by Anne Lamott
School Lunches
I know I set out to tell you every single thing I know about writing, but I am also going to tell you every single thing I know about school lunches, partly because the longings and dynamics and anxieties are so similar. I think this will also show how taking short assignments and then producing really shitty first drafts of these assignments can yield a bounty of detailed memory, raw material, and strange characters lurking in the shadows. So: sometimes when a student calls and is mewling and puking about the hopelessness of trying to put words down on paper, I ask him or her to tell me about school lunches—at parochial schools, private schools, twenty years earlier than mine, or ten years later, in Southern California or New York. And they always turn out to be similar to my middle-class Northern California public school lunches. But in important ways they are different, too, and this is even more interesting, for the obvious reason that when we study the differences, we see in bolder relief what we have in common. And for some strange reason, when my students start to jam with me about school lunches, they get off the phone feeling more enthusiastic and in better shape.
One time, in one of my classes, I asked my students to write about lunches for half an hour, and I sat down with them and wrote:
Here is the main thing I know about public school lunches: it only looked like a bunch of kids eating lunch. It was really about opening our insides in front of everyone. Just like writing is. It was a precursor of the showers in seventh- and eighth-grade gym, where everyone could see your everything or your lack of everything, and smell the inside smells of your body, and the whole time you just knew you were going to catch something. The contents of your lunch said whether or not you and your family were Okay. Some bag lunches, like some people, were Okay, and some weren’t. There was a code, a right and acceptable way. It was that simple.
But in half an hour there was already too much material for me and some of the people in class, and it threatened to immobilize us. So we decided not even to bother with our parents’ handwriting on the outside of the brown paper lunch bag—how much it resembled a Turkish assassin’s and what that said about us. We decided to set aside the bag itself for a moment. For the time being we’d stick with the contents, and, to begin with, the sandwich. That was the one-inch picture frame we were going to look through.
Your sandwich was the centerpiece, and there were strict guidelines. It almost goes without saying that store-bought white bread was the only acceptable bread. There were no exceptions. If your mother made the white bread for your sandwich, you could only hope that no one would notice. You certainly did not brag about it, any more than you would brag that she also made headcheese. And there were only a few things that your parents could put in between the two pieces of bread. Bologna was fine, salami and unaggressive cheese were fine, peanut butter and jelly were fine if your parents understood the jelly/jam issue.
Grape jelly was best, by far, a nice slippery comforting sugary petroleum-product grape. Strawberry jam was second; everything else was iffy. Take raspberry, for instance—
Now, see, I couldn’t remember, as I wrote in class, just exactly what it was about raspberry jam that was so disconcerting. So when I got home that night, I called a friend who is also a writer, very successful and maybe the most neurotic person I know. I said, Remember how in elementary school, grape jelly was best in your lunch, strawberry jam was Okay, but raspberry was real borderline? Can you talk to me about your experiences with these things? And my friend went into an impassioned, disoriented riff about how there was too much happening in raspberry jam, too many seeds per spoonful. It felt like there were all these tiny little pod people in it. It was Body-Snatcher jam.
My friend then mentioned apricot jam, which was even worse than raspberry. I had not thought about this in thirty years, but now it all came back with horrible clarity. Apricot jam looked too much like glue, or mucilage. But you could count on having apricot jam when your father made the lunch. Fathers loved apricot jam; I don’t know why, but I’m sure Anna Freud could have a field day with it.
I sat down that night and kept writing:
In general, come to think of it, when fathers made lunches, things always turned out badly. Fathers were so oblivious back then. They were like foreigners. For instance, a code bologna sandwich meant white bread, one or two slices of bologna, mustard, one wilted piece of iceberg lettuce. (The Catholics were heavily into mayonnaise, which we might get into later.) Fathers, to begin with, always used nonregulation bread and then buttered it, which made the sandwich about as tradable as a plate of haggis. Also, everything was always falling out of the sandwiches fathers made. I’m not sure why. They’d use anything green and frilly for lettuce, when of course only the one piece of wilted iceberg was permissible. Your friends saw a big leaf of romaine falling out along with the slice of bologna, and you might soon find yourself alongside the kid against the fence.
There was always that one kid against the fence. How could the rest of us feel Okay if there wasn’t? If it was a guy, there was probably a trumpet case at his feet and he wore strangely scuffed shoes, because he avoided the foot traffic on sidewalks and walked instead through weedy lots with dogs yipping at him. He didn’t end up at that station only because his lunches were nightmarish in their eccentricity, but his lunches didn’t help.
He almost certainly ended up being a writer.
Now, who knows if any of this is usable material? There’s no way to tell until you’ve got it all down, and then there might just be one sentence or one character or one theme that you end up using. But you get it all down. You just write.
