A Year in Reading: Charles Finch

I read Elena Ferrante’s Neapolitan trilogy this year.  I read it twice, actually.  It made me want to quit writing. That sounds like the kind of cutesy thing you could say about any book you love, but in fact the reality of it was terrible, a sensation that lasted for days, a blend of nausea, fog, and loss.  How can I explain it?  Reading those books -- My Brilliant Friend, Those Who Leave and Those Who Stay, and The Story of a New Name -- it was as if I had spent my whole life training to be a world-class swimmer, waking up at dawn to do laps, eating the right stuff -- and then, all of the sudden, swimming in the ocean one day, I had been joined briefly by a dolphin and realized, oh, of course, that’s what swimming actually is. That is: There’s a difference between naturalism and naturalness.  Naturalism is still a mode.  Ferrante’s early books are great, but they’re modal, full of the effects a novelist can use, beautifully deployed, but effects.  By the Neapolitan trilogy, those effects are gone.  As a consequence it has less immediate line-to-line dazzle than what we’re used to calling great fiction these days, The Flamethrowers, for example, or even The Days of Abandonment, but what she buys with the sacrifice is a consuming naturalness.  There’s not a single moment of falseness across all the thousand pages of the books. In general, even the best novelists enter their texts; the great ones do it almost imperceptibly, but still, behind Walter’s love of birds in Freedom, for instance, you just sense Jonathan Franzen’s love of birds, a weak but noticeable magnetic draw from character to author.  Whereas Ferrante works so closely to her characters’ motivations, more closely than any novelist I’ve ever read, that it means the books are not so much realistic as that they are a reality.  The result is intoxicating, art with all the beauties of a made thing and the authenticity of a discovered one.  It’s like a garment without seams that fits perfectly, or like those Vija Celmins rocks.  It’s like the opposite of the Pompidou Center. The last 20 years have seen the ascent of James Wood’s idea that what the novel offers uniquely is an encounter with another consciousness, and now we’ve arrived at the cultural triumph of his particular theodicy, Karl Ove Knausgaard and Ben Lerner.  Those (wonderful) authors get rid of the problem of the novel by entering it overtly, and while that allows an magical nearness to them, it’s a solution that’s also an impoverishment, because it foregoes plot.  An acceptable loss, you might say.  I wonder.  Wood’s pressure toward interiority almost seems to me to forget the structure of life, which is so crucially at once internal and external.  Life has actions in it.  In reading a novel, it’s profound to experience the self-in-other in memory or contemplation, but it’s sometimes just as profound to experience the self-in-other during moments of decision.  In Ferrante, we have both -- they’re told in the first person, but they’re the story of more than a single person, of many equally weighted people.  The plotting of their stories is so skillful, indeed so unplotted, in the sense that life is unplotted, in the sense that we don’t know the future, that as readers we suddenly exist both in other actions and in their actors’ consciousness of them.  Not the latter alone. I read a lot of things in 2014, and I would like to imagine I’ll look back on the year and remember rereading Patrick O’Brian, whose achievement as an author of historical fiction I consider as great as Hilary Mantel’s, or Six Memos for the Next Millennium and Mythologies, which have both been rattling in my mind since winter, or the mysterious and beautiful 10:04, or the funniest book I read all year, a fantastic self-published novella that if there were justice in the world would upend pro sports, Goodell vs. Obama by PFT Commenter, or the fifth volume of Marcel Proust, finally I’m almost done. But realistically, Ferrante is who will stay with me. It’s considered unsophisticated to be normative about authors.  Leave it to Buzzfeed, leave it to the Mike Trout zealots.  I get that, but at the same time I also think it’s important to believe in greatness, and I don’t think it’s always wrong to calibrate it.  I don’t know if Ian McEwan is greater than Don DeLillo, or whatever.  What I do know is that before 2014, I thought Philip Roth was the greatest novelist alive.  Now, for me, he’s second. More from A Year in Reading 2014 Don't miss: A Year in Reading 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.

The Truce Between Fabulism and Realism: On Gabriel Garcia Marquez and the Modern Novel

