Gene writes in with this question:I currently teach a high school English course called 21st Century Literature, and I’ve hit a bit of a block these last few weeks in trying to put together this year’s syllabus. We currently read Eggers’ A Heartbreaking Work of Staggering Genius, Lethem’s The Fortress of Solitude, Zadie Smith’s On Beauty, and Diaz’s The Brief Wondrous Life of Oscar Wao along with essays from the likes of David Foster Wallace (“E Unibus Pluram”) to Chuck Klosterman (“The Real World”). We also look at some popular TV shows, music, and films in an attempt to get the students to examine the world in which they live with something of a more “critical” eye.So. I’m trying to replace Fortress for this year’s class, partly because I update the syllabus every year and partly because it was the one last year’s students voted out. My problem, though, is that I haven’t read anything this year that has really blown me away. And so I turn to you, Millions, for some guidance. I’m currently considering Bock’s Beautiful Children, Ferris’ Then We Came To The End, Clarke’s An Arsonist’s Guide to Writers’ Homes in New England, or possibly the new collection of essays State by State. My students are really intelligent, and so just about anything is fair game. What, then, would you add to the class to be read right after Eggers’ Heartbreaking Work?Five of our contributors weighed in.Edan: What a terrific course! Can I take it? Your syllabus thus far sounds pretty damn spectacular as is, so I’ve tried my best to come up with texts that fulfill a role that the other books haven’t. Of the four you’re considering teaching, I think State by State is the best, since it showcases so many great writers. While I enjoyed Joshua Ferris’s Then We Came to the End, I think a workplace narrative would be lost on most teenagers. Here are my suggestions:Willful Creatures: Stories by Aimee Bender or Magic for Beginners by Kelly Link: It might be fun to add some short fiction to the syllabus, and to improve the male-to-female author ratio. Of the many writers I introduced to my Oberlin students, Bender and Link were the biggest hits, perhaps for the magic and fantasy they inject into their odd and beautiful stories. Both writers provide excellent discussion fodder about the construction of reality, and about notions of genre in contemporary fiction.The Known World by Edward P. Jones: Still one of my favorite novels of all time, this is a historical novel about black slave owners in antebellum Virginia. It’s told in a sprawling omniscient voice, not a common point of view in these fragmented, solipsistic times. It might be interesting to compare this perspective to the more intimate first person narratives on the syllabus. Also, since your other texts take place in the time they’re written, it might be interesting to see how a contemporary writer depicts and manipulates the past.Look at Me by Jennifer Egan Published a few days before September 11th, this novel feels strangely prophetic. It also articulates, well before its time, the strange and complicated nature of online social networks like Facebook, certainly a topic of interest among high school students. The book tells two parallel narratives: one about a model whose face is unrecognizable after a car accident, and another about a teenage girl living in a long-dead industrial town in the Midwest. It’s equal parts beautiful, entertaining, satirical, and sad. This novel could inspire many fruitful discussions about identity, media, beauty, and representations of self.Andrew: Rawi Hage’s DeNiro’s Game is a tightly-written haunting jagged rush through the streets of war-torn Beirut in the 1980s. Now calling Montreal his home, Rawi Hage lived through the endless Lebanese civil war and writes this tale as a survival story, not a political polemic. The protagonists are ordinary young Lebanese guys – where ordinary means bombed-out homes, militias, snipers and rubble. No longer children, but not quite adults, Bassam and George flex their muscles amid the smoke and dust of a city that has been prodded and beaten by any group with a big enough stick.Winner of the 2008 IMPAC Dublin Literary Award, and short-listed for countless major awards up here in Canada, Hage’s debut novel throws the reader into a part of the world in the not-so-distant past that he likely has only seen from news images, and he gives these images human dimensions. This is a harrowing story of brutal youth.Emily: Although I wouldn’t say it blew me away, I submit Keith Gessen’s All The Sad Young Literary Men as a possible addition to your 21st century lit syllabus – not least because I think I would have found such a book personally useful had something like it been recommended it to me in high school. Its depiction of the social and intellectual chaos and disappointments of college and the post-college decade for three bright, ambitious, politically serious young men manages – oh, as I feared it might (for so many sad young literary men do) – not to take itself or its characters too seriously. Not that Gessen trivializes or denies the pains of his three protagonists, but he is exquisitely aware of the absurdities idealism and ambition sometimes fall into – particularly among the young. The character Sam is my favorite example of this: he aspires to write to great Zionist epic and has managed to get an advance from a publisher toward this end, but he does not speak Hebrew, has never been to Israel, and is a little bit fuzzy on Israeli history and politics. His best claim to the project is his extensive collection of fiery Jewish girlfriends. Like his fellow protagonists, Keith and Mark, Sam seems more delighted by the idea of literary accomplishment for himself than able to sit down and produce the stunning epic of the Jewish people that he imagines and more hungry for fame than to write his book (“Fame – fame was the anti-death. But it seemed to slither from his grasp, seemed to giggle and retreat, seemed to hide behind a huge oak tree and make fake farting sounds with its hands.”).Gessen