Coming of Age: Writing and the Continuity of Maturation

With the exception of bildungsroman tales, however, there is no reason the age must be adolescent or the struggles pubescent when we invoke the phrase “coming of age”. After all, rites of passage (eg, graduations, first jobs, parental loss) can occur at many different ages.

Literary Connections

In one of those fascinating moments of literary connection, I stumbled upon a quote that resonated with my own writing:[*]

…“all stories are coming-of-age stories”[†]

I discovered this statement, attributed to Antonya Nelson (author of Female Trouble), in a Q/A session between Karen Russell (author of Swamplandia and interviewer) and Robin Black (the interviewee) that served as an afterwords for Black’s short story collection, If I Loved You, I Would Tell You This: Stories. Russell references Nelson’s remark while discussing Black’s stories, which she notes explore with intensity how characters “come of age” at various points of their life. Concurring, Black relates her view that “coming-of-age” stories are works involving the change from innocence to experience, a process that continues to complicate one’s life. I found myself nodding, as my story-in-progress sprang to mind.

Coming of Ages

But what does a “coming of age” story represent? Usually, we refer to stories focusing on a young person in the process of achieving adulthood. Examples range from a teenager gaining understanding of her mother and harm seen in Nelson’s short story “Primum Non Nocere” to bildungsroman novels (eg, The History of Tom Jones by Henry Fielding), which focus on the development of a youth into maturity (eg, moral, psychological, intellectual).[‡] With the exception of bildungsroman tales,[§] however, there is no reason the age must be adolescent or the struggles pubescent when we invoke the phrase “coming of age”. After all, rites of passage (eg, graduations, first jobs, parental loss) occur at many different ages.

In my intergenerational story, three women’s lives change, with each experiencing a “coming of their particular age”. The youngest member, of course, experiences the more typical coming-of-age moment after leaving college. For her mother, her child’s nascent adulthood revives memories of her own mistakes at that age coupled with current worries that make it difficult for her to accept her child’s choices. And for the grandmother of the group? In addition to supporting the younger women in different ways, she looks toward her own next transition: addressing her own increasingly limited ability to care for herself.

Characterizing Maturation

One of the reasons I’ve enjoyed working with this story is that I felt the characters had opportunities to grow and learn, either by succeeding in their endeavors or by failing. When I read this interview and considered “coming of ages” in my writing, I knew I’d stumbled onto an underlying theme of my story: how families deal with their continuing evolution. In this regard, I felt more kinship with Black’s notion of moving from innocence to experience. Or, as I think of it, the ways in which we move from ignorance to knowledge, learning how to be ourselves at a certain age. It’s worth considering how characters of all ages “come of age”, how they mature through their experiences, when we write. Maturity, as Black notes, may not confer mastery but it makes for a richer tale.

NOTES:

[*] And they were all women authors!

[†] “A Reader’s Guide.” Black, Robin. Interview by Karen Russell. In: Black, Robin. If I Loved You, I Would Tell You This: Stories. New York, Random House, 2011.

[‡] Anne Boyd Rioux discusses female bildungsroman novels, including the contradictory nature of applying this term to female protagonists when such characters ultimately step into their expected social roles instead of pursuing their own dreams. Fortunately, she also lists several nineteenth century novels that flout these limitations here.

[§] By definition, a youth must be involved.

Reading Past and Future

Ready to read in the new year

Generally speaking, I avoid the whole “new year, new me” resolutions that plague the early days of January. In my part of the world, January tends to be cold and grey with a chance of snow. After the merry and bright of the darkest nights of December, January already feels like the morning after the night before.[*] Why add the pressure of life-changing resolutions?

To be fair though, I have the bookworm’s long-standing goal to read more, regardless of which part of the year it is. It’s been a rather poignant plan at times, when I haven’t had enough free time to read deeply the way I wanted to do or the focus when I did have time. In 2016, however, I felt like I read many amazing books, although I always wish for more time to read more.[†] With that in mind, I’ve compiled a list of the notable books I’ve read (links are to posts that discuss these books).

Since I’m making lists, I thought I’d consider books for 2017 as well. Normally, I let my birthday and Christmas presents[‡] dictate the books that I plan to read for the upcoming year, and I find other books that interest me as the year progresses. I am, however, hoping to get a few suggestions from my readers. Please feel free to post your suggestions in the comment box!

2016 Notable Reads[§]

The Vegetarian by Han Kang

Winnie-the-Pooh by A. A. Milne[**]

The House at Pooh Corner by A. A. Milne

The Blind Assassin by Margaret Atwood

The Lovely Bones by Alice Sebold

The Complete Sherlock Holmes by Sir Arthur Conan Doyle

If I Loved You, I Would Tell You This by Robin Black

Jamrach’s Menagerie by Carol Birch

Sleeping Embers of an Ordinary Mind by Anne Charnock

The Kitchen God’s Wife by Amy Tan

The Joy Luck Club by Amy Tan*

The Curious Incident of the Dog in the Night-Time by Mark Haddon

2017 To-Read List

All the Living by C. E. Morgan

Life of Pi by Yann Martel

The Help by Kathryn Stockett

Howard’s End by E. M. Forster

The Secret Life of Bees by Sue Monk Kidd

Bad Feminist by Roxanne Gay

Les Miserables by Victor Hugo[††]

Beloved by Toni Morrison

Take Off Your Pants! Outline Your Books for Faster, Better Writing by Libbie Hawker

Read a good book lately? Share your reading recommendations in the comment section below! Also, sign up for the Sequence’s newsletter and keep current with the latest posts!

NOTES:

[*]For some of us, this might be literally true on New Year’s Day.

