How to Wright a BookWriting a book
Review - Wright Morris, The Art of Fiction No. 125
Morris was in 1910 in Central City, Nebraska, and his first ten years in the area. In 1933, after one year in Europe, he moved to the west coast and began to write and photograph. He is the writer of nineteen fiction works, among them Love among the Cannibals (1957) and Fire Sermon (1971), as well as four essay albums and three memoir volumes:
One Memoir (1980) describing his early years; Solo: An US dreamer in Europe, about his years abroad; and Cloak of Light (1985), dealing with his adulthood. He won the National Book Award for The Field of Vision in 1956. Morris recently won the 1980 America Book Award for Plains Song.
He has been quoted from the O. Henry Awards and is a regular contributor to the Best American Shorts series. He is also a photographe, and his own hard pictures underline the narrative in titles such as The Inhabitants (1946), The Home Place (1948), God's Country and My People (1968) and Photographs and Words (1982).
In his " Phototexten " the images are inspired by the detail and artefacts of everyday living in the small Nebraska cities of the Great Plains where Morris grew up. Together with his spouse Josephine, Morris is living in Mill Valley, California, in a small, modern timber building on a precipitous slope amidst an abundance of climber-ice.
However, the immediate vicinity of the Morrises remained unaffected, and during the interviews the poultry were singing quietly between the savage forget-me-nots on a bench near their house. There are several Morris photos on the walls: bare, pretty pictures of the planes, the humans who once inhabited them, and the things they used. He also collected Abstract Expressionist printings, and a monochrome Gorky hung above the mantelpiece.
He is the only one of his photographic works that does not specifically focus on the American Midwest, as well as the only one with colour photos. Eames was sitting in his favourite Eames seat as he was speaking. At the end of the interviewer's visit, Jo Morris took a tablet of biscuits and teas and a cobbler.
It has never been easier for a critic to place you in a particular group or group. He had a brief whitish coat that had been rubbed through at the heights. The hike will take place in the Mill Valley, where I reside, and follow a mandatory itinerary to the local area. I am embarrassingly precise along this stretch, but all that happens on the hike is fantasy.
In this way, I think, this optimism, in the lack of the old-fashioned straightforward story - the period that flows like a flow from the past into the present. That'?s not how I understood the times. I have a cyclically abstracted yet very sensitive period. I have a no-action narrative mode, which is a way to use my own space of opportunity.
There is no way back in the old days, so we are content with our private world. I' ve been reading textbooks in primary schools; at primary schools I was enthusiastic about literature and life. When you were 23, you went on a journey to Europe. Were you there to see Europe as a novelist?
Sometimes I used to play table tennis at the American Club with a young man from Boston. Did you write a lot back then? However, I was still in the process of writing a novel by Monsieur Celebataires, and I identify with the two ageing young men.