has a particularly deft touch with juxtaposition – almost zeugma perhaps? – in his plotting and narration. The personal and the political – the sublime and the ridiculous – are cheek by jowl and often confused: Keith’s desire to sleep with the vice president’s daughter (who is in his class at Harvard and dating his roommate) is bound up with his desire for the vice president himself (Gore) to win the presidential election; For Sam, his intellectual work and his personal life are strangely aligned such that “refreshed by his summation of the Holocaust, Sam decided to put the rest of his life in order” and instead of wrestling with his genuine artistic problem (his inability to write his epic), he becomes crazily obsessed, instead, with his shrinking Google. I suspect that we will see better work from Gessen in the years to come, but for its humor, its pathos, and its willness to depict (and deftness in depicting) the humiliations and vagueries of early adulthood, I think it’s an excellent choice (particularly since among your students there are, I imagine, some present and future sad young literary men).Garth: This is sounds like a great class. I wish I’d had you as a teacher! One of the implicit challenges of answering the question is the tension between the need to appeal to high schoolers and the search for formal innovation. These two are not mutually exclusive; I vividly remember falling in love with Infinite Jest as a high-schooler. Still, some of the aesthetic strategies that separate contemporary writers from the hoary old 1900s (which are so last century) come at the cost of emotional immediacy. some of my favorite works of 21st Century fiction – Helen DeWitt’s The Last Samurai; Kathryn Davis’ The Thin Place; Lydia Davis’ Varieties of Disturbance; Aleksandar Hemon’s The Question of Bruno – may be a little too cerebral for high schoolers.I thought of several adventurous novels which are less formally pluperfect (in my opinion), but which might make a stronger appeal to this age group. Chief among them are Chris Adrian’s The Children’s Hospital, Uzodinma Iweala’s Beasts of No Nation, David Mitchell’s Cloud Atlas, Yann Martel’s Life of Pi, Mark Haddon’s The Curious Incident of the Dog in the Night-Time, and Jonathan Safran Foer’s Extremely Loud and Incredibly Close.Though I didn’t care for Beautiful Children, and suspect teenagers would see through its outdated assessment of youth culture, Then We Came to the End has an appealing warmth and good humor, as well as a fascinating first-person-plural voice. Ultimately, though, the two “21st Century” books I can most imagine teaching to high-schoolers are George Saunders’ Pastoralia (2000) and Paul Beatty’s The White-Boy Shuffle (1996).Max: Sounds like putting together the syllabus is a fun job. It’s interesting that the students didn’t like Fortress as much. I think I would agree with them on that. Though it was certainly an ambitious and at times entertaining book, I think it falls apart in the second half. I haven’t read Motherless Brooklyn, but I know it seems to have many more fans than Fortress.Thinking about short story collections, you could hardly go wrong with Edward P. Jones’s two collections – Lost in the City and All Aunt Hagar’s Children – Jones’s stories are terrific and offer a perspective that is quite different from Chabon, Lethem, and the rest of the Brooklyn crowd. Also, Jones’s The Known World is to my mind maybe the best novel of the last 20 years. Middlesex by Jeffrey Eugenides and Atonement by Ian McEwan also strike me as solid candidates, with the latter offering a unique and satisfying “reveal” at the end that changes how the reader thinks about the books structure (assuming your students haven’t already seen the film which, anyway, does the book a disservice in trying to render a purely literary twist via the language of Hollywood.)Gene, thanks for the question and please let us know what you select. Millions readers, please offer your suggestions in the comments below.
I even struggle with this issue when I'm considering a new novel by an author with previous books that aren't related to the new one.
For whatever reason, I tend toward the oeuvre approach, i.e., watching the writer's trajectory.
This is probably a bad thing in the sense that I've sat out on writers like John Irving because I feel like I've already missed too much.
In Ford's case, I think Frank is a layered and developed character with a history that is covered in the two prior books. I'm not sure you need to read them to understand Frank, but I think it's more satisfying to do so.
It's not quite the same question as whether you should start one of those multi-volume presidential biographies with the meaty years or at the beginning, but it's close.
It's an interesting question because, though component parts of the same story, the three books are very different. I think I started with Independence Day and then worked backwards to The Sportswriter. My feeling, without getting too lyrical, is that Independence Day remains the definitive Bascombe book, complete, spacious, elegant. But I see no harm in starting at the end, so to speak, with T.L.O.T.L. In each of the books, Frank Bascombe is at a specific stage in his life, and that i think needs no additional context to appreciate. The comment about an author's oeuvre makes me think of going back a bit further, to Ford's short story collection Rock Springs, which contains some really hard-hitting, clean and lean writing. Check out the last story, entitled 'Communist'…
N.D.
ank you for your responses to my comment. I am leaning toward #s 2 and 3.
I suspect my reading of the books will be different now because I will be reading them back to back as opposed to waiting for 10 years for the latest.
There is something to be said about following a writer's work. I found I liked Claire Messud's "The Emperor's Children" less than her "The Last Life" (which I love best among all her work). Not sure how I would have reacted if I had read EC first.
But better late than never to jump in. Thanks again.