I heard Natalie Goldberg, the author of Writing Down the Bones, speak on writing once. Someone asked her for the best possible writing advice she had to offer, and she held up a yellow legal pad, pretended her fingers held a pen, and scribbled away. I think this was some sort of Zen reference — the Buddhist disciple remembering Buddha’s flower sermon, in which all Buddha did was hold up a flower and twirl it, in silence, sitting on the mountain. Me, I’m a nice Christian girl, and while I wish I could quote something kicky and inspirational that Jesus had to say about writing, the truth is that when students ask me for the best practical advice I know, I always pick up a piece of paper and pantomime scribbling away. My students usually think this is a very wise and Zenlike thing for me to convey. Mostly, I forget to give Natalie Goldberg credit.
But write about what? they ask next.
Write about carrot sticks, I tell them:
Code carrots had to look machine extruded, absolutely uniform, none longer than the length of the sandwich. Your parents would sometimes send you to school with waxed-paper packets of uneven cuckoo-bunny carrots, and your carrot esteem would be so low you couldn’t even risk looking at the guy against the fence. Bad juju. If you so much as glanced at him, a visible empathetic arc would stretch between you, almost like a rainbow, and link you two in the minds of your peers forever.
And then there was the matter of the wrapping paper; waxed paper and later Saran wrap. If code lunches were about that intense desire for one thing in life to be Okay, or even just to appear to be Okay, when all around you and at home and inside you things were so chaotic and painful, then it mattered that it not look like Jughead had wrapped your sandwich. A code lunch suggested that someone in your family was paying attention, even if in your heart you knew that your parents were screwing up left and right. So it was a little like making your bed at lunch. Everything should be squared. Sandwiches should be wrapped with hospital corners. Right?
Okay. That’s all. But now I have this material to choose from, to work with, to shape, edit, highlight, or toss. (And that’s very nice of you to suggest the latter.) This is my version of school lunches. Yours might be different and I would be interested in hearing about it. (Now don’t get me wrong. I am not suggesting you mail it to me. But I bet it reveals some interesting stuff about you and your family and the times in which you grew up.) And even though what I’ve quoted he
re is shitty-first-draft stuff, the boy against the fence appeared out of nowhere—I had no idea when started writing that he was in my memory. To me, he is the most important thing that came out of this exercise. Tomorrow when I sit down to work on my novel, he will be someone who matters to me, whom I want to work with, get to know, who has something important to say or somewhere only he can take me.
Polaroids
Writing a first draft is very much like watching a Polaroid develop. You can’t—and, in fact, you’re not supposed to— know exactly what the picture is going to look like until it has finished developing. First you just point at what has your attention and take the picture. In the last chapter, for instance, what had my attention were the contents of my lunch bag. But as the picture developed, I found I had a really clear image of the boy against the fence. Or maybe your Polaroid was supposed to be a picture of that boy against the fence, and you didn’t notice until the last minute that a family was standing a few feet away from him. Now, maybe it’s his, family, or the family of one of the kids in his class, but at any rate these people are going to be in the photograph, too. Then the film emerges from the camera with a grayish green murkiness that gradually becomes clearer and clearer, and finally you see the husband and wife holding their baby with two children standing beside them. And at first it all seems very sweet, but then the shadows begin to appear, and then you start to see the animal tragedy, the baboons baring their teeth. And then you see a flash of bright red flowers in the bottom left quadrant that you didn’t even know were in the picture when you took it, and these flowers evoke a time or a memory that moves you mysteriously. And finally, as the portrait comes into focus, you begin to notice all the props surrounding these people, and you begin to understand how props define us and comfort us, and show us what we value and what we need, and who we think we are.
You couldn’t have had any way of knowing what this piece of work would look like when you first started. You just knew that there was something about these people that compelled you, and you stayed with that something long enough for it to show you what it was about.
Watch this Polaroid develop:
Six or seven years ago I was asked to write an article on the Special Olympics. I had been going to the local event for years, partly because a couple of friends of mine compete. Also, I love sports, and I love to watch athletes, special or otherwise. So I showed up this time with a great deal of interest but no real sense of what the finished article might look like.
Things tend to go very, very slowly at the Special Olympics. It is not like trying to cover the Preakness. Still, it has its own exhilaration, and I cheered and took notes all morning.
The last track-and-field event before lunch was a twenty-five -yard race run by some unusually handicapped runners and walkers, many of whom seemed completely confused. They lumped and careened along, one man making a snail-slow break for the stands, one heading out toward the steps where the winners receive their medals; both of them were shepherded back. The race took just about forever. And here it was nearly noon and we were all so hungry. Finally, though, everyone crossed over the line, and those of us in the stands got up to go—when we noticed that way down the track, four or five yards from the starting line, was another runner.
She was a girl of about sixteen with a normal-looking face above a wracked and emaciated body. She was on metal crutches, and she was just plugging along, one tiny step after another, moving one crutch forward two or three inches, then moving a leg, then moving the other crutch two or three inches, then moving the other leg. It was just excruciating. Plus, I was starving to death. Inside I was going, Come on, come on, come on, swabbing at my forehead with anxiety, while she kept taking these two- or three-inch steps forward. What felt like four hours later, she crossed the finish line, and you could see that she was absolutely stoked, in a shy, girlish way.
