I Could Tell You Stories

Overview

Memoir has become the signature genre of our age.
In this timely gathering, Patricia Hampl, one of our most elegant practitioners, "weaves personal stories and grand ideas into shimmering bolts of prose" (Minneapolis Star Tribune) as she explores the autobiographical writing that has enchanted or bedeviled her. Subjects engaging Hampl's attention include her family's response to her writing, the ethics of writing about family and friends, St. Augustine's Confessions, reflections...

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Overview

Memoir has become the signature genre of our age.
In this timely gathering, Patricia Hampl, one of our most elegant practitioners, "weaves personal stories and grand ideas into shimmering bolts of prose" (Minneapolis Star Tribune) as she explores the autobiographical writing that has enchanted or bedeviled her. Subjects engaging Hampl's attention include her family's response to her writing, the ethics of writing about family and friends, St. Augustine's Confessions, reflections on reading Walt Whitman during the Vietnam War, and an early experience reviewing Sylvia Plath. The word that unites the impulse within all the pieces is "Remember!"—a command that can be startling. For to remember is to make a pledge: to the indelible experience of personal perception, and to history itself.

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Editorial Reviews

Library Journal
Several of the writers featured in these volumes make reference to the problem of memoirs in contemporary culture: their proliferation, the troubled skepticism about their value and meaning, and the disdain for their perceived narcissism. In different ways, these books explore those issues and embody the best that memoir can be--intelligent and perceptive reflection that looks both inward and outward. Edited by Baxter, a novelist and critic, the third volume in the provocative "Graywolf Forum" series offers timely insights into the place of memory and memoir in contemporary society. In his introduction, Baxter identifies the unifying theme of the essays as a dual anxiety about the public and the private and what he calls "the effect of memory's peculiar privacy." These are self-conscious and beautifully written essays that deftly explore the act of memoir-making and the art of storytelling. Ranging from tales of trauma and loss to quotidian and even banal events, they probe the tension between memory and forgetting and the mysteries of how we do each. In I Could Tell You Stories, award-winning writer Hampl collects 11 essays, eight previously published (and one of which appears in Baxter's volume). Here the pivotal theme is the fusion of the reader and writer at the heart of the writer's "communion of the word." In polished narratives rich with evocative detail and astute observations on reading and writing about other authors--including Walt Whitman, St. Augustine, Franz Kafka, Sylvia Plath, and Czeslaw Milosz--Hampl achieves what she praises Whitman for, placing herself "between the personal and the impersonal." In so doing, she offers fresh perspectives on memory, writing, and literature. Both books are recommended for academic and public libraries.--Julia Burch, Cambridge, MA Copyright 1999 Cahners Business Information.
Linda Simon
...[A] notable new collection of essays....Hampl is concerned...not so much with a sense of communion between writer and reader as with the moral implications of shaping experience into a story and ourselves into protagonists....Since secrets, more than revelations, fascinate Hampl, the power of the untold resonates throughout this book...
The New York Times Book Review
Donna Seaman
....[Hampl cues] us to the fact that the writing of memoirs is actually a highly imaginative and idiosyncratic process....The stories we tell ourselves about our lives are as essential to survival as air, water, and sustenance, and we need access to the stories of others to orient ourselves both within our own gnashing minds and out in the bewildering world.
Hungry Mind Review
Kirkus Reviews
Those tired of the reductive view of autobiography as voyeur's toy will welcome these investigations on the form's redemptive powers and link to history. In her collection, memoirist Hampl (English/Univ. of Minnesota; Virgin Time, 1992, etc.) offers as subjects a range of autobiographical writers, including Walt Whitman, Sylvia Plath, Czeslaw Milosz, Edith Stein, Anne Frank, and St. Augustine. She links them through her introductory essays, in which she plumbs the importance of memoir, which provides readers with "the deeply satisfying sense of being spoken to privately" and offers writers the chance "to find not only a self but a world," a world they discover by telling "their mind, not their story." In discussing her subjects' minds, Hampl reveals her own: She is a poet, a pilgrim, someone old enough to have loved a Vietnam draft resister and have lost friends, whose memory she appropriates for her writing. Like many essayists, she is more memorable for her epigrammatic observations than her arguments. Readers need not accept Hampl's analysis of Sylvia Plath's poetry or of her own life to allow her belief in "the primacy of the first-person voice in American imaginative writing." Disagree with her easy contention that "Religion is typically too constrained by the systems and institutions that claim it," but accept that "To write one's life is to live it twice." For, as she says of St. Augustine's Confessions, what matters is the mind at work: "Consciousness, not experience, is the galvanizing core of a personal story." Dogged and various in her explorations on memoir, she gives weight to her belief in the intellectual need in our culture to become "sophisticated about thefunction of memory."
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Product Details

  • ISBN-13: 9780393320312
  • Publisher: Norton, W. W. & Company, Inc.
  • Publication date: 8/28/2000
  • Edition description: Reprint
  • Pages: 234
  • Sales rank: 496,362
  • Product dimensions: 5.50 (w) x 8.30 (h) x 0.70 (d)

Meet the Author

Patricia Hampl

Patricia Hampl, Regents' Professor at the University of Minnesota, lives in St. Paul.

