Rather than open with landscape, sky-scape and weather, this time Annie Proulx opens with a political era. I remember it well, with lots about mad cow disease on the news in the late 1990s:
The coffeepot southeast of Signal had been an o.k. little ranch but it passed down to Car Scrope in bad times — the present time and its near past. The beef-buying states, crying brucellosis which they fancied cattle contracted from Yellowstone bison and elk on the roam, had worked up a fear of Wyoming animals that punched the bottom out of the market. It showed a difference of philosophies, the outsiders ignorant that the state’s unwritten motto, take care a your own damn slef, extended to fauna and livestock and to them. There was a deeper malaise: all over the country men who once ate blood-rare prime, women who once cooked pot roast for Sunday dinner turned to soy curd and greens, warding off hardened arteries, E. coli-tainted hamburger, and cold shakes of undulant fever. They shied from overseas reports of “mad cow” disease. And who would display evidence of gross carnivorous appetite in times of heightened vegetarian sensibility?
This time seems so bleak to people living in this farming area that it is possible to think the end of the world is nigh.
This modern retelling of The Frog Prince by Annie Proulx was published in the November edition of The New Yorker in 1998 and included in her Close Range collection of short stories.
PROULX’S STORY STRUCTURE
If I hadn’t had it pointed out I probably wouldn’t have picked up, on first reading anyway, that this is a re-visioning of the fairytale The Frog Prince. But this is an Angela Carter kind of subversive re-visioning in which the woman comes up trumps, though not in the patriarchal ideal of ‘happily’ married and subdued, but having chosen her own man and inheriting a property which ordinarily would have passed down the male line. (This is called patrimony.)
In “The Bunchgrass Edge of the World” the frog prince gets substituted by a monstrous, talking tractor. Ironically, the broken down, hybrid tractor shows misogynous prejudice, as it forbids Ottaline to repair it, claiming that “‘It’s men that fixes tractors, not no woman.'”
In common with “The Frog Prince” she’s outside the house, though unable to go very far. Something unexpected starts talking to her ‘at the bottom of the garden’. Both the tractor and the frog are pretty awful characters and you’d never want anything to do with them even if they did transmogrify into handsome princes, though I feel the original readers of Frog Prince fairytales weren’t meant to think so.
There are other fairytale elements to this story. The story starts two generations before the ‘princess’ gets her story. Modern retellers of fairytales don’t do this, but Charles Perrault did. In Perrault’s version of Rapunzel we hear all about her parents and how the mother craved some kind of parsley and sent the father off to steal it from the witch’s garden. This practice of establishing heritage helps to give a story a sense of history, even though short. It also contributes to that ‘deterministic’ feel — a word often used to describe the work of Annie Proulx and fairytales alike. The father is called Aladdin. There is a crop of almost magical wheat — seeded from Aladdin’s pants cuffs when he somersaulted off the porch, exuberant and playful before his new wife.
Even the storyworld seems alive to Ottaline:
The calfskin rug on the floor seemed to move, to hunch and crawl a fraction of an inch at a time. The dark frame of the mirror sank into the wall, a rectangular trench. From her bed she saw the moon-bleached grain elevator and behind it immeasurable range flecked with cows like small black seeds.
This is not quite magical realism, but through Ottaline’s eyes we get a sense of what it’s like to view a grimly realistic world in a magical way. Mirrors, moons and rugs which seem alive — these are all reminiscent of fairytale.
“In this book a number of dialects are used, to wit: the Missouri negro dialect, the extremist form of the backwoods South-Western dialects; the ordinary “Pike-Country” dialect; and four modified varieties of this last”
— Huckleberry Finn
Regionalism is an largely American term which refers to texts that concentrate heavily on specific, unique features of a certain region including dialect, customs, tradition, topography, history, and characters. Regionalist writers include Mark Twain and Kate Chopin (The Awakening, 1899), Harper Lee (To Kill A Mockingbird), Flannery O’Connor, William Faulkner. Features of regionalist works: Continue reading “Neo-Regionalism And Realism In Literature”
The Western is the national myth of the United States (just as the King Arthur story is the national myth of England).
The Western is the last of the great creation myths, because the American West was the last liveable frontier on earth.
This story form has been written and rewritten thousands of times. So it has a highly metaphorical symbol web.
Westerns and Science Fiction are the most metaphorical/symbolic genres.
The Western is the story of millions of individuals journeying west, taming the wilderness and building a home. They are led by a lone-warrior hero who can defeat the barbarians and make it safe for the pioneers to form a village.
