Lesson Plans Naked Lunch

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The crocodile in this story is symbolic of Vernon. No matter how hard she may try, he is incapable of change. Professor wants me to make sure this is true…what is he really saying with this story? What message is he sending her? The vase of flowers placed in the center of the table is another example of how Hollinger uses metaphors to describe the relationship between Vernon and Lucy. The meaning of the vase however, varies slightly depending on how it is set up. If the vase has too many flowers it shows that Vernon is overcompensating and could be his way of trying to impress Lucy or distract her with pretty things in order to get her back.

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While if the vase contains too few flowers, it is symbolic of Vernon simply not caring much about Lucy. It shows that taking the time to actually put out a nice display for the woman whom he is trying to win back is too much work and effort. The awkward vase is a metaphor for their relationship and the diner itself. Make sure that im not confusing metaphor with imagery; refrence draft corrections by professor. Afterwards I had a much stronger memory of Algeciras, which is a gloriously seedy kind of town. Something about the place just seemed to offer itself up to fiction. I go during the winter here.

TM: What was it about Algeciras, though? The seediness of it? The history? The bones in the ground? KB: Like with all novelists, it was two things combining. So I just sent them down there. It strikes me that the movement of this book is directly the reverse of my earlier novels, City of Bohane and Beatlebone.

Both of those books started out offering a kind of realism but then very quickly went into fantastical territory. This one is the opposite. It starts out with this highly theatrical premise, but it kind of moves toward realism as we go through the book. You become kinder to your characters as you get older.

This is a very different treatment of this story than I would have written 10 years ago. And the problem I gave myself at the start here was, I have to make the reader not just vaguely sympathize with these two guys, but I want to make the reader love them and buy into their world. As desperate and as dangerous and as dark a pair of individuals as they are, I want to see if I can sell their soul and their spirit to the reader.

TM: Another thing I remember from our conversation in Washington Square Park was that I asked you that obligatory, ridiculous question: What are you working on next? And you told me you thought you were going to head back to the fictional City of Bohane.

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Why the detour? KB: I gave a reading from City of Bohane last year for the first time in eight or nine years. The reading was at the university in Athens, Ga. I saw Michael Stipe on the street when I was there. It felt to me very much like a first novel, in terms of the way it was structured. What you have to figure out as a writer often is what projects should be on your desk at a particular time in your life.

Somebody said once that the great enemy of a good idea is another good idea. I get that a lot. Notions pile up for stories and books and I kind of jump around. As fond as I am of it, you change as a writer.

The true story of the University of Chicago and William S. Burroughs's Naked Lunch

TM: You mentioned the vitality of the language when you were giving the reading in Athens. Night Boat to Tangier certainly has its own vitality. I think I might have given myself an afternoon off after that one [laughs]. Pritchett, who comes up with these really unexpected images all the time.


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I remain a devotee of his. And I probably err in the opposite direction because I try to go as off the nose as possible. TM: You mention Pritchett. As I was reading the book I was thinking of Samuel Beckett, of course. Those books were close to my desk as I was writing. KB: Exactly right. Sometimes as a writer you have books that you use like tuning forks.

KB: Oh, for sure. I was happy when I came up with the title Night Boat to Tangier. A Catholic, in other words. Were you raised Catholic? KB: I was, of course. Are you a fan, by any chance? KB: Absolutely. I would argue strongly that one of the great cultural acts of the 20th century was when Lee Scratch Perry burned his Black Ark Studio in Kingston, Jamaica to the ground on the basis that it was possessed by duppies, by evil spirits. I listen to Scratch Perry all the time. The band was tight, he was coherent, he was on his game. You mentioned that is starts off in a kind of fantastical way and then becomes more realistic.

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