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Table of Contents

To the Reader 11
Red Sky in the Morning 15
Memory and Imagination 21
The Mayflower Moment: Reading Whitman during the Vietnam War 38
What She Couldn't Tell 61
Czeslaw Milosz and Memory 83
A Book Sealed with Seven Seals: Edith Stein 103
The Smile of Accomplishment: Sylvia Plath's Ambition 129
The Invention of Autobiography: Augustine's Confessions 166
Reviewing Anne Frank 184
The Need to Say It 195
Other People's Secrets 208
Acknowledgments 231
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First Chapter

Chapter One


Red Sky
in the Morning


    Years ago, in another life, I woke to look out the smeared window of a Greyhound bus I had been riding all night, and in the still-dark morning of a small Missouri river town where the driver had made a scheduled stop at a grimy diner, I saw below me a stout middle-aged woman in a flowered housedress turn and kiss full on the mouth a godlike young man with golden curls. But I've got that wrong: he was kissing her. Passionately, without regard for the world and its incomprehension. He had abandoned himself to his love, and she, stolid, matronly, received this adoration with simple grandeur, like a socialist-realist statue of a woman taking up sheaves of wheat.

    Their ages dictated that he must be her son, but I had just come out of the cramped, ruinous half sleep of a night on a Greyhound and I was clairvoyant: This was that thing called love. The morning light cracked blood red along the river.

    Of course, when she lumbered onto the bus a moment later, lurching forward with her two bulging bags, she chose the empty aisle seat next to me as her own. She pitched one bag onto the overhead rack, and then heaved herself into the seat as if she were used to hoisting sacks of potatoes onto the flatbed of a pickup. She held the other bag on her lap, and leaned toward the window. The beautiful boy was blowing kisses. He couldn't see where she was in the dark interior, so he blew kisses up and down the side of the bus, gazing ardently at the blank windows. "Pardon me," the woman said without looking at me, and leaned over, bag and all, to rap the glass. Her beautiful boy ran back to our window and kissed and kissed, and finally hugged himself, shutting his eyes in an ecstatic pantomime of love-sweet-love. She smiled and waved back.

    Then the bus was moving. She slumped back in her seat, and I turned to her. I suppose I looked transfixed. As our eyes met she said, "Everybody thinks he's my son. But he's not. He's my husband." She let that sink in. She was a farm woman with hands that could have been a man's; I was a university student, hair down to my waist. It was long ago, as I said, in another life. It was even another life for the country. The Vietnam War was the time we were living through, and I was traveling, as I did every three weeks, to visit my boyfriend who was in a federal prison. "Draft dodger," my brother said. "Draft resister," I piously retorted. I had never been kissed the way this woman had been kissed. I was living in a tattered corner of a romantic idyll, the one where the hero is willing to suffer for his beliefs. I was the girlfriend. I lived on pride, not love.

    My neighbor patted her short cap of hair, and settled in for the long haul as we pulled onto the highway along the river, heading south. "We been married five years and we're happy," she said with a penetrating satisfaction, the satisfaction that passeth understanding. "Oh," she let out a profound sigh as if she mined her truths from the bountiful, bulky earth, "Oh, I could tell you stories." She put her arms snugly around her bag, gazed off for a moment, apparently made pensive by her remark. Then she closed her eyes and fell asleep.

    I looked out the window smudged by my nose which had been pressed against it at the bus stop to see the face of true love reveal itself. Beyond the bus the sky, instead of becoming paler with the dawn, drew itself out of a black line along the Mississippi into an alarming red flare. It was very beautiful. The old caution—Red sky in the morning, sailor take warning—darted through my mind and fell away. Remember this, I remember telling myself, hang on to this. I could feel it all skittering away, whatever conjunction of beauty and improbability I had stumbled upon.

    It is hard to describe the indelible bittersweetness of that moment. Which is why, no doubt, it had to be remembered. The very word—Remember!—spiraled up like a snake out of a basket, a magic catch in its sound, the doubling of the m—re mem-memem—setting up a low murmur full of inchoate associations as if a loved voice were speaking into my ear alone, occultly.

    Whether it was the unguarded face of love, or the red gash down the middle of the warring country I was traveling through, or this exhausted farm woman's promise of untold tales that bewitched me, I couldn't say. Over it all rose and remains only the injunction to remember. This, the most impossible command we lay upon ourselves, claimed me and then perversely disappeared, trailing an illusive silken tissue of meaning, without giving a story, refusing to leave me in peace.

    Because everyone "has" a memoir, we all have a stake in how such stories are told. For we do not, after all, simply have experience; we are entrusted with it. We must do something—make something—with it. A story, we sense, is the only possible habitation for the burden of our witnessing.