Like Moses, this warrior can lead his people to the Promised Land but not enter it himself. He is doomed to remain unmarried and alone, forever traveling the wilderness until he and it are gone.
While classic Westerns documented the struggle for resources — water, livestock, gold — they were highly colored by nostalgia and enjoyed the bliss of ignorance re: Earth not actually coming with a bottomless refill of natural resources.
“People In Hell Just Want A Drink Of Water”: When it comes to neighbours who’ve been through terrible hardship, no one asks all that much of you. You’re not going to fix their problems, but you can extend just a little kindness and that’ll go a long way.
This is another story about a community rather than an individual. These stories tend to say something about how communities work, treating these groups of people as a flawed individual. I see what people mean when they call Annie Proulx ‘deterministic’. If an individual hero has some choice in how s/he acts, a community is not a sentient being — once a certain social group has been formed, things must take their course. I am feeling that way lately about the state of politics. We’re entering a new age of right-wing horribleness, and there doesn’t seem much we can do about it until ‘things have taken their course’. The best I’m hoping for in 2017 is that this far right thinking will swing back hard the other way, afterwards. After what? I don’t know.
STORY WORLD OF “PEOPLE IN HELL JUST WANT A DRINK OF WATER”
The term ‘geographical determinism’ is the full phrase used to describe the work of Annie Proulx. Alex Hunt explains what that means in The Geographical Imagination Of Annie Proulx: Rethinking Regionalism. It occurs when a text retains elements of local colour fiction but the characters are limited by the surrounding geography and climate. It’s sometimes known as ‘environmental determinism.’
Determinism was popular with geographers in the early decades of the 20th century (when this story is set) but fell out of favour because it became linked to justifications for imperialism and racism. Jared Diamond, who in 1997 wrote Guns, Germs, and Steel did a lot to restart the conversation about determinism and basically made it okay to talk about that again. Annie Proulx was of course writing these Wyoming stories at this exact time. There must have been some sort of zeitgeist. Now it is okay to look again at the ways in which a physical environment (climate, natural resources, disease, plagues) shape individuals and cultures.
You stand there, braced. Cloud shadows race over the buff rock stacks as a projected film, casting a queasy, mottled ground rash. The air hisses and it is no local breeze but the great harsh sweep of wind from the turning of the earth. The wild country – indigo jags of mountain, grassy plain everlasting, tumbled stones like fallen cities, the flaring roll of sky – provokes a spiritual shudder. It is like a deep note that cannot be heard but is felt, it is like a claw in the gut. Continue reading “People In Hell Just Want A Drink Of Water by Annie Proulx”
At around the same time Annie Proulx published “The Blood Bay”, an episode of Six Feet Under saw Claire in big trouble for stealing a severed foot from her family’s funeral business and taking it with her to school. That episode, like this story, was darkly funny and made use of someone’s severed foot.
It was inevitable that a TV series called something about feet would have to at one point make use of an actual foot. Dark comedy involving the loss of someone’s severed foot was used more recently in episode seven of season two of Animal Kingdom. (“Dig”)
While this is icky, North Americans haven’t been so squeamish about carrying around rabbits’ feet for good luck. Larry McMurtry writes of that practice in his cowboy novels. (Only the left hind foot is lucky.)
Reading “Job History” in 2017, I propose an updated subtitle: “The Life and Times of a Trump Voter”.
Annie Proulx doesn’t seem to go public with her voting decisions but her interest in the environment and the ideas in her fiction suggest she’s probably not on board with what’s going on in the USA this year:
[Annie Proulx’s] voice rises: “Nobody can visit the big trees again; the huge forests do not exist. The understorey has gone, and the smaller plants and animals – the ecosystem has been damaged. Change is right with us, and you can get frightened.” I ask if the thought of Donald Trump, a denier of manmade climate change, in the White House frightens her. “I think the country has more or less brought this on themselves,” she says. “I don’t have personal feelings about it because that’s not who I am, but I am watching.”
Whatever the author’s political thoughts, I’m 100% certain Proulx would’ve seen the era of President Trump coming a mile off. Having lived most of her live in rural Wyoming, the story of Leeland Lee, who in 2017 would be about the same age as Donald Trump himself, is a portrait of a Trump Voting Everyman. It’s well worth a read for that reason alone, if you can stomach it. Continue reading “Job History by Annie Proulx Story Technique”
“The Half-Skinned Steer” by Annie Proulx is, as said by Mary Lee Settle “as real as a pickup truck, as ominous as a fairy tale.”
