“On Voice” by Amitava Kumar

BLAST, TMR’s online-only prose anthology, features fiction and nonfiction too lively to be confined between the covers of a print journal. In his craft essay “On Voice,” Amitava Kumar explores voice by taking his readers on a sprawling journey that winds through his home state in India, the words of his literary influences, and the worlds of his novels. Readers will be able to hear Kumar’s own “entertaining and incisive” voice in his forthcoming novelA Time Outside This Time (Knopf, October 5), which Publishers Weekly has deemed “fake newsworthy.”

On Voice

Amitava Kumar

Plots are for dead people, but voice—oh, voice is how you know you’re alive.

Mars Blackmon, the Spike Lee character in She’s Gotta Have It saying, “Please baby. Please baby. Please baby, please baby. Please, please. Baby, baby.” I had arrived in the US the same year the movie was released, in 1986; I was a new immigrant, a graduate student, when I watched that movie soon after it came out. The idea of language as excess. Language not just for writing academic papers. Language of desire but also language as desire. This was an early lesson about voice.

Years passed. I was producing academic essays, exercises in critical theory, and my writing had the consistency of freshly mixed cement. But I was dreaming of escape. There is a clipping from a newspaper that I printed out and stuck in a notebook—an exchange between a journalist and the literary agent David Godwin. The journalist asks Godwin what turns him on in a book, and the literary agent replies, “Voice, not so much story.” Godwin says that he has been reading a book about a woman’s childhood in Botswana. The beginning twenty pages are dull, and then there is a wonderful scene. “Her grandfather is sitting on a verandah, surrounded by masks, drinking red wine. Two little red drops hang on his lips. Suddenly the masks come down, sit on his mouth in the half-light, sip, and speed away. You know that’s where the book begins. It’s so arresting, so different.”

Godwin wasn’t my agent yet. But when I began writing something to show him, I thought, that’s what I will do: something “arresting” and “different.” I wasn’t worried that I didn’t really have a plot ready; I’d have voice. What was I hoping to catch? I was hoping to avoid that hushed tone of TV tennis commentators at Wimbledon—public but with a false intimacy—that is adopted a few moments before a difficult second serve: “Venus has appeared frail, but she can summon an inner reserve. Let’s see if she can do it here.” “Seventh double fault. Her task will be uphill now.” This also meant I wouldn’t have green grass or white lines or players in fashionable skirts. No strawberries and cream. I’m from the Hindi heartland in India, and I thought a prison would be rather nice. My first cousin had been arrested and jailed around that time. The state of Bihar, where I’m from, was described then as having only one growth industry, kidnapping. A doctor, or a businessman, or their kid, would be kidnapped and a call would come for a ransom.

A call had been traced to my cousin’s phone. My sister believed that the police had made a mistake. It is true that my cousin had suffered. Unlike my sister, I chose to believe that my cousin had suffered for literature. In that first novel, Home Products, my narrator, Binod, visits his cousin in prison. This cousin, Rabinder, is full of plans. He tells Binod that he would like to sell an idea to some big mobile phone company. It was an idea for a commercial, but Rabinder’s real scheme was to get into filmmaking once he was out of prison.

The commercial would begin with a shot of a blue-green planet afloat in dark space. Then, with instant thousandfold magnification, the camera would digitally zoom into the part of the landmass in the northern hemisphere that lies above the Indian Ocean, the subcontinent flecked closer to the top of the screen by the white crest of a wave representing the Himalayan snow peaks. The camera would veer right, coming closer to the ground to reveal, for one five-hundredth of a second, the muddy expanse of the Ganges, and then fanning above it a city visible only as a dirty wash of miniature rooftops, their color a uniform gray. The camera’s eye would pick out a large yellow building, the state’s prison. There would be a short pan along the length of a tall wall before it paused at a barred room in which sat a solitary man. The film would cut to a shot from above: the top of the man’s head and, pressed to his right ear, a mobile phone.

“What do you think?” Rabinder asks Binod.

Binod says that the idea is a good one but asks why is the prison necessary.

Rabinder says, “Honestly, can you think of any place where a mobile phone would be more needed than in prison?”

My cousin was released from his jail cell; soon, he started building a luxury hotel. And David Godwin didn’t take me on as a client for that book. That would happen later. I think I had mistaken a scene, the masks coming down from the wall to sip wine, as an example of voice. It was just a scene. A surprising scene, no doubt. So, too, the man in the prison cell. Voice is something else. Maybe the next novel I wrote had it, this element of voice, because Godwin decided to represent me and sold Immigrant, Montana. For this novel, I had picked up another lesson in voice.

