Ten years
ago after reading a student research paper on hoarding, I was struck by
the corrosive effect this form of mental illness can have on families
and loved ones. I was so moved by the paper that I was left with the
sense that someday this would become the foundation piece for a
character in one of my novels, (Traveling Light, 2013,
Forge/Macmillan). I’d always encouraged students to pick a topic that
had a “charge” to it, meaning enough interest and “juice” to propel them
through writing a 15 page, double-spaced research paper complete with
MLA. At the time, little did I know how seriously one of my students
would take it.
Apparently
my student’s mother was a hoarder. “Stuff” had driven off the woman’s
husband and two daughters since the growing hoard had (literally) pushed
family members out of the house. Her mother’s mountain of Christmas
decorations, doll collections, unopened mail and packages, plus boxes
filled with sundry items packed the house, leaving nowhere to sit, sleep
or eat. Clothes with price tags were piled to the ceiling, filling
hallways, staircases and common living areas. As she interviewed her
mother, (I encourage primary, case-study research) it dawned on her that
her mother’s “stuff” was more important than the well-being and
happiness of those who loved her. The record of my student’s anguish
came through the pages despite her trying to keep the project objective,
as well a sociology research paper should be.
This
experience taught me that material for writing can come from anywhere
(the old “Bloom Where You’re Planted” adage) and that students are a
wealth of life experience. Such information and ideas can trigger
storylines, character formation and dialog. The old wisdom of Write
What You Know can also apply to People Whom You’ve Known.
The
premier of the popular TV show, “Hoarders” sparked memories of that
student’s paper. I too watched in abject horror at the conditions in
which these individuals lived. I was even more riveted by the hoarders
reactions to their families’ grief, anger and pain. Just like my
student’s paper so many years ago, it became clear that “stuff” had
taken on a proportion more important than the physical and emotional
well-being of loved ones. I found family reactions, in some cases, even
more compelling than the squalor, the packed rooms, and the filth.
And it was at this juncture point that I knew I had to develop “stuff”
as a character.
In the case of Traveling Light,
Roger’s “stuff” takes on the guise of his lover, consuming his
affection and devotion as it edges Paula (the main character) out of her
husband’s bed and life. It’s at this juncture point that Paula is
faced with the realization that she must act. And while it might be too
late for Roger and her marriage, Paula has to decide if she’s got
“juice” enough to make one more run for it to save her own life.
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