Daily Archives: September 18, 2012

Memoir, meet reportage

Brendan O’Meara on taking a reporter’s tack in memoir.

Guest Post by Brendan O’Meara

Twitter: @BrendanOMeara

Brendan O’Meara’s first book

Somebody at a book signing for Six Weeks in Saratoga asked me what I was working on next (this seems to always be a question when you’re selling your current book. What are you working on now?). I said I was writing a memoir about my father and baseball. Instead of the usual response, which is some measure of eyebrow-raising admiration, praise, and ego-stoking ovations, I got this:

“When Borders went out of business the only books left behind were Spanish books and memoirs.”

%&#!

Maybe if we were at the rim of the Grand Canyon I would have nudged her. But I thanked her for her input. I don’t think she bought a book. I felt ever-emboldened because when you feel strongly and passionately for your story, those words levitate off the page. The reader senses that energy and hopefully tells other reader friends about it. This is my hope.

So, yes, I too am writing a memoir, but I come at it from the blind side. I’m a reporter and I see memoir as no different than any other form of narrative nonfiction: the names are real, the events are verifiably true, and the writer did some—get this—reporting. The only difference is the story is closer to the marrow. The questions you pose to characters (which happen to be family/friends who acted never knowing they’d one day be told it was all on the record) ring awkward and, in some ways, judgmental.

My memoir, tentatively titled The Last Championship: A Memoir of My Father and Baseball is a hybrid of narrative journalism and memoir. It takes place at a senior slow-pitch softball tournament where I, the son, watch the father play ball. It illustrates the changing of roles as we age, how the children become caretakers of their parents, and how the young become old and the old become young again.

His team won the tournament and I thread the personal narrative around the seven-games. I’m profiling a handful of key players, ala David Halberstam, so the reader cares about the game action—narrative journalism. With the tournament as the backbone, I explore where my father comes from, who he is, what baseball means to him, and how he becomes the father I know, yet still know little about—memoir, personal exploration, the beating heart, etc.

It shows how sport, and specifically baseball, is the common tongue between fathers and sons, certainly between Dad and me. Watching those old guys play ball allowed me to reconcile the bitter end of my baseball career too. I then picked up the gear and played one more summer at age 30 to find the fun—10 years since I last played—and maybe one last championship.

Taking a reporter’s tack is best for the story and best for maintaining the readers’ trust.

Thanks, Jonah.

Thanks, Stephen.

Thanks, Jason.

Thanks, James.

Thanks, Janet.

Even when my memory is strong on an event from my childhood, I ask all the parties involved. I ask my sister if I really said what I said. I ask my Dad what he was thinking. Or I say, “Mom, what happened when you and Dad split up?” These questions are uncomfortable to ask. When it’s family, it’s hard. It avoids senseless naval gazing. You’re getting the important characters in your story to speak for themselves, not just what you thought and how you feel. A certain measure of detachment makes for a better product.

I try not to sound judgmental. I say, “What was that like? How tough was that for you?”

Or, as I told Dad at the beginning of this whole project, “I want to get to know my dad before too long. I want to know who your parents were (they died in a car accident when I was two). I want to learn where you came from.”

This puts a different tint on the lens. It softens the focus. My dad did some awful shit. I’m not going to lie. I’m not going to shy from writing about it, but that’s the mosaic. Readers will come away liking him more because of the ugly stuff. Because that’s human, dammit!

A character in the novel The Thousand Autumns of Jacob De Zoet said, “Memory is tricks and strangeness.”

It sure is.

It doesn’t have to be with some reporting.

Brendan O’Meara’s blog, Hash Tag for Writing, is at his website. He is the author of Six Weeks in Saratoga: How Three-Year-Old Filly Rachel Alexandra Beat the Boys and Became Horse of the Year. Follow him on Twitter @BrendanOMeara.

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Filed under braids, threads, craft, technique, creative nonfiction, immersion, journalism, memoir