I had read Vladimir Nabokov’s memoir, Speak, Memory. Nabokov’s writing was for me a wonderful example of a desirable voice for writing because it was alert to the fact that art is always also artifice. When I learned later that he had published parts of Speak, Memory also as fiction in the New Yorker, I felt doubly delighted. I didn’t for a moment think that he was being false or meretricious; instead, he was announcing that the text was fabricated, made up through labor and a love of words. This is the most honest thing a writer can do.

In Chapter 3 of Speak, Memory, Nabokov is telling the reader about his distinguished family tree, his affluent ancestors and their role in history, their eccentricities, etc. At one point he is talking about his Uncle Ruka, Nabokov’s mother’s brother, who at his death at the end of 1916 left his enormous wealth for Nabokov to inherit. Of course, the revolution came and divided Nabokov from his inheritance. A lovely little description of the property follows before Nabokov breaks off and inserts a new section which is no more than ten lines. He directly addresses the reader: “The following passage is not for the general reader, but for the particular idiot who, because he lost a fortune in some crash, thinks he understands me. . . .” More than anything else in the memoir, it was this turn that demonstrated to me the writer-as-magician stepping out of the job of pulling rabbits out of hats and revealing to you, the true magic this, how it is all done. I carried this voice in my head for years and then sneaked it into Immigrant, Montana; Nabokov’s sense of command, or maybe it was just his grasp of artistic freedom, also gave me permission to directly address my reader and take them into confidence. This was another lesson in voice. I included commentaries on my writing process and also pictures of clippings from my notebooks.

In a 1997 interview for BRICK magazine, W. G. Sebald told James Wood the following: “I think that fiction writing, which does not acknowledge the uncertainty of the narrator himself, is a form of imposture and which I find very, very difficult to take. Any form of authorial writing, where the narrator sets himself up as stagehand and director and judge and executor in a text, I find somehow unacceptable. I cannot bear to read books of this kind.”

I am of the same view. So the voice of a narrator struggling with truth, indicating with a pointed finger the joints in the scaffolding, is also mine. In a piece of fiction I’m working on right now, an Indian woman who works for CNN in Atlanta has this memory: “I had become conscious that when we were in the company of educated people in Patna, my father would tell them that he was born in the same hospital as Orwell in Motihari. I later found out that Orwell was indeed born in the same sleepy town as my father, close to our ancestral village Khewali, but it is quite likely that his mother had given birth in the small bungalow that served as the Orwell residence. Richard Blair, Orwell’s father, was a sub-deputy opium agent for the British. The bungalow in which they had lived in Motihari, now a dilapidated cow-shed overrun by pigs and stray dogs, was described recently in one Patna newspaper as an ‘animal farm.’” The story that the woman is telling is very close to mine, except that I discovered Orwell when I came to Delhi on a scholarship to finish high school. His essay “Why I Write” was a part of the assigned reading for our class. I’m mentioning Orwell now because the boldness, the freedom, the playfulness I see in Nabokov is at a huge remove from Orwell’s voice that I first associated with the voice of a writer.

Back in my late teens, when I read Orwell’s essay, I didn’t know that this famous writer had been born in Bihar, close to my ancestral village. I identified with him chiefly because in his essay he described a voice in his head, “a continuous ‘story’ about myself, a sort of diary existing only in the mind,” which was “a mere description of what I was doing and the things I saw.” Orwell had written:

For minutes at a time this kind of thing would be running through my head: ‘He pushed the door open and entered the room. A yellow beam of sunlight, filtering through the muslin curtains, slanted on to the table, where a match-box, half-open, lay beside the inkpot. With his right hand in his pocket he moved across to the window. Down in the street a tortoiseshell cat was chasing a dead leaf,’ etc. etc. This habit continued until I was about twenty-five, right through my non-literary years. Although I had to search, and did search, for the right words, I seemed to be making this descriptive effort almost against my will, under a kind of compulsion from outside.

It is possible we all do this as children or adolescents and then grow out of the habit, unless you are a writer. In my case, I had become conscious of this activity after I began reading literary texts. Orwell was a part of that early education. I could be in a Delhi Transport bus in Daryaganj, and a voice running in my head would name the objects I saw being sold on the street, their colors, the look in the eyes of the sellers.

