Consider the Lobster Mushroom: being a brief theory of the craft of creative nonfiction
November 21, 2016 § 13 Comments
By Heidi Czerwiec
The lobster mushroom, contrary to its common name, is not a mushroom but the result of a parasitic fungus having infested a host mushroom in a peculiar symbiosis. The fungus, Hypomyces lactifluorum, typically attacks milk-caps and brittlegills, absorbing them completely and imparting the bright reddish-orange color and seafood-like flavor of a cooked lobster.
Creative nonfiction, too, is a symbiosis of fact infecting art. Or art infecting fact. You become infected by an idea, a topic – open adoptions, fracking, the history of perfume – that absorbs you, imparting its own qualities, until the you’re transformed, not the same person as before.
Or, you may play the part of parasite – cloak your work, make it take the appearance of another form: an essay disguised as a list, a letter, an index, a diary. A hermit-crab essay. A lobster mushroom.
Or, you may think you’re writing one essay, but another essay takes it over, makes it its own. Think you’re writing about hiking? Nope, it’s about your ex-. A piece about the band Morphine and The Matrix’ Morpheus and the Sandman comics? Nope, your ex-. This is not necessarily a bad thing. Lobster mushrooms are much more valuable than the mushrooms they infect – about $25 a pound fresh, or $50 dried, at last check.
You should remember that both creative nonfiction and lobster mushrooms, like all fungus, feed off of dead matter, are in turn fed off of. You don’t always get there first. Sometimes appalling creatures have nested inside it – sometimes stuff you knew was there, sometimes stuff you forgot was there, sometimes unexpected stuff you uncover. You might be cutting through a mushroom when a centipede or earwig or worm crawls out of the hole it’s burrowed into the flesh. “Fuck!” you might yell, dropping the mushroom. Now you have to decide what to do next:
a. Sweep the mushroom into the trash. Burn trash. Burn house. No mushroom, no matter how valuable it might have seemed, is worth this toxic invasion.
b.Pick up the mushroom and examine the damage – how deep does it go? Has the nastiness laid eggs? Are there others? You may feel hesitant to give up on the mushroom, but sometimes you have to negotiate the value of the mushroom against how compromised it’s become. If there’s too much damage, go back to a); otherwise, continue to c). Remind yourself of two things:
1.If you can’t deal with the mushroom now, it will come back. It will always come back, popping up whether you want it to or no, because it’s part of a larger system, mycelia feeding on what’s rotten, what lurks, always, beneath the surface. If you decide in the future you’re ready to pluck it and make something of it, it will be there, mushrooming.
2. You don’t have to reveal the source of your mushrooms. Few enthusiasts do, going to great lengths to conceal their sites by lying, covering their tracks. But most are happy to share the fruits of their labors, the fruited mushroom, the finished product, however fraught. You can share, without sharing everything.
c. Decide you have worked too hard for this mushroom. It is too valuable to let go. THIS IS YOUR FUCKING MUSHROOM. Find a way to deal with the damage:
1. Cut it out completely;
2. Work around it. Convince yourself it will be altered in the shaping/cooking of it anyways. Keep what isn’t too bad, what you can still use, what’s of value. If you can deal with it, so can everyone else.
3. Take a deep breath and swallow it whole, bugs and all.
But here’s the thing. The lobster mushroom, the parasitic fungus, has a super power: it infests mushrooms, matter that is otherwise inedible, possibly toxic, and makes it safe for consumption. Palatable. Even delicious.
Is this a craft essay infected by a lyric essay, or a lyric essay infected by a craft essay?
Heidi Czerwiec is a poet and essayist and serves as Poetry Editor at North Dakota Quarterly. She is the author of two recent chapbooks — A Is For A-ké, The Chinese Monster, and Sweet/Crude: A Bakken Boom Cycle — and of the forthcoming collection Maternal Imagination with ELJ Publications, and the editor of North Dakota Is Everywhere: An Anthology of Contemporary North Dakota Poets. She lives in Minneapolis.