Review: Break, Blow, Burn, & Make, by E. Lily Yu

Review: Break, Blow, Burn, & Make, by E. Lily Yu

a review by Rich Horton

E. Lily Yu is one of the finest writers to appear in the past 15 years or so. She has published a few dozen short stories, in a variety of genres, with fantasy and SF the predominant modes; and one novel, On Fragile Waves (2021); plus a collection, Jewel Box (2023). Her new book is subtitled "A Writer's Thoughts on Creation", and it is about writing -- craft, ambition, purpose, inspiration, beauty. But in writing about creating outstanding books, it is also about living, about discipline, about being a better person. It is, I will add, very ardently a Christian woman's book -- though its message can be applied by one in any faith or philosophical tradition.

Critical to the book's message is discussion of how readers respond -- or how we hope they respond -- to books. Not by star ratings, nor by performative liking, but, to quote: "We honor books when we discuss them in this way: as art, as gifts, as potential acts of love, rather than as mass-produced factory products." This speaks to me as a reader and critic, but also to writers -- if readers will discuss books as art, as acts of love, the writer must aim for art, and must write with love, at least for their creation. "... wisdom, courage, character, and judgment are critical to both writing and living ..." This highlights another running theme -- the act of writing as part of a whole life, at least for the writer (and not everyone is a writer -- which is no judgment but just an acknowledgement that we all have different talents.) And thus a writer should respect their art as much as they respect their life. 

Yu writes interestingly about the goals of the reader and the writer. Here she properly rejects the notion that reading is itself product of virtue -- particularly the idea that by reading we increase our ability to empathize. This always seemed suspect to me -- a way for us readers to pat ourselves on the back. And it has been debunked by research. In addition, she addresses the notion that a story should explicitly illustrate correct morals -- as for instant the not uncommon demand that it be clear that bad characters and punished and good characters rewarded. Yu reminds us that bad people can still love great art, and moreover that books can lie. Finally -- it is important for readers to put in the effort to understand a book -- to accept multiple meanings, to discern truth, and to recognize allusions are all important, and do not come without work. "... a reader can recognize falsity in a book only when that reader can recognize falsity in herself and others ..." 

The middle of the book is the part most directly concerned with writing -- with craft. Yu argues first for a writer to be  a vessel for truth -- and that truth comes when "the artist dies to self, burns, and becomes transparent". Writing should not be self-expression -- but expression of the real. "Self-expression is opacity". This observation was new to me but it resonates, and suggests to me something I object to in much contemporary poetry (and much recent fiction.)

One chapter is devoted to craft. And here I can only cheer! Likely it has always been so, but in recent years I have been disheartened to see many books -- often highly praised -- that stumble, that seem unwilling to care about prose and structure. Yu mentions understanding of language, and the benefits of knowing multiple languages. The necessity of precision, and the beauty that can result from not just the correct word but the right word used in the right place. The importance of rhythm to prose. Subtlety in portrayal of character, and in subtext. The importance of revision.

The third section is the most aspirational. It is in some sense a call to writers, a call to artists. It is intensely Christian in its language and references, and also very personal to the author's experience. It deals to with the place of artists in the world, and the pressures they face. it urges attention to the natural world. I found this inspiring, and I hope nonreligious readers will not be put off it, for I think the burden of the book will come through to any sympathetic reader.

The book is also a tribute to some of the authors who have inspired E. Lily Yu. Quotes and references abound to the likes of James Baldwin, Annie Dillard, G. K. Chesterton, George MacDonald, Madeleine L'Engle. A list of important books comes early -- Possession; Little, Big; Middlemarch, The Man Who Was Thursday, and more. I confess that discussing books I adore is a doorway to my heart. Break, Blow, Burn & Make is beautifully written, boldly argued, blessedly inspiring. 

I will leave with a few memorable sentences

"Language is the narrow rope bridge with which we traverse the vast abysses between two people, or two cultures, or two times."

"Mischief results when people mistake data for knowledge, knowledge for wisdom, and, more and more often, feelings for truth."

"If an artwork is incandescent, then sufficient craft, love, and proper source and orientation are already present in the work. If it sets us on fire, we are partly responding to those things, but we are also responding to the exaltation and expansion of the artist's spirit in response to that demand for courage."

"To read in the way I have suggested here is nothing more and nothing less than to live with open eyes and ears, attuned to both the sharp edge of the present and the thick layers of the past."

"I have no answers to the questions I ask, nor proof of anything, or the questions would not be worth asking."