I also read Orwell’s essay about the politics of the English language; he wanted to promote writing that was unfussy and modest, never calling attention to itself. He was, of course, giving voice to an ideology, postwar socialist, I imagine. When I first encountered that language, I wanted to make it my voice. It was also a part of my desire, as a postcolonial, to escape the colonial inheritance that dictated that our use of English ought to be, as Lord Macaulay had intended it, the language of the clerks. My father wrote his letters to us in a stiff, bureaucratic language. My fondness for the Orwellian diction was challenged in the American graduate programs in critical theory where I found myself writing sentences suffocated with defensive subordinate clauses. In my time since, especially in the writing of Immigrant, Montana, I tried to embrace a voice that was not just loud, exaggerated, sexual, but also exuberant. In interviews, I would say that English had been taught to us as a language in which we had to do our homework; to write fiction or imaginative nonfiction was to sense a liberation in language.

The voice you own, or adopt, is to a large extent based on your education. Orwell was a part of my education. But that was long ago. When I think of voice now, pure voice in nonfiction, the richest most enduring fabrication, the first thing that comes to mind are the interviews collected and shaped by Svetlana Alexievich. I also like that the voices collected in Claudia Rankine’s Citizen came in response to a questionnaire shared on some listserv. What were the questions, I’ve always wanted to know. I admire Rankine’s collaboration with sculptor Kate Clark to access what is uncanny and disturbing in our racialized existence. Or think of Janet Malcolm’s “Forty-One False Starts.” I have used that piece in my journalism classes a few times, but my main desire was to learn from it myself. How to have a voice that is provisional and probing, fragmentary and precise? I think my friend Teju Cole’s essay on the “Black Panther” attains that ideal in a satisfactory way.

It is often easy, as in this essay, to slip into memoir. I have a mild distrust of this voice: it is a distrust of the comfort that an easy access to the past offers. It is possible that I have on occasion tried to overcorrect this tendency. If you have ever read my essay “Where is your White Literature Section?” you will know what I mean. At a friend’s suggestion, I walked up to the counter at different bookshops in New York City one fine spring day and asked the salesperson there, “Excuse me, where is your white literature section?” Over and over again, I posed this question to helpful sales staff who—bewildered, patient, clueless, condescending, and in one case, angry—tried to tell me what to buy. At McNally Jackson, the nice sales guy said, “Who are the great white authors?” Immediately to his right was the seeming answer. Withdrawing a copy of Freedom half an inch from its place on the shelf, he gently intoned, “Franzen.” He also introduced me to other names, Hemingway, Cormac McCarthy, Philip Roth. In my essay, I talk of how wearying I found the exercise, not just what people said but the pretense I had to maintain throughout, this voice I had adopted as the Sacha Baron Cohen of American letters. I remember thinking to myself that I had dissembled, I had lied, and I would never be allowed to be on This American Life. But that unstable place, where earnestness gives way to exploration, and you have found a voice that is unsettling and maybe even disturbing and exhausting, is a place I want to visit again. I hope an enterprising and fun editor comes up with a compelling idea, or that inspiration strikes me at the right moment. I’d love to find out how English is spoken there and the voice in which I’d report from that place.


Amitava Kumar is a writer and a journalist. His latest book is A Time Outside This Time (Knopf, forthcoming in October 2021). Kumar’s writing has appeared in the New YorkerGrantaVanity Fair, the New York TimesHarper’s, and many other publications. He is the Helen D. Lockwood Professor of English at Vassar College.






The Importance of Thoughtful Editing (Or: Why I Tear Apart Manuscripts Like a Rabid Dog)

I don’t actually do this.

Throughout June, I edited the first draft of a novel for a friend of a friend. He was a first-time writer and I was the first person to read his 600+ page novel. Though I’d never edited a novel before, my creative writing classes and current position here at The Missouri Review convinced him I was up for the task. When we first met, the author asked me if I was a tough editor, and I told him yes.

“That’s good,” he said. “I don’t want you to go easy on me. I want you to be honest.”

“Okay,” I told him. “I’ll tear it apart.”

