Because you live in a city that has a year-round base of
tourism, you are used to a wide range of attractions and accommodations for
those who do not live here. These
attractions offer some degree of some of the features you get and enjoy most
days, and some additional degree of the features you do your best to ignore.
On your nightly stroll this evening, you noticed one of the
more grotesque aspects of tourism, an enormous, boat-shaped vehicle, filled
with at least thirty tourists, being driven down the main drag, State Street,
one probable destination the Mission.
Watching the vehicle lumber through various intersections,
you thought about tourism in general and its adjunct, travel writing, which is
a focus on the personality points and traits of a locale. You could—and do—say that travel writing
intends to portray interesting sidelights of a locale, making that landscape
seem attractive rather than foreboding, an experience to be had, points of interest
to experience rather than merely see.
These thoughts led you to the startling conclusion that
there is a strong connection between travel writing, tourism in general, and
fiction. When you read a work of
fiction, you not only want to be taken somewhere, you want to experience beyond
the tourist locations. You want to see
the terrain and locals rather than the knobby knees of tourists wearing shorts
and baseball caps with inane logos or advertising.
In some remarkable cases, you are taken places you’d not
thought to go, experienced the discomfort of displacement, then made to see how
remarkable and inviting such places are.
The writer Stan Jones has written a series of mysteries featuring a
native born Alaskan State Trooper that has you slathering to visit Alaska. You know well the terrain of the Tony
Hillerman mysteries and yearn to return to that area, even though you
understand from past experiences that you will be barely tolerated for reasons
having little to do with race. Having a
murky cup of coffee and a side of fry bread in Tuba City will seem to you a
luxury, even though you will be as invisible to the locals as tourists are to
you here.
Only last week you read Peter Heller’s compelling
post-apocalypse novel, The Dog
Stars. You found it an absorbing and
compelling view of the kind of future feared by so many. The work served its purpose; it transported
you to a bleak, dreary landscape, and infused you with fear and despair. Nevertheless, you enjoyed every page. Much of the reason had to do with the
narrator’s tone.
This experience opens the door for the awareness that
fiction is in addition to mystery and alternate universe genera a viable form
of travel writing. Fiction turns you
into a tourist, allowing you not only to travel to Navajo territory but to the
future or the past. Stories allow you to mingle with the locals, visit the
remarkable restaurant from Annie Proulx’s The
Shipping News, and have colorful locals pointed out for you. Although they have not attained the state of
knobbiness, your knees will not betray your tourist status, subjecting you to
offers of special deals on authentic souvenirs.
Because you have experienced Daniel Woodrell’s Ozarks, James
Lee Burke’s Bayou Country, and Robert Penn Warren’s Baton Rouge, you have a
sense of having been “there,” to a greater degree of intimacy than those times
when you were there as an ordinary tourist.
An unstated pleasure to date about the novel you’re working
on is the way it has rearranged some of the furniture in its Santa Barbara
setting, removing the tourist spots and attractions, usurping acres of real
property for your own purposes and in the process giving you a better sense of
the place, even though you are a resident of some long standing. As you devise scenes for your principal
characters, you are reminded of the early Dashiell Hammett novels and short
stories set in San Francisco of the 20s and 30s, which seemed iconic to you
until you began spending time in San Francisco, flirted with the thought of
living there, fell in love there. Then at long last achieved with San Francisco
a sense of “thereness” that was your own.
You must remember not to render the Santa Barbara of travel
writing, even though there are remarkable things for tourists to see and
to. But those “there” places are not
your “there” places. You’ve known any
number of mystery writers who set stories here.
Their “heres” are vivid and idiosyncratic, and you are mostly in awe of
them. But you need a “here” of your
own.
You’re here has two essential areas, the ocean side of
Ortega Ridge a tad north of Summerland, and Victoria Street from about Santa
Barbara Street to State Street. Here is the “here” of your own.
No comments:
Post a Comment