A Pinterest of the Wandering Mind

April 14, 2012 § 3 Comments

If you haven’t had time yet to read Ned Stuckey-French’s Essayists on the Essay (co-edited with Carl Klaus), you might be intrigued by the illustrated label of contents Ned has put together

Peruse the entire rogues gallery here.

A Voice for All Seasons: Carl Klaus and The Made-up Self

November 17, 2011 § 8 Comments


The Made-up Self: Impersonation in the Personal Essay.
Iowa City: University of Iowa Press, 2010. 160 pages. $18.18, paper.

Of all the matters that have eclipsed the minds of essayists, one remains unyieldingly prevalent: the matter of self. It is, after all, the personal essay. One cannot write a personal essay without confronting the self—that elusive entity with blurry lines and ever-changing denotations. I confront the impossibility of defining myself when I write, and typically fail to provide something I am half-satisfied with. Maybe that’s why I essay, to define and explore myself through words.

The problem of pinning down the self is exactly where Carl Klaus starts in his exploration The Made-up Self: Impersonation in the Personal Essay. In the prologue, Klaus writes that

The person in a personal essay is a written construct, a fabricated thing, a character of sorts—the sound of its voice a by-product of carefully chosen words, its recollection of experience, its run of thought and feeling, much tidier than the mess of memories, thoughts, and feelings arising in one’s consciousness.

Though the cover of the book describes it as literary criticism/reference/writing, Klaus doesn’t give the reader what might be expected by these classifications—a solely informative look at the personal essay form. Instead, he says that “given my addiction to the personal essay, I could not resist the temptation to write about it in the freewheeling form of essays, nor could I resist the enticing roles an essayist can play.” As Klaus sets out to accomplish the feat of a book-length discussion on the essayistic personae, the character, voice, and recollection of classic and contemporary essayists inform the text with a delightfully broad look at the many selves that have given life to the essay. But despite the in-depth look at the work of others, Klaus’ voice weaves itself in and out of Montaigne and Woolf, around bends of Lamb and White, and over the rivers of Dillard and Didion, showing readers that no matter where the essay goes, the essayist is ever at the helm.

Klaus’ book is broken up into four parts: “Evocations of Consciousness,” “Evocations of Personality,” “Personae and Culture,” and “Personae and Personal Experience”; each part is broken into chapters like “Elia: Pseudonymous Self Extraordinaire,” “The Mine and the Mind’s Idiosyncrasy: Ideas of Consciousness in the Personal Essay,” and “Montaigne on ‘Montaigne’: Towards a Poetics of Self,” which is the opening chapter. Of course, who better to begin with than Montaigne, the father of the personal essay to whom we give thanks for shaping the essay’s form? Klaus reflects on Montaigne’s constant digressions into his own mind, and notes that despite whatever subject matter was at hand, Montaigne’s self was under examination as much as anything else. By opening his book with Montaigne, Klaus shows Montaigne’s undeniable stamp of introspection and exploration of the self on the essay that has stayed with the genre for more than four hundred years.

Throughout the book, Klaus’ voice and tone is as changeable as the chapter headings, at times mimicking the subject of each chapter—jumping playfully from topic to topic in his chapter “Discontinuous: Form of Consciousness,” or reflecting on his own battle with health in “Illness and ‘I’: Malady in the Personal Essay.” In the final chapter, Klaus explores the idea of his changing self, and concludes his meditations by saying:

Change, after all, is in the air—it touches us, touches our words, touches our personae, as it touches all things. So, a voice for all seasons could only exist in a world without change, a life without death. The “I” is mutable, whether we will it or not.

A guest blog/book review: Natalie Johansen is currently a Creative Writing MFA student at Brigham Young University. She is first and foremost an essayist, and hopes to soon become a citizen in the world of publication.

The Made-Up Self

January 17, 2011 § 2 Comments

Carl Klaus, author of the brilliant The Made-Up Self: Impersonation in the Personal Essay, is interviewed over at The Millions, and both the book and the interview are well worth your time.

Klaus is perhaps our finest theorist on the essay form — smart, widely-read, insightful, and always willing to challenge conventional wisdom.  In this interview he takes aim at the confessional “me-moir” genre and dismisses the oft-repeated notion that bloggers are somehow modern-day Montaignes.

Kudos to Klaus for holding us to a higher standard.

Full Interview Here, and a brief excerpt below:

Well listen, the differences between Montaigne and bloggers are so manifold that I find it surprising that anyone would even think of comparing them – because they have different agendas and completely different ways of going about writing.  For example, Montaigne’s freewheeling style is grounded in an overriding concern with echoing the flow of his thought.  Now the bloggers aren’t concerned with that kind of interiority.  Their writing is largely concerned with topical subjects of the moment, and they have no consciousness of consciousness.  That’s not what they’re after.  Even more importantly, bloggers’ pieces are one-shot affairs, whereas Montaigne took his essays through three separate revisions.  And the revisions were made by additions, by accretion.  He never dropped anything … His concern with consciousness is a concern with representing interiority – that was the overwhelming concern of Montaigne. ‘I am myself the subject of my book,’ he says.  His writing about the consciousness of consciousness makes his essays like a nest of Russian dolls.  You don’t get that profound concern with thought in bloggers. “

 

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