Quotes from Gregory Mcdonald
"That
night, driving into New York for our
first Mystery Writers of America dinner, my wife asked me,
'How do you feel about "Fletch" being nominated
for Best Book Award? Do you want to win?' I answered, 'I
honestly don't know. If I do win the Edgar I am afraid I
will be known mainly as a mystery writer. My other works
may be overshadowed, forever
seen in that light."
Later: "It
is true that Americans in particular
are too apt to typecast, label people, in nasty shorthand,
seem to feel more comfortable with cartoons rather than
detailed pictures. For thirteen years publishers for whom
my works had made millions refused even to consider "Safekeeping,"
explicitly insisting it would 'ruin (my) image as a mystery
writer', which novel I ultimately did publish, for a ten
dollar advance, to universal critical praise. I have enjoyed
thoroughly my writing mysteries; especially do I love their
having attracted worldwide appreciation. Understand that
I have never written 'for money', except for enough to be
free to continue my literary attempts; I have had to make
my own way financially since a teenager; I have had to endow
myself, my other work. I know I have confused people, and
I am sorry for that. I once overheard a conversation questioning
whether I am really Fletch, Flynn, Tom Betancourt, Robby
Burnes or David MacFarlane. I believe working so diversely
has enabled me to bring fresh skills, ideas to each side
of my work. Ultimately, I pray people see all my work, and
my life, as one consistent, unified whole. I am most fortunate
to be able to say this: Even without the mysteries I believe
I have had a marvelously fulfilled, possibly useful writing
life."
The Other Works
Running
Scared, 1964
Comment:
Highly controversial when first published
(no long so), Mcdonald's first published novel is hailed
by critics as "the first shot fired in the universal
cultural revolution." Apparently so shocked by public
reaction to his book, Mcdonald did not publish another novel
("Fletch") for ten years, working in the interim
as a journalist. (See Education.)
Inference:
Increasing use of new technologies
by (post-war) institutions results in an increasingly cold,
inhuman, dehumanizing Society with increasing self-destructive
tendencies.
return to top of page
Love
Among the Mashed Potatoes, 1978
(preferred title: "Dear M.E.")
Subject: A
lovelorn columnist, Mark Edwards, discovers at least three
responses to every question, first in his column, "Dear
M.E.", second in memos to his managing editor, third
in entries in his journal.
Inference:
It's tough bein' honest.
return to top of page
Who
Took Toby Rinaldi?, 1978
(preferred title [UK]: "Snatched")
Inference:
What's real in Fantasyland?
return to top of page
Safekeeping,
1985
Critique: "A
tour d'force of American hyphenated-dialects, and the culture
clashes they reflect." Deliciously easy to read, as
Mcdonald more uses rhythms of speech rather than cracked
spellings.
Critique: "If
Charles Dickens and Nathaniel West had collaborated on "Oliver
Twist," they might have produced as wise and entertaining
a book as "Safekeeping."
- The New York Times Book Review
Mcdonald on the Subject:
"During the Nazi bombing of England, World War Two,
orphaned young Robby Burnes is evacuated to an uncle in
New York who does not exist. He proceeds through all levels
of American Society like baked beans through a sailor."
Comment: This
is a most delightfully witty, fun, incisive novel - absolute
proof that some American book awards to literature do not
relate.
return to top of page
Time
Squared Quartet
Mcdonald on the Subject:
"Growing up, most of my friends were curious about,
eager to get into space. I was curious about time, what
is it, why is it, the various kinds of time, the cause and
effect of times upon civilization, the individual."
Comment: Although
all four volumes were prepared, considering "reader
accessibility", publishers printed and released them
well out of order: The fourth "A World Too Wide"
first in 1987; the first "Exits and Entrances"
second in 1988; the second "Merely Players" third
in 1988; the third "Wise Saws", although prepared
for publication, even the jacket cover printed, not at all,
because of "The Key Distribution Scandal", (in
which a warehouser allegedly borrowed $3m using the books
within he did not own as collateral; reportedly a court
sealed the warehouse, bankrupting many small publishers).
