Consider the following beta elements: Hitchcock, Bolinas, fire, towering infernos, The Wizard of Oz, terrorism, telecommunications, and Birnum Wood. A meaningless collection of terms? Maybe…that’s what you’d think upon a quick read through of my novel, Crystal From The Hills. My “sprawling”, “muddled” brainchild was written intermittently over the last three years, and is currently receiving a smattering of appreciation, interspersed with triage-like criticisms, some valid and useful, some merely indicative of a drive-by reading. It’s early days yet. Mostly there is silence and the resounding feel of indifference. As with Weed, my villain, there is an overriding absence.
It’s to be expected. I’m not sure what kind of readership I’m aiming for, except for one of fantasy: an ardent following that reads things over and over again, ever searching for nuance. One review suggested a Joycean or Proust-admiring following–wrong. A book of minutia? The word implies triviality, or meaninglessness. I guess Wilfred Bion’s concept of beta elements doesn’t register for average readers; it doesn’t resonate. What do I mean? you may wonder…may wonder. Well, here goes, again: in drama, as in life, there is repetition; repetition that reveals. That’s basic Freud. The paraphenalia of society serve as microcosms of existence, illustrating the unconscious while it fills out the canvas of life. Chris Leavitt’s life is a canvas of elements, speaking in code and then blended into an inchoate mass. Alfred Hitchcock was a fan of psychoanalysis, which informs the themes of CFTH; the same is true of the many motion picture references contained in the novel. Other examples: Macbeth was a man who denied reality, and who failed to understand clues. Fires are part of the back-story of the protagonist, while towering infernos and terrorism now fuel the paranoia of American culture. Texting, e-mail, and the ubiquity of cell phones may dominate as mediums of communication, but it is ancient oral traditions that will whisper truths and pass them along, perhaps especially in small towns in West Marin County, where cell phone towers don’t exist still. Bolinas: the Luddite enclave. May the best grass roots movements of the future be born amongst your wooded seclusion. Within the mass of elements there is order and meaning, and for the attentive observer (as in reader), there is a pattern; an internal logic that ultimately should not baffle. Thus, events unfold in a manner that should feel familiar, perhaps like deja vu. There is a sense of things congealing with centripetal urgency (oops! careful Graeme–that’s a lot of syllables you’re stacking there.)
I guess not everyone will see things as I see them. That, after all, is the point of Crystal From The Hills. Take, for example, a climax of sex in CFTH (not the only climax). A critic has complained that a sexual episode between Chris and his girlfriend Jill–a clumsy grapple and possible rape–retroactively colors their relationship. My response: this passage is foreshadowed about once every ten pages of the novel without actually revealing the event (of course, I’m doing that here). Colors the relationship? The protagonist is guilt-ridden yet avoidant; Jill? she is conflicted: contemptuous and shamefaced, yet uncertain in her revenge. The explicit revealing towards the end is matched by the undercurrent that develops over the course of the narrative. The unconscious in which I place faith enables the reader to find logic and continuity in the unfolding. Meanwhile, the psychologically-minded know that the traumatized take their time, forget and distort, and even when finding clarity, they gauge the safety of those poised to hear their secrets. Is it safe to let you know what’s really been happening? How far have you made it into the novel? Are you ready to hear what its characters really have to say?