Reading Literary History

After I finally managed to post my first entry, I began to wonder why it took me so long plunge into the world of blog-writing. Of course, there is the fear of public exposure that I think most of us share, the anxiety dream we have of showing up for an important meeting in our underwear or not being able to find the appropriate classroom on our first day at a new school. I am aware that blogspot is a very public forum (at the same time, I also realize that the chances of large numbers of people actually reading this are laughably small). But I think there’s more to it than shyness or the social awkwardness of one who spends most of her time with books.

I’ve been reading a lot of literary histories that cover the first half of the 20th century, and I just feel so much more at home in the atmosphere they describe—one in which literature and what people were writing was of major concern. I can read for hours about who lived where in New York, or who knew who in Paris, and then construct a about how wonderful it would be to live the literary life—mornings writing, afternoons in the café, and nights in rapt conversations in bars and salon. But, after a little of that, I start questioning my own premise. For although it’s easy to quote statistics about how little most people read these days, or the failure of our education system to impart even the most basic literary knowledge to our youth, I can’t help thinking that these problems (if they are defined as such) are perennial, and not simply a product of our digitalized , 21st century lives.

Somehow, I have a feeling that it would be difficult to find an example of any historical time when the number of people who read and talk about, say contemporary poetry was more than a small percentage of the population. First of all, such a group would necessarily need to spend large amounts of time sitting around reading, and how do you pay for that?

This is made clear by reading memoirs from the aforementioned period in American literature (my favorite)--the years between the two world wars. Early expatriates, like Natalie Barney and Gertrude Stein were living off of family money and their (wildly different) salons were well-established in Paris by the end of the World War I. Communication was slow, but manuscripts could still make it back to the tastemakers in New York, and there was plenty of cross-pollination between the two literary capitals. I have always been more attached to Paris, maybe because I read about it back in the early, formative years of my life, and maybe also because many of the leading players were women. I’m romanticizing, but it seems the perfect nexus in which to create literature.

Our own time sadly, does not. For me it’s impossible to imagine someone like Djuna Barnes working at Starbucks or Ernest Hemingway spending all day in front of a computer screen. (Many of the people involved did have to work for a living, of course. I just bought a biography of Janet Flanner, who wrote a column about Paris for the New Yorker.) It is well within the realm of possibility to imagine that you favorite pierced and tattooed barista, or that Financial District refugee is full of wild poetry, if only they had the time to immerse themselves.

Remembering Fritz Leiber and Margo Skinner

I was thinking the other night about my short stint as assistant to Fritz Leiber and Margo Skinner. It was, like many of my work situations, a missed blessing. Of course I needed the money, any money—for even shy writer types need to eat, breathe (which for me means allergy medication) and pay rent. I was well into my thirties by this time, so I was more than familiar with what is usually summed up by one sentence in literary biographies. “He (or she, as in my case) worked as a waiter, tutor, and auto mechanic.” I mostly temped, which in those days usually meant answering the telephone, and sold T-shirts to tourists. Once in a while, I had a paying theater gig. Theater was what I had studied in college. I didn’t think about writing anything except a journal until I was almost thirty, and hadn’t started my bookselling career yet.
But, as I’ve already written (see “My Life as a Roving Bookseller.”) I had always been a reader, and the kind of lives writers lived held an endless fascination for me. Fritz Leiber was an actual well-known writer, who just happened to be hero and mentor to the guy that I was dating at the time (and am now married to). He had recently found a full-time day job, so I took over the assistant’s work.
And that brings me to the mixed part of the blessing. Margo Skinner, Fritz Leiber’s partner, as we say these days, was an unapologetically difficult person for me to be in the same room with. First of all, she smoked cigarettes like crazy, and wouldn’t allow anyone to open any of the windows, for fear that somehow her cats would fall out. The air purifier that I bought to try to provide myself with breathable air was woefully inadequate for the task, and five minutes into a two to three hour “visit” I would have a blinding headache.
But that was only the surface reason for my discomfort. It was something I could only put my finger on after reading Sir Vidia's Shadow: A Friendship Across Five Continents, about Paul Theroux’s relationship with V.S. Naipaul. Staying something bothers you about a person usually says more about you than it does that person. Margo was not upset by the fact that she was a drunk and lived in a type of squalor that is not based on poverty. If I was horrified (which I was), it could only be because I had a tendency to want to tell other people how to live, or was possessed by a deep-seated fear that someday I would end up in the same dire straits.
Fritz had already suffered a stroke, and had always been a man of few (spoken) words. He was still writing a monthly column for Locus magazine based on the Farmers’ Almanac listings of moon phases and planetary movements. They were oddly lyrical, quirky little pieces about 500 words long. It was a painfully slow process to produce them. Fritz's speech had been affected by the stroke, and was so slow that I could type from his dictation. This was before the personal computer, so everything we worked on was typed on an IBM Selectric, and mistakes had to be corrected with Wite-Out. I have never been a particularly accurate typist, so this work put me in a state that was a strange combination of boredom and anxiety-ridden panic.
After two or three days, a rough draft would be produced. Then the world would begin—the work of writing. I would read the piece aloud, very slowly. For long stretches, it would seem as if he wasn’t even listening.
Then suddenly—“Change ‘almost’ to ‘closely resembling,’”
The air would electrify, as if the voice had come form some unearthly source. And, even though the smallest change meant a complete retyping, I would be ecstatic. Whatever he changed would always be exactly right, exactly the opposite of a hastily-written, throwaway article, done because the writer needed the money. However small, however difficult, it was literature.
“Read it again,” he would growl.