“Tearing apart” is the nickname I have for my editing style. To define tearing apart: when the constructive criticism for a piece of writing purposefully outweighs the praise. If I’m tearing apart a manuscript, I won’t return the document to the writer until I’ve filled all the margins with notes. Although I always make sure to highlight great moments in whatever I’m reading, I relentlessly search for weak moments. I nit-pick over word choice, circle unimpressive images, cross out irrelevant sentences, and engage the writer in my notes by asking questions about the story as I go. In general, I won’t stop editing until the manuscript is covered in colored ink.

Often, when I return a document and the writer sees my edits, they look like a truck just backed over their foot. Their gut instinct, always, is that my edits are solely negative and that I hated their writing. Once the writer reads my actual comments and realizes that I didn’t write “YOU SUCK” in the margins, they don’t seem quite so pained. In the case of the author whose novel I edited, when I met with him a week ago I gave him a three page outline addressing the main issues he needs to fix in his final draft, then discussed these issues at length for two hours. By the end, he said, “Honestly, I thought you were going to be meaner.” The fact that he felt this way, even after I suggested he cut entire chapters from the novel, illustrates the benefits of tearing apart a manuscript. Even though I recommended major cuts, I offered so many suggestions for revision that the author didn’t feel stunted. Most importantly, the amount of detail and attention I gave to each page proved that I cared about his writing. He trusted my opinion because he knew I cared.

Undoubtedly, there are professional editors, professors, and even fellow students, who edit the same way I do. This “tear it apart” idea is not unique to me, and probably carries many other snazzy names. However, during the three undergraduate writing workshops I’ve had, no one has ever torn one of my short stories apart. Yes, I received plenty of positive and negative feedback for each story. But no one ever handed me back a story covered in elaborate edits and said, “This is all right, but it’s not great yet. Let’s work on making it great.” This isn’t because I’m a talented writer. Rather, it’s because no one will look me in the eye and bluntly tell me what’s holding my story back from reaching its full potential.

While I’ve encountered many helpful fellow students in my past workshops, every workshop inevitably contains at least one person from the following two groups: the Cheerleaders and the Naysayers. The Cheerleaders focus on the positive aspects of a story either because a) they aren’t experienced enough to recognize the weak points in a story, or b) they don’t want to hurt the writer’s feelings with negative comments. The Naysayers, however, are writers who either a) can’t intelligently articulate their negative thoughts apart from saying, “I don’t know, this just fell flat,” or b) won’t offer thoughtful criticism because they think the story is simply a hopeless case. Whether it’s through overly positive or overly negative feedback, Cheerleaders and Naysayers produce the same result: vague, useless editing.

With my own work, historically, the Cheerleaders compliment the details or the overall tone of the piece. The Naysayers sometimes argue that the description is overwhelming. I’m quick to tune out the fluff and the snide remarks, and once the workshop ends I gather everyone’s notes in a pile and put them away with the draft. It’s not until months later, when I pull out the same story for a final edit and read with a more detached gaze, that I always notice the mistakes no one brought up during workshop: shaky plot points, wandering thematic elements, and too-neat dialogue. These are the kinds of mistakes that become more apparent during a second read-through or, arguably, a slow tear-it-apart first read. In these moments, I wonder if the Cheerleaders and Naysayers (as well as my uncategorized peers) actually felt my writing was great – or if they all suspected my story was a hopeless case, and were just too polite or lazy to tell me so.

This kind of bad attitude, this need to privately dismiss our peers’ imperfect first drafts, is what leads to poor editing in workshops, which eventually manifests itself into unexceptional writing. It’s true that only a handful of the writers in my past workshops will ever see their work published in a prestigious journal. It’s true that many of us will never finish writing a novel, much less see it in print. It’s true that most of us received an A for effort, regardless of whether our writing was flawed or flawless. But to dismiss any individual work as a hopeless case is nothing short of unfair. No piece of writing is a hopeless case. If an editor reads closely and analyzes the details, tears it apart page by page, he or she can always help lead the writer to a more fulfilling final draft. It’s not just about finding mistakes. It’s about investing the time and energy to show the writer that you believe in their work. Even if it means using a lot of ink.

Form, Meaning, and Semi-Precious Weapons

How conscious are we of why we publish what we publish?  Let me unwrap that convoluted English: why do we write in the form of a poem  Or a short story?  Or a novel?  Not in terms of the need for artistic human expression, but a question of craft and choice: why do we decide to go with a long narrative as opposed to, say, free form experimental poetry?

