“she was sweet and smart, and her dialogue scorched my heart like microwaved nachos …”
17. 04. 2006 um 23:50 Uhr
I stumbled onto Vendela Vida’s interview with Susan Straight (who is blogging at Powell’s this week) in a collection of Believer interviews with writers. I liked how Vida described Straight’s writing in her intro:
Straight’s prose is tight and her metaphors striking: In the arresting opening of High Wire Moon. Serafina is captured by police while her daughter Elvia, sits on the floor of a car, the “mouth” of which had “hit something hard, like a fist against teeth.” Straight describes what lies beyond the daughter’s vision with such original descriptions as “Braches and leaves covered the windshield, pressed tight like a blanket of black knives,” and “a pair of white hands pressed up like a snail’s underside against the glass.” And then there’s Straight’s dialogue which is so perfect, so real, that even after you’ve turned the page – and your attention – to a new scene in a new local, you’re aware that the characters from a previous scene are still carrying on, still talking. You can almost hear them.“
It reminded me, for some reason, of that dumb obituary exercise that self-help books and Steven Covey books make you do. The idea is to write down how you want to turn out in the end and it inspires you to get it together and start being nice to everyone right now, plus work on your Pullitzer.
I think this is a good exercise for writers: Write Your Writing Obituary. I.e., how you want the world to remember your writing. Here is the first cut at how I want people to remember my writing, assuming something kicks in pretty damn quick and those useless words skipping along clogging up my cranium fuse together in some useful way and make books.
Teresa DiFalco’s prose sears like a hot curling iron, or an iron after the water has all steamed out and smoke is coming out of it. Her characters are as exposed and repugnant as week-old raw hamburger, after being left out in the rain. Her sentences boil and bubble up like Campbell’s Chunky Soup (steak and potatoes) turned up on high, left front burner. A strict grammarian, DiFalco is no slouch with an em-dash; her punctuation rattles and her semi-colons shimmer and shake. Her dialogue punctures the roof of the mouth, leaving it and you numb, in the same way as microwave-nuked pizza. Teresa DiFalco writes like a brick house. She’s mighty, mighty. Letting it all hang out. Rock the Kazbah, Teresa. Girls rock your boys.

 