Heinrich Böll’s short story, “The Laugher”, reflects a fictional character whose voice is that of a professional laugher. This particular work influenced me to apply a similar approach into writing of my own. As Böll delivered the voice of a person with a particular identity and purpose, I was able to deliver an invention of a particular character as well. Resembling “The Laugher”, I constructed the voice and occupation of “The Twisted Taxidermist” into a short story. “The Twisted Taxidermist” and “The Laugher” are not only connected by the characters sharing their own avowals to the reader, but also by the characters understanding themselves in a better sense.
My first attempt “with allowing my person”, began with the voice of “The Clone.” I generated the clone using a nonfictional character with whose mysterious life I had planned to share in my writing. However, this man’s purpose is such a mystery in real life that I was unable to create an avowal for the clone. His story may establish when I “write for later”. I then adopted another occupation, “The Twisted Taxidermist”, just a title without any background. To my surprise, I realized that imagination and invention is what executed this story rather than planned. “And so, too, today, a certain bird is more likely to find its way into a poem of mine than a train wreck I witnessed (James Tate). It was unexplainable that I was unknowing as to where this story would lead, but was somehow able to become the voice of the twisted taxidermist and not the voice of a writer. “The Twisted Taxidermist” quickly took on a life of it own.
“Poets love words; fiction writers love sentences” (Hardin). In this particular writing, I discovered myself admiring both. “Watched” became a favorite and perpetual word enhanced into my story. I would certainly argue the elimination of “watched”, because this word contributes to who Tom is and what Tom does. For example, “I watched Andrew light those candles.” I was hesitant in revealing how Tom actually knew everything about everyone, and used “watched” as a foreshadowing word. Even though this piece is not a poem, I still hoped that “it encourages slowness, urges us to savor each word” (Mike Strand). I would also argue the elimination of the aphorismic sentence--“it’s what’s on the inside that counts.” This sentence is symbolic by tying in the fraudulent action of Steven Burns, the taxidermy competition tragedy with what was held inside the deer, as well as the significant theme of what is on the inside of everyone. This particular sentence and the word, “watched”, both provide a fuzzy insight in this story, but they become clearly digested in the conclusion and revolve around the central idea.
“That July morning” and “The summer I was seven years old” are both examples of time indicators employed into Will Weaver’s short story, “From the Landing”. This story interested me into applying this style into “The Twisted Taxidermist”; such as using...