Lemony Snicket: four victories and one epic fail

A Series of Unfortunate Events. Even the title is enough to spark interest for its sheer cleverness. First, because of the play on the word “series,” and second, because “unfortunate events” is simultaneously charming and intriguing – a word which here means “makes you long to pick it up and peruse its pages.”

And Lemony Snicket’s thirteen-volume series does not disappoint. Except in one important respect.

Mr. Snicket, as stated, does not lack charm. His whimsical wit is reminiscent of Lewis Carroll and Douglas Adams, but with melancholy overtones. A chapter titled “Déjà vu” opens with a description of the stated phenomenon. We read to the end of the page, turn that page – and find ourselves reading the same page again. And this is only one in a long list of amusing devices.

Mr. Snicket uses reverse psychology to make his writing irresistible. He opens Chapter One of Book the First with:

“If you are interested in stories with happy endings, you would be better off reading some other book. In this book, not only is there no happy ending, there is no happy beginning and very few happy things in the middle.”

Mr. Snicket does not forget that his narrator is also a character. From starting each volume with a mysterious dedication to “Beatrice,” to slipping in snippets of his own sad story at intervals, to confiding in his audience that he often visits bookstores so he can find copies of his books and put them on the highest shelves where they won’t be found, Mr. Snicket carefully paints a picture of his baffling, utterly depressed self.

Mr. Snicket keeps us interested by feeding us tidbits of information that we know are important. We begin to desperately wonder what happened  to Beatrice, whether or not the Baudelaire parents are actually dead, and what in the world is in the sugar bowl. We devour each chapter, bookmarking every few pages – everywhere we see a clue. As we near The End, the mysteries are piling up, we are holding our breaths, we—

And this is where Mr. Snicket fails us.

Granted, he warned us there would be no happy ending. Granted, he did everything he could to persuade us not to read on. But we still expected different. We expected the ending to be happy after all because no matter how vehemently the author denied it in every printed line, we could read the truth printed on the white spaces in between. Or so we thought. But even if we took his words at face value, we at least expected answers. Every problem promises a solution, remember? Every mystery promises an explanation.

But all we are left with at the end are broken promises and a sugar bowl that will remain eternally shut.

And hours of amusement. Yes, even though I am grievously disappointed in the ending, I would still highly recommend the series. Such is the dark art of Lemony Snicket.

Backpacks across the galaxy: how to personalize the epic

Epic-ness is all well and good, but without a personal touch, it can fall flat. We wouldn’t care whether or not Middle Earth fell to Sauron if we didn’t get to know Frodo and Sam along the way. It’s the little, everyday details that make us care; that show us the relevance of the big picture by connecting it to a close-up of the character(s).

This concept really threw me the first time I read Out of the Silent Planet. A man is on a walking tour in England, when he loses his backpack and is kidnapped by two men who take him to an alien planet. He escapes, and spends the next several chapters living among the locals, learning their language and discovering fascinating things about the universe. Then, on page 96, he gets a chance to look through a telescope at a planet the locals call Thulcandra:

He wondered for a moment if it was Mars he was looking at; then, as his eyes took in the markings better, he recognized what they were—Northern Europe and a piece of North America. They were upside down with the North Pole at the bottom of the picture and this somehow shocked him. But it was Earth he was seeing—even, perhaps, England, though the picture shook a little and his eyes were quickly getting tired, and he could not be certain that he was not imagining it. It was all there in that little disk—London, Athens, Jerusalem, Shakespeare. There everyone had lived and everything had happened; and there, presumably, his pack was still lying in the porch of an empty house near Sterk.

This last sentence is so amazing it makes me dizzy. From the alienness of another planet, the hugeness of the universe, the awe of seeing Earth from space, the vastness of human history—to the ordinariness of a backpack left on a porch. This is why C.S. Lewis is my favorite writer; he turns my brain inside out.

Douglas Adams does something similar (but much more humorous) in his Hitchhiker’s Guide to the Galaxy trilogy, when Arthur Dent is falling to his death and suddenly remembers he has a bottle of olive oil in his knapsack—possibly the last piece of the Earth left in the entire universe (this realization enabled him to learn how to fly…but that’s another post).

And I experienced something similar when I was driving home from visiting my grandparents last Christmas. We stopped at a Denny’s, and I happened to notice that the walls at this Denny’s had the exact same texture as the walls at home. And although I hadn’t been gone long enough to miss home, I suddenly got a lump in my stomach and felt homesick.

Moral of the post: the details make it meaningful. The next time you are writing a “big picture” scene, consider making your character notice or remember something that gives you a “close up.”