Relationship between Fiction and Memoir, Interview Pt2

by Jerry Waxler

This is the second part of my interview with Marie Lamba, author of the young adult novel, “Over My Head.” In this part of the interview, I continue to seek understanding of the relationship between young adult fiction and the Coming of Age period in memoirs.

To read the first part of the interview click here

Jerry Waxler: Adult fiction is sorted on bookstore shelves by genres such as romance, mystery, and sci-fi/fantasy/horror. Are YA books separated along similar lines? Your book “Over My Head” reads to some extent like a romance. Would you or would booksellers categorize it as a YA romance?

Marie Lamba: It’s a contemporary YA or a romantic YA.  There is young YA for the tween crowd and older YA for more mature audiences (think PG13-R).  Then of course there is paranormal, dystopian, chick-lit, fantasy, literary, you name it.

Jerry Waxler: In Over My Head, there is an incredible amount of inter- and intrapersonal deception. Almost everyone was lying to each other, or to themselves. Girls lie in order to get guys, to save face, to override parental authority, to hurt each other, to protect each other, to brag. It was a deception fest. Naturally the lying created enormous dramatic tension. Did you accentuate this quality of human nature because of your own experience of what young life is really like, or is this just the way you felt these particular characters needed to act, or what?

Marie Lamba: Jerry, I’m sure you NEVER lied as a teen, but I might have once_ or twice? Teens try to be good, they really do, but sometimes it’s the lie that allows them to continue to be viewed that way, or to test out new identities or to fix what they may have broken, or to break what is too perfect.

The tougher the mess, the bigger the lies can be until they are so ridiculous that only the truth will do. Lies, like secrets, are also great story devices. As writers we do highlight elements in life, heightening them to make a story really shine.  In real life you might have one grand humiliating moment, in a book the character can experience a virtual fest of humiliation. Now that’s a story.

Jerry Waxler: Actual people are infinitely varied, and the situations that drive us have all sorts of nuances and details. I read memoirs so I can learn about these unique aspects of real people. However, in the genre fiction that I read as a young man, such as, mysteries, thrillers, and sci/fi fantasy, the characters often have far less human individuality or depth. Where do you see your books falling on this spectrum? Do your YA books aspire to offer authentic, unique challenges of real human beings, or more formulaic characters of a genre?

Marie Lamba: I hope that my books contain characters that are nuanced and not stock.  The bad guy has a soft side, the good girl does something horrible, they all have their own arcs and purposes and dreams. They say there are no original stories. But people are original.  I hope that by putting my own spin on characterization that I’m creating characters that are fresh and original and that feel real.

Jerry Waxler: What sort of real-world observations do you use to help you authentically portray your characters? For example, do you keep a writer’s notebook about growing up, or interview young people, or does it pour from your imagination?

Marie Lamba: It definitely flows. Once I have a good feel for the characters, that’s all it takes for me.  It helps that I’m surrounded by teens as a mom and that I’m an older girl scout troop leader. And I definitely remember my teen self vividly. No journal required for that.

Jerry Waxler: When creating your novels, what sorts of real life experience did you bring to your books? Can you offer any example of how you mined your own memory for situations, age appropriate emotions, characters and psychological tension?

Marie Lamba: It doesn’t take much for any of us to remember a time when we were heartbroken or mortified or how it felt to be in a fight with a really close friend. These are such visceral experiences that plucking those emotions to use in a story is a natural thing for most writers. In “Over My Head,” the uncle’s illness plays an important role. My brother-in-law actually had the same disease as the uncle in the book, and he passed away shortly after 9-11.  The novel is dedicated to his memory, and Sang feels what I felt_helplessness and a deep desire to do something, anything, to help.  So adult emotions and experiences can also be helpful in shaping the YA world.

Jerry Waxler: Have your characters ever taught you interesting lessons about yourself or about human nature? In other words, as you watch a character develop in your book, does the behavior or attitude of your fictional character help you piece together some aspect of real life?

Marie Lamba: In a way, a book is more than you are. You are creating different characters, points of view, experiencing things you never would have experienced otherwise.  I think it forces me to look harder especially at the villains in our lives to find a speck of good in even the worst of us, and writing difficult scenes forces me to linger and feel things that in real life I would eagerly speed past.

Jerry Waxler: In the last 5 or 10 years more and more writers are interested in memoir writing and the trend seems to be accelerating. I wonder if fiction writers are more open to real-life experience. Years ago, when the novelist Carl Barth visited the University of Wisconsin campus, I asked him if his fiction had been influenced by his life. He snapped at me like I was insulting him. Nowadays, I have met many fiction writers who are more open to discussing the relationship between their stories and their lives. What do you think? Have you noticed any change over the years in the attitude about using real life situations in fiction?

Marie Lamba: We fiction writers do have a dilemma. We want to be free to create honest stories, and this of course includes experiences from our past, but if the veil between truth and fiction is lifted, how can we feel free to be as frank? In my work, most things are a composite of experiences put together, plus a healthy dose of make believe. Is there a trend for writers to own up to the memoir-like aspects of their fiction?  Not for this writer.

The real truth is that people love to see themselves in your books. Even when they truly aren’t in there.  It’s pretty fascinating.

Jerry Waxler: What are you working on next? Are you going to stay within this period or are your characters going to grow older?

Marie Lamba: My YA novel “Drawn” again deals with a 17 year old teen, but the next novel I’m currently stirring around in my brain will probably reach into the 20-30 year old adult range.  And, hey, who’s growing older?

Notes
Marie Lamba’s novel “Over My Head” was described by New York Times best-selling author Jonathan Maberry as “a funny, touching, and at times heart-breaking young adult novel about the search for love.” She is also author of the young adult novel “What I Meant…” (Random House), which was dubbed “an impressive debut” by Publisher’s Weekly..

Marie Lamba’s Home Page

Click here for an article about why Coming of Age memoirs deserves its own genre

Click here for a more detailed article that compares Coming of Age memoirs with Young Adult fiction.

To see brief descriptions and links to all the essays on Memory Writers Network, click here.

To order my step-by-step how-to guide to write your memoir, click here.

Bookmark and Share

Interview: Young Adult Fiction versus Coming of Age Memoirs

by Jerry Waxler

I am fascinated by Coming of Age memoirs because they provide a window into the many emotional challenges that people undergo on their journey to becoming adults. Recently, I realized that Young Adult fiction is about that same period of life. To learn more about the way Young Adult fiction handles that period of human development, I read the novel “Over My Head” by Marie Lamba in which a 16-year-old girl falls in love with a college boy. Is it real love? To find out, she must process her own feelings as well as advice and opinions from friends and parents.

When I started reading, I was afraid I had entered a girl-zone where I didn’t belong. The more I read, the more engaged I became, appreciating my privileged front-row seat, where I watched the emotional and social challenges of a girl trying to make the leap to adulthood. “Over My Head” zooms into one particular aspect of Coming of Age: that awkward period when humans first steer through the outrageously intricate connection between romance and sex. The hero of the novel must learn those lessons under the spell of emotions so compelling they have an almost mystical power.

I have spent the last five years infatuated with the way memoirs allow us to see each other through the medium of a story. Memoir authors go deep inside themselves and then bring that intimate detail out into social awareness. Marie Lamba reminds me that the real people who write fiction also share their insights into the human condition. After reading the book, I asked the author her opinions about the relationship between real life and fictional characters.