Animals make an appearance in a lot of the story submissions we receive. Bunnies are maimed and killed. Dogs behave mischievously. Alligators threaten to attack. The truth is, many short story writers include animals in their tales, for different reasons. Many times, in our contests for emerging writers, an author will use a mangled or dead animal as a (seemingly) direct symbol for the loss of innocence, a dysfunctional family dynamic, or the end of a relationship. In other cases, the animal is not a direct symbol but merely a story element that interacts in a pleasing way with the rest of the narrative structure. Animals can add a level of tension or mystery to a story, they can drive the plot, or they can simply add texture. Though they can (often) be cute, animals are powerful presences in a story, and it’s interesting to consider the many different ways that they add to tales by contemporary writers.
Comedies in this sense always have happy endings, and they characters have sex.
It could’ve been a true life story because Mottola really did work at a theme park. But he was steered away from the True Stories genre and gave his story the Hollywood gloss hoping it would turn out like Superbad. But ultimately he chose to portray all of the messiness of his relationships, his stupid decisions, and grand failures as they really happened, which makes it more drama than comedy. It ends up being quite different from Superbad. As John Truby says, the story is both cathartic and believable — more a “memoir” than a “based upon.”
The True Life stories genre can surprise an audience by diverting from the expected because life is also like that.
STORY STRUCTURE OF ADVENTURELAND
Before I take a close look at John Truby’s story structure, this is one film Truby has taken a look at himself on his own blog. Here are a few things he has to say about it:
Constructed as a classical comedy, very like “A Midsummer Night’s Dream. Young people coming of age leave adult society to enter a forest (in this case, an amusement park) where they work out, after some false starts, their sexual coming of age and prepare to re-enter society.
The move away from a comedy like Superbad makes Adventureland refreshingly authentic, if not tied up in a nice, neat bundle.
The battle and new equilibrium are there.
The hero and love opponent both complete arcs that the writer could have easily idealized, 20 years after the fact, having gone through several more relationships.
This could easily have been overly-preachy, filled with the banalities of a college grad acting as a fish out of water amongst the under-educated. In fact, Mottola went the opposite route.
The most intelligent character is poor [Joel] who has no plans for his future, but the hero immediately recognizes the kinship they will have and befriends his coworker.He makes allies with nearly all of his coworkers, and gets along well with his bosses, too. The effect was a strong character web from which most of the comedy of the story could grow — a style used commonly by Judd Apatow, a frequent collaborator with Greg Mottola. [See Freaks and Geeks for an example of Apatow’s excellent character webbing.]
Self-revelation, need, desire
1. James will learn how to treat a woman well, enough to begin his first romantic relationship. (No gossiping about her secrets when you’ve had a fight, no looking around at other girls when you’re keen on one in particular.)
2. He knows the difference between love and sex. Until now he has been waiting for both at once and is therefore still a virgin.
3. James is too naive to function as an adult in society.
The elephant in the room is James’s virginity, a symbol for general lack of maturity. This lack of experience is the thing that will hold him back. (A non-event rather than an event.) There’s also the ending of the 11 day romance which went nowhere — he has had his heart disproportionately broken by that rejection. The virginity comes out on his first date with Em, who asks if he’s ‘had a lot of girls’.
Em has the ghost of a recent troubled past and we soon learn that she’s in a horrible relationship with a horrible, married man.
This is an enslaving world, as most stories are. James is in a hole due to his parents no longer supporting him financially and his lack of life experience.
1. This is a great arena — a cheesy, kitsch adventure park frequented by proto-Trump voter types and staffed by eccentrics.
2. Beyond the park there are hills and sea. We do get a glimpse of this — the characters can see that there is more outside the Adventureland — the main characters are all far too overqualified to be working in such a deadend job.
3. It’s summer — the classic time for university students to either finish their education or get a job. Summer is a more carefree season, where James will let his guard down just a little bit, smoking pot and socialising with people he wouldn’t normally see ever.
4. The man-made space of the Adventureland park is made up of many little islands of faux-fun. This place is supposed to be fun, but it’s really not. It’s repetitive and mindless and sometimes dangerous.
5. Technology — There are gimmicky games in the park, like games where you shoot a (glued-on) hat off a mannequin. Some of these are symbolic. For example, when Connell bursts James’s bubble, a balloon he’s blowing up literally bursts. Stuffed bananas stand in for manhood (with suggestions that James is lacking in it). The lightbulb montage in the opening credits perhaps symbolise ‘lightbulb moments’ for James, since this is a coming-of-age story.
