Maya, Guilty of Literature
Dec. 27th, 2005 11:46 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
flyingskullI promised myself - and Maya - a review and couldn't keep that promise, so to make up for it here's two for the price of one.
Deceptive Music
Harry moved forward and grabbed it. That had always been easy for him, just a matter of speed and control and taking something for his own, leaving everyone else standing with their hands empty.
The quality of Maya's art is this: that she can use a negative, even despicable, personality trait to engage our affection for her hero and she does it by forcing the reader to think of the implications. She does this because A) she is unflinching in portraying people and generous in loving them, warts and all, for what and who they are; she's also free from the cloying sentimentality that would make insipid-pap-angels of the Good Ones and insipid-pap-devils of the Bad Ones; B) she has absolute control of rhythm, both the internal rhythm of each sentence and the overall rhythm of the whole story. I can't say if it's conscious or unconscious – maybe she was born with perfect rhythm – but frankly who cares? The end result is as subtle and expressive as baroque symphony.
So we are told that Harry is petty and grabby, which he is, but at the same time we'd forced to reflect that a lifetime of seeing all the things he craved, love most of all, snatched away from him and given to others is not conducive to generosity or magnanimity. We hear all Harry's desolate childhood resonate in that snap-quick sentence. If this isn't art, then what is?
This chapter is absolutely amazing. One ends up panting for the sheer breathlessness of it, the speed at which things happen piling almost one upon another between laughter and heart-stopping pain – the pain made crueller by the laughter, the obverse of tragedy is always farce, the laughter made fuller by surprise and the relief from pain – you know, you write lots funny Maya dear, but it seems even funnier than it really is because it's illuminated by the all the dark churning things going on.
At the end one is limp from emotions and lack of oxygen and is left with this impression of frenetically happening things. Then one starts breathing again and realises – much too late – that actually very little happens and that, most of the time, all our hero does is reading books. Ah, but Harry's thoughts are frenetic and the style and rhythm persuade us that even when he's fixed on a contemplating chain of thought, things are happening that he doesn't notice.
So we watch Harry watching Draco watch the Weasleys and learn that Hermione is insensitive, that Molly needs to think that Draco is abused – all other people's children are abused, hers have a perfect family – that Mr Weasley is not a wonderful father and has to hate someone else to feel he is, that Ginny is much younger than her age, but likes to think she's more mature, that Ron is a calculating bastard, quite good at manipulation and that Charlie is the best of the bunch: a brave decent, generous, intelligent, witty man.
Yes, I love Maya!Charlie. I also, unashamedly, love Maya's brain and heart and her writing. No, I tell a lie: I love Maya's brain and heart and I positively worship her writing.
From Psmith to Mole to Hamlet.
Or, from Wodehouse to Townsend to Shakespeare: the maturing of a tale.
Having established that I suck at titles, what can one say about the utter scrumptiousness of If You Have a Ready Mind ?
It boggles and bodes, it sniggers and sneers, it tantrums and weeps and it reflects and mirrors. Maya's problem is that she can't write crackfic, not because she's not technically able to, but her mind-set makes it impossible. She sees people, not cardboard cut-outs and you can't make a Punch and Judy show with real people, for one thing they'd only last one performance and for another the crocodile wouldn't cooperate.
What's quite odd is that, even knowing she started it as a demented crackfic, one can't see the seams, one can't see the exact moment when it ran away with her, because even the first is full of intimations of deeper and adult things. Draco may start as a sort of cross between Psmith and Nigel Molesworth, but there's a budding Hamlet in there too.
The day Draco got his first Owl from his father, remarking that Draco would go for the soft option of Ravenclaw and discussing a move to Durmstrang next year already...
Well, from what we hear of him in the tragedy Hamlet sr was an unmitigated bully with a one-track mind, if Hamlet jr keeps saying he's weak and cowardly for almost six hours, we can well imagine who convinced him when he was a child.
"Traitress!" Draco flung over his shoulder. "Fickle, wayward woman! Potter, of all people!"
Which is of course the 'Frailty, thy name is woman' rant.
Ravenclaw!Draco is my lollipop, my heart and my infinite joy. The best example of Maya's ability as a writer because he is IC!Draco and also Maya!Draco but he's different as well. This Draco is as much as unsure and an utter nervous wreck as IC!Draco, but he's also warmer because his environment at school allows him to grow that way.
Clearly in this story Maya adheres to the theory that Slytherin House is bad for people. There all his daddy issues have met all his housemates' daddy issues and got compounded; here they meet people who have no family issues at all which allow Draco to face some of his issues and understand them. This doesn’t stop him from rushing headlong into disaster, of course, he wouldn't be our All-for-love-or-the-world-well-lost Draco if he didn't, but there's a possibility of a better future growth, supposed that he manages not to get himself killed first.
