How Do You Read?

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In John Steinbeck’s East of Eden, Steinbeck contrasts two of his characters, and I love this imagery:

And the books that came into the house, some of them secretly–well, Samuel rode lightly on top of a book and he balanced happily among ideas the way a man rides white rapids in a canoe. But Tom got into a book, crawled and groveled between the covers, tunneled like a mole among the thoughts, and came up with the book all over his face and hands.

Part 3, Chapter 23

I think I’ve always been like Samuel: riding along a book (especially novels) without really thinking about them. A few months ago, my husband called me a “page-turner”: as long as I’m turning pages I don’t care what I’m reading, and as a result, I can read two pages and not remember what I just read. The bottom line is, I read too fast.

When my husband pointed this out to me, I decided it was time to read more carefully. I’ve been trying to “crawl between covers” lately — that’s one reason I’ve been giving book reports on this blog.

How do you read a book: do you ride the rapids or tunnel like a mole? If neither, is there another image that you can apply to yourself?

Painting a Novel: East of Eden by John Steinbeck

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My writing teachers have always instructed to “show not tell.” I didn’t understand it, really, until I began to read John Steinbeck’s East of Eden last month.

I thought “showing” meant describing the character in a context: hair color, quirks, and personality traits, mentioned as the story unfolds. Here’s a silly example I just thought of: “She tossed her mousy brown hair over her shoulder, crossed her arms in front of her, and narrowed her dark brown eyes as the wicked man sauntered toward her.” With that type of description, I can picture what is happening: the movie is playing and I don’t need to guess what people look like or how they react to a situation.

Steinbeck does not do that. He steps aside from the plot development to show us who these characters are. This could be boring, but it is not when Steinbeck does it. Here are a few paragraphs describing Liza Hamilton.

Liza Hamilton was a very different kettle of Irish. Her head was small and round and it held small round convictions. She had a button nose and a hard little set-back chin, a gripping jaw set on its course even though the angels of God argued against it.

Liza was a good plain cook, and her house — it was always her house — was brushed and pummeled and washed.

She wore her hair always pulled tight back and bunned behind in a hard knot. And since I can’t remember how she dressed, it must have been that she wore clothes that matched herself exactly. She had no spark of humor and only occasionally a blade of cutting wit. She frightened her grandchildren because she had no weakness. She suffered bravely and uncomplainingly through life, convinced that that was the way her God wanted everyone to live. She felt that rewards came later.

(Part 1, Chapter 2)

Steinbeck’s approach gives us a description of this woman as if he were describing a photograph (her head, her nose, her chin, her hair) and we can picture Liza in our minds because the description gives us the information a photograph would. But Steinbeck is also able to give her a personality: Liza Hamilton becomes real to me. As a result, as the novel progresses, I am able to anticipate how she would react simply because her character is so full of life. That is hard to do.

And guess what? She was real: Steinbeck based Samuel and Liza Hamilton in the novel on his own maternal grandparents of the same name. That underscores what I’ve always known: write what you know about and it will come alive. By extension, if a writer doesn’t know a character (or a setting or time period) — her personality, physical description , and personal history, for example — he can’t truly describe her so the reader feels he knows her too.

Have you ever looked at an oil painting up close? Some strokes of color are thicker than others; each stroke of paint leaves a texture. The painting may not look like a photograph: the colors will be different and the artist’s interpretation of the person, place, or thing will be different from the “real thing.” But often there is a texture that makes an oil painting much more interesting than a photograph would be.

Steinbeck writes an oil painting. He paints the characters, the setting, and the decades. I recognize the textures as I read the novel. It feels rich and full of life, and I love to read it. Truly, this texture helps make it a classic.

I have much more to say about East of Eden. But, for now, tell me: can you recommend any other novels that you feel “paint” the characters, the setting, and the time period? I want to read more.

Lesson 6: Adversity Can Help Us Grow

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Since my class didn’t have a substitute — other than the teacher next door, who taught Book of Mormon — they are now three weeks behind. I will have to merge lessons, but I really don’t want to shorten the next three. They are so important! It’s my current challenge, or, if you will, a tiny little “adversity.”

