Emily Writes Bad Poetry

East of Eden 

Part 3 of “Alabaster Christ”. Read the whole novella here.

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Emily had no shortage of complaints about what L.A. had become.

“But what really gets me going,” she would tell anyone who would listen, which was usually bartenders, “What really pisses me off is anywhere you go in Southern California — well, I don’t know about South Central and East L.A. ’cause I don’t go there but I’m sure it’s no different — is the death, the absolute fucking death, of swanky little cocktail lounges and friendly neighborhood bars. I mean, what’s up with that? I’ll tell you what’s up with that. One word: Star-fucking-bucks. Starbucks! When I was a kid there were bars everywhere, all up and down the boulevards and kids could go in with their parents and sit at the bar and order a Shirley Temple or a Roy Rogers. Long gone, those days.”

Emily considered herself a serious reader. She liked to take a copy of the latest selection from Oprah’s Book Club and pass the hours away at the nice little bar in the Beverly Garland Hotel on Vineland. Emily loved living in Studio City. She rarely left the neighborhood for any reason.

“Everything is here,” she would say. “Vons, restaurants, Blockbuster, that chicken place I like on Ventura. Of course there’s not a book store anywhere in close proximity but these days I order everything online from Amazon anyway and usually only what Oprah’s top pick is. She chooses some long books, you know. Sometimes I don’t get any breathing room between the latest one and the next one.”

On an unusually chilly February afternoon, a Tuesday, Emily was found at the bar at the Beverly Garland after picking up her dry cleaning at “the place on Laurel Canyon” — she could never remember the name of the store — and grabbing a couple bags of Eukanuba at PetCo. Accompanying Emily at the bar this afternoon is a tattered paperback of John Steinbeck’s “East of Eden.” She has consumed two Bloody Marys and she’s only 32 pages into the 631 page novel. She is, naturally, frustrated. These aren’t the same characters from the movie she loved all her life. Where’s Cal and Aaron?

This thing is so fucking long, she thinks, studying the cover while she sips the remains of her Bloody Mary through a red plastic straw.

“I’ll have a Heineken,” a voice at her shoulder says pleasantly.

The bartender moves off to get the beer and Emily glances at the man. A young one. Maybe 25. Smart eyes. Sharp dresser. An intelligent gaze. She guesses he’s a TV writer. They grow ‘em here, she always says.

The young man glances at the cover of the book in her hands.

“‘East of Eden’,” he says with a shy smile. “Great book, overrated movie.”

She didn’t have to feign interest. “You really think so? About the movie?”

“Well, sure, it helped to cement James Dean’s legend but as a Hollywood adaptation of a book it’s a travesty. They only used the last third of the book.”

“The last third?” Emily’s eyebrows arched and practically leaped off her forehead.

“Yep.”

She decided then and there not to finish the book, not if it was going to take 400-some pages to get to the only part she was interested in. After the young man took his beer and joined a table of friends, Emily was suddenly seized by inspiration. She fumbled for a pen in her oversized handbag, Emily always carried a Pilot Precise Rolling Ball, and grabbing a cocktail napkin, she wrote the words as they came to her:

Knowing stares

Glowing glares

Embers in the fire

Of desire

She examined what she wrote. Not bad, she thought, a good start. When she got home tonight she would whip it into shape and have something good enough to post on the website of one of the internet poetry groups she belonged to. She also made a mental note to rethink the value of Oprah Winfrey’s influence on her life.

18 Responses to “Emily Writes Bad Poetry”

  1. Julie Scott Says:

    I feel like I’m missing something here. Before I say anything, I’m in a bit of a sour mood and spend the morning in a literary debate with David over the proper use of exposition, so I’ve probably got my picky editor hat on…

    But - That was an incredibly awkward opening sentence Rodger. You also switch tenses (past, then present, than past again) twice in the story.

    This seems unusual for you, so I’m allowing that maybe there is a clever reason for this that I’m missing. I have to admit I haven’t read “East of Eden” or seen the movie, so perhaps I’m just missing some bit of subtext or commentary here.

    Ok, that’s it with my attempts at constructive criticism.

    The good - Emily is an all too familiar character. The woman that imagines herself to be an intelligista longing for a bygone era that is really just as vapid and mired in pop culture as the people she looks down upon. And bad poetry is always at least funny.

  2. Zel-kun Says:

    The word ‘pseuso-intellectual’ comes to mind. I’ve known many of them, they’re as common in Chicago as in LA.

    I know what a Shirley Temple is… what’s a Roy Rogers?

    Julie: The writer in this case appears to be Emily herself. As such, her sentence structure is likely like her thoughts. Short, and sometimes disjointed.

  3. Julie Scott Says:

    Z - Could be. But, if that’s the case, why not write it in first person to make that more clear?

    I want to like the story, but I’m suffering some cognitive dissonance here.

  4. Zel-kun Says:

    Actually, I know a lot of writers that do that. They write in 3rd person from the mind of a particular character. Stephen King and Robert Jordan are two off the top of my head.

    Oh… and me :)

  5. Julie Scott Says:

    Well, yeah, but usually if your writing third person you don’t change the tense.

    As Rodger and I were discussing a few posts ago, you don’t break grammer rules unless there’s a damn good reason for it.

