Minor writers

Larry McMurtry

Larry McMurtry, best known for Lonesome Dove, took satisfaction in being regarded as a "minor writer." Relatively few writers ever achieve that distinction, he noted.

Most writers make no splash at all. Minor writers are important in their own generation and perhaps for a few years afterward. Then they disappear. A very few major writers — like Dickens, Austen and Tolstoy — continue to be read a hundred years later and more.

McMurtry placed such respected 20th century writers as Norman Mailer, Philip Roth and Saul Bellow in the "minor" category. He didn't mention John Updike, but it is hard to imagine Updike still being read in the next century. Relatively few people read him now.

The only one of his contemporaries he mentioned as a major writer was Flannery O'Connor. "I think she was a true genius, painful genius," he said.

McMurtry also said, "It's fine if you're minor. I 'm glad I got that high. Not everybody does."

His comments reflect both humility and reality. True greatness in any field is rare, and should be. We think of the word minor as being insignificant or average, if not below average. And if we are thinking only of our own time, such descriptions may be true. McMurtry, however, was a bibliophile perhaps even more than he was a writer. He read great books from many centuries and many writers. He looked at literature on a big screen. In the big picture, the Mailers and the Roths and the Bellows, not to mention the McMurtrys, are truly minor. Even so, they made it to the screen.

McMurtry's life

Writers can come from anywhere, as is proven once again in Tracy Daugherty's fine 2023 biography Larry McMurtry: A Life.

McMurtry was born into a struggling Texas ranch family. Bookish even in a home without books, he was certainly not made to be a cowboy. Yet his experiences growing up in that environment allowed him to create an impressive library of western fiction, both contemporary such as The Last Picture Show and Terms of Endearment and of the Old West variety, such as Lonesome Dove.

Like his novels, where his characters always seem to be going somewhere, McMurtry lived his life mostly on the road. Archer City, Texas, may have been his home base, where he eventually brought thousands of books in hopes he could turn this nothing town into a literary haven, but mostly he traveled. He owned a bookstore in Washington, D.C. He  went often to Hollywood, where he wrote screenplays (like Brokeback Mountain) and built friendships with the likes of actresses Diane Keaton and Cybill Shepherd. He became pals with author Ken Kesey in California and the Pacific Northwest and eventually married Kesey's widow. He spent a lot of time in Tucson.

McMurtry may not have looked like a ladies' man, but like a sailor he seemed to have a girl in every port. His relationships with women, from Susan Sontag to Diana Ossana, were extremely close, even when they were not sexual. As Daugherty puts it, "He gathered women as he gathered books, and for much the same reason: so as not to feel bereft." And so many of his best characters were women, many of them based on the women in his life.

Daugherty says that "loss was the major theme of his writing." The loss of the Old West, his father's and grandfather's generations, was certainly dominant in his work. But there are other kinds of loss, as well. So many of his main characters die in his books, reminding readers that life is fleeting. 

And now we have lost Larry McMurtry. Yet, at least for the time being, we still have his books.

Carried away by metaphors

We are moved by metaphors, carried away, transported by them. In its simplest form, metaphor sets side by side two things that are different and purposes to the mind that they are alike. Metaphor does not change things, it asks us to consider them in the light they shine on one another. Everything looks different  depending on the light in which we see it. The right metaphor educates and delights our sense of seeing."

Heather Cass White, Books Promiscuously Read

Metaphors have been on my mind lately. I am leading a series of discussions on the 23rd Psalm. The psalms are poetry, and poetry depends heavily on metaphors. "The Lord is my shepherd," like virtually every phrase in the psalm, is a metaphor. It "sets side by side two things that are different" — God and a shepherd — "and purposes to the mind that they are alike."

Heather Cass White

The metaphors in the psalm ask us "to consider them in the light they shine on one another." Metaphors can mean different things to different people, or even to the same person at different times. That's because, as Heather Cass White puts it, "Everything looks different depending on the light in which we see it."

Thus, I think our discussions on the 23rd Psalm could be very interesting.

But if poetry depends heavily on metaphors, the same is true of fiction. Moby-Dick is a great novel, in part, because the huge whale is a great metaphor. Adventures of Huckleberry Finn is a great novel, in part, because the raft and the river are great metaphors. The effective use of metaphors is essential to good writing.

But then metaphors are also essential to communication in general. The Big Bang metaphor makes it easier to explain the universe. Two apples plus two apples makes it easier to explain basic arithmetic.

As White puts it, "The right metaphor educates and delights our sense of seeing."

Message in a bottle

To write, publish, or distribute a book is like putting a message in a bottle and tossing it into the sea: its destination is uncertain.

Gabriel Zaid, So Many Books

Gabriel Zaid, above, is clearly not talking about the likes of James Patterson, Laura Lippman, Michael Connelly or any other author of popular books, although what he says may very well been true of these authors early in their careers.

For writers starting out, it can be a great challenge getting an agent, then finding a publisher and then, perhaps most challenging of all, attracting readers. The message in a bottle metaphor is actually spot on in most cases.

Writing a book takes hours upon hours of work. For writers who cannot yet get an advance from a publisher, this is unpaid labor. The labor includes research, especially in the case of nonfiction books, and countless hours spent writing and editing — usually spare time, because these writers often have full-time jobs or families to take care of. They must struggle with plots, sentences, grammar, clarity and, in some cases, trying to create art. All this must be done without ever knowing if anyone will actually pay money to read all those words.

