by Mark Dorset
GUIDE
INDEX
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What the Author Is Up To
from
AKE
A TYPICAL CASE: for more than thirty years now, Eric Kraft has been working
to construct a single
large work of fiction composed of many smaller parts interconnected
in intricate ways . . . like a complex machine or a multi-celled organism
or a human society, or a bowl of clam chowder. His work began one cold
afternoon in the winter of 1962, when he dreamed up the central character
of this big work. Created would be far too grand a term, since Kraft
was dozing over a German lesson at the time. Here is the story as he tells
it:
I
was a sophomore in college. I had settled myself comfortably in a study
carrel in the library. My feet were up; my chair was tilted back. The room
was warm; I was tired. I dozed. When I woke up, I was lying on the floor,
my books were scattered around me, people were laughing, and I was embarrassed.
I gathered my things and rushed out of the library.
In
the cold air, the memory of a dream returned to me, a dream that I had
had while I was dozing there, before I tumbled to the floor. In the dream,
or at least in the memory of it, I saw a nameless little boy sitting on
a dilapidated dock, in the sunny warmth of a summer day, dabbling his feet
in the water, playing a game: he was trying to bring the soles of his bare
feet as close as he could to the surface of the water without touching
it. The memory of that dream has never left me, and it continues to surprise
me.
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Sitting on a Dock in a Dream |
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KRAFT HAS TOLD THAT LITTLE STORY so often now that, he claims, he no
longer knows exactly which parts of it are true:
I
think
that all the details are true, but I also think that in fact they were
widely separated in time and unrelated. Over the years, I’ve brought
them closer together to make a story, improving their relationship without
really altering the truth of any one of them, although I’ve certainly altered
the truth of the totality of them. This impulse to improve on the
past seems always to have been with me, and it is one of the traits I’ve
given to the character who grew from the little boy on the dilapidated
dock: Peter Leroy, the character
at the center of all
my work, and the narrator of it all.
(Allow me to demur here, briefly. I do not object to Kraft’s designation
of Peter Leroy as the narrator of “it all,” and I admit that as a creation
of Leroy’s I am, therefore, a part of “it all,” but I submit to you, reader,
the evidence of this demurrer to support the claim that I am the narrator
of a good portion of “it all,” even if I am dummy to Leroy’s ventriloquist,
as he is dummy to Kraft’s.)
Peter Leroy tells the sad story of his boyhood friend Matthew
Barber in Reservations
Recommended; the buoyant love story of his maternal grandparents
in Herb 'n' Lorna;
the trials and eventual triumph of the sultry older sister of his imaginary
friend in What a
Piece of Work I Am; and his own life story, greatly embellished,
in LITTLE Follies,Where
Do You Stop?, At
Home with the Glynns, Leaving
Small’s Hotel, and Inflating
a Dog. He will, I hope, continue telling stories in many volumes
to come.
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The Years of Daydreaming and
Self-Defense |
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YEARS
PASSED after that dream in the library. From time to time, the memory of
the dream returned, and from time to time the dream itself returned. It
wasn’t an
obsession for Kraft—not yet. It may be now, but it wasn’t then. It
was just a pleasant amusement, a diversion, a vacation from whatever Kraft
was working on, thinking about, or worrying about. He could drift into
that dream and play with it, and in playing with it, exploring it, he began
improving it. He added a context for the boy—an island, where the old dock
was, an abandoned building on the island—a grand house, perhaps, or an
abandoned hotel—he wasn’t sure which, a gray bay, and the mainland, where
the town of Babbington lay. He wrote none of this down. This
was not writing—not yet. Kraft had
no intention or expectation of making a piece of writing out of this. It
was daydreaming.
SOON, HOWEVER, like most people who read books, Kraft began to
want to
write one of his own. Like most people who want to write
books, he really wanted to write a book about himself. He tried, but he
found that he was too close to his subject. His feelings toward that subject,
the “Eric Kraft” of the narrative he meant to write, were ambiguous. Kraft
wanted “Kraft” to be something better than he was, and he respected that
aspiration in “him,” but he wished that “he” could learn to live more comfortably
with “himself,” and he could see that “he” would be better company if “he”
could learn to laugh at “himself” now and then. Kraft began wanting to
trip “him” up, play practical jokes on “him,” deflate “him.” In anything
Kraft tried to write, he seemed—more and more often—to be about to make
“Kraft” take a pratfall, and since Kraft was “Kraft” he didn’t want “him”
falling down in any book he wrote. |
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Arrival of the
Muse and the Subject |
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IN 1963, KRAFT MARRIED MADELINE CANNING. This was a lucky break: the
writer who marries his muse is lucky indeed. By 1965, the couple had two
children, Scott and Alexis. Kraft went on to graduate school and began
teaching.