    Writing in her voice could be a damn good reason, but it doesn’t seem like a good enough reason to change tenses or write an awkward first line. Since the reader is not aware what your tense or perspective is when they read the first line, that is usually a bad place to get funky with the rules unless you are clearly establishing a certain tone - writing in a particular dialect or dropping all your punctuation ala Selby, for example.

    Secondly, it seems to break the rule that if your going to do something… off… then at least be consistant about it.

    The reason I pointed out the tense changes and the awkward first sentence is both seem to violate the rule of consistancy as compared to the rest of the text.

    (I know that if nothing else, King is very aware of the rule of consistancy - check out his “On Writing”. Although Rodger would probably rightfully shake his head at me for recommending it. Actually, come to think of it, Orson Scott Card wrote a really good guide to breaking the rules without causing cognitive dissonance for speculative fiction writers, but I can’t remember the name off the top of my head.)

    Long tangent… Anyhow - I’ll allow that there is a damn good reason, but I don’t think your giving strong enough evidence for your theory.

  6. Rodger Jacobs Says:

    Whoa, Julie. Come down off the ceiling. :)

    Zel pegged it correctly. This is Emily’s voice. She is writing about herself in the third person. Not only is she a bad poet, she’s a bad writer.

    Okay, now you guys have compelled me to spill the beans: the last three stories (Paul Newman, Poe, Emily) are interconnected. The next three stories will reveal how. It’s a five-story cycle.

  7. Rodger Jacobs Says:

    Zel, a Roy Rogers is the same thing as a Shirley Temple, 7-Up and grenadine, they just give it another name for boys.

  8. Julie Scott Says:

    Interconnected!?

    Now there is an interesting twist.

    R - Alright… I concede to Zel on this one. But I still think the tense change was unnecessary noise. =P

  9. Julie Scott Says:

    R - I also concede preemptively to your superior writing/editing experience if you disagree about the tense thing.

  10. Rodger Jacobs Says:

    It was a cinematic device, Julie, even though it may have struck you as awkward. We start out in long shot and move in closer and closer until we are in close-up. Think Norma Desmond.

  11. Rodger Jacobs Says:

    I don’t disagree with you at all, J. When I proofread this one last night, my first thought was Who the hell is the narrator here? And then, after careful examination, I came to the same conclusion Zel did.

  12. Julie Scott Says:

    I think it’s the use of “in her estimation” that keeps sticking in my craw. Usually when someone says “what L.A. had become, in her estimation…” I would expect it to be followed up with an expansion on the opening thought - what her estimation of what L.A. had become, not to wander off into some completely different thread. I can see where it’s an example of her bad writing, but when I first read it I was just like, “???” It was as if two sentences had mushed together in some wierd awkward tangle like a couple of first-timers on lover’s lane.

    I swear I read that sentence twice before I could figure out what the hell it actually said.

    *sigh* I’ve been doing a huge amount of proofreading today (as compared to usual) and been in kind of a sour mood all day. I think an opener that distracts you from reading the rest of the piece instead of inviting you to read onward is a bad call, but I’m probably just being grumpy. I’ll read it again later when I’m feeling less nitpicky.

  13. Rodger Jacobs Says:

    It’s a reflection of a muddy, perambulating mind:

    Emily had no shortage of complaints about what L.A. had become, in her estimation as a native, a breed that Eastcoasters deny as a myth, which always infuriated Emily. As a local. A native. Native Angeleno and damn proud of it.

    Recall that she cannot even remember the name of the dry cleaner she frequents. She is bordering on mental illness, whereas Poe, in the previous story, is full blown insane. But more on that in this evening’s story when I have it written and posted.

    But I’ll grant you, Julie, that it may be an awkward opening sentence. I don’t strike home runs every time I step up to the plate and I have a tendency to go to bat on a daily basis.

  14. Julie Scott Says:

    Well, that’s true.

    Churning out good fiction on a nearly daily basis is nothing short of awe-inspiring, so I don’t really mean to give you so much trouble. ;)

    But it’s also why I felt comfortable giving some to Zel. When you’re doing stories as often as you are, I’d expect to not be in love with every single one.

    Also, it would be silly to not expect you to experiment, but I’m just trying to give you some honest feedback.

  15. Rodger Jacobs Says:

    Of course I appreciate and respect your feedback. You and Zel had a different reading experience on this one. And that’s what it’s all about, right?

    On a sidenote, here is some truly nitpicking criticism from when I posted “Alabaster Christ” in the Craig’s List Lit Forum:

    I like magical realism but I wouldn’t use that label for your story, simply because any magical element could be attributed to the mental state of your main character. Further, your character reacts strongly to the weirdness, whereas most characters in traditional magical realism narratives are nonplussed by such events.

    In other words: “Stick to the formula, pal.” Well, no, I don’t have to.

  16. Rodger Jacobs Says:

    Alright, upon further consideration I do believe you are right, Julie. I edited the clunky verbiage out of the opening graph.

  17. Julie Scott Says:

    I win! ;)

    Thank you, Rodger.

  18. Rodger Jacobs Says:

    You’re welcome. And it does work better now. I mean, it’s well-established in the second graph that she’s lived in L.A. most, if not all, of her life.

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