Serpent Blog

The Good Fights 
I pray to God, show me what is right and help me to see. Help my work to have meaning. I think more and more about the effect of my work. I hope it will do a small amount of good. Perhaps that is too much to strive for...A writerís own nature is his worst enemy. Nothing escapes his attention and his curiosity. His penchant for distraction will drive him away from his work if he is not careful. I donít know if this is true of all writers. I really only know one, and I donít know him very well. But the same things that drive his desires to know and to explain also drives him away from his work. And, there is the desire for feeling. We want to feel, everything. Spiritual bliss most of all. The quest for knowing is a quest for spiritual bliss.

Wednesday, February 13, 2002
Higher Grounds Cafť, San Francisco

Dear Andrew,

I am milking chapter 31 for reasons Iím afraid may depress me, and you. What am I so damn afraid of? I suppose I fear really delving into Jacob. I suppose I fear the end. I suppose I fear my own commitment to this book. Whatever it is, Iíve got to get out of this damn cave. Iím stuck in a cave both literally and figuratively. Yesterday they found themselves a helluva snake Ė which is what Charles Flint asked for. They found a huge snake but did not manage to catch it. It has escaped into the cave and now they have to go after it because it is THE snake I need. It is the snake that will live in Jacobís unused coffin, and the snake that, well, now Iím thinking too far ahead.

I need this snake and it wonít come easy to them because it is old and over seven feet long and they have come into its world. If they manage to catch it must be on its terms. I cannot allow one man and one girl to traipse into a den of serpents and just walk away with a huge snake. I simply cannot allow that to happen. This snake must fight. This snake must assert its right to live where it belongs. I am being told by Lane Zachary (my agent at the time) that every chapter is big, every moment is big. I am being told there is too much drama and perhaps there is, but this snake and this cave have their own ideas Andrew. It needs to be as difficult for me to write my way out of it as it is for my characters to get out of it. This is no ordinary cave I have found in the North Georgia Hills, this is a sacred place and will not give up her secrets easily Ė even to an Indian who knows and respects it. This should be how it always is. We should struggle like mad for what we want. We must fight for what is good.

Now Iíve lost my train of thought. This is the danger of working in a small cafť. When it gets noisy my ears perk up and Iím in listening mode and then my brain switches away from the work. You must be frustrated by me. Iím a rambling fool.

Must finish (chapter) 31 today. All there is left to do is wrap up the snake hunt and go back for some appropriate bible verses. So today that will be done and there will be no more excuse, I will go back to Jacob and Charles and John, and kill one, elevate another and relegate the third to apostle status. You guess which is which.

Just one more thing. People are always talking about Hemingwayís prose as being terse and lean, and this is true to a point. There are many fine examples of this in his work. But there are also many examples of the exact opposite. I came across a passage today in Green Hills of Africa that would put Cormac McCarthy to shame. Iím talking about a sentence a page and half long Ė beautiful prose, wonderful writing, but not at all what one would expect from Hemingway. And this is not an anomaly. Nor are his use of adverbs; which the myth claims he abhors. He uses both long sentences and adverbs often, but masterfully, so as not to draw attention to themselves and much can be learned from this.



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