Thursday, October 9, 2008

Sportsman's Notebook, by Ivan Turgenev


In a selection from Sportsman’s Notebook entitled “Kassyan Of Fair Springs,” Turgenev demonstrates aspects of good narrative description. He creates an image in the reader’s mind and, using a careful selection of adjectives, creates a mood describing a fresh, perhaps cool, gently-laying scene. Although he doesn’t put solely one idea into each sentence, each idea has its separate clause, especially the last sentence of shoots and stumps, funguses, strawberry plants, and mushrooms:
Over the clear sky the high thin clouds were hardly stirred, yellowish-white, like snow lying late in spring, flat and drawn out like rolled-up sails. Slowly but perceptibly their fringed edges, soft and fluffy as cotton-wool, changed at every moment; they were melting away, even these clouds, and no shadow fell from them. I strolled about the clearing for a long while with Kassyan. Young shoots, which had not yet had time to grow more than a yard high, surrounded the low blackened stumps with their smooth slender stems; and spongy funguses with grey edges—the same of which they make tinder—clung to these; strawberry plants flung their rosy tendrils over them; mushrooms squatted close in groups.
In preparing to write my imitation, I looked much more closely at Turgenev’s writing. He starts high above, describing the entire sky, and ends with a close detail of groups of mushrooms. He also used the sky and clouds to set the tone: high thin clouds, soft and fluffy, slowly changing. The description of things on the ground gives the impression of turning one’s head to look at one object then another. I attempted to incorporate this into my writing:
Overhead, blue-grey clouds clump tightly together while wide patches of black clouds, higher up, threaten intense rain. The clouds twist the sun’s evening light, causing the air to fill with a yellowish half-light: the grass looks yellow, the red of the hibiscus is muted, and the pale flowers of angel trumpet flowers seem transparent. I walk about the yard for a time while Ollie plays in the grass. A fall crocus is sending out its first slight leaves, grooved with grey down the center, and a small, white shoot, covered by a green cap, is just poking out of the base; the summer’s flowers, desiccated and brown, twist through the crocus’s delicate leaves; green blades of grass, sharply upright, running into this flowerbed from the lawn all summer, are spiking throughout; a small maple’s feathery leaves, slowly burning with orange from the cooling weather, gently covers all.

Tuesday, September 30, 2008

Chapter 7 - How to Describe Things

As I start to write this chapter's introduction, I'm looking out a window dirty with splatters of past rain showers and bird droppings. The leaves on the tree outside, furthest from the warmth of the building, have turned red throughout. Soon, I think, those leaves fall, worming their way to the ground to rot and I wonder what makes for good descriptive prose?

In Writer's Mind © 1995, Richard Cohen writes that good descriptive text creates an image in the reader's mind and it presents solely the details that are necessary to create that image. He argues not to use a lot of adjectives, but to describe things in a straightforward fashion with a careful choice of words for effect and mood. The writer should ask herself, Does this description add to the thing being described? Does it detract from it or distract the reader?

Cohen suggests writing descriptive text as "factual reporting." Hemingway, Conrad, Lawrence, Tolstoy, and Stephen Crane all excel at this. They also tend to put one idea conveyed by factual description in each sentence; they don't run a lot of ideas into once sentence, muddying the waters of description.

Since imitation is the sincerest form of flattery, I propose to quote an especially vivid selection of descriptive writing from each of the books on the bookshelf for this chapter, and then imitate that writing to describe something on my own.

The books for this chapter on description are:
  • Sportsman's Notebook, Ivan Turgenev
  • Letters on Cezanne, Rainier Maria Rilke
  • Tristes Tropiques, Claude Levi-Strauss
  • Farewell to Arms, Ernest Hemingway
  • Modern Painters, John Ruskin

Clockers, by Richard Price


Here are two bad dudes talking about what they're not talking about (In case one's wearing a wire? In case one has to testify in court? Because it's gentlemanly not talk about crime directly?):
   "Got to be got," Victor said again, lightly pounding his fist. [...]
   "I know somebody who'd do it, too," Victor said softly as he returned to his inkings. [...]
   "What you say?" Strike stared at Victor in the mirror.
   "I said I know somebody who'd do it, too." He fixed Strike's eye with a fat, sober look.
   "Who?" Strike heard the hopefulness in his question.
   "My man." As if that explained it all, Victor's eyes dropped to his writing again."
   "My man who?"
   "This guy."
   "You know him?
   Victor fixed him with that cold, sober stare in the mirror again. "I said he was my man, didn't I?" [123]
A bad cop tries to get Strike to cut him in on drug sales:
   "But I got me a problem." Andre smoothed the top of Strike's head. [...]
   "Uh-huh."
   "I need me a sponsor."
   "Uh-huh." Strike kept his voice low, Andre beginning to scare him a little more now.
   "I need me a benefactor."
   "I hear you."
   "You hear me?" Andre strolled behind Strike again. "That's good, 'cause I could lock you up. Shit, I could even mess you up first, say you tried to fight me, you know what I'm sayin'? [...]" [287]
Some more "cop talk", updated from what appeared in, for instance, The Maltese Falcon, this time between Rocco and Strike. Rocco is trying to figure out of Strike is lying for his brother:
   "So when was the last time you spoke to your brother?"
   Strike sighed. "Saturday."
   "OK." Rocco nodded as if he knew it all along. But the answer threw him for a loop: he'd thought Friday was the last time, at the bar before the killing. "OK, where?"
   "In the projects."
   "What you talk about?"
   "Nothin'."
   "Nothing?"
   "That's about aw-all we usually talk about. We're not that close."
    [...]
   "Because I didn't want nothing to do with that. I figured if I told you that, then you'd be bringing me down for a statement. Next thing I know I'm helping to ha-hang him, you know?"
   Rocco found it hard to tell if the kid was lying: he was avoiding eye contact on everything, but his demeanor was distant, preoccupied, as if his troubles were all over the place. [533]