From (Milton Crane, Ed. Bantam Classics reissued 2005) I don’t know much about Henry James, though I have struggled through more of his short stories than I have novels. I’ve never formally studied his writing, so don’t know what the prevailing literary criticism theories arebut I can tell you this: I dislike his characters and I dislike his outlook and I always end up, as I did at the end of this story, wanting to punch at least one of the characters in the nose. Which is, I suppose a kind of a compliment to the writer.

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Brooksmith by Henry James As much as I say I don’t ‘like’ Henry James’s stories, I do recognise the work of a master craftsman. (I wonder if I would have liked him any better if he had been writing today [1. Probably not.]) The first thing I admired about this story was the way he pulled me in right from the first sentence. You might not think of the slow-paced Henry James novels as belonging on the same shelf as Ian Fleming or James Patterson, but there is, nonetheless, plenty of suspense to keep the reader hooked: We are scattered now, the friends of the late Mr. Oliver Offord, but whenever we chance to meet I think we are conscious of a certain esoteric respect for each other. Who was the late Mr. Oliver Offord and why do his friends only ‘chance to meet’ and share a ‘certain esoteric respect’ – and what does that really mean?

James continues to ratchet up the suspense in the very next sentence, “Yes, you too have been in Arcadia,” we seem not too grumpily to allow. Why was it “Arcadia” (and why would they ordinarily be grumpy with each other)?

The story turns out not to be about Mr Offord at all, but about his butler, Brooksmith and the perils of allowing the servant class to rise above their station. I’m not sure which side Henry James would really have taken on the issue of class and station, but his narrator has a very fixed, extremely anti-egalitarian viewpoint that makes him supremely unsympathetic to the modern reader. He is, however, so unrelentingly shaped by his societal norms that he is absolutely believable and ‘true’ – and loathsome, I might add. It really struck me — after putting down this book with a sneer on my face and a punchy urge in my fist — that my writing could benefit from a bit more loathesomeness. I’m really a very nice person, trained in life to be fair and tolerant and to give everyone the benefit of the doubt. But being well-brought-up can create a tendency to be too nice to my characters, too forgiving.

If I want to create characters as ‘true’ and real as Brooksmith‘s unworthy narrator, I have to risk creating characters that someone 111 years from now might want to punch. What do you do to make your characters ‘real’? Please do leave a comment! I love loathsome characters. While there is something to be said about loving a character and giving them traits to deserve those feelings from you and everyone who reads them, there’s something so satisfying in the opposite as well. My view on making characters real is simply to look at real flaws.

The reality of a person is that they can’t possibly know everything. If everyone knew everything and took absolute truth to heart without subjecting it to their own personal preferences, we would all be, practically the same person. Instrumentacion Quirurgica Fuller Ebook3000.

Giving characters special flaws, personal spins, foolish ideas, stubborn withholdings and all the other shortcomings you’d normally try to weed out of yourself is more important to me than fleshing out backstory and family history and wardrobe and hobbies and anything else an old character sheet might have in store for you. Comments are closed. Post navigation.