A tall African American man with no front teeth fell into step with me as left the bleachers to go look for some lunch. He tugged on the sleeve of my sweater, and I looked up at him, and he handed me a Polaroid someone had taken of him and his friends that day. "Look at us," he said. His speech was difficult to understand, thick and slow as a warped record. His two friends in the picture had Down’s syndrome. All three of them looked extremely pleased with themselves. I admired the picture and then handed it back to him. He stopped, so I stopped, too. He pointed to his own image. "That," he said, "is one cool man."
And this was the image from which an article began forming, although I could not have told you exactly what the piece would end up being about. I just knew that something had started to emerge.
After lunch I wandered over to the auditorium, where it turned out a men’s basketball game was in progress. The African American man with no front teeth was the star of the game. You could tell that he was because even though no one had made a basket yet, his teammates almost always passed him the ball. Even the people on the other team passed him the ball a lot. In lieu of any scoring, the men stampeded in slow motion up and down the court, dribbling the ball thunderously. had never heard such a loud game. It was all sort of crazily beautiful. I imagined describing the game for my article and then for my students: the loudness, the joy. I kept replaying the scene of the girl on crutches making her way up the track to the finish line—and all of a sudden my article began to appear out of the grayish green murk. And I could see that it was about tragedy transformed over the years into joy. It was about the beauty of sheer effort. I could see it almost as clearly as I could the photograph of that one cool man and his two friends.
The auditorium bleachers were packed. Then a few minutes later, still with no score on the board, the tall black man dribbled slowly from one end of the court to the other, and heaved the ball up into the air, and it dropped into the basket. The crowd roared, and all the men on both teams looked up wide-eyed at the hoop, as if it had just burst into flames.
You would have loved it, I tell my students. You would have felt like you could write all day.
Character
Knowledge of your characters also emerges the way a Polaroid develops: it takes time for you to know them. One image that helps me begin to know the people in my fiction is something a friend once told me. She said that every single one of us at birth is given an emotional acre all our own. You get one, your awful Uncle Phil gets one, I get one, Tricia Nixon gets one, everyone gets one. And as long as you don’t hurt anyone, you really get to do with your acre as you please. You can plant fruit trees or flowers or alphabetized rows of vegetables, or nothing at all. If you want your acre to look like a giant garage sale, or an auto-wrecking yard, that’s what you get to do with it. There’s a fence around your acre, though, with a gate, and if people keep coming onto your land and sliming it or trying to get you to do what they think is right, you get to ask them to leave. And they have to go, because this is your acre.
By the same token, each of your characters has an emotional acre that they tend, or don’t tend, in certain specific ways. One of the things you want to discover as you start out is what each person’s acre looks like. What is the person growing, and what sort of shape is the land in? This knowledge may not show up per se in what you write, but the point is that you need to find out as much as possible about the interior life of the people you are working with.
Now, you also want to ask yourself how they stand, what they carry in their pockets or purses, what happens in their faces and to their posture when they are thinking, or bored, or afraid. Whom would they have voted for last time? Why should we care about them anyway? What would be the first thing they stopped doing if they found out they had six months to live? Would they start smoking again? Would they keep flossing?
You are going to love some of your characters, because they are you or some facet of you, and you are going to hate some of your characters for the same reason. But no matter what, you are probably going to have to let bad things happen to some of the characters you love or you won’t have much of
a story. Bad things happen to good characters, because our actions have consequences, and we do not all behave perfectly all the time. As soon as you start protecting your characters from the ramifications of their less-than-lofty behavior, your story will start to feel flat and pointless, just like in real life. Get to know your characters as well as you can, let there be something at stake, and then let the chips fall where they may. My Al-Anon friend told me about the frazzled, defeated wife of an alcoholic man who kept passing out on the front lawn in the middle of the night. The wife kept dragging him in before dawn so that the neighbors wouldn’t see him, until finally an old black woman from the South came up to her one day after a meeting and said, "Honey? Leave him lay where Jesus flang him." And I am slowly, slowly in my work—and even more slowly in real life—learning to do this.
A man know once said to me, "The evidence is in, and you are the verdict." This will be true for each of your characters. The evidence will be in, and each of them will be his or her own verdict. But you may not know what this verdict is at first. You may only know your characters’ externals instead of their essences. Don’t worry about it. More will be revealed over time. In the meantime, can you see what your people look like? What sort of first impression do they make? What does each one care most about, want more than anything in the world? What are their secrets? How do they move, how do they smell? Everyone is walking around as an advertisement for who he or she is—so who is this person? Show us. Whatever your characters do or say will be born out of who they are, so you need to set out to get to know each one as well as possible. One way to do this is to look within your own heart, at the different facets of your personality. You may find a con man, an orphan, a nurse, a king, a hooker, a preacher, a loser, a child, a crone. Go into each of these people and try to capture how each one feels, thinks, talks, survives.