Black Gate

Kids under age six are not lying to you, not exactly. When they want something to be true, they genuinely cannot tell that it isn’t. When they fear something might be true, no amount of reassurance is enough, because whatever they project onto the world is indistinguishable from the world itself. My five-year-old really believes his classmate told him it was okay to cut her hair with craft scissors, and he is not trying to manipulate me when he says the monster will emerge from behind his dresser if I turn off his bedroom light. His imagination is as real to him as anything he can touch.

Of course, adults are not always able to distinguish between the world and their mental projections upon the world. We all slip sometimes, a few of us slip a lot, and a very few cultivate slippage deliberately. We like imagining that we could shuck this dreadful adult ability, or avoid developing it at all, as the protagonist of  Michel Gondry’s gorgeous film The Science of Sleep does. The thing is, for all of us, there was a long time in childhood when any boundary between reality and fantasy always seemed more like an arbitrary exercise of power on the part of the adults in our lives than like an externally real fact we had to cope with. Why must my son hold my hand when we cross a parking lot in the dark? He believes he is impervious to cars, and can say so using the word “impervious,” so clearly the hand-holding rule must just be Mommy’s power trip.

It doesn’t help that the real world is weird, and so complicated that grown-up attempts to explain it at a child’s level only pump up the weirdness.

…

Read More Read More

I confess: I’m horror-illiterate. Being horrified on my way to some other reading experience is often worthwhile, but reading just to poke my amygdala with a stick is, for me, a joyless enterprise. Some horror writers are manifestly brilliant; I’m still not their audience. Chalk it up to an inherited predisposition to PTSD.

And yet Stephen King’s On Writing: A Memoir of the Craft is one of my favorite writing books. It’s unusual among writing books for its combination of memoir and manual. The memoir could have stood on its own; the manual could not. King knows that most of the true and useful things that can be said in a book to a beginning writer have been said many times, so he finds a way to say those things in a context that spins together cautionary tales, zany vignettes, and roaring triumphs. When he talks about what a writer needs in the way of work space, he shows us the corner of an attic where he wrote his first stories as a child, the laundry room in a trailer where he wrote his first novels, the uselessly enormous and overcompensating desk he bought during the early coke-snorting days of his wealth, and the study-turned-family-room where his kids lounge on couches while he writes contentedly in a corner. There’s something practical, and something human, to be learned from each of those workspaces.

The book is structured in four main movements: two central sections of advice on craftsmanship, bracketed by two sections about the writing life in general by way of King’s own writing life. The opening movement is cheekily titled “C.V.” A C.V., or curriculum vitae, is what an academic has instead of a resume. For a writer who has been so many times disdained by academics to appropriate the term, and then interpret the Latin curriculum vitae literally as the course of his life, is gutsy.

…

Read More Read More