Jerry Waxler: In “Over My Head” your character was 16-year-old character had to sort out romantic feelings from sexual ones. Some people advised her that the boy might be using her while others urged her to jump in. Her challenges represent the dilemma teens face in real life. When composing your novel, how conscious were you about representing these real-life Coming of Age challenges?

Marie Lamba: Hi Jerry.  Thanks so much for speaking with me about this.  I think when you write for the young adult market, it’s almost always a coming of age story. This is a time when we search for who we are as individuals.  The conflict of trying to make big decisions based not on the thoughts of our peers or our family, but on our own feelings and beliefs is key. This forces us to examine who we really are.  When I write about these sorts of things, it’s just natural for me. I don’t consciously plot out a coming of age structure, it just evolves from the characters and the plot.

Jerry Waxler: (laughing) Wow, I think you ought to be teaching a course in developmental psychology… In most Coming of Age memoirs, one of the protagonist’s tasks is to understand the relationship with adults, especially parents. We have to grow toward adulthood and yet at the same time, push adults away. I thought you did a great job in Over My Head portraying this dilemma.

When you were writing Over My Head, or when you read other Young Adult novels, how do you like to see the relationship between the young characters and their authority figures? How does the relationship of your fictional characters with their adults relate to your own observations of these relationships in the real world?

Marie Lamba: Family, whether absent or all-too-present, looms large in everyone’s lives. Intrinsically, children want to please their parents, even terrible parents, sadly. But there comes that moment when the point of view of even the very best parent seems so foreign for that child. That is when the child does take that giant step away from the parent and sees that maybe she’s on her own.  Pleasing your parents or listening to them isn’t always what’s right. That can be quite a revelation.

In YA fiction, the main character needs to have some independence, or needs to be fighting for independence, or the story just isn’t dynamic to me.

Jerry Waxler: The audience of YA is supposed to be 14 to 21. That’s a big range, considering the difference in reading level, emotional and life experience. So when you write, what is the age of the audience you visualize?

Marie Lamba: These days, the YA audience stretches straight up into adulthood. It’s not unusual for me to hear from adults that they related to my novels and that it took them back to their own teen years. And I also hear from readers who are much younger than I’d expect saying that they really related to the characters in my books. I guess I don’t really think about the audience, though. I think about the characters and strive to create as authentic a voice for the ages they are. For OVER MY HEAD, Sang was 16 going on 17, so that’s where my focus in voice and tone went.

Jerry Waxler: In adult life, a few years difference in age rarely makes much difference. But in a teenager’s life, each year brings them closer to adult empowerment. When will I be able to drive? When will I be able to earn freedom from my parents? When will I be old enough to earn the optimum romantic partner?

You bring out these tensions powerfully in “Over My Head” with the romance between a 16-year-old girl and 20-year-old boy. The age difference creates a big power imbalance. What interest brought you to the story of a 16-year old hero and her 20 year old love interest? How does age-related envy and power imbalance play out in your favorite YA stories?

Marie Lamba: There are all sorts of imbalances in relationships in novels, but age is a biggie. The younger character finds herself wondering if she’s mature enough, envying the freedoms of the older character, perhaps even glorifying what is mundane to an older person.  In OVER MY HEAD, the age difference isn’t exactly 4 years.  Sang is almost 17 and Cameron is just 20, but with him in college it is a great divide indeed.  He has a separate life from his summertime world, and this raises a lot of red flags about who he really is.

In my previous novel, WHAT I MEANT… all the teens were around the same age.  The adults had tremendous power and one especially diabolical aunt used this to set the heroine up to take the blame on numerous occasions. With OVER MY HEAD, Sang is 2 years older, and ready for true independence. I selected an older love interest to up the stakes and to really force Sang to be at odds with her youthful self and her family.

A favorite YA of mine, IT’S NOT SUMMER WITHOUT YOU by Jenny Han also involves a girl smitten by an older boy. The separation forced by him going off to college, coupled with the death of his mom, create huge rifts between the two, and the heroine wonders if he’s changed, or if he was ever who she thought he was. And perhaps she didn’t know her own heart either.

Jerry Waxler: I felt your novel “Over My Head” had especially good control over the passage of time. I wondered if part of that authorial control is related to the age of your characters. Since we all went through the school system during those years, your school-year markers remind us of our own coming of age. (Harry Potter capitalizes on this structure too, making each book correspond with a school year.) In addition, an illness in the family creates additional time pressure, and then toward the end, we hear the drumbeat of the approaching school year. Do you pay special attention to the suspense around the passage of time? Do you have any set rules about how to keep the reader moving through time?

Marie Lamba: I’ve learned through writing a number of novels to always keep a fictional calendar for my stories. Weekends make a difference. So do holidays.  So does the weather, the phases of the moon, stuff like that. With my manuscript DRAWN, which has a time travel element, this was especially critical.  I had to track the present day time as well as the critical events of the 1460s.  

I always know the big climactic event of the book before I write, and having a count-down to this helps me plot the pacing and keep the tension going.  An author (now I can’t remember who) once said that the things that keep story engine going are a secret or a ticking time bomb, preferably both. I always try to go for both.

Jerry Waxler: Sometimes YA books jump over into an adult readership. For example, Harry Potter obviously made the leap to a cross-generational readership. And sometimes adult books are picked up by young people. J.D. Salinger apparently wrote “Catcher in the Rye” for an adult audience, and then young people realized that the subject matter was about them, and they took it for themselves. So when you write about your young people, what sort of attention are you paying to the possible interest adults might have in reading your books?

Marie Lamba: With YA books, parents are often the ones who okay or nix the purchase, whether at a bookstore or online or at the library/school level.  Because of this, we YA authors are actually really conscious about the level of profanity and sex we put in a novel.  Win over the teens, lose the parents? It’s a delicate balance. I strive for authenticity, and then I assess how critical a curse word is or a sexual thought. If it truly is critical to the story, in it goes.

As for appealing to adults as readers, I believe that any well-told authentic story will speak to us all.

Interview to be continued

Notes
Marie Lamba’s novel “Over My Head” was described by New York Times best-selling author Jonathan Maberry as “a funny, touching, and at times heart-breaking young adult novel about the search for love.” She is also author of the young adult novel “What I Meant…” (Random House), which was dubbed “an impressive debut” by Publisher’s Weekly..

Marie Lamba’s Home Page

Click here for an article about why Coming of Age memoirs deserves its own genre

Click here for a more detailed article that compares Coming of Age memoirs with Young Adult fiction.

To see brief descriptions and links to all the essays on Memory Writers Network, click here.

To order my step-by-step how-to guide to write your memoir, click here.

Bookmark and Share

A novelist comes alive in a memoir, or is it the other way around?

by Jerry Waxler

Rick Skwiot, author of “San Miguel de Allende, Mexico: Memoir of a Sensual Quest for Spiritual Healing,” also wrote several fiction books, making him a good resource to help me understand the relationship between these two apparently very different narrative forms. In the first parts of this interview I asked him about; his spiritual quest, turning notebooks into a memoir, and more about his life as a writer. In this fifth part of our interview, I ask him about fiction, fact, and finding an end.

Jerry Waxler: You have written several fiction books. Which did you learn first, memoir writing or fiction writing?  Have themes from your journey to Mexico infused your other writing? If so, how?

Rick Skwiot: Learning how to write fiction came first with me, long before I ever thought of writing a memoir, though “learning” it is a never-ending journey, perhaps like “learning” philosophy or learning wholeness. However, like fiction writing, memoir writing is creative writing, and all the tools and approaches that I learned as a novelist I applied to my two memoirs: how to organize my material for dramatic effect, develop interesting characters, modulate and pace the story, construct emotion-laden scenes, build taut and tense dialogue, keep the narration driving forward, etc.

