![\"Taino,](\"https:\/\/i0.wp.com\/johnesimpson.com\/images\/taino_photobydrlynneguitar.jpg?resize=500%2C263&ssl=1\" "\\"Taino,")
<\/p>\n<\/p>\n
A few weeks ago, I read a blog entry somewhere about the claim (phrased variously) that the setting in a given work “becomes\u00a0like [or even is<\/em>] a character itself.” It drove the blogger crazy, because setting and character (in his\/her opinion) have so little in common. Whatever my other reactions to the rant, it got me thinking about setting. About whether I’d ever really paid much attention (due or otherwise) to place<\/em> in my fiction.<\/p>\n I didn’t think I’d ignored setting; in fact I’d mentioned in a comment somewhere else, shortly before, that I knew of a brief passage in Merry-Go-Round<\/em> in which I’d described an old hotel in a way which — yes — almost made it seem, in retrospect, like a character. But I couldn’t think of any examples where I’d done much more than (say) list the geographical features of a town, the layout of a room.<\/p>\n Eventually I filed the question away, and forgot about it.<\/p>\n I’ve mentioned before, here on RAMH<\/em>, that I’ve been spending several weeks going back to look at the book which (as the cliche goes) I think I may be meant to write. The working title, which I’m not completely satisfied with but use because I’ve got to refer to it somehow<\/em> for chrissake, is Grail<\/em>. (Don’t be misled by that title, though. This isn’t a medieval romance or historical novel. Events for the most part occur in the mid-1980s.)<\/p>\n I’ve taken it through 2\u00bd drafts so far (the first in 1991). In this pass, I’m just recording in a word-processing document certain key events and character traits from the drafted version(s), so I can look at Grail<\/em>‘s whole structure with fresh eyes, away from the words in which it’s cast. This is based at least in part on the theory that I’ve learned a lot about writing in the last 17 years (more or less), and therefore will probably want not just to edit a fresh draft of the book but honest-to-God rewrite<\/em> the thing, from scratch.<\/p>\n So anyway, I’m going through the text earlier today, transcribing information, and I came to a chapter whose events are described in flashback.<\/p>\n It’s a memory of a character named Albert (Al) Castle who is — to the extent anyone is — the central figure in the book. The time is May, 1945. Corporal Castle, Seventh Army, USA, is in Germany. And he goes out for a walk– a walk that will change his life.<\/p>\n And that’s when I came across the specific passage to which I link below. I don’t make any claims to this as an example of setting-as-character; but I’ve gotta say, I was surprised by how much attention I’d paid to setting<\/em> here.<\/p>\n