Something that I have yet to consider while writing memoir
is opening with a question. Conroy poses this question: “Is it the mindlessness
of childhood that opens up the world?” (132). He already has the reader drawn
in, wondering if he will answer this question, and—from the writers’
perspective—how he will answer this
question.
Conroy asks his question and then immediately places the
reader in a scene: he is thirteen years old and he thinks the gas station is a
fun and exciting place. He sticks close to the idea presented in his opening
question, showing how, as a child, there was a certain thrill that he felt in
situations that are now mundane and routine as an adult. Conroy then stumbles
upon two yo-yo tricksters and is enthralled with the show they are putting on: “I
stared open-mouthed as a yo-yo was thrown down and stayed down, spinning at the end of its string a fraction of an
inch above the floor” (133). He uses other words—such as “mysteriously” in
reference to the tricks of Ramos and Ricardo—to further show how this yo-yo act
had affected him. Of course he buys a yo-yo with the coins he has left in his
pocket, just as any child would do in his situation. He simply states, “I knew
I was going to be good at it” (134).
To smoothly transition into the narrative of practicing the
yo-yo excessively, Conroy first describes the yo-yo in detail. He writes, “The
common yo-yo is crudely made, with a thick shank between the two widely spaced
wooden disks. The string is knotted or stapled to the shank. With such an
instrument nothing can be done except the simple up and down movement” (134).
Still clinging to his question, Conroy writes, “My yo-yo, on the other hand,
was a perfectly balanced construction of hard wood, slightly weighted, flat,
with only a sixteenth of an inch between the halves. The string was not
attached to the shank, but looped over it in such a way as to allow the wooden
part to spin freely on its own axis. The gyroscopic effect thus created kept
the yo-yo stable in all attitudes” (134). Maybe his yo-yo truly was different
and more efficient than the regular yo-yo, but chances are, he bought the same
kind of yo-yo that every other kid had bought, yet still felt that his was
greater in some way. Is this how the mindlessness of a child opens up the
world?
Conroy sets up the scene with the yo-yo competition well: “I
could hear the crowd before I turned the corner. Kids were coming on bikes and
on foot from every corner of town, rushing down the streets like madmen. Three
or four policemen were busy keeping the streets clear directly in front of the
store, and in a small open space around the doors some of the more adept kids
were running through their tricks, showing off to the general audience or
stopping to compare notes with peers” (137). This creates a picture of pomp surrounding
the yo-yo competition, as if the town hasn’t seen anything so exciting in
years. But then Conroy describes “A hundred excited children [emphasis added]” following the yo-yo artists into an alley (137). All of a sudden, the reader
understands that this was an exciting
event, but it was an exciting event for the children who were enthralled with
this simple yo-yo toy. Conroy creates this excitement surrounding the event (as
his boy character), but he also subtly suggests that perhaps the kids were a
bit over-zealous about this yo-yo competition (as his adult-self reflecting
back).
Conroy wins the competition and is given this special yo-yo.
He ends this section of his memoir with a final scene of him chasing the twins
into the alley and asking them to show him the hardest trick they have ever done.
The boy-character Conroy is impressed with the trick and relishes in the
mystery of the situation, but there’s a tone of disappointment with the last
line: Ramos says the trick is called “The Universe…Because it goes around and
around, like the planets” (141). That’s it? That’s their best trick? Is it
Conroy’s mindlessness as a boy that set these men on a pedestal? Did he answer
his question that he posed at the beginning of this section?
I really enjoyed this piece, but find that it lacks the amount of reflection typical of the other memoirs we have looked at. The only section I really felt was reflective was the end of p. 135 and the beginning of p. 136, where he compares the yo-yo to a sexual act, then shows how "the yo-yo represented my first organized attempt to control the world" (136). While this is clearly reflection, I did not feel it was developed enough in this section for me to really understand how this affected him, or what the causes were for him to need this distraction.
ReplyDeleteConroy's memoir also begins with reflection, posing the question "Is it the mindlessness of childhood that opens up the world?" (132). Typically, we have seen memoirs open by situating the audience within a scene, as a way to draw them in to their story and then follow with reflection. However I think this question is incredibly compelling and works as an opening because it is really more of a statement. We understand that yes, children's growing understanding allows for more possibility in optimistic outlooks of the world and more mundane situations. It is incredibly relatable and anyone who reads that statement will undoubtedly answer yes based on personal experience. From there he transitions smoothly backwards, starting with how he interacts with gas stations in his adult life, and flashing back to being at gas stations as a young boy. This is where the plot of his tale begins, and I like the way it almost sneaks up on the reader, as if his adult voice sort of dissolves into his childhood tale.