Fiction writing also helped sharpen my imaginative powers, which certainly come in handy when writing a memoir. For example, in my childhood memoir I wrote a scene in which I imagined my widowed grandmother’s secret lover (whom I learned about 50 years after the fact) meandering North St. Louis streets after being chased from her flat prior to our Christmas morning arrival. Appropriate turf for a memoir, I think, the memoirist’s thoughts, feelings, and imagination.

As to themes from my Mexico journeys infusing my other writing, yes, they do, for they have become part of me. They show up quite plainly in my two early Mexican novels, particularly in Sleeping With Pancho Villa, though in an indirect and subtle way, I hope. The playwright Arthur Miller once said that all drama attempts to answer the question, “How does a man make for himself a home?” That can be said of novels and memoirs as well. I think the spiritual quest is central to that search for home. All men and women have something of Odysseus in them, and lives that parallel the Odyssey—we are all trying to find ourselves and our place in the world, to vanquish monsters and false suitors and navigate threatening seas to return home.

Jerry: How did writing a memoir help your fiction?

Rick: Writing a memoir helps put the author in touch with his or her deepest feelings. It is both, from time to time, a melancholy and an uplifting process. But digging into oneself and one’s past in an honest way helps a writer recognize what’s important—what resonates with you, what moves you, what frightens you. Those things are probably what should drive one’s fiction writing as well. Overall it helps you see yourself better and more honestly, which will make you stronger as a fiction writer and as a human being.

Jerry: How much help did you receive from other writers, say in critique groups. Did other writers help you gain perspective and create a clean, straightforward portrayal of your journey?

Rick: I got some valuable feedback on early drafts from writers and intelligent readers alike. Actually, the concept of starting the book at the time I broke my ankle came from a reader who is not a professional writer but a yoga instructor in Mexico. When he made the suggestion, it was like a curtain going up and I saw the rightness of it. (I’ve learned to trust my heart on fielding criticism, rejecting suggestions that don’t really resonate with me, and embracing those that feel like revelation or, conversely, sting.) Most writers benefit from good critiques, and it is very difficult to operate without them. However, it is not always easy to find. Fortunately I do have some friends who are novelists, and we read each other’s works-in-progress.

Jerry: What are you working on next?

Rick: I have just finished a “final” draft of a novel, Key West Story, in which a down-and-out writer in Key West, suffering from writer’s block, penury, and self-doubt, is visited by an angel—a young Ernest Hemingway reincarnate—sent down to get this worthy yet misguided soul back on track as a man and a writer. Together they set off to Cuba in Hemingway’s fishing boat, to attempt to smuggle out a Cuban Navy salvage diver, a Santeria priestess and maps to sunken Spanish galleons. Although it has certain autobiographical elements, probably best written as fiction, not a memoir.

Jerry: One last thing. I am very sensitive to downbeat endings. For one thing, my experience with the existential and nihilistic literature popular in the sixties depressed me profoundly. Once I overcame that depression, I have tended towards literature that lifts. From that point of view, your book challenged me. I found the pervasive death and poverty depressing. And yet, in the end, I felt uplifted, not by what you found in Mexico but what you found inside yourself. This theme of a young person trying to find himself is one of my favorite themes. But you had to finesse your personal rewards within the gritty reality around you. I can see a dynamic tension between these two opposing forces, your insistence to grow and the severe limitations that poverty placed on the people around you. How did you feel about portraying this tension?

Rick: I have spent my life trying to balance those opposing forces, the yin and yang, my melancholy and my exuberance—product, perhaps, of a mercurial Slavic soul. The world has always been a difficult and dismal place for our species, with threats and evil lurking, but also an enveloping home with great beauty and riches. Life is struggle, for everyone, and those who have the inner resources and high spirits to fight on in the face of great adversity are those we most admire. Like you, I want to hear their stories, not the stories of quitters, pessimists and whiners. The protagonists don’t have to succeed in reaching their goals, but they have to strive with great heart. When we read these stories, we see it is the struggle that ennobles us and the thing that matters most.

Click here for Part 1 of the interview with Rick Skwiot, Spiritual memoirs

Click here for Part 2 of the interview with Rick Skwiot, Journals and Notebooks

Click here for Part 3 of the interview with Rick Skwiot, Backstory of a memoir

Click here for Part 4 of the interview with Rick Skwiot, Tenacity of a Writer

Notes

Rick Skwiot’s Blog, “New Underground”

Rick Skwiot’s Home Page

More memoir writing resources

To see brief descriptions and links to all the essays on Memory Writers Network, click here.

To order my step-by-step how-to guide to write your memoir, click here.

Bookmark and Share

A Memoirist Talks About the Backstory of His Memoir

by Jerry Waxler

Writing a memoir is a journey. In addition to finding and writing material, we also strive to improve our skills, the same road taken by the authors of all those books that have entertained and informed us since the beginning of our lives. In addition to the lessons they have recorded between the covers of their books, many writers are also happy to teach. In this third part of my interview with Rick Skwiot, novelist, writing teacher, and author of the memoir “San Miguel de Allende, Mexico: Memoir of a Sensual Quest for Spiritual Healing,” I pry into his insights about writing.

Jerry Waxler: I was intrigued to see you immersed with these characters. You wanted deeply to learn from them about letting go and just living. And yet, you kept diving into your books. It was an interesting character portrayal of yourself, a guy who wanted to find himself in the culture and yet kept finding himself in books. I can relate! How self-conscious were you of this self-portrait? Did you have to work at the self-portrayal, or did this emerge naturally from events.

Rick Skwiot: I don’t think I consciously crafted a self-portrait here. I was just trying to report on this guy who went to Mexico and found himself, and how that came about. For most any memoirist, there are two first-person characters: the author/narrator who is writing it and the historical character who experienced the events in the book’s scenes. The author has some temporal distance from that other first-person character, in my case, the man I was some 25 years ago. I think I was able to write about him with some detachment because he isn’t me, but a character from my past who has no current existence. This was even more apparent to me when I previously wrote my childhood memoir, Christmas at Long Lake, which takes place on Christmas Eve and Christmas Day 1953, when I was six years old. In fact, in early drafts I used third person to describe the six-year-old Rickey, since he seemed another person to me. (My agent and the first few publishers who read the manuscript found this rather off-putting, and I subsequently agreed and changed it to first person.) Anyway, in writing San Miguel de Allende, Mexico I was able to draw from extensive journals I kept in those days, a day-by-day reporting of what I did, what I read, and what I thought. So I was able to recount fairly accurately who I was in those days, and to perceive the significance of events then thanks to the authorial distance of some decades.

Jerry: In your book you show scenes when you are reading great works of literature or working on your own writing. I enjoy this aspect of your book. You let me watch your literary coming of age, during which you drink in the literature that came before you so you can learn how to write your own. Could you say a bit about your choice to put your literary passions into the story of your stay in San Miguel Allende.

