Tag: reading

The Catcher in the Rye

It’s not often that you’d read a book that changes the way you look at the world and at the way you look at writing as an art. The Catcher in the Rye by JD Salinger did that for me.

Five chapters into the book and I tweeted for the first time a long time illustrating my confusion. I hated the narrative. The writing tired me and slang threw me off. As I read through the first few chapters, I began to wonder what the writer—and the protagonist—of the story tried to tell me. (I later realised it, and even wrote about it, if you’re interested.) The purpose, the intent wasn’t clear. And as someone who enjoys well-crafted sentences and artful wordplay, I found the curt and bland sentences unimpressive. The lack of coherence, lack of respect for grammar, and the obvious disregard for the reader’s patience, all made me way to cast the book aside.

But the cover held me back. Something about the cover told me not to give up just yet. It only had the title and the author’s name. But the font and the background came together in a beautiful union, making me wonder in awe at how great a book should be within. Not every book gets the privilege of being so simple on the outside and still sell like crazy. And so, I wanted to know what was so great about it.

I read on.

One by one, as the chapters progressed I realised what the narrator was saying. The narrator, a 16 year-old boy named Holden, had flunked school and was about to go home for good. He had nothing to look forward to except the disappointment in his mother’s eyes and annoyance in his father’s. Such a boy, a whiner in a sense, lists out all the things that he hates about the world. He hates the two-faced people around him, the “phonies” who say something and do something else altogether.

As I read, I could feel Holden’s emotions; I had been there myself. His anger at people seemed valid in many instances. I was the same when I was 16, but then I grew up up understand the world better, to understand the realities of surviving in a society that’s convoluted and twisted, and always looking to “help” you in ways you don’t want them to.

That way, the book was relatable and close to my heart. It spoke to me unlike other social satires. This wasn’t an obvious satire in itself, but it did point out the evils of our society in a crude manner, through the eyes of a youngster in the brink of adolescence.

Having said all that though, I couldn’t help but realise what a disturbed soul Holden is. Looking at his life and his characteristics from an outside, much older person’s perspective, I think he needs psychological help. When his teacher stokes his head, he panics, anticipating sexual motives. That’s where I felt Holden as a character needs honing. Sure, he says he’s had many people doing weird stuff around him, but we don’t know that. As readers, we don’t hear anything that says he’s had a troubled childhood, no indication that he was abused in the past that justifies his running away from his otherwise most-accommodating teacher. When he notices swear words etched in his old school’s wall, despite wanting to, he’s too scared to erase it worried that someone might think he’d written them. Holden is immature and he’s insecure, but these qualities are also what make him more human and more close to the reader.

That way, Catcher in the Rye is a good read for sure.

Points of view

I write a lot of short stories. I even tried writing, what I’m now almost embarrassed to call, a novel. (I was young and determined and I took up the NaNoWriMo challenge.)

But in almost all of the stories I’ve written so far, I’ve gone for the third person narrative. Something about “I” and “me” and “myself” makes me uncomfortable. “She” and “he” and “they” seem easier and natural. Which is fine, I know, except I’m now reading a first-person book, and it’s changed the way I look at the first person narrative.

As I read through the first few chapters of the book, I decided I didn’t like the writing or the flow of the narrative. When I was about to dismiss the author as not my type, I realised that the first person narrative had influenced how I saw the author himself.
That struck me.

I knew nothing about the author and his style of writing. But here I was judging his way of work from just one of his books. I was wrong. A person and a piece of work are two different things.

In the first person for instance, the writer isn’t the author at all. The writer is the narrator, the character. And in the book I am reading, the narrator and the character is a twelve year-old, delusional kid. No wonder I didn’t like the writing—why would a kid, troubled and a smoker, running away from school mind proper grammar and decent vocabulary? What I had considered—for a split second—as a failed writing style soon made me realise that it was indeed brilliant characterisation.

With that revelation, I read on, learning more about the kid and nothing of the author. It’s not the story of a kid as told by an adult, but a story of a kid as told by the kid himself. And that’s where the author struck a chord. He masked himself as a child going into the his mind, abstaining, all the while, from his own adult instincts. That’s hard work. It’s hard, when you’re writing in the first person, to ignore the inner self that nags at you to tell your character to just shut up and grow up.

It’s easier to write in the third person; he called her, she answered him, they fell in love, and then out of love.