This selection from Frank Conroy’s Stop-Time is quite poignant and sentimentalized. By this I mean it evokes a certain sense of nostalgia from better, more productive and nationalistic times in America. It is also filled with sentimentality and a lot of emotionally charged detail that makes one feel like they are a part of the culture of 1940s America. From a writer’s perspective, this section is started perfectly. It is one quick question that sums up the entire thought process and inner workings of Conroy’s childhood self: “Is it the mindlessness of childhood that opens up the world?” (132). From there he explores his own fascination with a popular hobby/toy during the 40s: the yo-yo. And the yo-yo seems to represent his childhood and the culture/age he was growing up in; WWII was going on so emotions were all over the place; Conroy was moving around a lot with his family, so he was probably at a mental crossroads with himself about fitting into new areas (the yo-yo was his way in). There is much self reflection on his own personal style, as well as those associated with his mentors: Ramos and Ricardo. The reader gets a sense of Conroy’s older self reflecting on his past through his vibrant, wise use of language. I also enjoy the way Conroy ends the section, since it is a kind of insightful commentary on life in general and he learns something/grows from his experiences (Ramos calls the trick “The Universe” because it goes around and around like the planets). It shows how our own personal microcosms can sometimes lead to us opening up our eyes to further knowledge and even macrocosms that would make everything not seem meaningless.
ReplyDeleteThe first thing I noticed and enjoyed about Frank Conroy's writing was the way he is able to set a scene and put you directly in the place he is describing. An example of this is when Conroy is describing a simple gas station he use to hang out at as a kid. He says, "But at 13, sitting with my back against the wall it [the gas station] was a marvelous place to be. The delicious smell of gasoline, the cars coming and going, the free air hose, the half heard voices buzzing in the background - these things hung musically in the air, filling me with a sense of well being." (132). Then after he describes the gas station he even gives us a bit of reflection by saying, "In ten minutes my psyche would be topped up like the tanks of the automobiles." (132) I thought this was a creative way to say how he was feeling but he doesnt say why being at the gas station boosted his mood.
ReplyDeleteI noticed more reflection when Conroy tells us why he enjoys yo-yoing. He says, "The yo-yo represented my first organized attempt to control the outside world." (136). Again it seems like he starts to reflect but then leaves out some details as he never really explains how this was his first organized attempt to control the outside world. Overall I think Conroy could have went a little deeper into his thoughts at the time.
The selection of Frank Conroy’s “Stop-Time” brought back a lot of nostalgia, and is most certainly a simple piece, but yet it still packs a punch. Like others have mentioned, Conroy asks the question right away in the beginning of the piece, which is the goal of every memoir writer. The question, “Is it the mindlessness of childhood that opens up the world?” (132) is a very broad question, that totally sets up the piece in a very simple way.
ReplyDeleteA strength of the piece is the attention to detail. Throughout the piece I was enthralled, solely because of the detail and being able to feel a character in the scene. Aforementioned, this piece is full of nostalgia for any kid that spent a great amount of time on the playground. The circling up of kids, feeling like an omnipresent being looking overtop of the heads of the kids in the circle, and placing bets who would win, is most certainly something that majority of people have experienced and remembered.
The piece does not the type of reflection that we’re used to, but I was not bothered. Perhaps, this sort of reflection is something we haven’t dealt with much. By being able to look into the mind of the Conroy during the whole competition with Sailor-hat, Ricardo, and Ramos, we get a reflection that isn’t what we’re used to. We are given the thoughts of other characters from the dialogue which brings a great deal into the piece—once again making great notes in the description of the scenes.
Wow. Frank Conroy offered some interesting observations in the excerpt from Stop-Time. Conroy drew me in immediately with his opening line. He asked, "is it the mindlessness of childhood that opens up the world?" (132). It's a very simple, straight forward introduction. It's also very effective. I couldn't wait to get into the text to find out if, when and how he addressed this question. To be honest, I'm not sure he did. I will admit, his question has followed me around the past few days since I read it. I'm not sure I have been able to answer to it in terms of my own life, either. It's easily the most memorable opening line we've read so far this semester. Well played Mr. Conroy. Well played.