Rick: I think you’ve said it pretty well, Jerry. The great literature I was being exposed to then for the first time affected me deeply and altered me–it was an important part of my experience. And these were the giants I was, and am still, measuring myself against as a writer. I know there are all sorts of writers just as there are all sorts of people, but in my heart I never really wanted to be a commercial writer but a writer of literature. This was a great and difficult leap for me, to aspire to do that, as I came from a working-class environment where there were no writers, much less literary artists. Being a creative artist just wasn’t on the radar for me. But as I grew and developed and gained confidence, I kept raising my goals and expectations for myself. As I show in my memoir, at the time I first went to San Miguel de Allende I was still very unsure of myself as a writer and an artist–I had hopes, but that was it. But I also had some great mentors who pointed the way–Chekhov, Simenon, Cather, Hemingway, et al. These were my instructors and role models. They were pivotal in my development and important characters in my life, even though I had never met them. Thus they had to be characters in my book.

Jerry: Fascinating. That explains a lot. Your journey from a working class family to an young man who wanted to be a literary writer is an unspoken subtext to the memoir driving the protagonist. It’s like I am now seeing the backstory that makes the book work even though in the book you don’t show scenes from that childhood. I love it. Many memoir writers struggle with how much backstory to put into their memoir, and now I’m seeing that sometimes it’s okay to let the  character’s personality speak for itself.

Rick: Exactly. The reader will get it if it is embedded honestly…I’m now writing a novel in which an angel from Writer’s Heaven, Ernest Hemingway, acts as a mentor to my protagonist, so I’ve been immersed in what the real-life Hemingway had to say about the craft of writing. I think his “Iceberg Theory” from Death in the Afternoon applies here: “If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of the iceberg is due to only one-eighth of it being above water. The writer who omits things because he does not know them only makes hollow places in his writing.” In San Miguel de Allende, Mexico, there would be no struggle, no story, if our protagonist had come from, say, a family of writers or artists or successful people who paved the way for him–or at least it would have been a different type of struggle. But I knew my working-class backstory (and the role it played in my struggle) and had previously written about it with affection in my childhood memoir Christmas at Long Lake. There you see that while I had no material class advantages to speak of, I was given one great gift, a hard love that granted me emotional security and kept me grounded–which ultimately enabled me to venture out spiritually, intellectually and artistically. As to my Mexican memoir, I sensed rightly, I think, that any extensive digression into my childhood or my frugal family background would interfere with the narrative drive and perhaps come off as self-indulgent.
In the next part, I ask more questions about Rick Skwiot’s journey as a writer.

Click here for Part 1 of the interview with Rick Skwiot

Click here for Part 2 of the interview with Rick Skwiot

Notes

Rick Skwiot’s Blog, “New Underground”

Rick Skwiot’s Home Page

More memoir writing resources

To see brief descriptions and links to all the essays on Memory Writers Network, click here.

To order my step-by-step how-to guide to write your memoir, click here.

Bookmark and Share

Turning Journals and Notebooks Into a Memoir

by Jerry Waxler

When Rick Skwiot moved to Mexico in the 1980s, he had two goals. He wanted to find himself spiritually and also find his writing voice. Years later, he wrote about the trip in the memoir “San Miguel de Allende, Mexico: Memoir of a Sensual Quest for Spiritual Healing.”

In the first part of this interview I asked Rick to help me understand more about the spiritual aspects of his search. Now in this and following parts, I ask about his literary journey. The book explains that he wanted to be a writer. I wanted to learn more about how he fulfilled those dreams by turning his powerful life experience into a book that invites readers to relive it with him.

Jerry Waxler: You mentioned your writing journals quite a bit, since writing was one of the things you did to pass the time. Explain how you used your writing notebooks while you were in Mexico.

Rick Skwiot: My journals were crucial in my development as a writer. Not only did I record events of my life, but I also, as you suggest, wrote fictional scenes there, experimented with writing styles, penned criticism on the books I was reading, recorded my dreams and more. It was a mishmash of fact and fiction that would likely misinform and mislead any reader other than myself. My journals were a cauldron from which a writer emerged, finally. They also taught me the discipline of writing every day and thinking every day, examining my life and the world around me with a sense of writerly investigation. For a writer, most everything is research and potential material, which makes us such charming companions, half vulture, half snake-in-the-grass.

Jerry: As you were attempting to write the memoir, what help were your original contemporaneous notebooks? How did it feel reading that old material?

Rick: A curious thing occurred regarding the notebooks’ content. I had mined the notebooks/journals years earlier when writing my two novels set in Mexico, and had not revisited them in perhaps ten years. But when I did I found that the fictionalized versions of events, from my novels, had come to be my reality, how I remembered things. My contemporaneous reporting of events shocked me at times, for I had not remembered things that way at all. This showed how unreliable memory (and perhaps a memoir) can be, and alerted me to the power and truth of fiction. I was also surprised by how hungry I was back then. I was on a compulsive quest to find myself, and my journal notes underscore how serious and driven I was, how dead set on saving myself. It was somewhat frightening in retrospect, for I saw what peril I was in at the time, and found myself feeling sympathetic and paternalistic toward my former self.

Jerry: How have your habits and strategies with notebooks changed over the years? How do you use them now?

Rick: Nowadays I don’t keep a regular journal and only start doing so when I am beginning to work on a book. Then I use a notebook to sketch out plot, dialogue, scenes, characters, etc. So it is more of a workbook than a journal. Also, I think my life has become much more mundane–which is a mixed blessing–and doesn’t inspire journal entries. Also, I have come to trust my memory, which is a writer’s capital, his material. I know everything that has happened to me is in my mind, in my conscious or unconscious, and that it will surface in some form when I need it. I noted this in particular when writing my childhood memoir, Christmas at Long Lake. When I began writing a scene and put myself in that place emotionally and, through the imagination, physically, I began to see and remember–the sights, smells, words, feelings–from my childhood. It was in some ways a very moving experience, spending time again, in that way, with my late parents, when they were young and vital. Most bittersweet and affecting for me.

Jerry: Many aspiring memoir writers look at their pile of notes, their many memories, and feelings, and are daunted by the prospect of turning them into a story, with a beginning, middle, and end. What was that like for you, as you tried to find a theme or organization or thread of this book?

Rick: That’s always the most agonizing and daunting part of writing a book, organizing and structuring it. What I try to do, and what I advise my writing students to do, is to think in terms of scenes–as in theater, compressed, meaningful action that takes place in real time at one location with a few important characters, and dialogue that drives the narrative forward and reveals character. I will note down what scenes I feel are obligatory, scenes I know I want in the book, somewhere, or that need to be there. Then I start to organize them in some effective way–whether it’s chronologically, thematically, geographically or whatever. I often do use a schematic in doing this–I draw boxes that represent scenes–so I can see what needs to happen first, what relationships and interconnections there are between various incidents and characters, and so I can easily move things around. Once I arrive at a workable ordering of the scenes, I can write them (or often I write the scenes first and worry later about where they go.) The last thing then is to write the summary and transitions, the authorial intrusions, if any, and needed exposition. Of course this is a very messy and recursive process, and difficult and potentially heartbreaking. You can write the whole book and then see that one particular scene is out of place, so you have to tear the book all apart and do another organization and a lot more work. This was even more daunting in the pre-computer days, when each draft meant having to re-type the whole manuscript. But I was happy to do it, as I thought such rigors weeded out the dilettantes and other writers not as insanely committed as I.

Jerry: There was a rhythm to the way the book was set up, with your initial burst of enthusiasm, some rethinking, then a trip back to the states and the start of a second round. I liked the rise and fall and rise again. It felt organic and natural. This is especially important for writers because the middle of a book is supposed to be the hardest, keeping the energy moving during the “long middle.” It’s hard enough to get the overall structure. You have done an excellent job of finding internal structure too. Talk about how you worked through the material looking for the shape.