Then,
in 1969 or 1970 (“I can’t say just when,” Kraft claims, “but it must have
been around then.”) he found his subject, his obsession, his vocation,
his life’s work. It was, of course, that little boy who had been sitting
on a dock in a dream. One should not assume that he simply began writing
some part of what has become Peter Leroy’s personal history; what Kraft
began writing was nothing like what the work has become. He began
in the wrong way, in a wrong way, but it was a beginning, and he
finds now that when he looks back at that misstep it seems all right, not
a waste of time, not a mistake, but a useful detour, the kind that takes
one to a place one would otherwise ever have visited, might even have deliberately
avoided:
Sometimes,
now, that beginning that once seemed so wrong seems like the only way I
could have begun. I began writing about the dream. I was still trying to
write about myself, of course, about my self and my
dream, but as I worked I began to develop the dream more and more, and
although I was merely exploring my own speculations about the dream and
the little boy in it, I had begun a process that would eventually push
me out of the story. It was as if a part of me were shouting, “Release
me from the confines of memoir! Let me wander over yonder in the big, wide
world of fiction!”
(One
is always pleased to see oneself quoted, even if misquoted or paraphrased,
as in the preceding passage. I have said, on many occasions during
the website “brainstorming” sessions we hold at Corrine's Fabulous Fruits
of the Sea, “Release me from the confines
of the author’s brain! Let me wander over yonder in the
kingdom of time and place!”)
Kraft
began writing about Peter Leroy in an exploratory way, not for publication,
and not even in an attempt to tell a story, just to find out what was there.
This exploratory phase—practice, as we might think of it now—lasted nearly
eighteen years, eighteen years that Kraft spent learning about Peter’s
friends (including, of course, me), the town of Babbington where he lived,
his family, his experiences, his feelings and ideas. Kraft was just
taking notes, though he didn’t realize it at the time. He thought
he was writing parts of a novel—a novel about Peter Leroy. He began
accumulating these writings—scenes, snatches of conversation, encounters,
bits and pieces of something, a work he hadn’t defined yet.
Whatever
this work was or was to become, Kraft found that he couldn’t stop working
on it. He left teaching and became an editor at an educational publishing
company. (He would do this work for the next seven years, from 1968
through—or nearly through—1975.) In the evening or early morning
hours, he continued elaborating Peter Leroy and his world, creating his
personal history, adventures, and experiences.
For
ten years or more Kraft never showed it to anyone but Madeline. The
work grew. He accumulated cartons of notes. “I still have the
cartons,” Kraft claims. “I haven't opened them since 1980 or so. I don’t
need to refer to what’s there; I know it as well as I know my own memories.” |
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The Game of Forking Paths |
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IT
WAS ALSO AT ABOUT THIS TIME that Kraft invented an electromechanical game
that he called, at first, “The Game of Forking Paths” but later came to
call “The Babbington Game.” It was a switching game, in which nine
switches were arranged in a linked circuit so that the state of each switch
controlled the state of subsequent switches along the pathway. Nine
lights indicated the state of the various switches. The object of
the game was to set the switches so that all nine lights were lit.
This would have been a simple matter if the switches were toggle switches,
so that one could see the position of each switch, but Kraft used pushbutton
switches, so that the state of a switch could only be determined by observing
the effect that switching it had on the other switches. In other
words, one could only know the effect that a move would have on the state
of the entire array of lights after making the move. It seems to
me that there are implications about hyperfiction in the design of this
game, and if I had the time I would draw the schematic diagram of the game
and explore the hyperfictional implications further, but at the present
moment (on the morning of June 24, 2001) I do not. (I will say, however,
that it has just occurred to me that the game might also serve as a schematic
for the linked effect that the episodes of a serial novel have on their
readers, since the reading of any one episode will alter the reader’s understanding
of some, and perhaps all, of the other episodes—those to come and those
already read. And it has additionally just occurred to me that the
game models—in a greatly simplified way, of course—the relationships among
the characters in the author’s mind. Some day I really must get around
to including the schematic here.) |
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The Wearying Quest for a Sufficiently
Elastic Form |
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MORE AND MORE, Kraft began to ask himself what he was going to do with
all of the stuff he had written. It had grown so large that he couldn’t
imagine a form that would contain it all. The bits and pieces were
piling up, and his ideas were accumulating even faster. It seemed
that the longer he waited to begin publishing this work, the less likely
it was that he would ever get it into a form in which it could be
published—or even find a form that could accommodate it all. The hunt for
form was wearying and frustrating. It almost killed the work.
In this period, roughly from 1970 to 1976, there were times when Kraft
wanted to quit, abandon the little guy in Babbington, do something else.
Whenever he tried to make something coherent out of what he’d done, he
would begin on one tack, go a little way, decide that it was wrong, change
course, try again, change again, and so on. Sometimes he didn’t think he
was up to the task, and sometimes he began to wonder whether the task was
worth the effort it demanded and the toll it was exacting.
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