ReplyDeleteConroy's take on yo-yoing caught me off guard as well. I've never thought of it as masturbatory, not even in my immature adolescent days. It's quite a unique association. From a writer's perspective, however, it's the way in which he informs the reader of his point of view that drew my attention. He writes, "a single Loop-the-Loop might represent, in some mysterious way, the act of masturbation, but to break down the entire repertoire into the three stages of throw, trick and return representing erection, climax and detumescence seems immoderate" (135). I give him credit for connecting the dots, because I would've never associated the two.
I suppose the ending makes sense, but it didn't feel as profound as the opening line. Although, without the context of the rest of Stop-Time, maybe there is more reflection later on that addresses his thoughts on the intro to this particular section. Either way, the intro sparked my interest and kept the pages turning and yearning for more. There's a lesson to take from that as a writer. Hook the reader instantly.
Like you brought to light in your post and as others have commented on, something that struck me when reading this memoir was the way Conroy began it with a question. And I thought that the progression that he went through to try and explain how he gets his answer was very interesting. And for me the ending almost seems to answer his initial question by tying together his questioning of childhood quests opening a new world with him discovering “the Universe” as being the most difficult trick. So for him yo-yo was a way to find the answers to the universe for him; which explains the problem he established for himself on page 136 when he reflects on how at that time in his life yo-yoing was a way for him to try and control and understand the outside world.
ReplyDeleteFrom a writers perspective something that I thought Conroy did excellently was portraying the characters that he presented to us. The way that he used quotations and then parentheses to insert almost side thoughts was really interesting. When reading this I was definitely able to “hear” Ramos and Ricardo, and even the older boy dressed as a sailor when he said “dahyum”.
In the excerpt from his memoir Stop-Time, Frank Conroy does a good job at putting the reader in all of the places and scenes he describes (the gas station at the beginning of the piece, the movie theater, the yo-yo competition, etc.). He also does a good job at describing Ramos and Ricardo and all the different kinds of yo-yo tricks and techniques that he saw and developed. Conroy also has some strong reflection. For example, I liked how Conroy describes the formation of his hobby and how such a small thing gave him so much pleasure and freedom when he was a young kid. He writes, "I practiced the yo-yo because it pleased me to do so...It wasn't ambition that drove me, but the nature of yo-yoing. The yo-yo represented my first organized attempt to control the outside world. It fascinated me because I could see my progress in clearly defined stages, and because the intimacy of it, the almost spooky closeness I began to feel with the instrument in my hand, seemed to ensure that nothing irrelevant would interfere...I was finally free, in one small area at least, of the paralyzing sloppiness of life in general." It seems that yo-yoing gave Conroy something to call his own and helped him escape from life's “sloppiness,” even though he doesn't go into details about its sloppiness in this excerpt. I also thought it was interesting how Conroy draws parallels between playing with a yo-yo and masturbating. It's a strong analogy that Conroy effectively describes/explains.
ReplyDeleteIn Frank Conroy’s excerpt from Stop-Time felt much like a short story to me. He did a wonderful job of setting the scene and putting the reader in time and space. Conroy does an excellent job of describing and paints a vivid picture, allowing the read to draw a clear picture in their head. One section I found interesting was when he described what a yo-yo was and its design and intricacies. “The common yo-yo is crudely made, with a thick shank between two widely spaced wooden disks. The string is knotted or stapled to the shank. With an instrument nothing can be done except simple up-down movement.” I found this interesting because I was surprised he went into such detail to describe a common yo-yo because I feel that everyone knows that. Perhaps I am incorrect but maybe back then it was not as commonly known toy.
ReplyDeleteI did not feel that this memoir has much reflection. One problem I have had in writing my final memoir is a lack of reflection and I was hoping to find more in this piece to aid me. I think the lack of reflection is what make makes this feel more like a short story to me because there is very little to connect it back to Conroy and his feelings and emotions. He does however, do a great job developing time and space throughout this piece and I enjoyed his writing style. The piece flowed very nicely and he was very exact and precise which is something I try to do in my writing.