Rick: I am gratified that the book’s structure “felt organic and natural,” because it was arrived at after a lot of trial and error and anxiety. Yes, I did labor over it, and it changed shape drastically over the ten years of its gestation. At last–and this came after numerous drafts over the years–I settled on starting the book in the middle of things, at the pivotal and dramatic point when I broke my ankle playing basketball on the Mexican team. Then most of what happens in the first half of the book is told in flashback. This gave me the opportunity to order things thematically and control pacing. Part two, my return to Mexico, is told more chronologically. The key for writers is the get the story going right off the bat, to get and hold the reader’s interest and attention. Once you have some conflict or problem on the table that captivates the reader, then you can begin to layer in some of the needed exposition, in a judicious way. This applies to creative nonfiction as well as fiction. It is perhaps the most difficult thing about writing a book, keeping the narrative driving forward.

End of Part Two

In the next part, I ask more questions about Rick Skwiot’s journey as a writer.

Click here for Part 1 of the interview with Rick Skwiot

Click here for Part 3, A Memoirist Talks About the Backstory of His Memoir

Click here for Part 4 of the interview with Rick Skwiot, Tenacity of a Writer

Click here for Part 5 of the interview with Rick Skwiot, Novelist or memoirist

Notes

Rick Skwiot’s Blog, “New Underground”

Rick Skwiot’s Home Page

More memoir writing resources

To see brief descriptions and links to all the essays on Memory Writers Network, click here.

To order my step-by-step how-to guide to write your memoir, click here.

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Two Types of Trainings in Your Memoir

by Jerry Waxler

In a famous scene from Star Wars, when warrior Luke Skywalker was learning how to fight, his mentor told him to close his eyes and “feel the force.” The training was a crucial step in the young man’s journey and a perfect demonstration that heroes need to learn skills in order to succeed.

To see how this applies to memoir writing, consider the brilliant, detailed treatment of training and mentors in Andre Agassi’s memoir, “Open.” To become proficient as a tennis champ, Agassi relied heavily on sport trainers. In his description of his training, Agassi offers us a bonus, demonstrating the distinction between two fundamental types of training. One type could be called “fight training” relevant for battle. In his case, the battle was tennis. The other form of training was his ordinary schooling, which was supposed to teach him how to live in peacetime, if he had stuck with it. His struggle to balance these two types of training became a key dramatic tension in his memoir.

Tension between School and Sports

As a teenager, Agassi was sent away to live in a special high school for aspiring tennis champions. He only attended ordinary classes for a few hours a day and the rest of the time he practiced to become a fighting machine on the tennis court. He hated the mundane schoolwork and pressured his trainer to let him drop out. After Agassi quit, he became even more immersed in tennis. He listened to his coaches and worked hard, constantly striving to succeed.

His progress, at first glance, seems like a perfect model for a successful life: study, challenge yourself to get ahead, and rise to the top of your field. Despite Agassi’s success on the tennis court, he had the nagging regret that he had missed one of the foundations of being a human being. His lack of general education did not interfere with his ability to earn a living but it gradually revealed itself as a missing piece in his heart. When he began to search for fulfillment off the tennis court, he tried to fill in this piece, not by going back to school himself but by building a school that would give this opportunity to others.

Writing Prompt

Write about your own two types of training. Consider the type of training that prepared you for battle. Perhaps you were a soldier and you really did have weapons training, or an athlete, a violinist, or any other skill that you used to make your way in the world. Show scenes of the warrior training, including classrooms, coaching sessions, discussions with mentors.

If you can’t think of any obvious “warrior training” loosen your definition and use metaphors to search for your warrior side. For example, if you went to business school or fashion school, imagine it prepared you to go forth to do battle in your career. If you engaged in social activism, or fighting against poverty or ignorance, what training helped you fight these “battles”? If you engaged in sports for fun, write a scene of those competitive situations to see what warlike aspects of yourself you can reveal. Or perhaps your warrior nature is expressed in board and computer games. Such activities are inherently competitive. You win, they lose. Write a scene about these skills and activities, to see if they can reveal more about that aspect of your experience.

In the peacetime type of training, how did you learn to live with people, socially, understanding your culture, your home and hobbies, and the less competitive aspects of life. What lesson or experience gave you the wisdom to be smarter about just being yourself? What mentors, beliefs, books, or classrooms helped you become a wiser person, easier to live with, more helpful to your community, family, and friends?

When and how did you feel torn between the practical form of training and the more general, peaceful one? Which aspect was over-accentuated, and which under?

When have you passed the training along, paying it forward, or returning to your community to share your learning with others?

Note
Another example of the way training can change lives, is, The Pact by Sampson Davis, George Jenkins, Rameck Hunt in which three boys in the ghettoes of north New Jersey band together to overcome their environment and became doctors.

Note

This is part of a multi-part essay about Andre Agassi’s memoir “Open.”

More memoir writing resources

To see brief descriptions and links to all the essays on Memory Writers Network, click here.

To order my step-by-step how-to guide to write your memoir, click here.

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Myths Suggest a Universal Template for Memoirs

by Jerry Waxler

To share our life story, we first explore our interior landscape, searching for information that will make sense to ourselves. But when we try to explain our past to readers, it must do better than simply make sense. It must be interesting. So writers go on another quest, looking for techniques that will help them tell a good story. But not all of us know how to do that. Take me for example. Despite years of consuming stories, I didn’t know the first thing about creating one.

My first foray into the nature of storytelling came from a weighty book called simply “Story” by Robert McKee. McKee, a writing teacher, explained the steps needed to create a screenplay. His matter-of-fact approach gave me hope that I could learn enough about the structure to perhaps someday create my own.

My next burst of understanding came from Joseph Campbell’s “Hero of a Thousand Faces.” Campbell’s explanation was based on a lifetime of studying world mythology. From his complex research he drew elegant conclusions about the importance of storytelling for human society.

I also attended workshops which taught me the various components of stories, such as characters, dialog, and plot. In one workshop, Jack Lule, a professor at nearby Lehigh University, shared his insights into the way mythology can help explain why some news stories resonate with public interest and some fall flat. He wrote about this topic in his book  “Daily News, Eternal Stories: The Mythological Role of Journalism.”  See my article on Jack Lule’s talk about myths and news.

[Link to my Jack Lule article]

All these parts of the storytelling puzzle fascinated me but I couldn’t figure out how to put them all together. Then I hit paydirt. The book “Writer’s Journey” by Chris Vogler explained how storytellers and mythmakers have been following a template since the beginning of recorded history. From the basic system outlined by Chris Vogler, I saw the parts of stories more clearly and began to form ideas about how I could apply these principles to my own life.

At first I was surprised by the simplicity of his ideas, but over time grew to see them as an inevitable connection of all humans throughout civilization. From that point of view, it made perfect sense that mythology is loaded with universal story telling devices. For example, here are some of the techniques that could be applied to memoir writing.

Mentors, Trainers and Training
Weapons, Weapon Masters
Talismans
Potions
Shape shifting
Chosen Clan, Allies
Coming Home or Nostoi

Some of these mythmaking devices looks fanciful, completely disconnected from real life. And yet, with a little imagination, you can see how these techniques might highlight subtle aspects of your own story. To illustrate how this works, I will point out echoes of these mythological structures, suggested by Andre Agassi’s memoir “Open,” and then offer suggestions about how you can use them yourself.

In following posts, I will focus on each of these topics, give examples, and offer writing prompts for your own memoir in progress.

