Wild Animus

Wild Animus, Rich Shapero's self-published artistic effort, has sat untouched on my bookshelf for about four years. It was handed to me for free freshman year, in the space between UCLA's Northern Lights and Campbell Hall, and I finally decided to give it a go last night. I read a chapter and restarted tonight. I stopped, just now, after the first book section because I don't have to keep reading. Believe me, I wanted to. I felt like I should.

But I don't have an obligation.

Wild Animus is bad. Very bad. Some of the songs on the accompanying CDs are okay. I'm listening to them now. They're disturbingly similar, but taken as a concept album could go well with drugs. Drugs, you see, are a main theme of Wild Animus. The main character does a shit-ton of LSD and apparently goes crazy, thinks he's a Dall ram, and dies. I say apparently because I only read the first book section, which details this guy's meeting of a girlfriend, them moving to Seattle, and then visiting Alaska. The ram imagery, however, has been shoved down my throat since the third page. They have a secret ram language, Sam and Lindy, by the second time they're hanging out- which is also when they do acid together. That's stupid.

I described the prose to myself last night, when I decided I would definitely tackle it (sorry, me) as ham-handed and heavy-fisted. Really, I think that it's ham-fisted and heavy-handed, but it's incessant metaphor and blatant hippy-speak really addles the brain. It's way too much way too quickly, like every line is supposed to be some revelation about the world and nature. There's no "a-ha!" epiphany moment, just endless LSD drivel that fellow Amazon users have described as coming from someone who has never taken LSD.

But that's not the problem. I could deal with poorly written sentences, or rather overly "well-written" sentences that gag you. The problem is that I don't give a single shit about the characters. Because they are terrible, and terribly written. Their physical features are described too specifically, and their emotions are spilled out every two seconds. Their emotions change too drastically though. These aren't real people. Amazon reviewers say they are interchangeable or cardboard. I'd disagree. Cookie-cutter characters at least make sense in the stories they dwell. This girl goes from in fear to enraged to lovey-dovey. On a page, with no real explanation or build up. I don't like the protagonist. he names himself Ransom Altman at some point. What the fuck kind of a name is Ransom Altman? He wants to be surrender's ransom, he says. What? Rich Shapero has heard of metaphor, definitely, he uses it too much. Yet he completely fails on using metaphors for symbolism. Everything is spelled out.

Now, I've been writing a novel. And I've put in some blatant symbolism and written references too out-in-the-open. But not like this. It can't possibly be like this. This is bad. I had to stop reading! This got published as-is. I'd want an editor for some of the stuff I spell out. It's there as a placeholder, to take up space and keep my mind going. Shapero doesn't hide anything. He rubs your nose in it. And it's shit.

The good takeaway from this is that I can use the bad example to get better with how I write. I don't want to be anywhere close to Shapero's example. It starts with the characters. They have to be consistent. Now, Matilda is consistently useless and not a strong female character, which is a shame but that's kind of her role. And Bill grows a bit, but stays a hipster half-douche. Ava is underwritten. I know this. That's why she's cool, but injured and stolen. That way I don't have to spend too much time on her. I want her to kick major ass but that's not where my life experience lies. Joe changed probably too much in the well, and Geoffrey could be more consistent and foolish, but does relatively well as a character.

Those are my characters. They grow the story. George R.R. Martin has his gardeners and architects of writers. I half-architect after gardening, and sometimes the gardening destroys the building I've designed. My characters do the things they're supposed to. It makes sense for them to perform actions, and I just fit those actions into the story. But Rich Shapero? Rich Shapero said fuck it. He said, I've got a story and I've got some acid. These characters are going to do everything and anything to get to this plot point. Because they suck and do nothing to inspire empathy.

Or maybe not. Like I said, I couldn't finish the book. I might be able to, as a cautionary tale. But do I really need to? There's no prize for finishing bad books. It's a pride thing. No. I can't do it.