SIGN IN to access Harper’s Magazine
1. Sign in to Customer Care using your account number or postal address.
2. Select Email/Password Information.
3. Enter your new information and click on Save My Changes.
Subscribers can find additional help here. Not a subscriber? Subscribe today!
“Kent would have to be raised up by his father, pulled to the solid shelf of rock by his mother.”
The sentence comes a quarter of the way into Alice Munro’s latest short story, “Deep-Holes.” A picnic has gone awry; it started to go awry in the first paragraph, when the mother and father mentioned above were etched into life with two brusque Munrovian clauses: “She protested, but he insisted.”
“Kent would have to be raised up by his father, pulled to the solid shelf of rock by his mother” contains the whole of Munro’s story. Not its plot, which — as her readers have come to gratefully expect — offers a busy succession of unexpected arrivals and departures. Rather, its tone and theme. The words “tone” and “theme” might have come to seem like ruined critical vessels, ripe for what Terry Eagleton calls the amateur side of literary criticism, “a sort of waffling belletrism, the linguistic equivalent of wine tasting.” Especially in light of the reading group guides that have begun to agglutinate at the rear of too many books. Tom Bissell’s good joke: “Did Odysseus make the right choice returning to Ithaca? As a single mother, was Penelope right to wait for his return?” However . . .
Theme in Munro: The story in question, told from the point of view of the mother, details the difficulties that she and her husband have, through many decades, with one of their three children, Kent. The boy has come between them, these parents, and here, in the sentence in question, in a moment of violence and fear, the parents must reckon with the boy’s literal fall, one which prefigures worse plummets to come.
Tone in Munro: Not understated but stated straight. Where some writers try to compete with the violence they describe, Munro reports and moves on. To call such reporting journalistic, though, would miscast the deliberation that goes into Munro’s restraint, the balance that is needed to produce a tone that carries more than content, conveying in its choices the story’s theme: parental division. The sentence under consideration delivers the inert boy from one parent to another. The parents are poised on either side of this transaction, separated by nothing more than a comma, each phrase that the comma separates ending in a prepositional manner (“by his father/ by his mother”), with each half ten words long.
The tense Munro chooses here poises the event in the conditional mood, one given over to that which can occur in the future but might not. And this, actually, beyond a description of a tense, it too the mood, tone, theme, and plot of “Deep-Holes.” Nothing in Munro is inadvertent.
More from Wyatt Mason:
Conversation — October 2, 2015, 8:26 am
“By committing to the great emotional extremes demanded by Greek tragedy,” says Bryan Doerries, author of The Theater of War, “the actors are in effect saying to the audience: ‘If you want to match our emotional intensity, that would be fine.’”
i. stand with israel
I listen to a lot of conservative talk radio. Confident masculine voices telling me the enemy is everywhere and victory is near — I often find it affirming: there’s a reason I don’t think that way. Last spring, many right-wing commentators made much of a Bloomberg poll that asked Americans, “Are you more sympathetic to Netanyahu or Obama?” Republicans picked the Israeli prime minister over their own president, 67 to 16 percent. There was a lot of affected shock that things had come to this. Rush Limbaugh said of Netanyahu that he wished “we had this kind of forceful moral, ethical clarity leading our own country”; Mark Levin described him as “the leader of the free world.” For a few days there I yelled quite a bit in my car.
The one conservative radio show I do find myself enjoying is hosted by Dennis Prager. At the Thanksgiving dinner of American radio personalities (Limbaugh is your jittery brother-in-law, Michael Savage is your racist uncle, Hugh Hewitt is Hugh Hewitt) Dennis Prager is the turkey-carving patriarch trying to keep the conversation moderately high-minded. While Prager obviously doesn’t like liberals — “The gaps between the left and right on almost every issue that matters are in fact unbridgeable,” he has said — he often invites them onto his show for debate, which is rare among right-wing hosts. Yet his gently exasperated take on the Obama–Netanyahu matchup was among the least charitable: “Those who do not confront evil resent those who do.”
Average number of Americans who are injured by chain saws each year:
A farmer in Kenya bit a python who tried to eat him.
A former prison in Philadelphia that has served as a horror-movie set was being prepared as a detention center for protesters arrested at the upcoming Democratic National Convention, and presumptive Republican presidential nominee Donald Trump fired his campaign manager.
Subscribe to the Weekly Review newsletter. Don’t worry, we won’t sell your email address!
“Matt was happy enough to sustain himself on the detritus of a world he saw as careening toward self-destruction, and equally happy to scam a government he despised. 'I’m glad everyone’s so wasteful,' he told me. 'It supports my lifestyle.'”