The unexpected voices stay in our heads. They speak lines, phrases, words, pictures that we didn’t see coming, but that we can’t forget. Denis Johnson planted a stop sign in my soul with, “I knew every raindrop by its name,” as I tried to get to know his heroin-addicted narrator in “Jesus’ Son,” a book of short stories, which has been called one of the best written in the last 50 years.
Johnson’s voice, his writing, was born from his experience with addiction. He was worried at first that sobriety would affect his creativity. But the distance, clear-headedness, and productivity of being clean let him more fully access his past and own his voice in a way only he could. My copy of “Jesus’ Son” (named from Lou Reed’s “Velvet Underground” lyric in the song “Heroin,”) is full of underlinings where Johnson knocked me off-guard, off-balance.
He died of liver cancer in 2017. The New York Times obituary gave Johnson his own take on his faith:
Mr. Johnson thought of himself as a Christian writer who wonders about the existence of God in a troubled world.
“I have a feeling God finds us pretty funny,” he told New York magazine. “But that’s all the speaking I should do for God–he doesn’t go around talking about me.”
Richard Sandomir, New York Times
I’ve been thinking about and trying to read distinctive, original voices lately, gravitating toward short stories. Johnson is one of the first people I thought of. Another is Barry Hannah. Hannah begins his landmark book “Airships” like this:
“When I am run down and flocked around by the world, I go down to Farte Cove off the Yazoo River and take my beer to the end of the pier where the old liars are still snapping and wheezing at one another.”
Barry Hannah, “Water Liars”
In an appreciation of his writing, author Richard Ford says that Hannah, “recasts the world in the way obviously great writing does… Barry’s voice was the one many of us hear when we speak candidly to ourselves–subversive, inventive, unpredictable, funnier than we can be in public.”
Recasting the world. That’s what great writing should do for us. Help us see differently or think differently about something, or maybe see something we haven’t seen. Fantastic stories, well told.
I’ve had Tom Robbins lines and phrases typed into my subconscious for 20-plus years now. He can take something as mundane as mockingbirds and cast a slanted light on them:
“Mockingbirds are the true artists of the bird kingdom. Which is to say, although they are born with a song of their own, an innate riff that happens to be one of the most versatile of all the ornithological expressions, mockingbirds aren’t content to merely play the hand that is dealt them. Like all artists, they are out to rearrange reality. Innovative, willful, daring, not bound by the rules to which others may blindly adhere, the mockingbird collects snatches of birdsong from this tree and that field, appropriates them, places them in new and unexpected contexts, recreates the world from the world.”
Tom Robbins, “Skinny Legs and All”
But for all our disparate voices, it is not enough to recreate the world from the world, but to try to add some meaning, some connection, something universal within the personal.
Stories connect us in ways that nothing else does. Jesus told stories so he could be sure we would remember them, re-tell them, and talk about them. Hemingway and Twain are household names because we connect with Huck Finn and the Old Man and the Sea. And when Johnson’s narrator says he knew every raindrop by its name, I am transported back to being a kid, looking up into summer rain with my arms stretched out to the sides, trying to count raindrops and see if one looks different from another.
