perfect day

Whoever it is who gives out the annual awards for best book design and best cover art did just that a little while ago. Sometimes the official picks amaze me. Sometimes a cover amazes me.

This is a non-fiction book about the crazy costs of throwing a wedding, the money spent, and why. This is not a topic that I would jump on, unless I had a character who was a wedding planner. Which I most definitely do not.

But the cover caught my eye, because it is clever. Very, very clever. The image of an old fashioned receipt stapled to the front of the book is clear enough to make you do a double take, at which point you’ll see that it’s not an accounting of numbers but the title and other basic information.

The cover underneath the faux-receipt? Boring. Boring script, boring color, boring layout. In the normal course of things,if this were a plainer, more straight forward cover, I would never notice the book. Color is a big deal, and this cover art has none.

The receipt is what makes this work. Or at least it works for me. I don’t see this kind of innovative thinking very much when it comes to book covers, but maybe you pay more attention. Any covers to compare this one to out there?

Philip Schuyler

A couple days ago I posted the old illustration that was supposedly Philip Schuyler’s mansion. That originated from Loessing’s Pictoral History of the Revolution.

I managed to dig out some images of the Schuylers’ two homes in upstate New York, and I posted them on the relevant wilderness wiki page.

There is still a lot of data to be filled in for Schuyler, but you might find the photos interesting as they give you some sense of what I was working with as I wrote some crucial scenes — such as Elizabeth’s and Nathaniel’s wedding.

the ultimate first person narrator

I’m not a huge fan of first person narration. In fact, I will admit that I often pick up a book and put it down immediately upon discovering that it is in first person.

A few exceptions: first, novels that are written in alternating first person narration often work quite well. The most recent novel I can remember reading that really pulled this off was Picoult’s My Sister’s Keeper. Each person in a family terribly disrupted by the serious illness of one of the kids takes a turn, and with every turn the reader’s understanding of the story evolves.

There’s one approach to first person that I truly like, and that’s the unreliable narrator.

The way to think about this, or at least a way that worked for me when I was teaching this stuff, is to imagine that the story you’re reading, the narrator whose words you are reading are not being addressed to you, but to a police officer or judge or some other authority figure. You’re listening to somebody spin a story. A narrator who has got more than the usual stake in getting their side of the story across. We’re not talking the grandma narrator, the one who just wants to amuse you with funny stories of her girlhood. We’re talking grandma in the pokey, and the first time she sits down with her lawyer.

The first grandma might start:

We were poor, but I didn’t know that until I first went to school and found out that other little girls wore dresses that weren’t made out of flour sacks.

Grandma in the pokey might start:

It took you long enough to get here. Surely you must realize there’s been a mistake. If I shoot a man between the eyes — and I’m not denying that I did just that — you had best believe I was acting in self defense. To let that man live even another minute would have been the death of me.

The first grandma may have a great story to tell, and she may write it down and sell it and find a niche audience and do very well. This Mitford-type approach is not so much my cuppa tea. I’m far more interested in the second grandma, grandma with a gun. She’s got a story to tell, but it’s only going to be one layer of a very complicated story, and I’ll have to pay close attention because now and then she’ll let her guard down and I’ll get a glimpse of what was really happening, how she came to shoot her neighbor, the one who grew prize winning dahlias, between the eyes.

You can think of a lot of scenarios where the narrator is going to be unreliable. Joan’s car is sitting in the garage with one fender smashed in, a ticket on the windshield, and the unmistakable smell of a common Illegal Substance wafting out a broken window. And the gas tank, which was full yesterday afternoon at three, is on empty.

Joan walks upstairs to the bedroom her twin daughters share and wakes them less than gently. They peek at her from underneath the covers.

Speak, says Joan. And it better be good.

And the speak. Oh boy, do they.

All first person narrators are unreliable to some extent. They are limited by their own observations and memories, by necessity. But a true unreliable narrator is exciting. That narrator is a cat in a sack. Maybe a really mad cat with very long claws and a score to settle. Maybe a desperate little cat whose been lying so long to protect herself that she’s forgot how to tell the truth. Or maybe an evil cat, one who likes to mess with your mind. Purr and slash, just for the hell of it.

Two unreliable narrators come to mind first. Eudora Welty’s “Why I live at the P.O.” is a wonderful short story with a narrator who will stick around in your head for a long time. And then there’s Stephen King’s Dolores Claiborne. Dolores is a fantastic unreliable narrator, because she herself isn’t completely sure what happened, and what she wants to happen. She’s got strong opinions and she’s not afraid to tell you exactly what’s on her mind. Or at least, the parts she can bear to speak out loud.

Any unreliable narrators you’re especially fond of?