[†] Just like that guy in the Twilight Zone episode.

[‡] Nothing is sadder than when you DON’T get books for a present.

[§] I’ve read more books than are listed here, but these are the ones that truly stood out as I was putting this list together. Some of these books are also re-reads.

[**] I still can’t believe I’d not read either of these books as a kid.

[††] I’ve actually been trying to read Les Miserables for ages. The problem is it’s so long that I start losing the plot when I put it down. I’m working on finding time to read it uninterrupted so that I don’t lose where I am.

Closing with Character

The New Year and Reviewing Character

character.jpg
Defining character means many thing for writers. (“Character” by NY is licensed under CC by 3.0. )

The closing of the year is a jumbled-up affair: The summing up of another year juxtaposed with setting up the next year. It’s not dissimilar to beginning a revision, which I’m (finally) undertaking for a short story I recently wrote. Both processes involve reviewing what you did, what you wish you did differently, and what you will do going forward. And, in both cases, it’s a good time to think about character. Writers use numerous techniques to make their fictional persons feel alive, something that greatly interests me as I edit that first draft where the protagonist feels a bit lacking in, well, character.[*] I recently read two books, one a novel and the other a short story collection, that approach the idea of character in compelling if divergent ways that illustrate what we as writers can really do to with our characters.

Unknowable Versus Lacking Character

A clear sense of character or even lack of character, for example, isn’t necessarily a handicap to tale well told. In The Vegetarian,[†] Yeong-he rarely speaks throughout the haunting tale that chronicles the manifestation and evolution of her madness. With the exception of an unsettling dream sequence she recounts (presumably to Mr. Cheong), her story, her words, and her life’s details are told through the perspectives of her husband, brother-in-law, and sister. She is in essence a negative presence, and each narrator can only react to her mysteriously changed behavior and/or guess at her actions. We, as readers, experience their bewilderment in tandem. The result is remarkable: Yeong-he, much like roots of her madness (and seemingly, all madness) remain unknowable.

In contrast to her absent presence, Mr. Cheong (Yeong-he’s husband) defines a lack of character in an altogether different and entirely unpleasant manner. The Vegetarian is not a story for the fainthearted, and Mr. Cheong is clearly the most reprehensible of its denizens—chiefly because he lacks empathy and compassion. The marriage between the two is not a love match: Mr. Cheong aspires to the “middle course”[‡] and finds it “only natural that [he] would marry the most run-of-the mill woman” available (12). Clearly, he represents a certain patriarchal extreme, where marriage means about his needs are being met and indifference to his wife’s interior life, interests, and even mental health. Or, as he puts it, “The strange situation had nothing to do with me” (26). Eventually, her decline, undoubtedly worsened by his neglect and mistreatment, cannot be ignored. Of course, he abandons her; after all:

her expression, which made it seem as though she were a woman of bitter experience, who had suffered many hardships, niggled at my conscience. (38)

Characters at Crossroads

Where loss seems to shatter and/or disrupt the characters of The Vegetarian, characters in the collected stories of If I Loved You, I Would Tell You This frequently find themselves at crossroads in their lives where they struggle to cope with their losses.[§] “Pine”, an exemplary story of the collection, features the widowed Claire who marvels at the choices Heidi made with her kitchen: Claire decides that, were she in Heidi’s shoes,[**] she would have chosen a smaller, easier to navigate kitchen with a pine floor to deaden the clumping gait of the prosthetic leg (155). Claire’s choices unsurprisingly are for muting: when her daughter questions her about her “friendship” with Kevin, she “think[s] about reassuring that no one could ever replace her father for me. I’m sure that is what she’s really asking” (164). It’s not. Alyssa suspects that Kevin has feelings for her mother and, in insisting Kevin is welcome to attend her soccer game, is assuring her mother that she’s okay with Claire moving forward. Claire instead focuses on how soon she will be losing her daughter to adulthood (165) and keeping Kevin as her “yes-man”—or more accurately, her emotional crutch that prevents her from moving past her widowhood (158-9, 172-3). Both Heidi and Claire have suffered terrible losses due to cancer. Their approach to these losses comes down to character: Heidi eventually found within herself the grit to get on with her life, while Claire (for now) remains exactly where she stood when Joe died.

Defining Character

Character, as Merriam-Webster has kindly reminded me, is complex word that refers to  more than persons of fictional works. It ranges from alphabetic markings to reputation. It suggests moral make-up of individual as well as the identity of groups.[††] It is word that encompasses much, and you need context to understand which character you happen to be dealing with, whether they lack, morals, or strength. Characters of fiction, too, need that complexity or even that mystery to make them real. As I go forward into the New Year, editing away, I’ll be sure to keep my character’s character and this complexity in mind. And, perhaps, mine as well.

Happy New Year!

Which characters caught your attention in 2016? Tell us about whom and why in the comment section below. Also, sign-up to the Sequences’s newsletter to keep current with the latest posts.

NOTES:

[*] New Year’s resolution #1: take it easy on puns.

[†] Kang, Han. Vegetarian: A Novel; Trans. by Deborah Smith. New York: Hogarth, 2015. Print.

[‡] I’m uncomfortably reminded of the advice that Robinson Crusoe’s father gave him about choosing the “middle state” of life at this moment. (Defoe, Daniel. Robinson Crusoe. New York: Bantam, 1991.)

[§] Black Robin. If I Loved You, I Would Tell You This: Stories. New York, Random House, 2011.

[**] And resolution broken! Amusingly, Claire also considers whether Heidi is “more in denial” about her circumstances (155).
[††] “Character.” Merriam-Webster.com. Merriam-Webster, n.d. Web. 29 Dec. 2016.