But the first person is more effective. I now see how the child’s character develops, what he expects from his life, what the author has in store for him, and how both ‘he’s—the author and the kid—respond to their entwined life.

Some say the third person point of view is the all-knowing, god-like personality. But reading through this particular book, I now think the first person author has more control than the third person author ever will. While the third person author knows what every character is thinking and feeling at the same time, the first person author not only possesses a single character transforming their life from the inside out, but also alters every other character in the story. A first person author is not just the writer, they are the protagonist, the soul of a story, the one person who can change their own life and the storyline as well.

It’s a challenge to write in the first person. A challenge I’d like to take up sometime.

Talk about style

A while ago, I complained that an instruction book I was reading then had no creativity in its narrative. That was a pretty big accusation, considering the author of that book is Seth Godin and it was—needless to say—a bestseller. Although the book had wonderful advice, a pleasing layout with big headings and small, bite-sized paragraphs, even a bunch of clever wordplay strewn across multiple pages, the fact remains that “Tribes, We Need You to Lead Us” was a dull read for me.

I had then dismissed most guide books as dull as Seth Godin’s. I knew they were helpful and worthy in their advice, but I also realised that those aren’t books I’d read for pleasure. They were more like necessary evils you’d have to tolerate because they, in their own weird way, improve your life. And that’s how I had concluded my experience with instructional books that had blurbs saying, “Must read for every marketer” or “best financial advice for the average tax payer.”

It was with almost the same mentality and expectation that I picked up “Style — Ten Lessons in Clarity and Grace” by Joseph M. Williams. It was a part of my reading library at work and I picked that particular book because it had big fonts and reasonable spacing in the margins. Oh, and also because it was nice to caress the thick, white paper between my fingers. Aside from its aesthetic appeal, I expected nothing. That’s why the book caught me unawares spreading within me inexplicable joy, leaving me flicking through the pages to read more.

For the first time in a long time, a how-to-like textbook gripped my interest. It was about writing, and the author explains, with examples, why and how some sentences work and some don’t. Throughout the book, the author speaks of clarity and good sentence structure, which is all classroom stuff; to take it a notch further, however, he also speaks about the ethics of writing and how sometimes, you have to sacrifice clarity and concision because there’s more at stake.

Every teacher teaching writing would say clarity and brevity is the soul of a good piece. It’s important to empathise with the reader, giving them what they need to know, being mindful of their time. Williams agrees, and explains how to write for the reader, but in 10 lessons, 2 two epilogues, an appendix, and a glossary, he also admits that he can’t say how to identify the best way to write. There are no absolute rules to writing because it depends on the purpose, on the audience, on the writer themselves. And unlike so many books and articles that advise on writing, this book addresses that reality of writing.

In addition to the juicy meat of the book, Williams introduces quotations throughout. Every lesson, every chapter, begins with at least three famous sayings relating to the subject he’s about to discuss. To my surprise, some of those words were so witty I laughed out loud. I couldn’t remember the last time I had done that reading a how-to book.

All these were great things about the book. But the greatest thing was the writing itself. It’s not easy to write about writing in a way that readers, who are writers themselves, understand the writer’s intent—a feat that Williams has managed to achieve in an almost effortless way. That’s the actual lure of the book. Anyone who’s written anything knows that easy reading is damn hard writing, and the fact that this book is super easy to read says a lot about Williams as a writer, his process, and his dedication to revise and rethink every first instinct. For me, perhaps that’s the success this book has garnered.

It’s a glorious read for anyone interested in writing. However, for random readers looking to increase their “read” library in Goodreads, it’s just another instructional book.

Get a life!

I had just begun to read One Hundred Years of Solitude. I had left the book on my table while I rummaged in my bag for something when my colleague (a senior) cast me a look as if I were crazy to read such big a book. (It wasn’t that big, still—)

“Why are you reading stuff like this?” He raised his eyebrows in a scorn, then shook his head continuing, “Read about marketing, about selling, business, and technology. Those are the stuff that’s going to help you in future. These are just useless.” He cast a dirty look at the book I had wrapped in a polyethylene cover to protect its beautiful art.

He wasn’t the only one. About three years later, I had a similar conversation with another senior colleague. This time, it was poetry. I had mentioned reading some new poems when he suggested I read about the latest mobile technology instead. Sure, I laughed, I’ll subscribe to all tech magazines and read them, but poetry is for my personal time. And he smiled in a crude way shrugging, “Well, read this during your personal time.”

