No one can fathom what happens between a human being and language.
This morning on my way out the door, I picked up a book off my shelf almost by chance. I was running late and wouldn't have time to grab the Red Eye, the Trib's free daily. What was in my hand was About This Life by Barry Lopez, author of Arctic Dreams, which is a desert island book.
What he says below, from his introduction to this collection of science essays, is gorgeous. This is for all of you who love to write.
Once I was asked by a seatmate on a trans-Pacific flight, a man who took the liberty of glancing repeatedly at the correspondance on my lap, what instruction he should give his fifteen-year-old daughter, who wanted to be a writer. I didn't know how to answer him, but before I could think I heard myself saying, "Tell your daughter three things." Tell her to read, I said. Tell her to read whatever interests her, and protect her if someone declares what she's reading to be trash. No one can fathom what happens between a human being and language. She may be paying attention to things in the words beyond anyone else's comprehension, things that feed her curiosity, her singular heart and mind. Tell her to read classics like The Odyssey. They've been around a long time because the patterns in them have proved endlessly useful, and, to borrow Evan Connell's observation, with a good book, you never touch bottom. But warn your daughter that ideas of heroism, of human duty and devotion that women have been writing about for centuries will not be available to her in this form. To find these voices she will have to search. When, on her own, she begins to ask, make her a present of George Eliot, or the travel writing of Alexandra David-Neel, or To the Lighthouse.
Second, I said, tell your daughter that she can learn a great deal about writing by reading and by studying books about grammar and the organization of ideas, but that if she wishes to write well she will have to become someone. She will have to discover her beliefs, and then speak to us from within those beliefs. If her prose doesn't come out of her belief, whatever that proves to be, she will only be passing along information, of which we are in no great need. So help her discover what she means.
Finally, I said, tell your daughter to get out of town, and help her do that. I don't necessarily mean to travel to Kazakhstan, or wherever, but to learn another language, to live with people other than her own, to separate herself from the familiar. Then, when she returns, she will be better able to understand why she loves the familiar, and will give us a fresh sense of how fortunate we are to share these things.
Read. Find out what you truly believe. Get away from the familiar. Every writer, I told him, will offer you thoughts about writing that are different, but these are three I trust.
What he says below, from his introduction to this collection of science essays, is gorgeous. This is for all of you who love to write.
Once I was asked by a seatmate on a trans-Pacific flight, a man who took the liberty of glancing repeatedly at the correspondance on my lap, what instruction he should give his fifteen-year-old daughter, who wanted to be a writer. I didn't know how to answer him, but before I could think I heard myself saying, "Tell your daughter three things." Tell her to read, I said. Tell her to read whatever interests her, and protect her if someone declares what she's reading to be trash. No one can fathom what happens between a human being and language. She may be paying attention to things in the words beyond anyone else's comprehension, things that feed her curiosity, her singular heart and mind. Tell her to read classics like The Odyssey. They've been around a long time because the patterns in them have proved endlessly useful, and, to borrow Evan Connell's observation, with a good book, you never touch bottom. But warn your daughter that ideas of heroism, of human duty and devotion that women have been writing about for centuries will not be available to her in this form. To find these voices she will have to search. When, on her own, she begins to ask, make her a present of George Eliot, or the travel writing of Alexandra David-Neel, or To the Lighthouse.
Second, I said, tell your daughter that she can learn a great deal about writing by reading and by studying books about grammar and the organization of ideas, but that if she wishes to write well she will have to become someone. She will have to discover her beliefs, and then speak to us from within those beliefs. If her prose doesn't come out of her belief, whatever that proves to be, she will only be passing along information, of which we are in no great need. So help her discover what she means.
Finally, I said, tell your daughter to get out of town, and help her do that. I don't necessarily mean to travel to Kazakhstan, or wherever, but to learn another language, to live with people other than her own, to separate herself from the familiar. Then, when she returns, she will be better able to understand why she loves the familiar, and will give us a fresh sense of how fortunate we are to share these things.
Read. Find out what you truly believe. Get away from the familiar. Every writer, I told him, will offer you thoughts about writing that are different, but these are three I trust.