Words By Andy Devine

    Many years ago the critic Roland Barthes argued that there were two kinds of texts: “readerly” and “writerly”. Put baldly (or badly), a ”readerly” text is one that displays the virtues and qualities that appeal to readers andd “writerly” texts display virtues and qualities that appeal to writers. Using these tropes, I would argue that Words is both a readerly text and a writerly text. The book is a writerly text in that its author seems to be engaged in a bold attempt to fill each page with as many words as possible and it is a readerly one in that the author seems to leave any sort of meaning up to the reader.    Words as book consists of two alphabetical lists of words that should and should not be used in fiction, an aphoristic grammar of fiction writing, nine alphabetical stories and a 90,000 word novel that is condensed to twenty pages. Yes, twenty pages.

   In the note at the beginning the author states that:

The first thing that confronts the reader is the fact that the pages have a sculptural, lapidary quality. This happens before any sense can be made of the words on the page. After that, the reader should read each of the alphabetical pieces in alphabeticalOrder while also flipping back and forth between the pages. The expectation is that certain words will be remembered (for emphasis or for distinction) , that connections will be made between nouns and verbs, and that all words willaccumulate into story or critique.

In other words the author has done away with all the traditional elements of fiction such as plot, story, character, description, meaning and even sentences but has given the reader a method by which he/she can supply these elements.

    The first section of the book is titled Words. It is just that. There are two sections of alphabetical lists of words. One of them is words that should be used in fiction, and the other is words that should not be used in fiction. Both lists run from A to Z. By using the above mentioned technique the reader is able to formulate his own critique of fiction.

       In the next part of the book, titled Thoughts, the author lays out his theories of fiction in a series of aphorisms that run the gamut from a phrase to a paragraph long. My personal favorite is “It is important for the fiction writer to have a sense of purpose even if that sense of purpose cannot save the fiction writer.” Many of these aphorisms contain much wisdom and would be worthy of E. M. Cioran.

    Then come the nine stories. Seven of the nine stories are alphabetical lists of words which call for the the reader to use the suggested flipping method to create sentences, plot, and some sort of meaning. The other two stories, ‘Untitled” and “I Needed to Make Cuts”, seem to be much bolder in their conception. Both stories have titles but no other text. The author seems to be leaving it up to the reader to place his own story in these pages.

    Finally the reader comes to the novel. Again, by removing all traditional fictional elements , the author is able to use his distinct alphabetical syntax to achieve an amazing feast of brevity and condense thousands of words to twenty pages.

    After all this, the reader will come to an afterword by Michael Kimball which is supposed to explain it all. The tongue-in-cheek seriousness of Kimball’s prose and his imaginary citations casts doubt on the whole enterprise. Was this a fine example of avant-garde writing or a brilliant parody of postmodern pastiche and reader-response criticism? The reader begins to wonder. Bold experiment or elaborate joke? I’ll let the reader decide for him/herself.

Posted in Uncategorized | Leave a comment

Ray DeCapite (1924-2009)

One of my favorite authors is Cleveland novelist Ray DeCapite, a writer who devoted his entire life to writing fiction that took place on the very streets where he was born and raised. More specifically, his worked chronicled life among Cleveland’s ethnic working class.

In 1960, DeCapite published his first novel, The Coming of Fabrizze, a celebration of ethnic working class community set in the 1920s. Fabrizze is an almost mythical tale of an immigrant who succeeds by hard work, marries a beautiful girl, wins the admiration of the immigrant community, then fails on a large scale. Even so , it ends well with the hero retaining the love of his neighbors.

The next year, the author would publish his second novel, A Lost King, which is a small masterpiece. As writer Thomas DiPietro has written ,“this elegant little novel beautifully captures the double consciousness of American ethnicity in its tale of an emotional struggle between a son and his father.”

Carl, an immigrant crane operator who has recently retired, cannot comprehend his carefree son. Paul, the slacker son, is content to play his harmonica and sell watermelons from a cart rather than pursue success or

gainful employment. The ensuing conflict in the novel is both heartbreaking and uproariously funny.

Even though both books were greeted critical acclaim, they also met with public indifference and soon went out of print. Further complications ensued when DeCapite’s editor died and his publisher went out of business. Then to top it all off, several publishers passed on the authors next novel because the hero was a garbage man.

It would be 35 years before DeCapite would publish another book. In 1996, Pat The Lion on the Head was published by University Editions. This book, a novella really, tells the story of a trash sweeper at Cleveland’s West Side Market in the in the 1950s. Christy, an aging, lonely, hard-drinking veteran, meets and finds love with a lonely widow named Jenny. Ultimately he loses Jenny and ends up alone. While the story sounds simple the book is a small miracle of precise writing and nuanced detail. Four years later, the author would publish his last book, Go Very Highly Trippingly To and Fro/ The Stretch Run, which would again delineate life at the bottom.

Ray DeCapite died last year at the age of 84. He left behind an unpublished manuscript entitled All Our Former Frolics.

Lest the reader find the above story depressing, there is good news. Kent State University Press has republished both The Coming of Fabrizze and A Lost King. I can only hope that a new generation of readers will read and revere these two wonderful books.

Posted in Uncategorized | Leave a comment