Terry didn't talk about the Quibbler interview. Draco supposed it was reassurance, that Terry didn't want to hear anything about Draco's father that would make him change his mind about Draco, but Draco might have preferred some shouting and arguing and an open assurance that nothing would make him change his mind about Draco.
He had no right to expect that kind of assurance, though. It wasn't like Terry had chosen him, not really, not when the other options were Zacharias Smith and celibacy. He and Terry were friends and Draco didn't believe it was a matter of convenience or anything, but there was no evidence that Terry would have chosen him from all the world, let alone wanted him enough to keep choosing him, no matter how inconvenient it might become.
Terry is very very unworthy of Draco. He's likeable and affectionate and a decent friend, but boy is he shallow! He's a cowardly shallow patronising little rat. When he's faced with a real problem, a real earth-shattering event for the person he's supposed, if not to love, at least to feel affection for, all he can do is run away. Alright, he's fifteen and it's a shock and he doesn't know how to handle it, but he does nothing at all which, at fifteen, takes some fairly strong determination. There's no passion here, no strong feelings, no courage. Adolescence is the age of going overboard and if one can't manage it, one is either born old or shallow as a puddle.
IYHARM!Terry is Badger!Zacharias, it's nice to cuddle and snog someone one finds funny and knows well, but there's nothing else, which is sad. It's, actually, a fucking tragedy in its own right.
Hermione and the other two are insufferable in their manicheistic world view, but they feel, they insult, they demand. Granted they could have some respect, but it's fairly clear from canon they wouldn't know respect if it danced naked shooting off fireworks farts and sang: "I am respect, follow my way / or I'll be forced to make you pay / I'll cut off all your wobbly bits / and shoot sharp darts at your young tits". Respect apart, at least they care enough to try and make Draco 'see the light'. It cold be missionary zeal, but somehow one gets the impression that they really care about Draco until he proves unmanageable.
I like a LOT Evil!HarryObsessed!zacharias. I like the reversal of the character, the mirror effect. Which brings me to the conclusion: If You Have a Ready Mind is a world and a mirror of worlds, just like Discworld. It illuminates and satirises canon, it's not exactly a Metafic, though I called it one, but, like Nanny Ogg, it induces Meta in readers while making them laugh and weep and achieve true catharsis. What more could one hope to find in Literature?
Deceptive Music
Harry moved forward and grabbed it. That had always been easy for him, just a matter of speed and control and taking something for his own, leaving everyone else standing with their hands empty.
The quality of Maya's art is this: that she can use a negative, even despicable, personality trait to engage our affection for her hero and she does it by forcing the reader to think of the implications. She does this because A) she is unflinching in portraying people and generous in loving them, warts and all, for what and who they are; she's also free from the cloying sentimentality that would make insipid-pap-angels of the Good Ones and insipid-pap-devils of the Bad Ones; B) she has absolute control of rhythm, both the internal rhythm of each sentence and the overall rhythm of the whole story. I can't say if it's conscious or unconscious – maybe she was born with perfect rhythm – but frankly who cares? The end result is as subtle and expressive as baroque symphony.
So we are told that Harry is petty and grabby, which he is, but at the same time we'd forced to reflect that a lifetime of seeing all the things he craved, love most of all, snatched away from him and given to others is not conducive to generosity or magnanimity. We hear all Harry's desolate childhood resonate in that snap-quick sentence. If this isn't art, then what is?
This chapter is absolutely amazing. One ends up panting for the sheer breathlessness of it, the speed at which things happen piling almost one upon another between laughter and heart-stopping pain – the pain made crueller by the laughter, the obverse of tragedy is always farce, the laughter made fuller by surprise and the relief from pain – you know, you write lots funny Maya dear, but it seems even funnier than it really is because it's illuminated by the all the dark churning things going on.
At the end one is limp from emotions and lack of oxygen and is left with this impression of frenetically happening things. Then one starts breathing again and realises – much too late – that actually very little happens and that, most of the time, all our hero does is reading books. Ah, but Harry's thoughts are frenetic and the style and rhythm persuade us that even when he's fixed on a contemplating chain of thought, things are happening that he doesn't notice.
So we watch Harry watching Draco watch the Weasleys and learn that Hermione is insensitive, that Molly needs to think that Draco is abused – all other people's children are abused, hers have a perfect family – that Mr Weasley is not a wonderful father and has to hate someone else to feel he is, that Ginny is much younger than her age, but likes to think she's more mature, that Ron is a calculating bastard, quite good at manipulation and that Charlie is the best of the bunch: a brave decent, generous, intelligent, witty man.
Yes, I love Maya!Charlie. I also, unashamedly, love Maya's brain and heart and her writing. No, I tell a lie: I love Maya's brain and heart and I positively worship her writing.
From Psmith to Mole to Hamlet.
Or, from Wodehouse to Townsend to Shakespeare: the maturing of a tale.