In 2 Nephi, chapter 2, Lehi explained to his son Jacob why we need adversity to learn (verses 11, 16, 22-23). When we compare our lives to life in the Garden of Eden, we see that life would be lacking if there wasn’t opposition. As I mentioned when I shared my thoughts about the Garden of Eden, it’s clear to me that opposition is necessary. I used the example of childbirth: it was horrible, but I learned so much.

In that same chapter of the Book of Mormon, we read about a person who faced adversity (2 Nephi 2:1-2). Jacob was “afflicted” because of his brothers. When I think that Laman and Lemuel tried to kill Nephi multiple times, I think that Jacob must have really struggled as a young boy trying to learn the gospel! And yet, Lehi says that Jacob nevertheless was strong in the faith. I think his trials as a child made him stronger.

Let’s read about other examples of adversity. As we read, think about how we can prepare for adversity.

In the first, a parable, there are two people facing adversity (Matthew 7:24-27). This is a story we’ve known since primary when we sang it:

The wise man built his house upon the rock,
And the rains came tumbling down.
The rains came down, and the floods came up,
And the house on the rock stood still.
The foolish man built his house upon the sand
And the rains came tumbling down.
The rains came down, and the floods came up
And the house on the sand washed away.

When I was young, I thought of this song as a “fun song” after all, there are hand motions. I didn’t realize it was a spiritual song. It is talking about Christ, and how we need to build a foundation on Christ:

And now, my sons, remember, remember that it is upon the rock of our Redeemer, who is Christ, the Son of God, that ye must build your foundation; that when the devil shall send forth his mighty winds, yea, his shafts in the whirlwind, yea, when all his hail and his mighty storm shall beat upon you, it shall have no power over you to drag you down to the gulf of misery and endless wo, because of the rock upon which ye are built, which is a sure foundation, a foundation whereon if men build they cannot fall. –Helaman 5:12

Life is hard because there is adversity in it, and there is no promise that it will be easy for us: we knew it would be hard when we agreed to come to earth. But we can rely on Christ and make him our foundation as we go through hard times.

Come unto me, all ye that labour and are heavy laden, and I will give you rest. Take my yoke upon you, and learn of me; for I am meek and lowly in heart: and ye shall find rest unto your souls. For my yoke is easy, and my burden is light. –Matthew 11:28-30

(Note, and this is just me: I don’t think he’s saying things will be easy if we turn to him. He’s saying his yoke is easy. I think that means that it is easy to turn to Him and make Him a part of our lives. He’s there for us. We still may have a hard life, filled with adversity, even by depending on Christ. The man with a house upon a rock still had to face the rains. But Christ can help us, and we’ll have a foundation that is sturdy. We can trust Christ to always be there.)

Here are some scriptural examples of adversity.

  • Jonah 1:1-17; 2:1, 10; 3:1-3
  • 1 Nephi 16:18-27, 30-32
  • D&C 121:heading, 1-2, 6, 7-8 and D&C 122:5-9

As we read, we’ll answer these questions:

  • Who had the trial?
  • What trial did he have?
  • Why did he have this trial?
  • What did he learn?

Some adversity is our own fault: we sin and thus bring adversity upon ourselves (as Jonah did and as we do when we break the commandments). Other adversity doesn’t come from sin but from the circumstances we are in (Nephi’s bow broke; our car didn’t start; our dinner burned, which technically is our fault but we didn’t intend for it to happen). Still other trials come because other people are exercising their agency (Nephi’s family complained against him; enemies put Joseph Smith in jail; our little brother lost our favorite book). But ultimately, adversity can strengthen us. We can’t complain too much: as the Lord reminded Joseph Smith, the Son of Man descended beneath all of us: He suffered for all of us already. If we say it’s too hard, we’re saying we’re greater than He is.

Let’s not pretend our adversity is that bad. By relying on Christ and making Him our foundation, we can get through any rains that may come.

Lesson 6 of 45

Pressure

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On Tuesday, Paul and I went to Mother’s Group for the first time in a month. It was intimidating.

Paul is the second oldest baby (out of 10 or 12). One baby had cut two teeth. A few babies were busy rolling over. Most babies were starting to notice the other babies. All seemed huge! A few babies are already wearing the Crawler-sized diapers; they’re mothers said they’re already 8 kg. Paul was content to amuse himself, he hasn’t started rolling over again, and there is surely no sign of teeth (not that I’m looking forward to the teeth bit…). Paul is still about 6 kg and wearing the Infant-sized diapers.

