i think there are just a billion reasons why this rules and why it is so successful, and i consider it somewhat of a gold standard amongst JoTW entries. i'll touch on a few.
- tonally, we have this brilliant mixture of melancholy and light humor. when i was talking about you being funny and witty in your works, and expect me to point out a few more of these in the future, it was this sort of thing i was talking about:
Perhaps it was a type I was unfamiliar with. Or perhaps I had shrunken.
just funny. clever. charming. here's another:
The scarecrow looked at me wide-eyed, as if I had missed something painfully obvious. "I mean, isn't it painfully obvious?
this is brilliant. straight out of joseph heller's playbook. in the middle of this piece, which leads with a somber meditation of death and solitude, the work is spiced with this humor during the interaction between the narrator and the entity with whom they interact. speaking of which:
- it is this balance between observation of the wider world and the conversations or interactions involving the narrator — and more importantly, the way the two are juxtaposed — that to me seals the deal on how convincing and compelling a particular entry in this series is. and here it is gorgeous. the death of the occupant of the farmhouse, about to begin something, at peace, contrasted with the impending, perhaps only imagined death of the scarecrow, so obsessed with what might become of it in the future that it loses track of itself, its purpose, time, and everything else: it's stunning. i said in my comment for selling/sold that it was the entry that convinced me to write for the JoTW but in reality the call was irresistible after I had read this one.
- you ground us in a feeling. this is something that i also am coming to recognize as a frequent strength in your writing. the suns nearly setting. the harvest just past. the feeling of just having missed it by that much. and then the scarecrow itself is currently in the process of missing it by that much. fabulous.
- all the little characterizations of the narrator which i use to inform my work in the canon as well are beautiful. examples:
Personally, when I have a door to open, I leave it open in case visitors come by, but this felt unintentional.
It would have been improper of me, as a guest, to leave the body as it were, so I brought it to a small garden behind the farmhouse, distinct in its purpose for pleasure and not profit, and buried it. The sacrifice of the cleanliness of my clothes was a small price to pay.
I recited the remembrances of a poet, as I felt they were appropriate, as well as the fact that I had never witnessed a farmer's funeral.
As a general rule for wandering, if a path presents itself, I usually take it, so I decided to explore the path before it became completely dark.
Why anyone would want to scare away birds, especially such intelligent creatures as crows is beyond me, but before I had a chance to ponder upon this fact, the scarecrow turned and noticed me.
I've found that some individuals in my wanderings cannot be helped, or refuse help when offered. You have to let these things go once you've done all you could, which I did as I watched the scarecrow frantically kick more and more until it finally fell silent, drawing its legs up against its chest, shaking, just slightly.
these tidbits are just exemplary. they are so on-theme, and they establish so much about who the narrator is without ever making the primary focus the narrator themselves.
thank you for writing this.