To which I replied, “I need a life.”

He just laughed it off, but I felt proud of myself. The first time, I was new at the job and worried about being rude to an experienced person at work. The second time, I was more concerned about myself. I had grown up.

But the fact remains: a lot of my colleagues, friends—even my parents—feel that work has become such a large part of our lives that we have no time for anything else. My married colleagues complain how they can’t bond with their in-laws. Some others worry each day that they leave home for work even before their children wake up. Even the typical 9–5 corporate world now has employees clocking in from 8 to 8 or 8 to 12. And it’s not just for a day, it’s for days together.

In a flurry of product launches and a rush of marketing campaigns, we often forget that home is a place away from office. We spend so much time at work, and all of the little time at home thinking about work. The balance goes to the noose.

It’s sad but it’s reality. We’ve lost so much of our life to work that we seldom realise what we’ve lost. We spend all our days toiling to ensure someone else’s luxury while we skip lunches for meetings, put off a family reunion for an official trip, and stay a little longer than midnight to finish testing the code. And the purpose of it all—an extra shift, a higher bonus.

However, at the end of the day, lying in bed, thinking about the tasks for the following day, we fail to feel the warmth of the blankets, hear the soft—yet evident—creak of the fan or the wind tapping against the windows, and notice the curtains swaying in the breeze. Somehow, while we were busy living to work, we lost the will to live at all.

My colleagues are (un)living examples, and I’m walking on the tightrope. It’s time for a change.

Persuasion

When it comes to classic novels, it’s a love or hate relationship. There’s no in-between, no neutrality. At least that’s what I thought.

I bought Persuasion by Jane Austen about a year and a half ago. But I let it rest in my cupboard for a good few months before attempting it. When I did, it took me a long enough to get through just half-way. I admit, it was slow. But I didn’t want to give up.
People had said wonderful things to me about Austen and her Persuasion. And I wanted to see what they saw in her books.

I spoke to a well-read friend, and she mentioned she didn’t like classics like Persuasion. I felt like I had hit a speed bump. Just when I worried that I was the only one doubtful of the book, here was another who was brave enough to admit it. It was reassuring to know that I wasn’t the only one struggling to love Austen.

Not long afterwards, life drifted by, and so did the book. Until a few weeks ago when I decided to finish the goddamn book. Closure is a powerful motivator.
I finished the book in three days and it changed my opinion about Austen and Persuasion. Also, I understood why people had conflicting views about her books.

I liked Persuasion.

The story was great. Anne Elliot’s character is relatable — she isn’t just a pretty face. She hats everything about her false and two-faced society. The small talk, the vain parties—she struggles to get through them on a daily basis. That’s most of today’s women. And Austen wrote this story almost a century ago. That’s the beauty of it, that it holds true even after such a long time. I love how Austen portrays social conventions — how Mr Elliot entertains his rich cousin Lady Dalrymple despite being in weak terms. He worries that Lady Dalrymple hadn’t sent her condolences for his wife’s death (thereby ending ties) only because he hadn’t sent his condolences for the viscount’s death. He wonders how to revive the relationship.

“How to have this anxious business set to rights, and be admitted as cousins again, was the question: and it was a question which, in a more rational manner, neither Lady Russel nor Mr. Elliot thought unimportant.”

“Family connexions were always worth preserving, good company always worth seeking.”

He seeks to trumpet their relationship because of the Lady’s wealth, and not because he cares—that’s the reality of the present society too.

The story was great. But the writing was old. The narrative comprises lengthy sentences, archaic spelling, paragraphs of reported speech, and plenty of passives. Persuasion isn’t for the modern reader. It’s not for the 21st century youth with fleeting memories, and attention spans that span less than a goldfish’s. It’s not for the internet surfer, the scroll-addict, or the lover of the feed.

Persuasion is a classic. It’s for those who read for the pleasure of reading. It’s for those who look below the narrative layer and seek the symbolism in the prose. Complex sentences display the complexity of Austen’s society. Reported speech shows how other characters influence Anne; the words, the thoughts aren’t hers. Weird spellings reveal how outdated the society’s mindset is, even for the 19th century — a mindset that lives even today.

That’s how beautiful the story is. It goes beyond the plot in the page. It takes the reader into the English society that Anne lives in, explaining both in words and in symbols, how others influence our thoughts, our decisions, and the way we live our lives. The book is a truth serum that mirrors our own modern life that isn’t much different from Anne’s.