These aren’t the droids: The feint of fiction

Confession: I recently re-watched Star Wars Episode IV: A New Hope and Episode V: The Empire Strikes Back — or as I call them, Princess Leia Buns and Princess Leia Braids. Much to TW’s chagrin, I now have been walking around the house imitating Obi-Wan’s Jedi mind trick, complete with that awesome hand sweep: These aren’t the chips you’re looking for. These aren’t the ice cream sandwiches you’re looking for. I also asked him, “Don’t you have a Boba Fett doll?” He stared at me. “It’s not a doll.” I think he’s regretting his decision to invite me to that particular viewing party.

Aside from making me remember that I rode my Gold Fever Huffy (hello, handlebar tassles!) down to the one movie theater in my small Arizona town to stand in line to see it, that droid scene has made me think about fiction-writing and all of its myriad trickeries.

I really should just post Tim O’Brien’s wondrous essay “The Magic Show” here and be done with it. Seriously. Here’s one passage: “For a writer, and for a reader, the process of imaginative knowing does not depend upon the scientific method. Fictional characters are not constructed of flesh and blood, but rather of words, and those words serve as explicit incantations that invite us into and guide us through the universe of the imagination. Language is the apparatus—the magic dust—by which a writer performs his miracles. Words are uttered: ‘By and by,’ Huck says, and we hear him. Words are uttered: ‘We went tip-toeing along a path amongst the trees,’ and we see it. Beyond anything, I think, a writer is someone entranced by the power of language to create a magic show of the imagination, to make the dead sit up and talk, to shine light into the darkness of the great human mysteries.”

Seriously.

O’Brien also emphasizes the mystery that lies at the heart of this writing trickery, and I think that is what appeals to me about my jimmy-rigged Star Wars-fiction-writing analogy: Obi-Wan makes Luke (and us, the audience) believe because his trick is mysterious. We see the reality before our eyes: They are the droids! They are! Nonetheless, they are utterly fooled, and we blink in amazement. We see the trick performed, but we don’t understand it — and not understanding, counter-intuitively, is at the very core of why we believe.

Yet, the trick is no easy sleight of hand. Finding that exact language, as powerful and mesmerizing as it might be, gets complicated by each story that we set out to tell. I am thinking now about my current project, in which one of the characters is a young woman living in the mid-to-late 19th century American South. (I have written some about my imperfect process, including here.) As I (re)imagine her world, the choice of language suddenly becomes alien — because it is not my present language. She does not speak in this time or place. My trick is to make the reader believe that she is absolutely of that time and place. At the same time, she must be a fully fleshed-out character, with desires and longings and peculiarities and flaws, who speaks in her own specific voice.

In other words, to poorly mix a metaphor, I have a lot of Jedi mind tricks to pull out my little writing hat. Which means another kind of belief: in myself. And that’s the trickiest one of all.

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2 comments

  1. Another solid post, B! Can’t wait to check out the O’Brien essay. Miss you like sweet corn misses butter.
    xxx

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