The book publishing industry exists and succeeds because there are so many people in the world with something they want to say who are willing to take this great chance — to, in effect, put their message in a bottle with the hope that someone someday will actually find it and read it.

Relatively few of the books written are actually published, and few of those published actually sell a significant number of copies. 

Zaid concludes his thought on an optimistic note: "And yet again and again the miracle occurs: a book finds its reader, a reader finds his book."

How to apologize

Gary Chapman's five love languages have, over the years, become an essential tool for helping people understand how they both express and experience love. In 2022, with the help of Jennifer Thomas, he produced the book 5 Apology Languages, which does the same kind of thing with apology.

Just as we do not all think of love in the same way, so we do not all think of apology in the same way. Thus, what one person thinks of as an apology may seem totally insufficient to the person receiving the apology. The five languages are expressing regret, accepting responsibility, making restitution, planned change and requesting forgiveness.

The authors give us many case studies involving individuals who either cannot bring themselves to make an apology or, if they do, fail to do it in a way that is meaningful to the offended person. Simply saying you are sorry won't work for someone who expects change or restitution.

The authors touch on, but to my mind do not give enough attention to, the fact that in many, if not most, conflicts, both people share some guilt. One thing leads to another in so many disagreements, each causing escalation. Yet often it is just one person who is expected to make an apology.

Chapman and Thomas add helpful material to the end of their book. What should we avoid saying when we are trying to apologize? What things should we say? How can we determine what our own apology language might be?

Their book can be useful for anyone involved in a personal relationship — in other words, all of us. 

Too many books

For most of my life, the phrase "too many books" was a foreign concept to me. You can never have too many books. Any book worth reading was worth keeping, I thought. And that's what I did.

My personal library began growing when I joined the Doubleday Science Fiction Book Club as a teenager. Almost every month I got one or two cheap hardbacks by people like Isaac Asimov and Clifford D. Simak. In college I took lots of literature classes, each requiring the purchase of several books. In addition, I loved spending any extra money I had at college bookstores.

Near the start of my newspaper career I began reviewing books, which meant publishers sending me books by the armload. In my mid-thirties, my wife and I purchased a spacious new home that seemed to have an endless amount of room for an endless number of books.

But then I got old and the time came for downsizing. I like having lots of books around, but my son does not feel the same way. And then we bought a condo and, eventually, I sold my big house. "Too many books" became a reality, one I am still trying to deal with.

I sold about half my library at auction. Most of the rest are in storage. Yet old habits die hard, if they die at all, and I continue to acquire books. I no longer, however, feel compelled to keep every book I read. Even so, I am practically buried in books.

And then I became condo librarian. Residents regularly donate books, which is good, but since the shelves are already filled, I must take one book off the shelves each time another is donated. Here too there are too many books.

I was fascinated by the very first page of Donna Leon's 2023 mystery So Shall You Reap. Guido Brunetti, Leon's hero, has but four bookshelves in his own home — his wife, a professor, claims the rest — and they are full. It is time for what he terms The Cull.

"The first shelf held books he knew he would read again; the second, at eye level, held books he wanted to read for the first time; the third, books he'd not finished but believed he would; and the bottom shelf held books he had known, sometimes even as he was buying them, that he would never read."

I have many more books than Brunetti has, and my shelves are not nearly as well organized, and yet my approach to culling is essentially the same as his. He begins at the bottom, with those books he knows he will never read. And that is where I must also begin.

Books that flatter us

Always be cautious with books about books! The risk is flattery,

Robin Sloan, introduction to So Many Books by Gabriel Zaid

Robin Sloan

Books about books are always popular with those who love books. Why? Because they flatter us, Robin Sloan says. They compel us to buy them. We like to read about ourselves, and books about books are, in some way, about us.

I have never in my long life seen so many novels with book-related themes. There are novels about librarians who become heroic spies during World War II. There are novels about romances set in bookstores and libraries. There are novels about writers, about book clubs and about lost books.

Among the unread novels on my own shelves are The Fiction Writer by Jillian Cantor, The Librianist by Patrick deWitt and The Dictionary of Lost Words by Pip Williams. Bookstores are currently filled with tempting titles that I have, so far, been able to resist.

As for nonfiction, there are almost as many books about books. So Many Books by Gabriel Zaid was published in Spanish in 1996. It was translated into English in 2003. I own the 2025 edition. In other words, we readers still want to read it because it is about what we like read about — books and the people, like us, who read them.

Consider some of the books about books I have read and written about here: 13 Ways of Looking at the Novel by Jane Smiley, Books Promiscuously Read by Heather Cass White, In Praise of Good Bookstores by Jeff Deutsch, So Many Books So Little Time by Sara Nelson, Browsings by Michael Dirda, A Reader's Manifesto by B. R. Myers, Ruined by Reading by Lynn Sharon Schwartz, The Joy of Books by Eric Burns and Phantoms on the Bookshelves by Jacques Bonnel, among others.

So why, other than flattery, should we be cautious about books about books? It is too easy to be taken in by a title. This may especially be true of novels. Just because fiction is set in a bookstore or a library doesn't mean it will be something worth reading. This is true of genres of all kinds. Just because you like westerns (or romances or sci-fi or mysteries) does not mean that all westerns, etc. are worth reading. And it seems to me that books about books have become a genre all their own.