Would you want to personally meet someone - some artist, writer, musician - you really admire? In the old days I was a bit of a groupie, though circumstances prevented me from going all out, such as becoming part of the tribe that followed the Grateful Dead around the country, the Deadheads. Anyway, it was literary heros I worshipped. On my first trip to the British Isles I visited Joyce's martello tower in Dun Laoghaire near Dublin and imagined the artist as a young Joyce. I took my notebook to the Burns museum in Edinburgh to copy out bits from the Scots bard's diary. On this continent, I stood at the graves of Henry David Thoreau in Concord, Massachusetts and Félix Leclerc on Île d'Orléans outside Quebec City. It was easier when the object of my admiration wasn't there, even though I have wondered what I got out of it; wondered if, for example, I expected the spirits to fly up and imbue me with a drop of their genius. I even wrote letters the odd time or two, such as to the writer Margaret Laurence and revered the answers I received. John Irving. Could it be him at the old zoo in Vancouver? He liked bears. He titled his first book Setting Free the Bears. Should I just go up and say welcome to Vancouver or something? Of course I didn't.
Friends mentioned seeing movie stars on the street, but I never recognized their ordinary off-screen selves. I did see Joni Mitchell at a café near the ferry terminal, sitting alone, smoking. She might have liked company, but what would I say to her? I so respected genius I didn't know if I could stop myself from gushing if an opportunity came to confront it. I was sufficiently stunned by Margaret Laurences's four-page reply to the beginning writer I was at the time that I did not even write back. Not even a thanks. So, John Lennon? If we should have met somehow? What would I have said to him? I could never be cool enough.
Now that I have finished the third volume, Boyhood Island, of his My Struggle opus, I am pretty sure I wouldn't want to meet Karl Ove Knausgaard either, certainly not as a kid. He reveals himself to have been both vain and oversensitive, crying all the time he wasn't reading or playing football, or, as the book tails off and childhood ends, thinking more and more about girls. Well, he had good reason to cry, his father was a bully. It's awful to be in the presence of someone whose moods are so unpredictable. Still, should I have met the tall skinny boy with protruding teeth and a protruding arse, who blubbered (as he puts it himself) whenever he was disappointed, I would have probably reacted like his childhood friends did, which might have produced more tears. The mothery side of me thought, aw, when I read those parts. I also thought: man, you are not prettying this picture, are you?
I remember when my students would complain that they had nothing to write about, that their lives were not interesting. If only they had had the gift to see that it's the way one looks at a life that is unique. K.O. is still entrancing me with his way, despite the unpleasant image he presents of himself whimpering, his vanity, his self-described long eyelashes and penchant for talking about clothes. I liked the comparison with David Bowie, though. As for the book as a whole, I continue to be gob-smacked by the detail he remembers or invents, by the forward movement of his prose. Boyhood Island lacks some of the back/forth in time that lent perspective to the earlier volumes. He seems to have made the choice to stick to the boyhood he experienced. It is the same but different and it held me just as the first two volumes did. Maybe it's because of the sense of anticipation he is able to create when he introduces a scene and the narrative arc begins to rise. Where will he go with this, I wonder. The answer is, often nowhere, then a new climb begins.
As for hero-worship, I have realized, even if it took awhile, that when I really admire, even love a piece of art or music, a book, it's the creation I'm infatuated with, not the creator. Any creator who thinks otherwise is heading for an inevitable fall.
"The shadows that descended over the ground outside were so long and distorted that they no longer bore any resemblance to the forms that created them. As though they had sprung forth in their own right, as though there existed a parallel reality of darkness, with dark-fences, dark-trees, dark-houses populated by dark-people, somehow stranded here in the light, where they seemed so misshapen and helpless, as far from their own element as a reef with seaweed and crabs is from the receding water..."
Boyhood Island, K.O.K.
Now that I have finished the third volume, Boyhood Island, of his My Struggle opus, I am pretty sure I wouldn't want to meet Karl Ove Knausgaard either, certainly not as a kid. He reveals himself to have been both vain and oversensitive, crying all the time he wasn't reading or playing football, or, as the book tails off and childhood ends, thinking more and more about girls. Well, he had good reason to cry, his father was a bully. It's awful to be in the presence of someone whose moods are so unpredictable. Still, should I have met the tall skinny boy with protruding teeth and a protruding arse, who blubbered (as he puts it himself) whenever he was disappointed, I would have probably reacted like his childhood friends did, which might have produced more tears. The mothery side of me thought, aw, when I read those parts. I also thought: man, you are not prettying this picture, are you?
I remember when my students would complain that they had nothing to write about, that their lives were not interesting. If only they had had the gift to see that it's the way one looks at a life that is unique. K.O. is still entrancing me with his way, despite the unpleasant image he presents of himself whimpering, his vanity, his self-described long eyelashes and penchant for talking about clothes. I liked the comparison with David Bowie, though. As for the book as a whole, I continue to be gob-smacked by the detail he remembers or invents, by the forward movement of his prose. Boyhood Island lacks some of the back/forth in time that lent perspective to the earlier volumes. He seems to have made the choice to stick to the boyhood he experienced. It is the same but different and it held me just as the first two volumes did. Maybe it's because of the sense of anticipation he is able to create when he introduces a scene and the narrative arc begins to rise. Where will he go with this, I wonder. The answer is, often nowhere, then a new climb begins.
As for hero-worship, I have realized, even if it took awhile, that when I really admire, even love a piece of art or music, a book, it's the creation I'm infatuated with, not the creator. Any creator who thinks otherwise is heading for an inevitable fall.
"The shadows that descended over the ground outside were so long and distorted that they no longer bore any resemblance to the forms that created them. As though they had sprung forth in their own right, as though there existed a parallel reality of darkness, with dark-fences, dark-trees, dark-houses populated by dark-people, somehow stranded here in the light, where they seemed so misshapen and helpless, as far from their own element as a reef with seaweed and crabs is from the receding water..."
Boyhood Island, K.O.K.