Note

This is part of a multi-part essay about Andre Agassi’s memoir “Open.”

More memoir writing resources

To see brief descriptions and links to all the essays on Memory Writers Network, click here.

To order my step-by-step how-to guide to write your memoir, click here.

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Who Am I? 10 ways memoir reading and writing helps clarify identity

by Jerry Waxler

As long as I can remember, I have been trying to figure out who I am. In high school, I thought I had solved my identity problem by falling in love with math. But that expectation turned out to be overly optimistic. Life remained a mystery. In college, I moved to physics, hoping the laws of the material universe held the key, but Newton’s laws and Maxwell’s equations made me no wiser about who I was. I broadened my inquiry to include history, literature, and music. Even then, I still couldn’t answer the simple question, “Who am I?”

In my 20s I turned to spirituality, in my 30s to career, in my 40s to self-help and psychology, and in my 50s I thought I could write my way out of my jam. But like scratching an itch on a phantom limb, no matter how hard I rubbed, I was never able to relieve the pressure. It was only when I began to read memoirs and write my own that I began to find answers to my perennial question.

To write a memoir, I peer into my memory and pull together facts and scenes. Then I watch myself take shape on the pages. Within that story emerge the components of self and identity that have eluded me for so long. Depending on the angle of vision, I discover many dimensions of self, each one offering insight, validation, and a different way to make sense of my journey on earth. Here are ten of those aspects of self that memoir reading and writing has helped me discover.

“Coming of Age” — the emerging story of self

Memoirs about Coming of Age explore the period when a young person tries to understand who they are supposed to become. First they learn about themselves from parents, siblings, neighbors, and friends. Then they crawl, stumble, and race in various directions, until they finally find ground firm enough to support their weight. Here are several Coming of Age memoirs that have shown me how other people did it.

Examples:

Frank McCourt, “Angela’s Ashes.” McCourt grew up in Ireland with a father steeped in alcohol. The book is a scene by scene portrayal of this journey of a boy trying to learn who he is and how he is supposed to head out into life.

Jeanette Walls, “Glass Castle.” She went from ragamuffin adventurer child to successful television personality, two extremely different identities. Thanks to great writing, she turns her struggle into a wonderful read, but underneath it all, she is traveling the same road we all must, to go from zero to 20.

Mark Salzman, “Lost in Space.” Salzman shares his obsessive approach to growing up, learning Karate and Chinese language on his journey from boy to man.

Haven Kimmel, “A Girl Named Zippy.” An ordinary girl from a small town proves that growing up, even when uneventful, contains plenty of drama and importance.

My Coming of Age

I had a relatively healthy childhood. I lived with both my parents and regularly visited both sets of grandparents who lived a half hour from my home. Neither of my parents were addicted, or abusive, or suffered from mental illness. We weren’t too poor or too rich. My studious habits and love of science fit perfectly with my upbringing as a pharmacist’s son. By the time I left for college, my self-image had fixated on a specific and well-formed plan. I was convinced that it was right and even imperative that I become a doctor. My older brother was already in medical school and I thought all I had to do was follow his lead.

Writing Prompt

Describe your own Coming of Age. When you reached early adulthood, what messages about yourself had you incorporated into the story of who you were and where you were heading?

To be continued
In future blogs, I will describe other ways memoirs have helped their authors answer the question “Who am I?” and I will continue to explore my own journey.

To read more about the psychological notion of self-concept, read my article on Mental Health Survival Guide

More memoir writing resources

To see brief descriptions and links to all the essays on Memory Writers Network, click here.

To order my short, step-by-step how-to guide to write your memoir, click here.

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How Boys Become Men? (Hint: Memoirs Help)

by Jerry Waxler

Ed Husain, author of “The Islamist,” grew up in a Muslim community in England. As a young boy in the 1980s his greatest pleasure was following his father and learning to pray. In high school in the 90s, he fell in with a group of boys who said that prayer was for old people, and that the urgent mission of every Muslim should be to destroy western culture. These ideas appealed to Husain, and overriding his father’s objections, he joined the demonstrations and soon began organizing them.

Husain’s choices offended me. Couldn’t he see his father’s wisdom was deeper than his own? Wasn’t it obvious he was attacking the very government that gave him the freedom to protest in the first place? While I was criticizing Husain, I felt a tug from another direction. In the back of my mind, I remembered my own choices when I was his age.

My father was a pharmacist. After years of hearing him speak reverentially about doctors, I decided the best way to please him would be to become a doctor myself. When I entered college in 1965, I was well on my way. But the Vietnam war was ramping up and so were the protests. When I was 20 years old, I stood outside the Commerce Building in Madison, Wisconsin, dodging tear gas canisters. A thousand kids with red faces and tears streaming down our cheeks, snapped our arms in a Nazi salute and screamed “Sieg Heil” at the club-wielding police. I had crossed a threshold into an angry state of mind where fixing the world took priority over a mere detail like my future livelihood.

Even though Husain’s journey and mine were light-years apart in ideology, we had many things in common. Both of us thought our hot-headed ideas were based on a pure ideology that demanded anger and action. Looking at our ideas as a matched set, I see how similar they were in their rejection of our parents’ values in favor of a pressured, bold path suitable for young men.

Another thing we shared was a conscience too deeply developed to ignore the inevitable results of our  rhetoric. Husain lost his taste for divisive political action when he saw a student knifed to death in the name of religion. I lost my enthusiasm for demonstrations when I realized I could not riot my way to peace. And yet, it was too late to retreat to the innocence of childhood. We had to go forward, following the path we started. It took years of self-discovery before we were able to reclaim a sense of purpose.

After Ed Husain disengaged from his activist friends, he needed to learn the truth. He moved to the Middle East to learn Arabic and study the Koran in its original language. Eventually, he not only returned to the prayerful religion of his father but also gained a deep respect for the freedom and dignity afforded by western democracies.

My return to my father’s way of life took many turns. First I tried avoiding adulthood altogether by becoming a hippie. Then I became a piping engineer, helping design nuclear power plants. When that industry collapsed, I took a job in a foundry along with muscular men who poured molten brass into black sand molds. I drove a sports car, a red Camaro, and changed my own brakes and spark plugs. Tired of muscles and dirt, I became a computer programmer and technical writer. During the entire period, it never once occurred to me I was trying to figure out how to become a man. I just thought of myself as a person.

Toward the end of the foundry stage I decided that if I was ever going to find my way back to wholeness, I had to keep growing, so I began to read self-help books. For example, Stephen Covey’s “Seven Habits of Highly Effective People” urged me to consider my thoughts and actions. Like a driver of a car who realizes he is steering a deadly vehicle, these authors showed me that living well required careful attention. I read a hundred books and learned something about how to be a better person from each one. I wanted to talk to someone about all this information so I entered therapy. After half a dozen years of talk therapy, I had gained so much respect for that process that I went back to school to learn to become a psychotherapist myself.

In graduate school, I deepened my understanding of people, for example, going deeper into the way children develop into adults. I learned general helping skills like the art of attentive listening. And I learned specialties like career counseling. In one of my specialized classes, I learned about a skill called assertiveness which means standing up for yourself and demanding your rights. The women’s movement has to a large extent been focused on teaching women how to become more assertive. I knew the course would help me counsel women, but I never found a corresponding course that would help me understand issues faced specifically by men.

