting with blinding tears—it’s that flaming sword.

Maybe a writer doesn’t want enriching motifs, characters, themes, or plots, but just needs a title. The Bible is full of possible titles. I mentioned East of Eden before. Tim Parks has a novel called Tongues of Flame. Faulkner has Absalom, Absalom! and Go Down, Moses. Okay, that last one’s from

a spiritual, but it’s biblical in its basis. Let’s suppose you want to write a novel about hopelessness and infertility and the sense that the future no longer exists. You might turn to Ecclesiastes for a passage that reminds us that every night is followed by a new day, that life is an endless cycle of life, death, and renewal, in which one generation succeeds another until the end of time. You might regard that outlook with a certain irony and borrow a phrase from it to express that irony—how the certainty that the earth and humanity will renew themselves, a certainty that has governed human assumptions since earliest times, has just been shredded by four years in which Western civilization tried with some success to destroy itself. You just might if you were a modernist and had lived through the horror that was the Great War. At least that’s what Hemingway did, borrowing his title from that biblical passage: The Sun Also Rises. Great book, perfect title.

More common than titles are situations and quotations. Poetry is absolutely full of Scripture. Some of that is perfectly obvious. John Milton took most of his subject matter and a great deal of material for his great works from you-know-where: Paradise Lost, Paradise Regained, Samson Agonistes. Moreover, our early literature in English is frequently about, and nearly always informed by, religion. Those questing knights in Sir Gawain and the Green Knight and The Faerie Queen are searching on behalf of their religion whether they know it or not (and they generally do know). Beowulf is largely about the coming of Christianity into the old paganism of northern Germanic society—after being about a hero overcoming a villain. Grendel, the monster, is descended from the line of Cain, we’re told. Aren’t all villains? Even Chaucer’s pilgrims in The Canterbury Tales (1384), while neither they nor their tales are inevitably holy, are making an Easter pilgrimage to Canterbury Cathedral, and much of their talk invokes the Bible and religious teaching. John Donne was an Anglican minister, Jonathan Swift the dean of St. Patrick’s Cathedral, Dublin, Edward Taylor and Anne Bradstreet American Puritans (Taylor a minister). Ralph Waldo Emerson was a Unitarian minister for a spell, while Gerard Manley Hopkins was a Catholic priest. One can barely read Donne or Malory or Hawthorne or Rossetti without running into quotations, plots, characters, whole stories drawn from the Bible. Suffice it to say that every writer prior to sometime in the middle of the twentieth century was solidly instructed in religion.

Even today a great many writers have more than a nodding acquaintance with the faith of their ancestors. In the century just ended, there are modern religious and spiritual poets like T. S. Eliot and Geoffrey Hill or Adrienne Rich and Allen Ginsberg, whose work is shot through with biblical language and imagery. The dive-bomber in Eliot’s Four Quartets (1942) looks very like a dove, offering salvation from the bomber’s fire through the redemption of pentecostal fires. He borrows the figure of Christ joining the disciples on the road to Emmaus in The Waste Land (1922), uses the Christmas story in “Journey of the Magi” (1927), offers a fairly idiosyncratic sort of Lenten consciousness in “Ash-Wednesday” (1930). Hill has wrestled with matters of the spirit in the fallen modern world throughout his career, so it is hardly surprising to find biblical themes and images in works such as “The Pentecost Castle” or Canaan (1996). Rich, for her part, addresses the earlier poet Robinson Jeffers in “Yom Kippur, 1984,” in which she considers the implications of the Day of Atonement, and matters of Judaism appear in her poetry with some frequency. Ginsberg, who never met a religion he didn’t like (he sometimes described himself as a “Buddhist Jew”), employs material

from Judaism, Christianity, Buddhism, Hinduism, Islam, and virtually every world faith. Not all uses of religion are straight, of course. Many modern and postmodern texts are essentially

ironic, in which the allusions to biblical sources are used not to heighten continuities between the religious tradition and the contemporary moment but to illustrate a disparity or disruption. Needless to say, such uses of irony can cause trouble. When Salman Rushdie wrote The Satanic Verses (1988), he caused his characters to parody (in order to show their wickedness, among other things) certain events and persons from the Koran and the life of the Prophet. He knew not everyone would understand his ironic version of a holy text; what he could not imagine was that he could be so far misunderstood as to induce a fatwa, a sentence of death, to be issued against him. In modern literature, many Christ figures (which I will discuss in more detail in Chapter 14) are somewhat less than Christlike, a disparity that does not inevitably go down well with religious conservatives. Quite often, though, ironic parallels are lighter, more comic in their outcome and not so likely to offend. In Eudora Welty’s masterful story “Why I Live at the P.O.” (1941), the narrator is engaged in a sibling rivalry with her younger sister, who has come home after leaving under suspicious if not actually disgraceful circumstances. The narrator, Sister, is outraged at having to cook two chickens to feed five people and a small child just because her “spoiled” sister has come home. What Sister can’t see, but we can, is that those two fowl are really a fatted calf. It may not be a grand feast by traditional standards, but it is a feast, as called for upon the return of the Prodigal Son, even if the son turns out to be a daughter. Like the brothers in the parable, Sister is irritated and envious that the child who left, and ostensibly used up her “share” of familial goodwill, is instantly welcomed, her sins so quickly forgiven.

