There's subtext in all the dialogue. There's not a line of dialogue that isn't working on more than one level. Here's a good montage for you: "He leans closer and says, his voice thick now, 'You're a virgin, aren't you?'" How many inexperienced writers would follow that line with: "Oh. " and whatever reactions she has to follow. But here it's "I get up and lock myself up in the bathroom." Cut.
Plot too plays itself out subtly, deftly. Because of Paul's line, Lilly locks herself in the bathroom, which means Sheila can't take her shower, so she douses herself with perfume, and feels compelled to make up a story about the flowers, and now Lilly has the confidence to take advantage of that, and so forth. It all fits beautifully together.
Consider the flashback with Lilly sitting in the bathroom while Sheila's in the tub. Again, it's all about bodies. Sheila's just ripping into Lilly for talking small talk.".. stupid shit. You talk and talk and talk about fucking nothing. Just like everyone else." It's a vivid, unexpected moment, and that scene ends in the present time in the tub when Lilly looks at her own hand in this clinically close way, again pulling it back to a consciousness of her own self, an identity in her own body.
And yet again: evoking identity in a weird transposition of roles — Gracie is saying, "Iddy Diddy Diddy Diddy" and Jack and Sheila try to convince themselves that she's trying to say "Daddy," whereas we all know that she's trying to say "Lilly." A brilliant stroke, consistent with yearning as the center of gravity for this story.
I do have a problem with the very ending. The story does not resolve itself in the terms it's been set up in. This is really about who Lilly is, not about who Sheila is. And we have this little burst of abstract, very reductive analysis that she hands over to Sheila. The gesture, "I'm not going to play this fucking game anymore," is fine, but the abrupt assertion of the reason is not really the core of the story.
The last paragraph offers a lovely tableau, which might work with some other preparation, but — I'm not sure here. You need to let go of it and it'll come back if it needs to. The problem is in the penultimate paragraph. The narrator says, '"You're too good for him,' I stage whisper to Sheila, meaning Paul. 'I'm not taking the baby out anymore. I'm staying here. We don't need him.'" I don't feel the irony there. We need to get to it much more simply, maybe as simply as having Lilly lean down to Sheila and whisper, "I'm not taking Gracie anymore." I honestly think the fewer words the better. The rest of it is so beautifully indirect.
Don't get freaked by it, just work it out. Redream the ending and see if there's some other way. What I need, even if it's revealed in retrospect, is a sense of the moment in which she makes this decision. As it stands, I believe the decision, but looking back to see when she made it, I must go all the way back to the beginning of the scene. Even if she doesn't say, "You're too good for him," that's essentially the decision she has made, to be her own person, to dissociate herself from Sheila in this way. But the moment when this decision was actually made — it happened offstage somewhere. It's not just a matter of thinking Paul's an asshole and having an opportunity to say so to Sheila in this ironic, public way. It's more important than that, it has to do with her identity, so we also need a moment in which the decision is made. And indeed, such a decision, the simpler you make it, the more complex it becomes.
All the beats have to be there. This is where craft comes in. Once you get into your unconscious and are working from there, then you need to be sensitive to the rhythm of how things play out, the emotional logic, if you will. And at the end of this wonderful story, there's a step in the emotional logic that has been left out.
Rita: I had a lot of trouble with the first scene because I kept trying to put everything out of my head that I wanted to get into it, just let it go and let it come to me..
ROB: You know, that's a lesson of the universe… I call it sumo zen — did I tell you I'm a big sumo wrestling fan? I've got a second satellite just so I can get the sumo tournaments from TV Japan. And when the sumo wrestlers are interviewed, they always say the same thing — they barely move their lips— no matter what they're asked, it all boils down to "I'm going to do my brand of sumo, and I'm going to do my best." That's
it, folks. That's the lesson of the universe. You do your brand of sumo, and you do your best. And implicit in that concept is: you just let it go. And you let go to it, which in writing this story, Rita, you did. Whenever you try to take control, whenever you impose your will, whenever you start thinking your way into this stuff of fiction, not only do you not get control, you lose touch with the very things that are the most important to you and your work. But, you got it. You understood, you assimilated. [Applause.]
Does everybody understand the difference between what happened here and what happened in the examples that were not quite working? Which is not to say that your stories are bad stories, or that you're not as talented as Rita. This is an extremely talented group. Everything I've seen has been impressive in important ways. Don't leave this classroom feeling gloomy or pessimistic or put down. What I've been saying to you this semester is based on my deep respect for your highest ambitions. There are those among you who are capable of creating works of literature that will endure. I've written more bad stuff than you will ever write in your life, and I've wanted to give you a way to measure yourselves from here on out against the very highest standards. Your brand of sumo is not my brand of sumo; I'm just telling you where in yourself to look. I don't want you writing like me or anybody else. That's the whole point. It's deeply personal. It's your brand of sumo.
Appendix: "Open Arms" by Robert Olen Butler
I have no hatred in me. I'm almost certain of that. I fought for my country long enough to lose my wife to another man, a cripple. This was because even though I was alive, I was dead to her, being far away. Perhaps it bothers me a little that his deformity was something he was born with and not earned in the war. But even that doesn't matter. In the end, my country itself was lost and I am no longer there and the two of them are surely suffering, from what I read in the papers about life in a unified Vietnam. They mean nothing to me, really. It seems strange even to mention them like this, and it is stranger still to speak of them before I speak of the man who suffered the most complicated feeling I could imagine. It is he who makes me feel sometimes that I am sitting with my legs crossed in an attitude of peace and with an acceptance of all that I've been taught about the suffering that comes from desire.
There are others I could hate. But I feel sorry for my enemies and the enemies of my country. I live on South Mary Poppins Drive in Gretna, Louisiana, and since I speak perfect English, I am influential with the others who live here, the Westbank Vietnamese. We are all of us from South Vietnam. If you go across the bridge and into New Orleans and you take
scooter in Saigon or hustling for xich-lo fares in Vung Tau. But I knew there was something special about him right away.
His hair was wildly fanned on his head, the product of VC field-barbering, but there was something else about him that gave him away. He sat between these two Australian officers who were nearly a head taller, and he was hunched forward a little bit. But he seemed enormous, somehow. The people in our village believe in ghosts. Many people in Vietnam have this belief. And sometimes a ghost will appear in human form and then vanish. When that happens and you think back on the encounter, you realize that all along you felt like you were near something enormous, like if you came upon a mountain in the dark and could not see it but knew it was there. I had something of that feeling as I looked at Thap for the first time. Not that I believed he was a ghost. But I knew he was much bigger than the body he was in as he stared at the curried sausages.