Lincoln Michel: Upright Beasts (Coffee House Press 2015)

For the abyss. Thanks for always gazing back.

~~Upright Beasts dedication

“The guy’s crazy” can mean a lot of things. There’s cross-the-street-to-avoid-him crazy, and there’s courage-to-go-there / think-outside-the-box creativity. So let’s be specific: when I say Lincoln Michel is crazy, I mean the second kind. Mostly. Because there’s also some very grim stuff here. Stuff from the abyss.

I put this book on my TBR list about three years ago, when I read “If It Were Anyone Else” in the 2015 Pushcart anthology. I struggled with it, until I gave up, at which point it was no struggle at all (the main reason I write all these posts is so I can look back back three years later and know exactly what I was thinking; it sure isn’t for fame and fortune). I never did figure out exactly what was going on, but that doesn’t always have to be the point of reading, does it? Emily dwelt in possibility; so can I.Turns out, Michel’s ok with that:

I’m a big fan of mystery and ambiguity in writing. I don’t think that writing should be a mystery, but rather open the mysterious inside you. Which is to say, I’m not as much of a fan of “puzzle” fiction that you are supposed to solve (unless it’s a good mystery novel) and more of a fan of work that’s dreamy, evocative, and can be read in different ways.

Reddit AMA

Most of the stories are short, four to six pages; some are barely two, a few are much longer. The book is divided into four named sections; Michel paid a lot of attention to the organization, but stops short of explaining it. While I can see hints of patterns – the first section is surreal and very flash-like in tone if not length, the second section is more about realism, the last are longer stories – that doesn’t quite work for all of them. But I learned my lesson three years ago; I’m not going to beat myself up for not figuring it out.

“The River Trick” is my emotionally-favorite story.

One by one the people on the bridge hurtle into the cold waters, their arms wrapped around microwaves and cordless vacuums. They fall straighter than I ever though possible.
“Will there be love?”
“That I can’t promise,” I say, “but we can try to fight our way through it together.”
And perhaps seconds later, the people come rocketing back to the surface, having abandoned their appliances. They bob and gasp. And maybe they will have found something down there while starving for air. On the surface, they will seek each other out and cling tightly, saying, “This is what I need. This is what I’ve been waiting for.”
I’m not sure. Patricia and I have walked too far away to see.

The narrator’s job is showing up just in time to save people from pre-arranged suicide attempts. The thematic emphasis on the need for connecting brought to mind the Australian David Brooks’ story “Blue” – still on any top-five-flashes list I would make – though it’s completely different in tone. It’s a theme that’s been front and center for me this summer: I moved in July, and I keep saying I feel so much more open and connected in my new place, thanks to huge windows overlooking both busy streets and distant waters. My sense of well-being has greatly improved as a result, even though it’s all illusory. But what works, works.

But wait, there’s more to the story. At one point, the government, so alarmed by all these attempted (and, occasionally, accidentally successful) suicides, tries to connect people by projecting pictures on building walls, and by pouring a dye into the city river that turns it into a giant mood ring (I’m old enough to remember mood rings; are you?). That reminded me of something Facebook tried several years back (well after I’d left), before it went into the election-tampering-enablement business; didn’t they push posts that were upbeat, according to an algorithm, to make everyone happy to be on Facebook reading ads? I was happy to find Kyle Lucia Wu was thinking along the same lines when she interviewed Michel for The Rumpus. But it turns out the story was written before social media was really a big thing; AIM and ICQ were around, but they weren’t anywhere near as public as the current generation of apps.

The idiocy of government features into several other stories in the collection. In “The Mayor’s Plan”, the plan is to give keys to the city to pretty much anyone, causing a business boom and massive expansion. “I’m not sure if the keys are saving his job. I do know that everyone I meet seems angry.” Good thing they weren’t red hats.

And then continuing along the theme of government there’s my intellectually-favorite story, “What We Have Surmised About the John Adams Incarnation”: a historian/anthropologist of the future trying to make sense of the United States, and characterizing government as a pagan religion.