6. The story is set in 1987, because this is a memoir. The clothes, drugs, food choices, possible venues of entertainment and the prejudices etc of the characters (no dating Jews for the Catholic girls) are specific to the era.
Weakness & Need (Problem)
James’s psychological weakness: He is naive in general after too much book learning and not enough life experience. He is the underdog among his male peers. He hasn’t grown up yet, still at the mercy of his parents’ financial situation even though he’s just had 4 years of college. He needs to grow up now. He is too ingratiating at times.
Moral weakness: He is too reliant on his parents. He is basically very nice to other people, but he throws a bit of a tantrum and does a lot of damage in this story.
In order to have a better life: James needs to learn to treat women with full respect and be less ingratiating to other people — men in particular. (This is a highly gendered story.)
Problem: The crisis at the beginning of the story is that James wants to go to grad school at Columbia to study journalism but his parents can no longer bankroll him. Nor can he go on the trip to Europe with his rich buddy. So he’s going to have to find a summer job, but he has absolutely no practical experience in anything except mowing the neighbour’s lawn.
The inciting incident (above) is revealed at the restaurant with his parents. It connects need and desire — the thing that’s the most wrong with James is that he can’t stand on his own two feet, but now he’s going to have to.
James’s goal is to save enough money to move to NYC and do a postgrad year of journalism. He wants to report on real events of the world, which is why a bachelor’s degree isn’t enough for him.
At his new job he quickly meets Joel, an even more nerdy and highly qualified version of himself.
He also meets Em, who saves him from getting knifed by some white trash guy who cheats to get a giant panda for his son.
There’s a super annoying little guy called Frigo who, even though smaller than James, is constantly undermining his manhood by punching him in the balls and similar.
Connell is the repairs guy who helps run the show. He appears to be an ally by taking James under his wing and giving girl advice but in fact he’s keeping tabs on Em, because he knows Em is going out with James. In reality, he’s standing in the way of James’s happiness with Em.
Changed Desire and Motive
This comes later: When James no longer has the money to study in NYC due to totalling his parents’ car, he still wants to move to NYC, but this time he’ll take a year off to continue his worldly education, focus on his relationship with Em, and perhaps attend grad school the following year.
First Revelation and Decision
Although he likes Em, Em doesn’t feel the same way about him (or isn’t in a position to commit).
So he decides to take Lisa P up on her offer to go out with her.
James’s plan is to ask Em out, be super nice to her and hopefully she’ll want to date him exclusively. They will then continue their relationship in NYC after the summer.
James will have to dig deep and come up with a better strategy because Em is already ‘taken’, and Connell is standing in his way. He’ll have to first uncover the truth of the situation and then grow morally alongside Em.
Opponent’s Plan and Main Counterattack
Connell wants to keep Em apart from James so that he can continue having sex with Em in his mother’s basement.
Connell’s plan is visible to the audience, but another opponent is Lisa P. We don’t see how gossipy and unreliable she is until James does. (Though we might guess.)
He will follow Em to see if what he’s learned about Em and Connell is true.
Connell is a strong opponent though, because he’s manly and he’s having sex with Em already.
This is when he has his meltdown, in which he is newly irresponsible in a way that shows us he has fundamentally changed after this experience of first real love. He’s never been hurt like this before.
Attack By Ally
Joel quits the place in disgust after being attacked by a guy over the glued-on-hats. So James visits him at his home. In the story, the reason for this is to try and persuade Joel to come back to work, but the plotting reason is so that Joel can confront James about how shitty it is to go out with Lisa P when the girl he really likes is Em.
Em has also quit Adventureland, and it appears James will never see her again, either. By telling Lisa P about Em and Connell, he’s started a horrible gossip mill and has dug himself into a hole.
Obsessive Drive, Changed Drive, and Motive
After setting his sights on Em, he’s now going to have a go with Lisa P, for the experience if nothing else. He’s been absorbing the message that ‘men have needs’.
Second revelation and decision
On a date with Lisa P, he realises the two of them have nothing in common.
The next day, Em apologises to him for being non-committal and James realises he’s made a mistake. He will refocus his attentions on Em.
The audience is aware of the relationship between Em and Connell long before James is. This allows us to feel sorry for him and empathise. But when Lisa P reveals to James that Connell regularly takes girls to his mother’s basement, we should feel a whole new level of disgust for Connell, and begin to feel a little more sorry for Em, who has also lost her mother recently and is dealing with an unpleasant step-mother.
