Excerpt from An Arsonist's Guide to Writers' Homes in New England by Brock Clarke, plus links to reviews, author biography & more

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An Arsonist's Guide to Writers' Homes in New England

A Novel

by Brock Clarke

An Arsonist's Guide to Writers' Homes in New England
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  • First Published:
    Sep 2007, 305 pages
    Sep 2008, 305 pages

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It didn't work out. These things never do. You can't ever repeat the past, and the books I once believed to be so important and wise now seemed ordinary in the extreme, and I couldn't concentrate on them. Instead of thinking about how great Gatsby was or wasn't, I mezzed out on the grilled cheese bits that were lodged in Dr. Melton's goatee. And then there was the time when we were reading Dickinson's poetry and the teacher said that she would have taken the class to the Dickinson House for a tour except that it had been burned down years before, and as she tried to remember the name of the arsonist, I realized that I didn't want to tell my story—I knew it all too well. So in order to interrupt and escape the uncomfortable line of inquiry and the recrimination that was sure to follow, I faked a coughing fit and ran to the bathroom and didn't come back to that class for the rest of the semester, and the only reason I got a D and not an F in that class was the same reason I got a D and not an F in my other English classes: the school didn't want anyone to flunk out, because they needed everybody's full tuition. The school really was in horrible shape. There were piles of fallen plaster in the hallways. The drop ceilings were buckling. Even the crucifixes on the classroom walls were in need of repair.

So the bad grades were one reason I quit English, but there was another reason, a bigger reason: I couldn't shake the feeling that there was something else I should be doing, something I hadn't tried or considered, something new and better. There I'd be, sitting in Medieval Literature, supposedly learning to speak the Old English that Beowulf and Grendel spoke, and all I could hear was this voice in my head saying, There must be something else. Asking, What else? What else? This was a surprise, since I wasn't much of a striver and had never asked that question—What else?—out loud in my life. But there was the voice in my head, asking it for me.

Briefly: I quit English and literature and the people who wrote it—for good, I thought—and became a packaging-science major. This was a good move for three reasons. One, packaging scientists were less likely to know that I'd burned down the Emily Dickinson House, or even know who Emily Dickinson was, or even care. Two, I had a knack for remembering what kind of packing material was best for which fragile object, and I immediately understood why it was better that personal-size bags of chips be torn vertically, while family-size bags be torn horizontally, and where the tabs should be located to allow each sort of tearing. I never got anything lower than a B+ in packaging science and managed to do four years of coursework in two years, and immediately after college I got the job for which I was trained, in product development and testing at Pioneer Packaging in Agawam, just outside Springfield.

So those were two good things about switching over to packaging science. The third thing was that I met my wife.

Her name was (and is) Anne Marie, and I met her in our senior seminar in packaging science, the class where you finally stake your claim and choose your path, et cetera. Anne Marie was pretty, extraordinarily good looking, really, and tall, with long, long legs that looked about ready to run away from her torso, and lovely, curly black hair always fastened and arranged and piled high on the top of her head, and a smart smile that was so beautiful you didn't mind the way it made you feel so stupid. What else? In moments that required contemplation, Anne Marie smoked the kind of very thin, sleek cigarettes that, in my experience as a watcher of women, only very thin, sleek women are inclined to smoke. All in all, she looked like an Italian goddess, which was about right, since her last name was Mirabelli and her ancestors were from Bologna.

About my looks: I was tall and skinny as a kid, but with a big head. I looked like a vertical matchstick. I lifted weights in prison to some effect, including pulling muscles I didn't know I had, and this was another thing I bumbled. My face is the most prominent thing about me: it's red, and sometimes it looks healthy and windburned and full of what you might call life, and sometimes it just looks enflamed. If I were embarrassed, on a dark night you could find your way by the glow of my face. But the College of Me warned against being too hard on oneself, and so it should be said that I'm probably, everything accounted for, ordinary handsome. My teeth are only slightly crooked, and most of them are white. I have almost all my hair, which is curly and brown. My chest was concave when I was a child, but if you look closely, this is true of most children, and the weight lifting I did in prison helped with that, and while I don't actually have a barrel chest, I might have a half barrel. My legs aren't nearly as scrawny as they used to be, and have muscles and definition now. My nose would be Roman if my head were smaller. Even though I'm close to legally blind, I don't have to obscure my piercing blue eyes with glasses, because I wear contact lenses. They're the sort of eyes that can see right into your soul, if I'm wearing the lenses. But still, I wasn't what you'd call good looking. Plus, I was a virgin, don't forget that, and all of this is why I'd never spoken to Anne Marie, even though we'd been in five classes together: Anne Marie was clearly much too beautiful for me to speak to.

Excerpted from An Arsonist's Guide to Writers' Homes in New England by Brock Clarke © 2007 by Brock Clarke. Excerpted by permission of Algonquin Books. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

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