Archival materials (The Gregory Mcdonald Collection, currently
on deposit with Twentieth Century Archives) prove that Mcdonald
first drafted sections of "Exits and Entrances"
in 1951, of "Wise Saws" in 1953, of "Merely
Players" in 1958; that over the years he redrafted
theses works fully as many as fifteen times. Early efforts
to publish "Merely Players" one suspects were
thwarted as central to the plot is the love affair between
a black man (John Bart Nelson) and a white woman, (Janet
Twombley) miscegenation was still illegal in most American
states. Despite all this confusion, the volumes essentially
being snatched from the public almost as soon as they were
presented, each was highly critically acclaimed. Those who
possess any of these first editions consider themselves
fortunate indeed. One other note: "Pentecost by John
Bart Nelson", with Precept, does exist as an addendum
to "Merely Players" intended to be a part of that
volume; the publisher turned it back, saying "a long
poem" at the end. (The poem, "Mewling and Puking"
in "Exists and Entrances" may be what makes the
whole work succeed. It is shorter, and less "intimidating.")
For the reader's sake, editors herewith present the Quartet
volumes, as well as we may, in their intended.
return to top of page
Exits
and Entrances, 1988
Subject: In
the first, highly innovative section of "Exits and
Entrances," Lovers and Pantaloons, Mcdonald almost
brackets the work by dealing with two ages at once, roughly
20 and 60, hopes, dreams; reality. Essentially all characters
in the entire Quartet relate in some way to Columbia Falls,
Maine. In Satchels and Snails, the youngster evades the
truth by an active fantasy life. In Quick in Quarrel the
soldier, dreaming of being a minister, tries to adapt to
war through the prism of his religious upbringing. In Justice,
a fifty year old farm couple balk at having to "start
over again." In Mewling and Puking, Wonder is handed
his candle, "to see." In Sans Every Thing, ancient
Doc, somewhat out of touch with reality, dreams over his
life; this last work has a beautifully ambiguous ending:
Is the last page real, or just what he wishes?
Comment:
Over the centuries many (this century, for one, Thornton
Wilder) have attempted works on the Seven Ages of Man theme,
without success. The common, if not invariable mistake,
apparently was in take the ages in order.
Inference:
Our perception of Truth changes as we mature.
return to top of page
Merely
Players, 1988
Critique: "'Merely
Players' may be the best jazz novel ever written - surely
it is the best novel ever written describing the unique
relationship between two jazz artists, in partnership..."
- National Public Radio
Comment: If
Ms Tuesday, (Janet Twombly) restless, moving, expectant,
is the World, ministerial candidate Dan Prescott, black
poet John Bar Nelson, jazz pianist David MacFarlane, Saxophonist
Chump Hardy each perceives her (and pursues her, through
Boston, New York, London, Paris, until she spins out of
sight) very differently. A cubist novel?
Inference:
This is difficult. Do we ever discover what Ms Tuesday expects?
Does she know? Do we ever know what the World really expects
of us?
return to top of page
Wise
Saws, -
Comment: Contents
unknown. Expected is a volume of short stories, some bridging
the life stories of Dan Prescott, David MacFarlane, etc.,
or at least bridging some of the themes in "Time Squared
Quartet." Also expected in this volume are some of
Mcdonald's published short stories he calls his "chestnuts",
such as "The Nine Best Movies," "The Criminals,"
"The Robbery."
return to top of page
A
World Too Wide, 1987
Comment: Generational
peers from the Quartet come together on David MacFarlane's
Southern farm as middle aged, variously shopworn people.
Key quote from the book: "People become more themselves
as they get older." Much of their individual human
natures are resolved, revealed, some shockingly.
Inference: Which
is more important: Our perception of Truth; or just of who
and what we care about?
return to top of page
The
Brave, 1991
(preferred title [French]: "Rafael, Last Days")
Subject: Rafael
agrees to sacrifice himself in the most grizzly way imaginable
to rescue his family from their homeless life as toxic-
waste dump pickers.
Critique: "(An)
unflinching portrayal of a resourceful young man negotiating
a malignant dystopian landscape...No part of the scene,
not even one sentence, is prurient..."
- New York Times Book Review
Critique: At
the conclusion of an hour long discussion on EuroArts Channel
(at which Mr. Mcdonald participated), the critic-moderator
said, "With no insult intended to any author, living
or dead, quite simply stated, Gregory Mcdonald's "Rafael,
derniers jours" is one of the two or three greatest
novels ever written."
Comment:
In France, this novel was voted Trophees 813 - Best Foreign
Novel, 1977. Considered a revolting work by some, a great
love story by others, a philosophical, sociological, theological,
religious, political monument by many, shocking by all.
Once read, this book can never be forgotten.
Inference:
In true love there is sacrifice; have we forgotten?
return to top of page