Third Revelation and Decision
At this point James realises who Connell really is. This is shown in the scene at Adventureland where James sees him talking to a group of three, young, pretty women — we all know that Connell is already onto his next pretty young things. He also corrects Connell on a matter of music trivia, showing that Connell has been full of shit about playing with a famous artist back in the day — and James now knows he’s full of shit in general.
Gate, gauntlet, visit to death
James totals his parents car after getting drunk, when he realises the girl he likes has been seeing Connell all this time.
There’s a battle scene between James and Em after James follows her and asks her what the hell she’s doing with Connell and why didn’t she tell him.
While sitting on a hilltop with Joel (the classic place for revelations, since Moses), they talk about nothing particularly significant, but it’s clear that James has had some sort of quiet epiphany. This is evidenced by the fact he stands up and gives Frigo a knee in the balls. (I assume that’s the entire reason Frigo is in the scene — to allow the audience to see how much James has grown up — he is no longer overly ingratiating)
James has two choices: He can stay in his home town and go to a nearby journalism school, probably ending up with an internship on Mr Rogers — this is shown in a dining table scene with his parents — this would be tragic for James, as Mr Rogers is a children’s show and would symbolise a permanent regression to childhood. Or he can go to NYC anyway, embrace uncertainty and stand on his own two feet.
After a romantic speech in the rain after waiting for Em outside her new NYC apartment, both parties admit that they fucked up over summer. Now they will start again, on different turf, away from the Adventureland arena.
Wolf Hollow (2016) is a middle grade novel by Lauren Wolk. This mid-20th century story is chock-full of symbolism which makes it great for a novel study. Here I focus instead on the writing techniques, for writers of middle grade.
“Wolf Hollow” is a romantic, intriguing name reminiscent of something Anne Shirley would dream up. (Raccoon Creek and the Turtle Stone are other fetching names used in the book.) But unlike the world of (the original) Green Gables, this is no utopia. Instead, Wolf Hollow is an ‘apparent utopia’, where people grow ‘victory gardens‘ and residents are surrounded by nature. There is plenty of hygge — the peeling of apples, the large family table in their big, warm farm house.
By the time we got to the schoolhouse, it was raining in earnest. We three had worn oilcloth ponchos, hoods up, and boots, so we were plenty dry and warm, but many of the other children came in soaked and shivering.
Like many stories with girl main characters, this story is closely connected to the seasons. Notice how the hygge is moderated by details that show this setting is not in fact utopian:
Each season meant a world refashioned inside its stalls and storerooms.
Pockets of warmth in winter, the milk cows and draft horses like furnaces, their heat banked by straw bedding and new manure.
In spring, swallows fledged from muddy nests wedged in crannies overhead, and kittens fresh and soft staggered between hooves and attacked the tails of tackle hanging from stable pegs.
Come summer, yellow jackets nested in the straw, old oats sprouted through the floorboards, Houdine hens laid eggs in odd places where they might yield chicks, and dusty sunlight striped the air like bridges to somewhere else.
This family has had electricity for a few years, introduced under President Roosevelt. Electricity had already become common in American homes during the 1930s but took longer to reach rural areas. This is one of the things which would’ve set a divide between ‘country kids’ and ‘city kids’(Betty).
Annabelle’s class would have looked something like as depicted above, but because of lack of resources the classroom is overcrowded, so that when everyone turns up most students have to share a seat.
Today, I would learn some arithmetic, no doubt, and a few state capitals, why we fought the wars we fought, what Anne of Green Gables would get up to next, and why I shouldn’t mix bleach with ammonia.
The futility, or the insignificance of war to these country children, is shown in the sentence above. War is listed in the same sentence as far more mundane things, including cosy fiction. The children don’t see the point of war.
Annabelle realises she must do well at school. With two brothers she won’t have the opportunity to run the family farm. She has been told to study hard and get a career. Other girls of that era would have been told to marry well, but expectations were changing rapidly for women both during and after the war.
STORY STRUCTURE OF WOLF HOLLOW
Annabelle is a likeable, ordinary girl. Her weakness is that so far she has lead a happy, sheltered life with no real calamity. At the magical (critical) age of 12 this is about to change.
Her happy, sheltered life exposes her weakness — she doesn’t yet know how to cope with adversity. Over the course of this story she must learn.
Overall, Annabelle wants to be left in peace to go to school and get a career.
In this particular story, Annabelle wants to stop Betty from bullying her and to keep her brothers safe. Later, this morphs into the intense desire for justice — to protect Toby.
