I’ll tell you what sucks. What sucks is when an idea for a 3rd novel that gelled a couple of years ago around the idea of a highly unusual narrator — in the form of a crotchety, dying BOILER in an old house — suddenly strikes you as an idea that won’t work. An idea that has gotten in the way of the story, rather than providing a lovely way to bear witness to the events, and relay them with a unique point of view. THAT’s what sucks.
And, what sucks even more is the realization that aforementioned novel is more than half completed. Let’s say 2/3 to 3/4 completed. With the wrong narrator. And thus, now needs to be completely re-written.
I hate re-writing more than most. One of the best moments of my life was when I read an interview with author Ethan Canin in which he said that he tried to do as little rewriting as he possibly could. He poured everything into his first draft, and felt rewriting generally lost some of the narrative drive and force of the original. I embraced his words like gospel.
Sigh. Nonetheless, I have now revised about 12 of the original chapters. I have at least 18 more to go. My organizational skills are such that various files are stored in 2 different computers, in a wide array of files. In other words, it could be way more than 18 additional chapters.
Some of the stuff needs to be tossed away entirely (ouch!!). Other parts can, and will, be incorporated into the story fairly easily. In the section below, I did exactly this, and I think it worked. A snippet that was originally told by the boiler has been woven into an existing chapter.
Even when our souls are impaled, we must gather force and go on. I guess.
Savannah is lounging around on the couch, her belly getting so swelled up it no longer looks like it could possibly belong to the rest of her body. She’s wearing a raggedy old pair of sweatpants that she borrowed from Madeline, a T-shirt she borrowed from her sister, and a giant sweatshirt she took right off John’s pile of laundry while it was still sitting on top of the dryer. That girl dearly loves to wear everybody else’s clothes.
The television set is on, as it always is, but Savannah isn’t really looking at it. It seemed as if she mostly liked to push the buttons every so often, make the sound go up or down, or switch to a different channel she would also not watch, then go right back to pushing the buttons on her phone.
Savannah holds the phone to her ear and says, “Daddy? Hi. Hey, what do you think I should have for lunch?”
Oh my god, Madeline thinks. You have got to be fucking kidding me. Not this food thing again.
“Cereal. I had a big bowl of cereal for breakfast.”
—
“No. I only like creamy peanut butter, and right now all we got is the crunchy kind. I hate that stuff. Plus I only really like peanut butter with marshmallow fluff, and pretty sure we don’t have any of that either. What else?”
—
“No, I’ve had bagels every day cause Marie always brings them home. Plus that’s what you said yesterday. What else?”
—
Madeline comes in with a big basket of laundry and sits at the far end of the sofa to fold it. Savannah puts her teeny feet in Madeline’s lap and goes on with her phone talk. The little-ness of Savannah’s feet, the childlike tone of her voice – Madeline is not sure exactly what it is – she finds herself sitting on that same couch, years earlier, watching her daughter. There was a period when Kate was four and five when she would watch the same movie over and over again, and then watch it some more after that. Her first great love was “Ghostbusters,” til everyone thought they would lose their grip if they heard that tune and heard those folks saying “who you gonna call” one more time. But just when Madeline thought she might end up a few bricks shy of a load as a permanent condition, Kate switched to “The Little Mermaid.”
Kate did not simply watch. She was totally immersed. She had a whole set of costumes and dress-up clothes and pretend furs and pink plastic shoes that she would line up all across the floor, and she would stop the show between every different scene so she could put on the proper costume. She sang every song and acted out the entire story out as well. By the time the Mermaid married the Prince, Kate was wearing a pink gown with gold stars all over it and a shiny silver crown on her head. She puckered up her lips and leaned her head way out to give her Prince a sweet pretend kiss. Madeline saw all of this as she sat on the couch folding laundry.
She thought this: there was a time when she watched those movies with Kate, and she saw them through Kate’s eyes – at first, they were brand new, and every single thing you’re seeing is a wonder and a miracle, then they’re familiar enough to feel like home, but still funny enough that you get surprised – every time –cause you keep seeing all kind of things you didn’t see before, to where you think the jig is up if you have to sit in the presence of those same words for another minute of your lifetime. Quite a bit like life, Madeline thinks.
When Savannah pushes the button that abruptly ends her call, she says, “That was my dad. I was asking him what I should have for lunch.”
“Your dad?”
“Uh-huh.”
“Your father?”
“Uh-huh.”
“You were asking your father what you should have for lunch.”
Savannah can see that it ain’t a question, so she don’t answer.
“Your father, as in, the guy who put you on an airplane the minute he found out you were pregnant? Who said that you were dead to him? That father?”
“Uh-huh. He wasn’t a very big help. MadMad, what do you think I should have for lunch?”
“Oh, no. No, no. I’m not playing that game again.”
This advertisement comes on the television just then. There’s all these people setting around a table, completely frozen in time. One of them is caught right in the middle of spilling a whole pitcher of water. The first drop is just about to hit. Another is hanging in mid-air, kicking up his heels, his hair standing straight up in all directions. He is at the highest point, held in the split second before he starts on down. Yet another is tipping his chair so far back you know he’s about to tumble over backwards; but he’s caught right at the tipping point, held right there in the balance. There’s one more person. The only one who can move. He gets to walk all around this whole frozen scene, check it from every angle, ponder on exactly what’s going to happen next. He can take all the time in the world to figure it.