This is a question we’ve been tossing around like a football at a tailgate (oh, does this remind you that Gameday is coming to CoMo?): flipping the rhetorical pigskin back and forth, enjoying the exercise, but no one is examining our throwing motion.  So to speak.  Patrick Lane explored the role of publishers in a digital age, and on our Facebook page, Rob Foreman asked why anyone would publish in an electronic format.  What’s the benefit of all this?

Rick Moody wrote his story “Some Contemporary Characters” on Twitter, each sentence in 140 characters, for several weeks.  I didn’t read the story on his feed but in the pages of Electric Literature, one of the best new literary journals.  Moody’s story wasn’t very good: the story was reprinted with each tweet as its own paragraph and the experience of reading it in a hard copy was, at best, choppy.  Did the EL editors or Moody consider editing the piece, pushing the tweets into paragraphs, or adding anything to the original “text”?  I have no idea and I would guess not, but I’m not sure how much it would have helped.  The story read like what it was: a series of short feeds conjured day-by-day.  It didn’t have much coherence or rhythm.  The reading experience was like reading someone’s experimental writing exercise: one can see the ideas at work but that doesn’t make it greater (better) than the sum of its parts.

In writing, form and meaning are always closely linked.  To oversimplify my answer to Rob’s question, I like electronic publishing for writing that I need to digest quickly: news and such. Literature?  Not so much.  The form doesn’t, to me, help the meaning, the experience.  But that’s me.

Let’s bring this back to good old fashioned hard copy.  I was recently chatting with writer Nicholas Ripatrazone about basketball and literature.  Baseball and boxing have been long time staples of American literature.  Football?  Basketball?  Not so much.  Searching for something basketball related, I came across John Edgar Wideman’s book Hoops Roots, which is a “genre-defying” book that is sparked by Wideman having to, at the age of 59, end his pickup basketball days.  The book is a series of meditations that go from memoir to non-fiction to fiction to who-knows-what-else, comparing basketball with writing, memories of his Pittsburgh childhood; his marriage and his children; African-American music, a little bit of everything.  I’m not exactly sure what “genre” the book is, or even if it matters what we call it.  And I’m not sure if it even works: I’ve only read the first “section” (not that reading the whole book has ever stopped me before from commenting on it).  But it’s definitely not just a sports book (which, as a rule, generally aren’t very good).

And in the opening section, Wideman writes:

Different pieces come from different places–read them in sequence or improvise.

I’m guessing this book isn’t like Cortazar’s Hopscotch (what is?) or even that the form chosen here is necessarily meant to be a pleasurable challenge for the reader.  I could be wrong.  I’m often wrong.  Wideman is a writer who has shown a willingness to experiment and play with form, not just as a writer, but as a publisher, too.

Wideman experiments on the micro level, too.  In the first twenty pages or so, I’ve noticed that Wideman eschews questions marks at the end of his interrogative sentences.  Why does he do this?  I have no idea.  But I find it frustrating.  I don’t know if there is a good reason, or even any reason, behind this choice, but reading Hoop Roots, I remembered that I’ve noticed this in Wideman’s stories before, and never quite understood the point.  Best guess?  The lack of the question mark forces a pause and consideration of the sentence by, strangely, not using the question mark at all.

Recently, in my composition class, we read George Orwell’s essay “Politics and the English Language.”  Orwell writes:

Correct grammar and syntax … are of no importance so long as one makes one’s meaning clear

Big Brother watches everything except your commas.

I disagree.  I disagreed loudly until my students nodded their heads in agreement.  Form and meaning: the lack of correct grammar and syntax, deliberate or not, has meaning, has suggestion, and one that the writer (and, consequently, reader) should be paying attention to.  How the sentences are structured is what helps to make the meaning clear.  Done right, grammar and syntax can work seamlessly to make the reading experience smooth, rhythmic.  All of our choices as writer’s matter.  Even if that choice is one of style.

Which is what I think Wideman is after.  One of my favorite writers, Andre Dubus, used semi-colons.  Lots.  Probably too many.  Nonetheless, I dig semi-colons, and like using them.  Do I use them correctly: linking two “closely related” independent clauses?  Sometimes yes, sometimes no, I’m sure.  But I’m always using them for an intended effect, a purpose, not some random choice that I toss into my work just for the hell of it.  Whether it means the actual physical delivery of the work or the actual labor of putting our thoughts into our stories and poems, form and meaning are always going to be intertwined.

Michael Nye is the managing editor of The Missouri Review