Betty is introduced on page 5. As newcomer, she is immediately interesting to both Annabelle and to the reader. We expect things of newcomers. She is a big, tough 14 year old girl from ‘the city’. She’ll be living with her grandparents, the Glengarrys.
Betty is a bit of a stock bully. But when she kills the bird (the inverse of Save The Cat) it becomes clear that she is more sociopathic than your typical middle grade bully. This girl has real issues. Partly to avoid problematic stereotypes, perhaps, Betty is blonde. (In the First Golden Age Of Children’s Literature you rarely met a blonde baddie.)
That said, Betty’s pretty blondness is partly what leads to her getting away with baldfaced lies. Her grandparents don’t believe she is violent and the adults don’t think to question if she really could see Toby on the hill from the belfry. The way adults discriminate based on complexion and pigmentation is brought to the fore when Annabelle asks her father who Hitler does like:
My father thought about his answer. “People with blonde hair and blue eyes,” he said.
“I would assign every lie a color: yellow when they were innocent, pale blue when they sailed over you like the sky, red because I knew they drew blood. And then there was the black lie. That’s the worst of all. A black lie was when I told you the truth. ”
In this way, Betty is the local little Hitler. Like Swallows and Amazons, also set across war time, here we have a novel where the community battles fought by the children in some ways mirror what’s going on in the wider world. Similarly, Betty has targeted Annabelle because she perceives she is rich. One part of the reason for anti-semitism — irrational as it is — has historically been due to the perception that Jewish people accumulate an unfair amount of wealth owing to their sticking together and supporting each others’ businesses.
One sure sign that someone is an anti-Semite is if he agrees with the statement that “Jews have too much power in our country today.
Wolk makes clear exactly where Annabelle’s family sit in the economic hierarchy: as farmers they are neither poor nor rich, but exist outside the urban definition of ‘rich’ or ‘poor’. There is little to spare and the house is Spartan but being an old family with a large farm, they have been able to donate land for the school and church and are therefore rich by many standards.
However, the idea that you can look at someone from the outside and assume things about them is the critical idea here; Annabelle is not rich.
As Betty’s love interest, Andy is the romantic opponent. Andy, like Betty, is often compared to a dog. When he turns up late for school one rainy day he ‘tipped off his hood and shook all over like a dog as he looked around the schoolhouse.’
Annabelle’s parents are excellent parents, in danger of being Mary Sue characters, actually, so to disrupt the harmony at home we have Aunt Lily, another stock character who reminds me of two other fictional characters: Aunt Beryl from Katherine Mansfield’s most famous short stories, and from children’s literature, of Kate DiCamillo’s Eugenia from the Mercy the Pig series.
Aunt Lily is severe like Eugenia but also has a dreamy, romantic, thwarted-desire side to her, depicted with the small but telling detail that Aunt Lily goes to her room for Bible study, but can also be found listening to music and dancing at the end of her bed.
(Interestingly, Aunt Lily is a postmistress, which is the job L.M. Montgomery had, author of Anne of Green Gables. I wonder how closely L.M. Montgomery herself conformed to the severe postmistress trope.)
John and Sarah
Annabelle’s parents are loving and warm. Their response to the bullying situation is quite modern, in fact. An attitude fairly common in earlier eras was that children need to look after themselves, fighting back against bullies. Not so in this situation — when Annabelle tells her parents what’s been going on with Betty they tell her they’ll take care of it and that she should have told them sooner.
But the parents — owing to their goodness — are also opponents, in a way, because in any healthy parent-child relationship, the parents will never be completely on your side. Annabelle doesn’t want to worry them with her Betty issues so she hides the problems she is having. And here’s a storytelling problem — perhaps a problem for the modern child — “Why doesn’t Annabelle simply tell an adult immediately?” “Tattle-tales and ‘dirty dobbing’ weren’t part of my own school culture, but in the last 10-20 years schools have largely instituted zero tolerance for physical violence and I’m fairly confident that most children would tell an adult if they were left with a black welt. Wolk explains in several different places why Annabelle won’t tell her parents. First it’s because she’d like to deal with her own problems on her own — which is actually a rule for protagonists in children’s literature:
I wanted to see if she was a barker or a biter.
At the beginning of chapter four:
My mother gave me a funny look as I stood at the back door the next morning, readying myself, before setting off for school. When she said, “Something wrong, Annabelle?” I nearly told her about Betty. It wold have been a relief to put the whole thing in her hands.