Long assumed to be a prince or demon of a lesser cult, we now know that John Adams was an important figure in the dominant United Statsian mythology. He appears to have originally been conceived as a familiar or minion of George Washington, the first of the hundred tyrants that are said to have ruled the country until its infamous, self-inflicted demise.

A hundred presidents, eh? Not sure we’re going to make it to 46 at this point, but this story was first published in 2012 when we never would have believed this is where we’d be. Turns out Michel wrote it for an election-year anthology about the Presidents; that anthology is available online.

Some of the creepiest stories feature kids. “Our Education” presents a school sans teachers, with just one student who still wants to complete his assignment:

I keep the paper folded in my back pocket. I don’t remember when I received it, but it’s my strongest proof that our teachers are coming back. The sheet of paper says:
In your own words, a) what is the goal of your education and b) how far are you, in your mind, to achieving this goal?

It gave me something of a Lord of the Flies meets the Inquisition vibe, but man, Halimah Marcus really nailed: “…in the absence of a hero, what once was a pillar, an organizing principle, is now a dark center — the vacuous teachers’ lounge.”

Even creepier is “Little Girls By the Side of the Pool” which should come with a trigger warning. But there’s something else, an amazing writing technique. Over the course of four pages, the little girls subtly grow up, but keep talking about the same thing (men’s hands – I told you, trigger warning) until it ends where it began and it all makes horrible sense.

The stories based in realism have their charm as well. “Some Notes on my Brother’s Brief Travels” takes us to a town where Foster is photographing old abandoned mines, maybe to put together an exhibition, maybe on his way to law school, but really, as his brother says, “he just wanted to pretend he was doing something with his life.” Don’t we all. There’s a guy in a chicken suit by the road most days, advertising a fast-food joint, and this leads us in two related directions: they can’t know who the guy in the chicken suit is – maybe he was sitting at the next table in the bar they just left – but everybody in town knows he dresses up like a chicken, and what’s it like to know everyone knows. The unknowability, right next to the familiarity you can’t escape. Neither really feels good, does it. It’s close to a slacker story – in fact, it is a slacker story – but it got to me anyway.

The Deer in Virginia” is a little gruesome, unless you’re a hunter in which case it’s probably milquetoast, but, like the girls at the pool, there’s a writing technique I admire. The first sentence starts with “Or take the day my father handed me his glass of lemonade and reached for the rifle.” It’s a pair of anecdotes about injuring deer, one on purpose, one accidentally. Either way, they’re just as injured. Then it ends with “So many days seem to end this way:….” and we’re back to this deep sense of being lost in an ongoing horror.

Like Michel says, “Ideally, I’d like my stories to go past the surface level of fun and weird and find their way, at least a little bit, into the more hidden parts of a reader’s mind.” Yeah, that they do. “The Room Inside My Father’s Room” was just a reasonably clever piece about a son’s room nested in his father’s room nested in his father’s room ad infinitum, until I got to the father’s line, “I did the best I could.” Then it turned into something else, a memoir, a therapy session, a spider hiding in a corner. Michel couldn’t have known that was the line my father trotted out every time a therapist put the two of us in a room together. He said it with an almost playful, self-depreciating self-depreciating shrug, less concerned that I was broken than that someone might think he was to blame (and, to be fair, he wasn’t, not more than five or ten percent, anyway). We’re all born in our parents’ rooms; it’s amazing how long it takes some of us to realize we can leave, we can bust out through a wall if that’s what it takes.

Then there’s the chef’s kiss on an already good read: “A Note on the Type”. I’d read a couple of pages before it occurred to me that Berdych probably isn’t an actual font. No, an actual printer’s note tells us the font is Weiss, and again, you never know what’s going on in this book. At least I wasn’t the only one fooled; Ilana Masad of The Collagist calls it a bonus track, and admits he got her, too.

I think it’s good it took me three years to get to this book. I’d like to think I can handle weirdness better, though handling it well is still a ways off. But see, even in his weirdest stories, the weirdness isn’t the point; it’s a path to the point. Or maybe a whole bunch of points. Good read.

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