This homage to Saint Patrick is derived from my biography, Saint Patrick (Thomas Nelson Publishers, 2010)
Patrick lived at the end of the world. A Roman citizen, he was born and raised in Britain, the northern- and westernmost extremity of a Roman empire that extended (overextended, as it turned out) south to Africa and east to the Tigris and Euphrates.
I often run across people who are convinced that our culture is running hard toward rack and total ruin, but any sense of cultural doom that keeps you up at night is nothing to what a Roman Briton of Patrick’s era must have felt. The exact date of Patrick’s birth is unknown, but he was probably born within a decade of 410 AD, the year the Vandals sacked Rome. That same year the Emperor Honorius sent a letter to the cities of Britain putting them on notice that they were officially on their own; they could expect no more help from Rome. The letter was only a formality. The Roman army had withdrawn from Britain three years earlier; the Roman Britons were keenly aware of the fact that they were on their own.
Patrick’s real name—his Roman name—was Patricius, as in patrician, noble-born. A scion of a wealthy family, he grew up in a Roman villa, surrounded by British barbarians (the island was never very Romanized), who were themselves surrounded by Irish barbarians, Scottish barbarians, and Angles, Saxons, and Jutes on the continent. At the beginning of the fifth century, these barbarian tribes saw significant Roman wealth in Britain and no Roman army to protect it. You can probably guess what happened next.
You write, presumably, because you have seen something in the world around you, and you want to show it to someone else. Why, then, do you spend so much of your writing time thinking about yourself? You’re there at your desk, trying to work out the next sentence, and before you know it, you’re thinking about yourself instead: your failures, your ego, your word-count goal. You speculate on how you’re going to feel when you make your goal. You get a jump-start on the self-loathing you’ll feel if you fall short. You wonder what people are going to think when they read what you’ve written. You wonder if anybody will even read it. You question whether anything you’ve ever written was actually good. You buck yourself up, remembering that, yes, you’ve written plenty of good pieces–brilliant pieces, in fact. Which makes you suspect that you’ve already used up all your brilliance. You think about your friend whose blog gets twice as many comments as yours, in spite of the fact that he can’t write his way out of a paper bag. Then you ponder Edgar Allen Poe, who died penniless and alone in a Baltimore gutter. It occurs to you that you’ll never write as well as Edgar Allen Poe. In short, it takes about 45 seconds to decide that you’re the piece of crap that the universe revolves around.
I’ve been looking over the goals articulated by the the 100+ writers who have joined the Further Up and Further In Writers’ Consortium. They’re pretty interesting. More than thirty of you […]
Originality may be the most overrated of the writerly virtues. Much more important is the skill of seeing what’s in front of you and rendering it faithfully. The world is a varied place; every person in it is a miracle; every setting is unusual; every event, every encounter is a thing that has never happened in the long history of the world. On top of all that variety is the fact that every observer’s vision is unique. If you will allow yourself to see what you see, and then write what you have seen, you can be sure that originality will take care of itself.
That’s not an easy thing to do. Few people write what they have seen. More often, they write what they think they ought to have seen, or they shoehorn experiences and people into familiar categories. It’s a hard habit to break; categorizing and sorting the firehose-blast of experiences and ideas that come our way is a necessary survival skill. But writing is different. Writing is a chance to release experience from man-made categories and say, “Look at this—this thing that exists in the real world.” Writing comes alive when you do that. Oddly enough, faithful imitation is the front door to originality.
Fifty summers ago, Flannery O’Connor was thirty-nine years old. She had battled lupus for most of her adult life, managing the disease with massive doses of corticosteroids, which themselves had serious side effects. As she wrote to a friend, “So far as I can tell, the medicine and the disease run neck & neck to kill you.” In the spring of 1954, a major surgery reactivated O’Connor’s dormant lupus; the tell-tale “lupus rash” broke through the protective steroid barrier, signaling that the disease was back in earnest. O’Connor spent a month in Atlanta’s Piedmont Hospital–from May 21 to June 20.
A prodigious letter-writer, O’Connor kept up her correspondence from her hospital bed. Through her many hospital stays, she almost always kept up her letter-writing. But she tended to put off fiction-writing until she could get back to her typewriter. The fact that she wrote much of “Parker’s Back” in Piedmont Hospital, in longhand, suggests a sense of urgency that was unusual for this most deliberate writer.
The other day my sister, a teacher, was trying to help a student fill out some form or other. The form asked for Date of Birth. The girl knew her birthday, but the idea of a birth date, a specific day of a specific year, had her baffled. “The day you were born,” my sister said, a little exasperated, “what year was that?” The little girl was exasperated herself. She gave my sister a squint and, teeth clenched, said, “A little baby don’t know what year it is.”
When I sat down to write The Charlatan’s Boy, the first sentence I wrote turned out to be the first sentence of the finished product: “I don’t remember one thing about the day I was born.” Grady, the narrator, is grappling with the same epistemological dilemma that was troubling my sister’s student. Anything you think you know about your birth, your origins, is something you got second-hand. Somebody has to tell you where you came from and how you got here. Grady’s troubles stem from the fact that the one person he knows who might be able to tell him anything about his origins is a liar and a fraud.