I began reading memoirs, and many mysteries and puzzles about human nature came to life on their pages. For example, when I was growing up, the protagonists of novels were almost always men. Memoirs now gave me the chance, for the first time, to see the world through the eyes of female protagonists. I realized memoirs were providing insights into topics that I had only glimpsed in my counseling classes.

The big surprise was how much I was learning about boys. The more I read about other boys growing up, the more I began to see that growing up male has challenges that I had never before tried to put into words. After reading about Ed Husain’s experience trying to overthrow all of Western civilization, and reflecting on my own rebellion, I took another look at boys.

Mark Salzman, in his memoir “Lost in Place,” became obsessed with learning karate. Both he, and another author Mathew Polly in “American Shaolin,” even went to China to study martial arts. In “Tattoos on the Heart,” Father Greg Boyle worked with gang members in Los Angeles, mostly male. He was helping them find alternatives to shooting each other. I always knew the violent streak in boys lands them in jail far more often than girls, but now memoirs were allowing me to enter into those experiences and feel them more intimately. I now saw what should have been obvious all along. We have too much assertiveness. We become so fired up about our rights we demand, we defend, and we fight.

Of course not all boys assert themselves violently. In “Publish this Book,” Stephen Markley’s anger sent him running not to the barricades but to the voting booth. In the memoir “Three Cups of Tea,” Greg Mortenson looked for his manhood by trying to conquer  the Himalayan mountains. In his memoir “Open,” tennis champion Andre Agassi fought against his father’s demands by being a bad boy, breaking rules like dress codes, wearing colored shorts on the tennis court instead of whites. In so many cases, I saw how hard boys work to figure out how to grow up.

When I was young, I stumbled and struggled on my path toward adulthood. Now decades later, comparing my life with the lives of boys in memoirs, I see a pattern that helps me make sense of my journey. My decisions early in life seem to a large extent to be based on trying to please my father. I’ll call that Stage One. In my late teens, I became impatient with Dad’s way. His guidance seemed to be slowing me down and I felt a sense of urgency to pass him in the fast lane. That was Stage Two, but as Stage Two progressed, I didn’t know where to stop. I rejected my father’s path so effectively I began to fall apart. Finally, I became frightened by my own rebellion and realized I didn’t know what I was doing. Around 25 years-old, I entered Stage Three, when I stopped rebelling and started pursuing a career. That was what I used to call “adult life” and thought there was nothing after it. Decades later, just when I thought I had run my course, I discovered there was a Stage Four. After my youthful anger had passed, I rediscovered my youthful idealism.

I originally wanted to be a doctor to please my father. He loved healers and I wanted to become one. Decades later, I am revisiting that desire to help others, replacing the original intention of healing physical disease with my lifelong desire for mental and emotional self-improvement. I want to help people learn about themselves and find their best path. And I’m not alone in my return to the idealism that lay at the foundation of my youthful rebellion.

When Ed Husain was young, he wanted to tell the world about his religion. It was a righteous instinct that required intense action. Later, when he discovered the roots of his faith, he realized there was a deeper obligation at the heart of his passion. His more mature intuition was that people needed to learn these things for themselves. He ran for elected office in the British government and tried to steer other Muslims towards the gentler, more inclusive roots of their religion. Based on his experience of being misled, he reached out to help others avoid similar mistakes. Then he wrote about his memoir to raise the alarm about the dangers of the fundamentalist movement that was insinuating itself into the minds of young men.

Other memoir writers followed similar trajectories of enlightenment and generosity. Mark Salzman wrote another memoir, “True Notebooks” about going into a prison and teaching boys to write. Greg Mortenson decided to stop fighting mountains and start building schools for poor children. Andre Agassi was not content with being a world famous tennis player. A high school dropout himself, he started a school for disadvantaged kids.

For most of my life I resisted the notion that men have different ways of looking at the world. I thought we were just people. Yet all along, I was behaving like other men, heaving myself against war, against career, against everything. But without the wisdom to reflect on my compulsions, I could never relieve the pressure. Now that I compare my journey with those portrayed by other men, I believe I could have achieved my deeper goals faster and with more wisdom by acknowledging that I happened to be a male.

I didn’t know all this back then, but I know it now thanks to reading and writing memoirs. Memoirs have given me the ability to step back and look at the forces that were being played out. For example, I see myself at 22 years-old raging at the world to stop fighting. The world sent in their own platoon of young men and they were better armed. Looking back, I see this head-on collision only fulfilled our need to rage but failed to achieve our goals. Now, as I look at the state of the world, I wonder how many young men are out there fighting to tear down some enemy’s world, or furious at some group or policy, and I wish I could help those boys see a different way. I imagine a world in which, instead of devoting their energy to tearing things down, they poured their idealistic passion into building solutions.

Perhaps writing stories will help. It certainly helped me. By writing my memoir, I now see the journey through those stages. Perhaps it could help fathers, who, by writing their story, could become more sensitive to the journeys of their sons. And it might help the boys, themselves. Erin Gruwell, the teacher in “Freedom Writers Diary,” and Mark Salzman in “True Notebooks” showed troubled kids how to write about their lives, and as they heard the words on each other’s pages, their own sense of social responsibility emerged as if by magic.

Memoirs are spreading the word that we are protagonists in our own drama, that we are all intertwined, that our actions matter. Perhaps memoir reading and writing could help boys find their authentic selves faster, and convince them to spend less time pushing and heaving against the world. World peace without the riots. I know one 20 year old boy who has finally grown old enough to understand this truth. Now I need to explain it to a few others.

Is it assertiveness or aggression? Neither it’s Thumos or Thymos!

What makes boys so willing to fight for what they think is “right?” I puzzled over this quality that drove me crazy when I was growing up. I don’t think “assertiveness” is the right word. Assertiveness indicates something more methodical and carefully planned. The impulse I’m trying to describe is more pressured, and instinctual and pervasive than that. It takes over a boy’s whole sense of direction. And I don’t think the word “aggression” fits either. The willingness to hurt others might be part of it. But this larger “boy’s instinct” is not just about a fight for a street corner. It’s more philosophical than that, as if boys have an instinct to understand their righteous place in the world.

I recently found a candidate for the right word in a book by psychiatrist Jonathan Shay. In Shay’s professional life, he treats Post Traumatic Stress Disorder in combat veterans. In his private life, he studies Greek classics. In Shay’s book, “Odysseus in America: Combat Trauma and the Trials of Homecoming” he points to the Greek quality called thumos (also spelled thymos). The Greeks harnessed this quality of righteous anger to train good warriors. Once I knew the word, I saw the quality everywhere. Consider the murderous fight between Tybalt and Mercutio in Shakespeare’s “Romeo and Juliet.” They were incensed by an insult from the “enemy” family.” Erin Gruwell, in “Freedom Writers Diary,” invited her students to compare Shakespeare’s deadly fight with their own Los Angeles gangs. Shay’s discussion of this Greek concept did not include advice for how to steer boys toward a more creative, socially productive outlet. For that, I will need more research. I think I will find the answer in memoirs, which are the repository of human truths of all kinds.

To learn more about the process of going from boy to man, I signed up for a Men’s group weekend offered by The Mankind Project,  If it sheds light on memoir writing or self-discovery, I will write more about it here.