There was something about Conroy's style that really irked me, and got under my skin right from the start. It is almost as if, rather than reflect on his story and show us what it means, he chooses to open with a question in order to put the task on us. While in some hands this would work, if the meaning, and really the point, of the story was easily grasped, but instead we get a story about Yo-Yos. Not to say there is no way to make that story interesting, gripping, and able to draw in readers, but this is not that story.
ReplyDeleteOn page 140, Conroy describes the trick working, and you can tell that for him it is a profound moment. But just because this moment matters to him, does not mean it will matter to us. He does nothing to make his story resonate with the reader, instead behaving as if, since it means something to him, it must mean something to us as well. If this memoir made anything clear to me, it's to remember that our readers do not have our memories, and if we are to make something feel important, we have to give that importance to the readers first.
For a story about Yo-yo-ing(?) I thought this was pretty interesting. Conroy is very good at providing the reader with a rich description of the setting around and the time period. I loved reading the part when he is riding his bike to the movie theater, because I felt like as a reader you could really see the scene and be in in it as well. Like Meredith said, there is something about his descriptions that make you feel nostalgic for your own childhood, I guess in terms of Conroys determination to master this trivial skill/hobby. Though there you are really in side Conroy's head the entire story, I agree with the other comments that there really is no deep reflection here-you don't even really get to see why he is so determined to learn the tricks of a yo-yo. I thought another thing Conroy did well was his buildup to the contest, where he feels himself getting nervous and you as the reader become kind of nervous for him, especially during the cannonball trick. One line I found interesting, but I have yet to decipher the meaning, is at the very end of the story when Ramos shows him the Universe trick and Ramos says "Because it goes around and around...like the planets". Usually the last lines of stories are meant to leave some kind of lasting impact on the reader and I wonder if this had the same purpose. If so I can't figure out exactly, though it may be related more to Conroy's compete memoir.
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ReplyDeleteThe interesting thing about odeing to a particular skill in writing, using its jargon and set-specific terminology, is that, if the reader is unaware of the topic, you are cupping their imagination, hoisting their brain up to allow them to understand the concept on a familiar level. Every single thing imaginable is too complex to explain. I am typing. What are you doing? Pressing tabs of representative symbols down successively that my computer will copy into the only text-receptive article on the web page. I am using the English alphabet, itself a construction of the Latin script itself a construction of the Cumaean/Euboean alphabets, themselves constructions of the Phoenician alphabet, which is a construction of the the Proto-Sinaitic script, which is a construction of the...and so-frickin'-on-and-on. While this is history, it is explanation. And every minor facet of the act of typing could a have a dialogue similar to this one. This amount of extrapolation may be unnecessary, but it conveys that an author broaching a niche subject must describe how what is happening is happening, why what is happening is happening, and what it means that what is happening is happening. This is the common reason people have trouble with "fight scenes"; either too much detail is loaded onto the reader that the intensity and fluidity of the moment is lost, or the images given are too loose for them to follow. When writing about yo-yoing, Conroy does the right thing; given that even simple physical interactions have too many dependent joints to particularly describe, he gives the reader the images around what is actually happening: "The trick started out like a Cannonball, and then unexpectedly folded up, opened again, and as I watched breathlessly the entire complex web spun around in the air, propelled by Ramos' two hand making slow circles like a swimmer." I have no idea what that looks like, but I have some idea of what that looks like, and that is the power of correctly describing action.
ReplyDeleteI actually enjoyed this story. It kind of hit a sentimental spot with me because my dad tried to teach my brother and I to yo-yo and do some tricks when I was younger.
ReplyDeleteI love Conroy’s descriptions in this piece. I already knew some yo-yo tricks, but only the most basic ones, so Conroy did a great job of describing the more complicated tricks. In addition, he certainly knew how to set a scene. He puts us in a time when he thinks that gas stations are cool and suddenly yo-yoing is the most amazing thing he has ever encountered.
I don’t think that Conroy has a ton of reflection, as my other classmates have pointed out, but I like how he uses his yo-yoing and the tricks he learns. On page 135, he describes how it feels for him to do tricks with his yo-yo, that the yo-yo becomes an extension of his own arm. He also describes how he can tell if his trick will work or not simply by feeling the tension in the string. It was interesting to me how attached he was to his yo-yo.