Having established that I suck at titles, what can one say about the utter scrumptiousness of If You Have a Ready Mind ?
It boggles and bodes, it sniggers and sneers, it tantrums and weeps and it reflects and mirrors. Maya's problem is that she can't write crackfic, not because she's not technically able to, but her mind-set makes it impossible. She sees people, not cardboard cut-outs and you can't make a Punch and Judy show with real people, for one thing they'd only last one performance and for another the crocodile wouldn't cooperate.
What's quite odd is that, even knowing she started it as a demented crackfic, one can't see the seams, one can't see the exact moment when it ran away with her, because even the first is full of intimations of deeper and adult things. Draco may start as a sort of cross between Psmith and Nigel Molesworth, but there's a budding Hamlet in there too.
The day Draco got his first Owl from his father, remarking that Draco would go for the soft option of Ravenclaw and discussing a move to Durmstrang next year already...
Well, from what we hear of him in the tragedy Hamlet sr was an unmitigated bully with a one-track mind, if Hamlet jr keeps saying he's weak and cowardly for almost six hours, we can well imagine who convinced him when he was a child.
"Traitress!" Draco flung over his shoulder. "Fickle, wayward woman! Potter, of all people!"
Which is of course the 'Frailty, thy name is woman' rant.
Ravenclaw!Draco is my lollipop, my heart and my infinite joy. The best example of Maya's ability as a writer because he is IC!Draco and also Maya!Draco but he's different as well. This Draco is as much as unsure and an utter nervous wreck as IC!Draco, but he's also warmer because his environment at school allows him to grow that way.
Clearly in this story Maya adheres to the theory that Slytherin House is bad for people. There all his daddy issues have met all his housemates' daddy issues and got compounded; here they meet people who have no family issues at all which allow Draco to face some of his issues and understand them. This doesn’t stop him from rushing headlong into disaster, of course, he wouldn't be our All-for-love-or-the-world-well-lost Draco if he didn't, but there's a possibility of a better future growth, supposed that he manages not to get himself killed first.
Terry didn't talk about the Quibbler interview. Draco supposed it was reassurance, that Terry didn't want to hear anything about Draco's father that would make him change his mind about Draco, but Draco might have preferred some shouting and arguing and an open assurance that nothing would make him change his mind about Draco.
He had no right to expect that kind of assurance, though. It wasn't like Terry had chosen him, not really, not when the other options were Zacharias Smith and celibacy. He and Terry were friends and Draco didn't believe it was a matter of convenience or anything, but there was no evidence that Terry would have chosen him from all the world, let alone wanted him enough to keep choosing him, no matter how inconvenient it might become.
Terry is very very unworthy of Draco. He's likeable and affectionate and a decent friend, but boy is he shallow! He's a cowardly shallow patronising little rat. When he's faced with a real problem, a real earth-shattering event for the person he's supposed, if not to love, at least to feel affection for, all he can do is run away. Alright, he's fifteen and it's a shock and he doesn't know how to handle it, but he does nothing at all which, at fifteen, takes some fairly strong determination. There's no passion here, no strong feelings, no courage. Adolescence is the age of going overboard and if one can't manage it, one is either born old or shallow as a puddle.
IYHARM!Terry is Badger!Zacharias, it's nice to cuddle and snog someone one finds funny and knows well, but there's nothing else, which is sad. It's, actually, a fucking tragedy in its own right.
Hermione and the other two are insufferable in their manicheistic world view, but they feel, they insult, they demand. Granted they could have some respect, but it's fairly clear from canon they wouldn't know respect if it danced naked shooting off fireworks farts and sang: "I am respect, follow my way / or I'll be forced to make you pay / I'll cut off all your wobbly bits / and shoot sharp darts at your young tits". Respect apart, at least they care enough to try and make Draco 'see the light'. It cold be missionary zeal, but somehow one gets the impression that they really care about Draco until he proves unmanageable.
I like a LOT Evil!HarryObsessed!zacharias. I like the reversal of the character, the mirror effect. Which brings me to the conclusion: If You Have a Ready Mind is a world and a mirror of worlds, just like Discworld. It illuminates and satirises canon, it's not exactly a Metafic, though I called it one, but, like Nanny Ogg, it induces Meta in readers while making them laugh and weep and achieve true catharsis. What more could one hope to find in Literature?
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
no subject
Date: 2005-12-28 04:19 pm (UTC)But Pterry would say such a thing, him being a master of Headology and things. From evidence given I'd say that all three are just about equal, they are, after all, three aspects of the same type of power and they all do headology, each in hr own unique way. I can see why he wrote that, though, it would irk me as well to hear people try and create hyerarchies where there are none, so he redresses the imbalance in the mind of the readers, reminding them that the most effective power is the subtle one and pleasure is quite powerful and beisdes allows you to enjoy more things than duty ever could.