Tag: Roger Daltrey

March?  Please!  I’ve been in self-isolation since January.

No, I was not clairvoyantly alerted to the impending coronavirus pandemic; only our dear leader can claim that pansophic distinction.  Rather, my wife started a new job at the beginning of the year, necessitating a commute, thereby leaving me carless.  (Voluntarily carless, I should stipulate:  I refuse to be a two-vehicle household; as it is, this congenital city kid, certified tree-hugger, and avowed minimalist owns one car under protest.)

My obstinance, however, comes at a cost:  I don’t live within convenient walking distance of anything save a Chevron station (the irony of which is only so amusing), so while the missus is at work, I’m effectively immobilized.  I got nowhere to go… save the home office opposite my bedroom.  Thusly, I made a conscious decision at the start of the year to embrace my newfound confinement as a creative opportunity—to spend the entirety of winter devoted all but exclusively to breaking the back of my new novel.  I kept my socializing and climate activism to a minimum during this period, submitting to the kind of regimented hourly schedule I haven’t known since my college days.

Before long, my period of self-imposed artistic self-isolation was yielding measurable results, and I’d been looking forward to emerging from social exile.  The week I’d earmarked for my “coming-out party”?  You guessed it:  The Ides of March.

I instead spent St. Paddy’s week mostly reeling, knocked sideways—as I imagine many were—by the speed and scale at which this crisis ballooned.  But in the days that followed, I resolved to compartmentalize—to get back to work.  I still had my codified daily routine, after all, which required a few adjustments and allowances under the new circumstances, and I had a project completely outlined and ready to “go to pages.”  So, that’s what I turned to.

And in short order, I’d produced the first two chapters, which, for me, are always the hardest to write, because I have no narrative momentum to work with as I do in later scenes.  You open a blank Scrivener document, and—BOOM!—all your careful planning and plotting, your meticulously considered character arcs and cerebral theme work?  It ain’t worth shit at that ex nihilo instant.  You may’ve built the world, but how do you get into it?  Writing that first sentence, that first paragraph, that first scene, that first chapter is like feeling your way around in the dark.  (Fittingly, my first chapter is literally about three guys finding their way through a forest path in the pitch black of night.)

“Going to pages” turned out to be just the intellectual occupation I needed to quell my anxiety, to give me a reprieve from our present reality.  And now that I’ve got story momentum, slipping into the world of my fiction every morning is as easy as flicking on the television.  For the three or four hours a day I withdraw to my personal paracosm, I’m not thinking about anything other than those characters and their problems.  As such, I’ve thus far sat out this crisis in my study, trafficking in my daydreams to pass the time; I’m not treating patients, or bagging groceries, or delivering packages, or working the supply chain, or performing any of the vital services upholding our fragile social order.  Instead, I’m playing make-believe.

It wasn’t long ago—Christmas, in fact—I’d issued an earnest, hopeful plea that in the year to come we might all forsake our comforting fictions, our private parallel dimensions, in favor of consciously reconnecting with our shared nonfictional universe.  And now here many of us find ourselves, banished from the streets, from the company of others, confined by ex officio decree to our own hermetic bubbles—as of this writing, 97% of the world is under stay-at-home orders—with nowhere to retreat but our escapist fantasies.  I’ve been reliant upon them, too—even grateful for them.

And that got me thinking about Stephen King’s Misery.  As masterful, and faithful in plotting, as Rob Reiner’s movie adaptation (working from a screenplay by William Goldman) is to King’s book, the theme—the entire point of the narrative—gets completely lost in translation.  This is a story about addiction, as only King could tell it:  It’s about how drugs (in this case, prescription-grade painkillers) help us cope with misery, but it’s also about how art can be an addictive—and redemptive—coping mechanism, as well; how it can turn misery into a kind of beauty, especially for the artist himself.