    The tantalizing formula of my companion on the Greyhound—oh, I could tell you stories—is the memoirist's opening line, but it has none of the delicious promise of the storyteller's "Once upon a time ..." In fact, it is a perverse statement. The woman on the bus told me nothing—she fell asleep and escaped to her dreams. For the little sentence inaugurates nothing, and leads nowhere after its dot dot dot of expectation. Whatever experience lies tangled within its seductive promise remains forever balled up in the woolly impossibility of telling the-truth-the-whole-truth of a life, any life.

    Memoirists, unlike fiction writers, do not really want to "tell a story." They want to tell it all—the all of personal experience, of consciousness itself. That includes a story, but also the whole expanding universe of sensation and thought that flows beyond the confines of narrative and proves every life to be not only an isolated story line but a bit of the cosmos, spinning and streaming into the great, ungraspable pattern of existence. Memoirists wish to tell their mind, not their story.

    The wistfulness implicit in that conditional verb—I could tell—conveys an urge more primitive than a storyteller's search for an audience. It betrays not a loneliness for someone who will listen but a hopelessness about language itself and a sad recognition of its limitations. How much reality can subject-verb-object bear on the frail shoulders of the sentence? The sigh within the statement is more like this: I could tell you stories—if only stories could tell what I have in me to tell.

    For this reason, autobiographical writing is bedeviled. It is caught in a self which must become a world—and not, please, a narcissistic world. The memoir, once considered a marginal literary form, has emerged in the past decade as the signature genre of the age. "The triumph of memoir is now established fact," James Atlas trumpeted in a cover story on "The Age of the Literary Memoir" in the New York Times Magazine. "Fictions," he claimed, "isn't delivering the news. Memoir is."

    With its "triumph," the memoir has, of course, not denied the truth and necessity of fiction. In fact, it leans heavily on novelistic assumptions. But the contemporary memoir has reaffirmed the primacy of the first person voice in American imaginative writing established by Whitman's "Song of Myself." Maybe a reader's love of memoir is less an intrusive lust for confession than a hankering for the intimacy of this first-person voice, the deeply satisfying sense of being spoken to privately. More than a story, we want a voice speaking softly, urgently, in our ear. Which is to say, to our heart. That voice carries its implacable command, the ancient murmur that called out to me in the middle of the country in the middle of a war—remember, remember (I dare you, I tempt you).

    Looking out the Greyhound window that red morning all those years ago, I saw the improbable face of love. But even more puzzling was the cryptic remark of the beloved as she sat next to me. I think of her more often than makes sense. Though he was the beauty, she is the one who comes back. How faint his golden curls have become (he also had a smile, crooked and charming, but I can only remember the idea of it—the image is gone). It is she, stout and unbeautiful, wearing her flowery cotton housedress with a zipper down the middle, who has taken up residence with her canny eye and her acceptance of adoration. To be loved like that, loved improbably: of course, she had stories to tell. She took it for granted in some unapologetic way, like being born to wealth. Take the money and run.

    But that moment before she fell asleep, when she looked pensive, the red morning rising over the Mississippi, was a wistful moment. I could tell you stories—but she could not. What she had to tell was too big, too much, too something, for her to place in the small shrine that a story is.

    When we met—if what happened between us was a meeting—I felt nothing had ever happened to me and nothing ever would. I didn't understand that riding this filthy Greyhound down the middle of bloodied America in the middle of a mutinous war was itself a story and that something was happening to me. I thought if something was happening to anybody around me it was happening to people like my boyfriend: They were the heroes, according to the lights that shined for me then. I was just riding shotgun in my own life. I could not have imagined containing, as the farm woman slumped next to me did, the sheer narrative bulk to say, "I could tell you stories," and then drifting off with the secret heaviness of experience into the silence where stories live their real lives, crumbling into the loss we call remembrance.

    The boastful little declaration, pathetically conditional (not "I'll tell you a story" but "I could") wavered wistfully for an instant between us. The stranger's remark, launched in the dark of the Greyhound, floated across the human landscape like the lingering tone of a struck bell from a village church, and joined all the silence that ever was, as I turned my face to the window where the world was rushing by along the slow river.

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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted August 8, 2006

    Beautiful Monotomy

    After the hint of a gorgues, lusty, book in the first chapter the writing takes a severe down turn. Stuffed to the binding with the overuse of words and repetive reliance on other author's work this book is nothing more than a pitful excuse for a memior it is more suited to be used as a text book. Hampl dives too far into the effect of writing on the American whole and on her life too fast even before we care about who she is as a person. She makes the ultimate sin in that she tells and does not show leaving you craving something more --or throwing the book down in disgust. The very first story leads you into a world of forbiden love and dreams dared to be dreamt, but after that it is as if you have been thrown off a cliff into a murky ocean of rants about Whitman and birth control.

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  • Anonymous

    Posted August 8, 2006

    What a book

    This books was boring and the author seemed to ramble on about the same thing over and over again making it a book that puts you to sleep.

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