How does one apply the adage show don’t tell to the interior of the mind—a vast expanse one inhabits daily, but never sees? While Pixar’s Inside Out turns the subconscious into a playful and sometimes dark adventure, literature must rely on language—pacing, syntax, and form matching function.
In the early pages of Nicole Krauss’s novel Great House, Nadia mentions to an unnamed character that when her significant other moved out, she was left with little. A friend suggests she call a Chilean man who was searching for a place to store his furniture while he traveled back to Chile. Krauss writes:
It took a minute for him to sort out who I was, a minute for the light to go on revealing me as a friend of a friend and not some loopy woman calling—about his furniture? she’d heard he wanted to get rid of it? or just give it out on loan?—a minute in which I considered apologizing, hanging up, and carrying on as I had been, with just a mattress, plastic utensils, and the one chair.
Rather than being told that Nadia is nervous, or having Nadia state, I was nervous, Krauss utilizes pacing and language to convey anxiety. Similarly, the word “loopy” mirrors the looping, spiraling structure of the sentence, and heightens the repetition of words and phrases, such as “a minute,” and “a friend of a friend.” The three questions embedded in the sentence, one after another, rapid-fire, suggest the firing of synapses in an uncomfortable exchange—when one’s mind and mouth are trying to sync up, make sense, or be understood. Not only are there three questions, but three mentions of “a minute,” conveying how quickly this all happened, but how long and drawn out the exchange seemed to feel. Likewise, Krauss pairs three verbs—apologizing, hanging up, and carrying on—and three nouns—mattress, plastic utensils, chair—to create a winding, well-rounded sentence.
The form matches the function; the structure of the sentence conveys the rushed and uneasy nature of the phone call, without explicitly stating what was said between them, or the tone of voice, or the external details or gestures that were made in those quick moments. We are wholly embedded in this character’s mind. We are intimately woven into their internal landscape, at once cerebral and emotional.
Continue reading on the Ploughshares blog: http://blog.pshares.org/index.php/writing-the-mind-nicole-krauss-w-g-sebald-paul-harding/