On Wednesday morning as we ate breakfast, I was explaining to Ryan how Paul seemed to be behind. Ryan went over to Paul, who was minding his own business on his belly in the playpen, and rolled him to his back.

“Good job!” he said. Paul was excited too. Then Ryan made Paul roll over a few more times. Paul didn’t seem so excited anymore. Ryan left Paul on his belly.

As we were putting away our breakfast dishes, Paul rolled himself over to his back again.

I was delighted. I guess it takes a Dad to teach these kinds of things.

(Paul rolled over a number of times Wednesday. Thursday he didn’t do it very much, but he also seemed quite tired and fussy. Maybe Wednesday wore him out!)

Cousins Leah and Samuel and Aunt Jenny and Uncle Chris

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Paul and Mommy got to spend an afternoon with cousins Leah and Samuel and Aunt Jenny. Uncle Chris only had the chance to visit for a half hour before he had to go to work.

I’ve taken a long time to post these pictures. Since they were taken, newborn Samuel has doubled his age! He was five weeks old when they were taken.

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A poem for the IRS

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How do I hate thee? Let me count the ways.
I hate thee for the withheld taxes I want to spend
And for the forms that never end,
And for all the complications — I am dazed.
I hate thee for the time you take. For days
I agonize as I calculate, and the numbers blend:
I hate thee from the first line until the end.
I hate thee presently, as I long for May.
I hate thee sluggishly, for the work is so slow.
Finding an error-filled column again, I groan.
I hate thee with my mind, heart, and soul.
With my hard-earned money, I hate thee with a moan,
Tears, agony, the same each year! — and, yet I know,
I shall but hate thee less a refund sent.

Note: Unless your tax situation deals with capital gains, itemization, two workers, multiple states, multiple countries, new children, and the previous five years, I don’t want to hear about it!

P.S. My husband wonders if I have anything better to do than write pretty bad amateur poetry. Silly question!

Reid Cousins

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Paul got to meet all of his Reid cousins in February. Paul was a bit oblivious. Cousin Kate was a little mother. Cousin Caden, as the oldest, felt he should get more turns holding Paul (“It’s my third turn to hold him now!”). All in all, it was a somewhat chaotic evening, albeit a good time. Special thanks to Emily, who took some of these pictures (my camera was acting up).

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The Entire Reid Family

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Here are all the Reids!

Alex took the picture using his remote control shutter release, which meant we could all be in the picture, we didn’t have to wait 10 seconds between each picture, and we only had to be trying to keep control of the kids for about 5 minutes. Here are the three best shots.

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If you want me to email you the high resolution, either send me an email at rebecca [at] reid [hyphen] family [dot] org or leave a comment. (I can see your email when you leave a comment.)

Reid Family Picture

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At Christmas time, we decided to have a family portrait taken. Our son was just two months old. I found a morning session (10:30, when he’s usually happy!) at a photograph studio at the mall. That morning, I agonized over what to wear and what he should wear. He looked nice and he was happy. Even my husband, who hates having his picture taken, was happy to have his picture taken that day. We left at 9:50 or so. The mall was only about 10 minutes away, so that left plenty of time.

An hour later, we were still circling the parking lot. Every isle in the parking lot at the mall was full of dozens of cars: we were all driving down each isle, looking for an empty spot. I was pulling out my hair. My husband was clenching his teeth. Only Paul was oblivious to the situation: he was asleep.

We went home.

After Christmas, I called the same photography studio and scheduled another session a few weeks away. Paul would be three months old. It would be a nice picture.

It turned out I had surgery the day before. I wasn’t feeling very smiley, so we canceled that session.

Still no family picture.

You could say, “why don’t you set up the tripod and just take it yourself?” We’ve tried that. It takes a minute per shot and you have to take dozens and dozens of shots to get a good one. They just never look right. Besides, the lighting is off in a room; a studio would look better.

We were planning on coming to the States. In my research, I found that it is half as much for a photography session at a similar mall photography studio in the US. I started making calls. But we ended up running errands just about every day in Chicago. We didn’t have time to go to a studio. We went on to Utah: we couldn’t find a recommended studio and again we didn’t have time.

What did we do? We asked my husband’s brother, Alex, to take our family portrait. And they turned out great. Thank you so much!

Without further ado, here’s the final product (with a 4-month-old Paul), courtesy Alex.

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