DH: Barcelona is a city I can imagine leaving…for the beach. If Barcelona is in the mind ofJames Salter, then the reader can be set down in the streets of the city, even if they’ve never been there. As for my friend JC, who recently set off for BerlinZurich and Vienna, he can have them.

Malcolm is asleep. His steel rim glasses, which he doesn’t need, lie on a table by the bed. He’s compared to the keel of a ship. What I’ve noticed right off in my first JS story is that the writer is a master of the suggestive fact…of facts that have vaporous ghosts of abstractions clingiing to them as if the facts could be haunted.

There are priorities in what Salter wants to talk about. I notice that JS goes on for about half a page, associating M with images of strength…steel glasses (one), he doesn’t need them (two), body parts like the keel of a ship (3).

It’s only after we’ve been though half a page of Malcolm asleep that we are introduced to Nico, his partner. She’s already awake and has gone out to the terrace after her bath. Since I’m myth-saturated, I associate Malcolm with the sleeping Eros…Eros is often depicted in art as sleeping. It’s very dangerous to wake him. It’s not necessary for Salter to have thought of this at all. But the myth helps me to see something…that Malcolm is being presented as a god and maybe, I’m wondering, to Nico he is one.

I’m indebted to Salter for the slow elevator approach to storytelling. Nico goes down the slow elevator of her building to get Malcolm a morning coffee from a restaurant. Can you guess that Malcolm likes it black? “Solo” he says. And that Nico is getting it for him and likes getting it for him?

There was a time in my life when I was on a slow elevator off Spring Street in Soho a great deal. Christ, that elevator took forever. It must have been a hundred years old. But I understand about slow elevators. JS has a great line: as the lift drifts down from floor to floor, it’s like Nico is passing through decades of her life. In my opinion, you have to be in midlife to appreciate a slow elevator.

The slow elevator approach to story telling…you see, we’ve passed down another floor in my post. You don’t discover how the reality of another person changes right away. It happens slowly, like a play, scene by scene. I’m paraphrasing Salter here. This is what Nico is thinking. Reminds me of that Boulez piece, Pli Selon Pli…fold after fold.

Salter goes on to introduce fold after fold of cognitive dissonance until “the story” can’t take it anymore and breaks up into a sputtering coda of non sequiturs. I’m a great fan of having the structure of a story buckle with the sense of what’s happening.

Let’s all go to the beach. Who doesn’t want to go to the beach? So JS sends his characters and his readers to the beach at Stiges. But S introduces a new character, Inge, Nico’s friend from when she was going solo, as the agent of dissonance.

It’s awesome how the great JM piles on pleat after pleat of disturbance, all of it MINOR, but the effect is to overwhelm.

First off, it’s genius to have Malcolm encounter Nico’s old girlfriend, Inge, from her unattached days. This excavates Nico’s old personal history…rarely a positive experience for anyone. Shows the boyfriend what you were like before he met you.

Here are some folds for you: They go to the beach in Inge’s car. She doesn’t realize it’s a piece of junk, Malcolm drives but Inge leans over to use the horn uselessly when they get stuck in traffic. Even though Inge owns a piece of shit, she talks about owning a Mercedes someday…several. She is overweight but wears a dress that’s too short. She talks about the boys in a bar not being able to buy you a dinner. She wants to run on the beach in front of expensive villas so she can be ogled. She berates her boyfriend who she called at 5 in the morning because he didn’t call her back the previous night. She dreams that every guy who lays her for one night may want to marry her.

It’s genius that Nico becomes emotionally exhausted and falls asleep on a couch in the restaurant she selects for the trio afterward. The real nightmare occurs when she wakes up, groggy I would think, and sees Inge in a tete a tete with her boyfriend.

I’ve mentioned just a few of the minor key measures that shadow this less than five page story. It’s called ‘Am Strande Von Tanger’ and it’s in Modern Library’s wonderful reissue in cloth of James Salter’s collection “Dusk and Other Stories”.

TAGS: , , , , , , , , , ,

3G1B is the collaboration of four friends and colleagues in the book business. Together, they review books and stories, interview authors, and maintain an ongoing conversation about publishing, bookselling, writing, pr, and nearly anything else.

JONATHAN EVISON is the author of All About Lulu and West of Here and TNB's Executive Editor. He likes rabbits. He also likes being the ambiguous fourth guy in the “Three Guys” triumvirate. He is the founder of the secret society, The Fiction Files (if he told, he’d have to kill you). He has a website, but it’s old. Just google him.

DENNIS HARITOU has bought books for Barnes and Noble for seven years, for warehouse clubs for five, and has led a book club. He is currently Director of Merchandise at Bookazine.

JASON CHAMBERS has been in the book business for over fifteen years, including tenures as General Manager/Buyer at Book Peddlers in Athens, GA, and seven years as a Buyer and Merchandise Manager at Bookazine. He now works as an bookstore consultant and occasional web designer.

JASON RICE has worked in the book business for ten years at Random House in sales and marketing and Barnes & Noble as a community relations manager. Currently he is an Assistant Sales Manager and Buyer at Bookazine. His fiction has appeared in several literary magazines online and in print. He was once the pseudonymous book reviewer Frank Bascombe for Ain’t It Cool News. He’s taught photography to American students in the South of France, worked as a bicycle messenger in New York City, and for a long time worked very hard in the film & television business in NYC. Production experience includes the television shows Pete & Pete, Can We Shop ( Joan Rivers' old shopping show), and the films The Pallbearer, Flirting With Disaster, and countless commercials---even a Christina Applegate movie that went straight to video.

Leave a Reply

Your email address will not be published. Required fields are marked *