Then there are all those names, those Jacobs and Jonahs and Rebeccas and Josephs and Marys and Stephens and at least one Hagar. The naming of a character is a serious piece of business in a novel or play. A name has to sound right for a character—Oil Can Harry, Jay Gatsby, Beetle Bailey—but it also has to carry whatever message the writer want to convey about the character or the story. In Song of Solomon (1977), Toni Morrison’s main family chooses names by allowing the family Bible to fall open, then pointing without looking at the text; whatever proper noun the finger points to, there’s the name. That’s how you get a girl child in one generation named Pilate and one in the next named First Corinthians. Morrison uses this naming practice to identify features of the family and the community. What else can you possibly use—the atlas? Is there any city or hamlet or river in the world that tells us what we’re told by “Pilate”? In this case, the insight is not into the character so named, for no one could be less like Pontius Pilate than the wise, generous, giving Pilate Dead. Rather, her manner of naming tells us a great deal about the society that would lead a man, Pilate’s father, to have absolute faith in the efficacy of a book he cannot read, so much so that he is guided by a principle of blind selection.

Okay, so there are a lot of ways the Bible shows up. But isn’t that a problem for anyone who isn’t exactly . . .

A Bible scholar? Well, I’m not. But even I can sometimes recognize a biblical allusion. I use something I think of as the “resonance test.” If I hear something going on in a text that seems to be beyond the scope of the story’s or poem’s immediate dimensions, if it resonates outside itself, I start

looking for allusions to older and bigger texts. Here’s how it works. At the end of James Baldwin’s story “Sonny’s Blues” (1957), the narrator sends a drink up to the

bandstand as a gesture of solidarity and acceptance to his brilliantly talented but wayward brother, Sonny, who takes a sip and, as he launches into the next song, sets the drink on the piano, where it shimmers “like the very cup of trembling.” I lived for a good while not knowing where that phrase came from, although to the extent I thought about it, I was pretty sure. The story is so rich and full, the pain and redemption so compelling, the language so wonderful throughout, I didn’t need to dwell on the last line for several readings. Still, there was something happening there—a kind of resonance, a sense that there’s something meaningful beyond the simple meaning of the words. Peter Frampton says that E major is the great rock chord; all you have to do to set off pandemonium in a concert is to stand onstage alone and strike a big, fat, full E major. Everybody in the arena knows what that chord promises. That sensation happens in reading, too. When I feel that resonance, that “fat chord” that feels heavy yet sparkles with promise or portent, it almost always means the phrase, or whatever, is borrowed from somewhere else and promises special significance. More often than not, particularly if the borrowing feels different in tone and weight from the rest of the prose, that somewhere is the Bible. Then it’s a matter of figuring out where and what it means. It helps that I know that Baldwin was a preacher’s son, that his most famous novel is called Go Tell It on the Mountain (1952), that the story already displays a strong Cain-and-Abel element when the narrator initially denies his responsibility toward Sonny, so my scriptural hunch was pretty strong. Happily, in the case of “Sonny’s Blues,” the story is so heavily anthologized that it’s almost impossible not to find the answer—the phrase comes from Isaiah 51:17. The passage speaks of the cup of the Lord’s fury, and the context has to do with sons who have lost their way, who are afflicted, who may yet succumb to desolation and destruction. The ending of the story is therefore made even more provisional and uncertain by the quote from Isaiah. Sonny may make it or he may not. He may relapse into addiction and trouble with the law. Beyond that, though, there is the broader sense of the residents of Harlem, where the story is set, and by extension of black America, as afflicted, as having drunk from that cup of trembling. There is hope in Baldwin’s last paragraph, but it is hope tempered by knowledge of terrible dangers.

Is my reading greatly enhanced by this knowledge? Perhaps not greatly. Something subtle happens there, but no thunder and lightning. The meaning doesn’t move in the opposite direction or shift radically; if it did, that would be self-defeating, since so many readers would not get the allusion. I think it’s more that the ending picks up a little greater weight from the association with Isaiah, a greater impact, pathos even. Oh, I think, it isn’t just a twentieth-century problem, this business of brothers having trouble with each other and of young men stumbling and falling; it’s been going on since forever. Most of the great tribulations to which human beings are subject are detailed in Scripture. No jazz, no heroin, no rehab centers, maybe, but trouble very much of the kind Sonny has: the troubled spirit that lies behind the outward modern manifestations of heroin and prison. The weariness and resentment and guilt of the brother, his sense of failure at having broken the promise to his dying mother to protect Sonny—the Bible knows all about that, too.

This depth is what the biblical dimension adds to the story of Sonny and his brother. We no longer

see merely the sad and sordid modern story of a jazz musician and his algebra-teaching brother. Instead the story resonates with the richness of distant antecedents, with the power of accumulated myth. The story ceases to be locked in the middle of the twentieth century and becomes timeless and archetypal, speaking of the tensions and difficulties that exist always and everywhere between brothers, with all their caring and pain and guilt and pride and love. And that story never grows old.

7

Hanseldee and Greteldum

BY NOW I’VE BEATEN YOU SEVERELY about the head and shoulders with the notion that all literature grows out of other literature. We’re dealing in this case, however, with a pretty loose category, which could include novels, stories, plays, poems, songs, operas, films, television, commercials, and possibly a variety of newer or not-yet-invented electronic media we haven’t even seen. So let’s try being a writer for a moment. You want to borrow from some source to add a bit of flesh to the bare bones of your story. Who ya gonna call?