colonel aureliano buendia

Then Colonel Aureliano Beundia realized, without surprise, that Ursula was the only human being who had succeeded in penetrating his misery, and for the first time in many years he looked her in the face. Her skin was leathery, her teeth decayed, her hair faded and colourless, and her look frightened. He compared her with the oldest memory that he had of her, the afternoon when he had the premonition that a pot of boiling soup was going to fall off the table, and he found her broken to pieces. In an instant he discovered the scratches, the welts, the sores, the ulcers and the scars that had been left on her by more than half a century of daily life, and he saw that those damages did not even arouse a feeling of pity in him. Then he made one last effort to search in his heart for the place where his affection had rotted away and he could not find it.
—  One Hundred Years of Solitude by Gabriel Garcia Marquez
Instead of going to the chestnut tree, Colonel Aureliano Buendia also went to the street door and mingled with the bystanders who were watching the parade. He saw a woman dressed in gold sitting on the head of an elephant. He saw a sad dromedary. He saw a bear dressed like a Dutch girl keeping time to the music wiht a soup spoon and pan. He saw the clowns doing cartwheels at the end of the parade and once more he saw the fact of his miserable solitude when everything had passed by and there was nothing but the bright expanse of the street and the air full of flying ants with a few onlookers peering into the precipice of uncertainty. Then he went to the chestnut tree, thinking about the circus, and while he urinated he tried to keep on thinking about the circus, but he could no longer find the memory. He pulled his head in between his shoulders like a baby chick and remained motionless with his forehead against the trunk of the chestnut tree. The family did not find him until the following day at eleven o'clock in the morning when Santa Sofia de la Piedad went to throw out the garbage in back and her attention was attracted by the descending vultures.
—  One Hundred Years of Solitude by Gabriel Garcia Marquez
PCHH B-B-B-BONUS-S-S CONTENT: My Favorite First Lines

                 

So on this week’s episode of Pop Culture Happy Hour, we devoted a segment to “First Impressions.” I took it as an excuse to bloviate about one of my favorite topics, “First Lines of Novels and Short Stories and What They Do and How They Do It.”

I, as is my wont, as the show’s resident grind, overprepared. The show’s a discussion, not a lecture, thank God, and I only got around to name-checking three or four of these. But there’s lots to say on this. And back when I taught writing, and the earth was new, and icthyosaurs swam the turbid seas, I prepared a sheet sort of like this for students.

These are just some of my favorites. You got yours. Don’t bogart them, give ‘em up already.

———————–

First lines can outfit your reader with important information for the journey ahead with remarkable efficiency.

  • Call me Ishmael” – Herman Melville’s Moby Dick. (Introduces a layer of doubt in the FIRST TWO GODDAMN WORDS, and in the third, if you know your Bible, provides you with a hefty does of foreshadowing – basically gives away the ending.)
  • “It was a bright, cold day in April, and the clocks were striking thirteen”. – George Orwell’s 1984. (We are in a militaristic setting.)
  • “As Gregor Samsa awoke one morning from a sleep of uneasy dreams he found himself transformed in his bed into a gigantic insect.” – Franz Kafka’s The Metamorphosis (This is all of the explanation Kafka provides for the huge, abiding weirdness at the story’s core – this flat assertion in the first sentence. That’s all you’re getting. Deal with it.)
  • “Doomed planet. Desperate scientists. Last hope. Kindly couple.” - Grant Morrison, All-Star Superman. (Ok, it’s a comic, but that right there? Is a familiar origin story ruthlessly distilled into four perfect nouns, modified by four perfect adjectives.)

But sometimes efficiency isn’t the goal. Sometimes it’s about making sure your reader packed everything for their trip. Like, EVERYTHING.

  • “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to heaven, we were all going direct the other way - in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only. ” – Charles Dickens, A Tale of Two Cities (The air kind of goes out of the sentence there at the end, but really, how could it not?)
  • “It was a dark and stormy night; the rain fell in torrents, except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the house-tops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness.”—Edward George Bulwer-Lytton, Paul Clifford (The most-mocked opening line in English literature, the inspiration for a contest of worst first lines, and you can see why: Wait, you’re saying the night was DARK? I see. Got it. Thanks, guy. I love how he doubles back on himself “this happened! Except when it didn’t, on the streets (did I mention we’re in a city? Which is why I said streets not roads? I didn’t? Well, that.)”

But first lines can supply your readers with clues to what’s coming without being so damn showy about it.

Keep reading