But although there were only apples and potatoes, beets and a few winter squash left to bring in, and although she, of all women on earth, was capable and strong, I had it in mind to spare her this particular battle. I’d thought it through: If i told her, she’d have to go to her friends, the Glengarrys, and tell them that their granddaughter was a hooligan, something they surely already knew but would not want to hear from a neighbour.
And despite the fact that she’d been able to fix nearly every broken thing in our lives, my mother could not promise me that Betty would not come at me again, even angrier — or worse, go after my brothers — if I tattled on her.
I had learned what incorrigible meant. A scolding was not going to change anything, and so far Betty hadn’t done anything to deserve more.
Finally, however, Annabelle does tell her parents. This occurs after the third Betty incident, in fact, making use of the Rule of Three In Storytelling.
We are not immediately sure whether Toby has a dark side to him. He doesn’t want any food, but what does he want?
I’m reminded of the Galloway character in the Jennifer Lawrence film Serena, in which a weird dude walks around in an almost supernatural way. In the adult film the character didn’t work. Partly because of the Galloway character in my opinion, who is two-dimensional and not that interesting. He is two-dimensional precisely because we don’t know what he wants.
Lauren Wolk avoids this pitfall. Toby is introduced with a backstory in chapter three, after Annabelle’s first encounter with Betty. He soon proves his goodness to us, however, when he quietly intervenes in a bullying incident. (A true Save The Cat moment.)
Wolk sets up a mystery. Although this is not a mystery novel per se, there are mystery detective elements as Annabelle sets about on her own fact-finding missions, determining of her own accord whether Toby could be seen from the belfry, and if Betty was even up there at the time of the rock incident.
The climactic incident, after the wire trap, after the lost eye, is when Betty and Toby both go missing. This happens Chapter 12, about p120 out of 290pp. A little less than halfway through.
Because this is a story retold by a storyteller narrator, after a distance of many years, the self-revelation is given to us at the very beginning, and even used on the yellow version of the book cover:
(The first chapter is actually bookended by these two sentences.)
When it is clear that Aunt Lily believes Betty’s story that Toby pushed her into the hole in the ground, Annabelle realises that some people will believe anything so long as it suits their own preconceived view. She realises that there are good lies and bad lies — that the world is not black and white.
By the end of the story Aunt Lily has realised that she was quick to judge Toby. Of course, Aunt Lily’s self-revelation is a lesson to the reader not to judge hastily.
This story has a classic fugitive arc. In children’s literature it’s often another child or an animal that the child rescues and nurtures. Courage The Cowardly Dog takes in the Hunchback of Notre Dame in The Hunchback Of Nowhere. In the case of Wolf Hollow, Annabelle is also harbouring a grown man in the hayloft. (Since this is literary and not horrorcomedy, the author did well not to make this sound creepy. I’m not sure it would work so well if it were set in 2017.) Haylofts are thought to be nurturing, comfortable places to sleep. At least, it’s always the case in stories.
“The loft will be fine,” he said. “It smells good up there. And I like the doves.”
I’m not sure about reality, though. I imagine it would feel scratchy and probably full of ticks. Here in Australia — snakes. However, a bed of hay is a common feature of utopian (or apparent-utopian) stories.
An a fugitive arc the goodie eventually proves their goodness to the public. In this case Toby had to get into the hole and rescue the girl he supposedly harmed.
The problem with grotesques, though, is that in stories they don’t get happy endings. Experienced readers will have expected this as soon as we learned about Toby’s hand. It was inevitable from the set up that Toby would be shot.
However, it was not so inevitable that Betty died. The author avoided melodrama and achieved mimesis by having Betty die undramatically of systemic infection.
We can extrapolate that life will go on as before, but Annabelle is now an adult, or closer to it. That makes Wolf Hollow a coming-of-age story. Annabelle has been drawn into an adult world and there’s no going back. Aunt Lily may or may not be a tad kinder.
In America, lying can never be an act of caring. We find it hard to accept that lying would be protective, this is an unexamined idea. In some countries, not telling, or a certain opaqueness, is an act of respect.
Annabelle’s best friend Ruth is a dark-haired, red-lipped, pale girl with a quiet voice. We know immediately that she is not the star of the story. Such girls do not star in middle grade fiction. (They may find themselves viewpoint characters.) Instead, this girl loses an eye. I’m reminded of Mary and Laura from the Little House On The Prairie series. Laura is the spirited girl with gumption and attitude; Mary is expendable (plot wise) and sure enough, Mary too becomes blind. (The fact that Mary Ingalls became blind in real life is beside my point. It’s possible Mary’s subdued ‘personality’ was emphasised to fit how she became, by necessity, after losing her sight, and her freedom.)
