I miss reading. I really do. In a big, big way. And it has, especially over the past couple of days, been making me very, very sad. It started after I read Joshua Bodwell’s article in the most recent issue of Poets & Writers, “You Are What You Read.” “Not long ago,” he begins
I had an unsettling epiphany that probably shouldn’t have come as a surprise but nevertheless left me disheartened for the better part of an afternoon.
I won’t get to all the books I want to read in my lifetime.
For the average reader, this is one of life’s relatively benign epiphanies; as a writer it’s a serious limitation. After all, writers are readers first. Most of us were consuming books long before we ever picked up a pen or pencil, and confronting the fact that there is a limit to the number of them we will read feels a bit like realizing there’s a finite amount of oxygen in the room.
I don’t really buy the oxygen metaphor, but I endorse wholly the idea Bodwell is trying to get at. Indeed, a jolt of regret ran through me more strongly than I have felt in a long time when I read the words “writers are readers first,” because I can’t remember the last time that statement would have been saying something true about me. Sure, I read. I read for school, both material that I am teaching and that my students write; I read the newspaper and articles in magazines; I read blog posts and occasionally the discussion threads they spawn; I read emails and memos and occasionally scholarly articles and other similar material that feeds my academic work; but it has been years since I have been able to create at the center of my life a space for the kind of reading that nourishes me as a writer, reading that puts me back in touch with myself just for the sake of that experience, that connects me to language in ways that are challenging and revitalizing, that affirms my right to claim a place in this world simply because I am, that shapes who I am and shows me possibilities of being I would not otherwise have imagined.
It’s easy to lay the blame for this state of affairs at the feet of my adult responsibilities – having a job, needing to work extra hours because we need money, being a partner to the woman I married nearly twenty years ago and a parent to a thirteen year old boy – and, to some degree, putting the blame there is not inaccurate. Those responsibilities do take up time I could otherwise spend reading. It is also true, however, that I simply have not prioritized reading the way I used to, not so much in terms of how much time I can give to it, but in the sense that I’ve made choices about how to use my time that have pushed the kind of reading I am talking about here to the margins of my life. I did not start this post thinking about New Year’s Resolutions – since I don’t really believe in them anyway – but it is appropriate that I should be starting it on New Year’s Day, the day after I finished the first book in a very long time that I read just because I wanted to read it – though I didn’t start reading for that reason (about which more below) – Stanley Fish’s How to Write a Sentence and How to Read One.
Fish divides his book into the two sections named in the title, treating the first, roughly, as a discussion of form and the second, more or less, as a discussion of content. Of course, since the two are not really separable, his analysis of one often bleeds over into an analysis of the other. Nonetheless, the distinction is useful, since it allows Fish to ground a lot of what he has to say in the notion that a sentence is a material thing, like paint, an object with a structure and characteristics independent of the particular content the sentence has been fashioned to convey. Too many people who want to write – at least this is true of too many of the students I meet who say they “lo-ove” to write (and they almost always turn “love” into a two syllable word) – just don’t get this. Here is the first paragraph of Fish’s book:
In her book The Writing Life (1989), Annie Dillard tells the story of a fellow writer who was asked by a student, “Do you think I could be a writer?” “‘Well,’ the writer said, ‘do you like sentences?’” The student is surprised by the question, but Dillard knows exactly what was meant. He was being told, she explains, that “if he liked sentences he could begin,” and she remembers a similar conversation with a painter friend. “I asked him how he came to be a painter. He said, ‘I like the smell of paint.’” The point, made implicitly (Dillard does not belabor it), is that you don’t begin with a grand conception, either of the great American novel or a masterpiece that will have in the Louvre. You begin with a feel for the nitty-gritty material of the medium, paint in one case, sentences in the other. (1)
There are few pleasures that I enjoy more than getting my hands dirty in the tangled mess that the sentences of my first drafts usually are; and if we’re talking about poems, in which case you need to add to that mess the lines over which the sentences break, and perhaps a meter and/or a rhyme scheme, then the pleasure is even greater. Right now, there are two piece I am working on, an essay and a poem, each one needing revision. I have set them aside until I finish prepping my technical writing class for next semester – I am writing this post to take a break from that preparation – and I can’t wait to be able to pick each one up again and give to revising it the solid chunk of time that it will need (and deserve).
