The writer Lydia Davis, with whom I’ve just become acquainted, said in a 2007 interview with the Boston Globe,
“I haven’t met a so-called experimental writer who likes the term. It must be people who aren’t experimental writers who call people experimental. It’s just the wrong word. ‘Experiment’ carries the suggestion that it may not work. I prefer the idea of being adventurous, exploring forms.”
Davis’ quote keeps ringing in my head and makes me wonder about the fiction I write. Is it experimental? Maybe. Most of my pieces aren’t “finished” in the traditional sense, and most of them flow from brain to fingers to keyboard. I write and then usually I have to go teach, or change the laundry, or make supper, or tend to one of my children. I rarely have hours stretched before me in which I can write. I would love to believe I’d fill that time with writing (now that I’m sober, I have a better shot at that), but I’m not sure if I would.
I suppose Davis is right when she says that experiment may carry the idea that the piece may not work. Another way of looking at that “not work” is failure, and that’s not something I apply to my writing anymore. I like some pieces better than others, but none of them are failures. The only failure is when I don’t write.
Shifting gears slightly, a colleague of mine asked recently what I wanted to be when I grow up. My truest answer is a full-time writer. Since I’m only 42, it’s an achievable goal. In the meantime, I’ll continue to teach, write poems…
…and “experiment” with pieces like the following.
Dr. Bee and the Nurse
He couldn’t tell if there was going to be an end to the meal this time, but he knew if there wasn’t, his daughter would have something distracting to say about it. He supposed he was programmed for that, so he shouldn’t complain? Right? Like he was a yes-man to everything else in this god-forsaken world, so why not that? Why not when it came to his little deaths, his children? King Lear never had it so bad.
Now, why did he go and say something like that? For one thing, he had sons, not daughters so there was one huge difference between himself and King fucking Lear. There were others, he knew, but he couldn’t remember more than the gist of the play right now. That was happening more and more lately, his inability to recall poems, plot lines, entire plays he used to teach, year after year, to classes of mouth-breathing Philistines who wouldn’t know good literature if it reared up and took a money shot to their balls or wee little pussies, so pristine and good, pure stock from the Puritan passed down and watered through baptisms and Baptist fellowship chicken bakes, where fat fathers stuffed their sweating bodies into ill-made suits and Mamas bathed in cheap perfume because you never knew who was looking or smelling. One couldn’t be too careful, even the Holy Spirit picked up on whiffs of sin, and what better way to mask that than with oie de toilette and bacon fat?
Oh, to be forty again, he thought, moaning a little. Was he asleep or just comfortably reclined? Who the fuck knew? “Comfortably Numb,” his oldest son, Falcon, would say, trying his damnedest to sing. The old man didn’t care for the original, let alone his idiot son’s butchering of the song. Jesus Christ, he was thirsty! And not for water, which is all the headstrong and head-banded nurses, seriously suffering in the art of beside manner and tender ministrations, seemed to bring. What about some whiskey, for God’s sake?! Something with some fucking kick to it, not just water, and for the food! Jello which shook like some red lady’s pock-marked ass, and some kind of torture-gruel that looked unfit for prisoners-of-war.
What was that dream, where I was the hero? What fucking war was that? Korea? Vietnam? The Big One that left Owen in a wheelchair, covered in his own shit half the time until his cross-eyed whore of a wife thought to change him? Jesus, so much suffering, so much pain on this blasted rock, and most of it never documented in pages, just left to rot in the minds of rotting bodies in the rotting ground. None of it matters.
He was sure he was awake now. The lights were brighter, poppier, and noises had the acute taste of metal. A fine meal to satisfy this craving, he told himself, and then he said it aloud, his voice a rusty pipe banged on by a screwdriver.
“Say what, Dr. Bee?” asked the nurse absent-mindedly, hovering somewhere near him, her giant, pillow-like arms able to suffocate him in a snake’s split-second. Oh, he knew! He knew! How could he not know?
“Say what, Dr. Bee?” the nurse asked again, taking a moment to cough up something extreme and hideous, her chest vibrating and nearly exploding with juice, the kind that made the Good Doctor wonder what the hell was next. Some drugs, he dared hope. Anything to take the sting of this pitiful existence away.
Did he have daughters? He did not. “I do not,” he said.
The nurse craned her head, big as a child’s balloon about to pop, toward him. “I gotta change you now,” she said. “Time to get and see if them britches is clean or soiled.”
“If you come near me,” said The Teacher, clear as a newly forged, bronze bell–the kind that’s inscribed with philosophy, its tongue made of some kind of amazing metal that never fades nor loses its ability to coax dulcet tones from its outer shell–the lip, shall we call it?–and therefore, the peals would go on and vibrate into eternity–“I will cut your jugular and watch you bleed like a stuck hog.”
Well…that took care of absolutely nothing. The nurse changed him and out the door she went, muttering curses.
2 thoughts on “Experimental Writer?”
I love Lydia Davis. You could look at it the other way as well, in that all creative writing is experimental writing – that the very act of writing is an act of experimentation. In any case, this was a good adventure or experiment, whichever you prefer. Fail, Fail Again, Fail Better, as Beckett likes to say.
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I love that Beckett quote…I almost put it in the post. I’m intrigued by Lydia Davis and am itching to read more. Thanks for reading and taking time to comment.