Annabelle’s younger brothers, age 9 and 7, are repeatedly portrayed as existing in the world of childhood, in stark contrast to Annabelle who at age 12 is just starting to encounter adult problems such as prejudice and injustice. Henry and James run around gleefully, eat without self-consciousness and must be protected as the children they still are.
For a while, being included in these conversations had made me feel tall. Now I was ready to be eleven again and back up in bed like my brothers.
Other characters exist to flesh out the town and contribute to the plot — the kindly German man despised by town locals, the gossipy Annie Gribble. (Annie Gribble is somehow an onomatopoeic name. Perhaps because it contains the ‘gr’ consonant cluster, in common with ‘grumble’.)
Annie Gribble lived in a small house that we passed on our way to market. I’d only been there once, to drop off a bushel of peaches at canning time, but she’d invited us in for a glass of lemonade, my father and me, and I’d been fascinated by the switchboard that dominated her front room like a loom strung with thin black snakes.
With the snake simile in final position of that thumbnail character sketch, we are left with a very clear impression of Annie Gribble. She is not to be trusted.
The constable is a kindly fellow, big and strong, but not as good at detective work as Annabelle.
By the end of Wolf Hollow it’s clear that these minor characters were fleshed out for a reason. Annie Gribble is a very handy archetype to have in a story, for narrative purposes. As the town gossip she is an omniscient eye. In Anne of Green Gables we have Rachel Lynde who performs a similar purpose.
It is explained that Wolf Hollow no longer has wolves but used to be the place where wolves were trapped and shot. There were deep pits dug there, which the wolves would fall into. Another story with wolf in the title but not in the storyworld is “The Wamsutter Wolf” by Annie Proulx.
It is immediately clear that the character of Toby is the personification of a wolf — a wild creature roaming around suspiciously, misunderstood by humans. It is no surprise when something bad happens to him. The history of the wolves has foreshadowed the calamity which befalls the human-wolf. To be clear, there is nothing supernatural about this story. It’s not a werewolf tale. But this feels like a place of fantasy laid upon a real-world setting — the symbol web and the ‘evil’ newcomer and the poetic place names lend this feeling. Toby is compared to a farm dog numerous times throughout the story.
When Betty is found the ‘hunt’ for Toby intensifies.
‘Hollow’ is a great word.
We might think of it romantically, as we are encouraged to do in Gilmore girls with the name ‘Stars Hollow’ — a genuine utopia, separate from the ills of the world by virtue of its being in a bit of a ‘hole’ (which has completely different connotations).
More generally, ‘hollow’ means ‘having a hole or empty space inside’. This describes the townspeople who so easily discriminate against those who are different from themselves.
It is eventually revealed that two of the three guns Toby hauls around are broken. ‘Hollow’ weapons, hollow threats — symbols of how Toby looks dangerous but actually isn’t.
Plot wise, it is significant that Betty falls into a literal hole in the ground. This is of course a form of retribution, and readers are encouraged to examine our own glee, especially when it’s revealed how close Betty came to death.
Toby’s scarred and deformed hand is a distinguishing feature eventually used to prove his real identity. This trope is used to comic effect by Daniel Handler in A Series of Fortunate Events, with the tattoo of an eye on Count Olaf’s ankle.
It is significant that Toby’s hand is disfigured because the author is making use of the Red Right Hand trope.
Toby is a Grotesque (and grotesques often have Red Right Hands). A grotesque is ugly on the outside but good on the inside. (Or if they’re bad, it’s because they’ve been treated badly.) But because of his “Red Right Hand”, the townspeople (as well as the readers) have been trained to see Toby as evil. There are good deformities and bad deformities, and having a deformed hand is not a good one, in literature.
Though most people probably think of the Nick Cave song these days, the term originated in Milton’s Paradise Lost. Before that, there are references to red hands in the Bible. Toby is clearly a Jesus figure — ostracised by many for his difference, an aesthete, a long beard, a carpenter, intrinsically good, loves children.
In any case, the history of storytelling has taught us that characters with red hands might be supernatural and also very, very bad. So when Toby turns out to be a good guy, Lauren Wolf has subverted reader expectations, and hopefully the self-revelation for the reader is: Don’t judge people at first sight.
Another novel, for slightly older readers perhaps, deals with questions of right and wrong, appearance vs reality. Big Mouth and Ugly Girl by Joyce Carol Oates.