by ALLAN REEDER
I have just finished rereading Andre Dubus’s “A Father’s Story” and am happy to be reacquainted with the reasons I’ve considered it one of my favorite stories. (An additional reason, I’ve discovered, is not on the page but asleep in her crib as I write.) My admiration of the whole work — character, voice, structure, and more — makes my consideration of the interplay of two quiet sentences feel terribly insufficient. I’m going to delight over just a couple of small trees (well, there’s really only one tree, as you’ll see) and feel beholden to the extraordinary forest.
But Dubus wrote the sentences; he made them, and put them side by side, and put them in the story. And so on I go with my chosen task and my magnifying glass, offering the barest in narrative context …
The wind has been blowing all night, until now:
I looked at the still maple near the window, and thought of the wind leaving farms and towns and the coast, going out over the sea to die on the waves. I smoked and gazed out the window.
Unremarkable these sentences seem, but the more time I spend with them, the more I admire what Dubus has done, even without reflection on how beautifully they operate in the story.
See how stillness — of the maple tree, first, and of the narrator with cigarette (Luke Ripley is his name), second — surrounds movement in this excerpt. (The repetition of “the window” makes this framing clear to the ear.) Now notice how the landscape of Luke’s thought expands from “farms” to “towns” to “the coast” to the open sea; there are no barriers for the departing wind. There’s a lovely tension here between not only stillness and movement but also internal and external spaces, and that includes the imagined (internal) image of the wind, or where it blows, and the concrete (external) looked-at object, that maple tree.
Let’s zoom in on where the first, longer sentence ends and the short second sentence begins. From a construction of thirty-one words organized in three balanced parts (see the placement of the commas) we enter a seven-word sentence whose only punctuation, the terminal comma, we reach promptly. Now hear the song in the final phrase of the first sentence — “over the sea to die on the waves” — and how it runs into the prosaic, factual, conciseness of “I smoked and gazed out the window.” Picture that free-flowing wind crossing vast open distances, and then the cigarette smoke collecting inside. Luke Ripley stands still in his smoke, looking through the window at that maple tree that also stands still, wind-less.
The trapped longing, even helplessness — the sense of being no greater than human — that I feel operating in this small sample fits the story, certainly. It also prompts me to envision the next time I will teach the story. I often make model sentences big by projecting them on a screen so that my students can join me in feeling closer to the functioning parts, and in turn more aware of the small but significant choices a writer has made. I imagine that the next time I teach “A Father’s Story” I will put my finger down on the space between these two sentences and say, “This is what we’re after.” Precisely here, in this absence that is transition, in this quiet movement from the internal life to the external reality, is evidence of the empathic imagination at work, the sensibility that a fiction-writer must practice in order to render character compellingly and authentically.
I need a word for the space between sentences.