Notes

Amazon page for “The Islamist

Link to an article I wrote about “The Islamist” and another memoir, Azar Nafisi’s “Reading Lolita in Tehran

Index to articles about memoirs on Memory Writers Network

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Memoirs Show Two Sides of the Islamic Revolution

by Jerry Waxler

I have always loved escaping into a good book. In my younger years, I escaped into the invented world of fiction. Nowadays, I escape into the lives of real people, through whose eyes I see a different view of my own world. Two memoirs I read within the same month provide a perfect example of this educational benefit. Ed Husain’s “The Islamist” took me inside the Islamist movement in Britain, and Nazara Nafisi’s “Reading Lolita in Tehran” showed life in Iran under Islamist rule. The knowledge I learned in one book deepened my understanding of the other, amplifying the value of each.

Ed Husain, “The Islamist”

Ed Husain was a teenager in Great Britain in the early 1990s. His parents and most of his neighbors were immigrants from Bangladesh. In fact, he didn’t have any white friends. His family’s spiritual approach to the Muslim religion cultivated a prayerful, almost mystical atmosphere in his home life. Then, as a teenager, Husain fell in with a crowd of boys from the Indian sub-continent who felt prayer was obsolete. Their goal was to overthrow Westernized governments and create the kind of world God intended, one all-encompassing Islamic state. At first, Husain’s loyalty was torn between his parents and his new friends. Gradually he aligned with his activist peers, fighting against Western values such as freedom and democracy.

The Islamists didn’t want their anti-Western message to be the dominant one. They wanted it to be the only one. When other activities were scheduled on campus, Husain and his friends stayed up late into the night creating plans to disrupt the competing event. They agreed in advance on the lies they would tell to make themselves look innocent and divert attention from their predatory practices. Whenever pressed on their unethical or manipulative behavior, they quickly shifted the conversation to global politics, claiming all their actions were caused by colonialism. I was especially intrigued by their coaching to “speak sharply,” to create an aura of fury and righteousness around their words. Between their angry tone, their rehearsed lies, and their instant shift to global politics, they controlled, and won, debates among the young Muslims on campus who were struggling to find their own path.

Azar Nafisi, “Reading Lolita in Tehran”

After reading about Ed Husain’s firebrand belief that Islamic law should take over the world, I read a memoir by Azar Nafisi, an Iranian girl who grew up under the secular government of Shah Pahlavi. The Shah promoted Western culture and violently suppressed opposing Muslim groups, earning a reputation as a ruthless tyrant in some circles and a forward-looking leader in others.

Taking advantage of the respect afforded to women in Iranian society, Nafisi attended college in the United States to study English Literature. Like many other intellectuals in the 1970s, she took part in the anti-U.S. demonstrations that pervaded campuses in the wake of the Vietnam war. She rallied against Western culture and especially agitated for the removal of Shah Pahlavi who was denounced as a “pawn of the West.” In a classic case of “be careful what you wish for,” within a few years, her revolutionary dream came true. Shortly after she returned to Iran in 1979, the Shah was deposed and Ayatollah Khomeini took over, bringing into power an Islamist government similar to the one Ed Husain would be advocating 15 years later.

Iran’s fundamentalist rulers quickly squeezed out so-called “decadent elements.” Reminiscent of the excesses of the Chinese Cultural Revolution in the 1960s, bands of armed young men patrolled the streets looking for women who dared walk with an unrelated man, who had a wisp of hair showing from beneath her veil, or who possessed cosmetics in her handbag. Women were flogged, imprisoned, and executed for such crimes. Nafisi lost her teaching position for refusing to wear the veil.

Two sides of the same page

The two books cover the Islamist movement from two entirely different perspectives and in two vastly different styles. Husain’s journey from boy to man leads him to street corners where edgy, pressured boys hand out fliers and engage in aggressive rhetoric. Later, after Husain distances himself from the movement, he begins a historical investigation trying to tease apart these two threads of his religion. In ancient writings, he discovers the religion of his father, the one that encourages an introspective, worshipful relationship to God. Husain also tracks the political aspect of the religion, and shows how it emerged in the twentieth century through the inflammatory writings of a few men who have had an increasing influence, especially on young Muslims in recent decades. While these men claim ancient authority, Husain finds their thinking to be more closely aligned to Karl Marx than to the Koran.

Nafisi is driven by ideas, too, but of a very different variety. She seeks her wisdom in English Literature. On her tongue, passages from Vladimir Nabokov and F. Scott Fitzgerald come alive, providing a rich poetic subtext to her own narrative. Her compatriots are the young women who have been forced by the Islamist Revolution to hide their femininity and enter the university through a separate door so they can be searched for cosmetics. When her girls come to a private literature class held in her home, they remove their scarves and Nafisi sensually describes their locks of hair. She bites into pastry, pours coffee over ice cream, and, above all, revels in the delicious pleasures of her beloved literature. Whereas Husain’s investigation is done with the protection of the democratic freedoms of Great Britain, Nafisi’s drama plays out in a police state, where students are seized and held in secret and summarily executed in the night because they showed signs of “Western decadence.”

The Muslim religion doesn’t need to be this way

In college, when Husain saw a boy murdered, he realized his terrible mistake. He started to suspect Islamism wasn’t promoting religion after all, but was merely using religious ideas to promote a political agenda. Trying to clarify these conflicting ideas, he moved to the Middle East to learn Arabic so he could read the Koran in its original language. In the Prophet’s teachings, he found an introspective, mystical religion which teaches a personal relationship with God and respect for people, including women and non-Muslims. Based on his findings, Husain returned to the prayerful beliefs of his parents. Through his writings, public appearances, and participation in the British government, he promotes democratic ideals, and raises awareness of the dangers of this divisive movement.

Two books weave a fascinating story

Before I read these books, I only knew about Islamism and life inside Iran from news bites and articles. After accompanying each author through years of personal, in-depth experience, I understand so much more. On one end of this matched set, I saw the Islamist ideas Ed Husain found so invigorating and urgent. I felt his pulse quicken as he rose to the challenge of dominating the world. On the other end, I saw how these very ideas were forged by the men of Iran into bars that imprisoned Azar Nafisi and her students, and stole their freedom and dignity.

The End

Writing Prompt
If you have been part of a political or a religious movement, your memories might seem insignificant, as if you were swept up in something of which you were a tiny part. But these events may have affected millions of people. Your feelings and observations as a believer and participant could offer a valuable contribution to social discussion. List or journal a few notes about the forces that influenced your life and look for scenes that would portray these experiences in your memoir.

Note
For another book that sheds light on the difference between the Muslim faith and the Islamist movement, read Greg Mortenson’s memoir, Three Cups of Tea. Click here for my essay on that powerful story.
Find meaning through service” or “Making peace with the peasants of Pakistan

Book Links
The Islamist, Why I became an Islamic Fundamentalist, What I Saw Inside, and Why I Left by Ed Husain

Reading Lolita in Tehran by Azar Nafisi

Note
As Husain was growing up to become a young man, he was swept up in a political movement that preached not only the domination of the world, but also the domination of women. This reminds me of another memoir I read, a year ago. Frank Schaeffer, on his way through adolescence, also experienced an exploding interest in ideas that place women in a subservient position. Schaeffer, author of “Crazy for God” grew up in a spiritually oriented Christian commune in Switzerland in the 1960s. As he entered adulthood, his focus shifted from God to women’s reproductive systems. Using his father’s extensive political connections, Schaeffer brought his intense interest in abortion into the heart of U.S. politics, where they took root in the religious right. Maybe Freud was right. Maybe it is all about sex.

See my article about Frank Schaeffer’s memoir by clicking here: One man’s battle with sexuality changed the world

More memoir writing resources

To see brief descriptions and links to all the essays on Memory Writers Network, click here.

To order my short, step-by-step how-to guide to write your memoir, click here.

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