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This Month In Books: The Book Is an Escape Tool
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Dear Reader,
“I had to write this book. I think any writer that finishes a book would say the same thing: they didn’t have a choice,” says Mark Haber to Adam Morgan in an interview about his slim novella Reinhardt’s Garden. Steph Cha, in her interview with Victoria Namkung, likewise talks about a compulsion to write, though not regarding her latest novel, Your House Will Pay, but rather her prolific output of Yelp reviews:
In his review of Lafcadio Hearn’s newly reissued short story collection Japanese Ghost Stories, Colin Dickey writes about Hearn’s lifelong obsession with the supernatural, which began in childhood:
This obsession dictated the course of his writing career. As Dickey tells it, Hearn’s ghost stories are of a piece with his journalism in the U.S. and Martinique before his late-life move to Japan — “stories of murder and mayhem” and “interviews with undertakers and butchers.” Taken as a whole, his full body of work is “a corpus around that thin line between life and death.”
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The compulsion to a narrative can be dangerous — it can twist the teller to conform to unexpected contours. In an interview with Jane Ratcliffe about her book This Is My Body: A Memoir of Religious and Romantic Obsession, Cameron Dezen Hamon says that she was drawn powerfully toward religion from an early age:
But in adult life, within her chosen spiritual home, she realized that something was still missing — something different but still vital. Her church’s sexism, it’s denial of the part of her that was female, left her fractured in a new way:
Dezen Hammon’s memoir becomes a means for her to reconstruct herself:
The kind of narrative power, to deconstruct or reconstruct the teller of the tale, is something Dickey touches on when discussing Hearn. Trying to pinpoint the specific quality of Hearn’s ghost stories that make them so ineffable, Dickey writes that
Indulging in his lifelong obsession with the divide between life and death, Hearn the narrator reaches a sort of sublime state of powerless, adrift in realms of fear beyond the point of his understanding: the book as immersion therapy.
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Speaking to Hope Reese about her new memoir In the Dream House, Carmen Maria Machado describes how the story she tells in her book, that of the domestic abuse she survived at the hands of her partner, also has a certain power over the teller inherent in it. During the abusive relationship, Machado’s potential ability to tell the story was itself an avenue of her partner’s abuse: she would instruct Machado not to write about certain incidents.
By telling the story, Machado is breaking free of it: the book as an escape tool.
Dana Snitzky
Books Editor
@danasnitzky
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