1. When Gabriel Garcia Marquez died in April, the general flow of eulogy settled on two interpretations of his legacy: in the first, as a titanic but essentially regional author (The Times obituary called One Hundred Years of Solitude “the defining saga of Latin America’s social and political history”); in the second, as a model for the diminishing novelties of subsequent magical realists, like Salman Rushdie and Isabel Allende. Fair enough. Garcia Marquez himself saw his style as fundamentally linked to the politics of his continent in his lifetime. (Correctly -- for example, nothing has ever better captured how important the theft of time must feel in a totalitarian state than the dictator who lives on and on for centuries in The Autumn of the Patriarch.) It’s also true that he gave license to a new kind of fabulism, unique in that it didn’t descend from Swift or Cervantes, and therefore didn’t depend on either satire or comedy to atone for the recklessness of its inventions. Those are narrow channels of influence, however, and there’s a third, untracked, more expansive reading of his work to make. It might go like this: he solved an essential problem of the novel; he arrived at a moment of crisis for the form and offered the warring parties a graceful way out of it; and if there’s a single novel that can claim paternity for the last 20 years of American fiction, it’s probably One Hundred Years of Solitude. 2. That book was published in America in 1972, and it was a sensation, critically and commercially, William Kennedy famously calling it, with un-Albanyish zeal, “the first piece of literature since the Book of Genesis that should be required reading for the entire human race.” (If you somehow haven’t heard of it, One Hundred Years of Solitude is the multi-generational chronicle of a Colombian family called the Buendias.) At the time, there was a battle afoot between two kinds of fiction. Writers like Jean Stafford and Michael Shaara, traditional realists, were winning the Pulitzer Prize, while the National Book Award, inclined toward a more radical approach, went to John Barth and William Gaddis, campus experimentalists grinding out the logical final steps of the project inaugurated by Borges, by Ulysses, Hopscotch, Albert Angelo. Each side loathed the other. Updike’s declaration about Thomas Pynchon -- “I don’t like the funny names” -- might as well stand in for the whole cultural apparatus that was committed to realism; on the other hand Barth’s foundational postmodernist essay “The Literature of Exhaustion” called realism “used up,” and Gaddis said that such writing “never takes your breath away...it’s for people who read with the surface of their minds, people with reading habits that make the smallest demands on them.” The great formal achievement of One Hundred Years of Solitude was that it treated the two positions not as antipodal but as dialectical. It satisfied the modernist commitment to narrative innovation in two ways, first in its compression and dilation of time -- what would become the hallmark of magical realism -- and second in its use of the fantastic, the twins who die at the same instant, the visitation of the ghosts, the glass city, Remedios being sublimated into heaven as she does the laundry. But Garcia Marquez made the ingenious decision to embed those moments of originality within the stubbornly enduring structure of the traditional realist novel, turning his book into a family saga by way of a dream -- Trollope by way of Barthelme. By doing so, he managed to defuse a central tension, one that had divided novelists since Hemingway and Joyce pitched their opposing camps. Of course, there were writers before Garcia Marquez who had blended the magical and the prosaic (Kafka, most famously) but none of them were perhaps as fully committed to narrative as Garcia Marquez seemed -- to story. Meanwhile, other writers across the world had the same impulse, many of them, interestingly, in totalitarian states, including Milan Kundera and Danilo Kis, but their books were being passed around in samizdat, not, as Garcia Marquez’s was, in suburban book clubs and city libraries. What makes One Hundred Years of Solitude a watershed moment of cultural history is that mix of plot, experimentation, acclaim, and popularity. That’s also why its influence has been so subtly pervasive. Many of our heaviest hitters -- Franzen, Wallace, Eisenberg, Tartt, Saunders, Chabon -- were born around 1960, and therefore came of age during the book’s ascendancy. Considered in that light, their debt to it seems plain, whether or not they would acknowledge it, whether or not they found the book stimulating, indeed whether or not they’ve even read it. The reason is that all of them play the same trick, filigreeing traditional realism with enough carefully selective post-modernism to claim its gloss of coolness -- but without the unfortunate consequence of making their work difficult to read. In The Adventures of Kavalier and Clay there’s the Golem of Prague; in The Art of Fielding there’s the self-consciously literary exhumation of the corpse; in The Corrections, there’s the magical device of Correctall, the pill that allows Chip Lambert to forget his anxiety and enter a state of dreamlike euphoria. (It’s a sign of our age how often American magical realism is pharmaceutical, after Franzen’s example -- the decision-making drug in Indecision by Benjamin Kunkel; the test subjects in George Saunders’s magnificent “Escape from Spiderhead.”) Fiction is an essentially conventional art form, most at home in the bourgeoisie, but its practitioners have -- quite rightly! -- never been at ease with that fact. The compromise at which we’ve arrived is that every book now has the credibility of the avant-garde within a Victorian structure. It’s more fun to claim the influence of John Hawkes than John Galsworthy; it’s more fun to read a book whose plot is patterned after Jane Austen than B.S. Johnson. 3. Unsurprisingly, the first American novelist to take the full implications of Garcia Marquez on board may have been our smartest one, Philip Roth. (It’s not a coincidence that he spent the 1970s publishing Eastern European novelists, and, as Roth Unbound described, sneaking money to them via illicit networks -- a fact that ought to shame the Nobel committee members who have claimed that American writers are unworthy of the prize because they’re too inward-looking, too insular.) His books The Counterlife and Operation Shylock were precursors of the great florescence of faux-mo novels in the 2000’s, using false flags and mirrored characters without their pace or urgency. The logical culmination of the trend is probably The Marriage Plot, which states the tension outright, dropping a college student who just wants to read 19th-century novels into the semiotics craze of the 1980s. At their weakest, these post-Garcia Marquez books have been kinetic without moving, emotional without evoking any real sensation, readable without deserving to be read. The novel of this type that comes to mind for me is Absurdistan by the sometimes terrific Gary Shteyngart, a disagreeable blend of absurdism and soft sentimentality. Michael Chabon, Jonathan Lethem, Junot Diaz, Jonathan Safran Foer, and Colson Whitehead can feel similarly limited by their very limitlessness -- their work at times too ironized for readers to treat its narrative seriously, but too committed to narrative to offer the sense of alienation, dread, and obliqueness we feel in, for example, Don DeLillo and William Gibson. The writer for whom cultural critics were so eager to give Garcia Marquez credit, Salman Rushdie, might be the least exciting of the bunch. The Pale King offers a glimpse of what David Foster Wallace’s pushback against his own trend might have looked like -- his reconnection with difficulty as a means of higher artistic consciousness. Recent Pulitzer Prize committees have waded into this fray again; books of high seriousness, eschewing the jokey gloss of the comic book generation, have won the prize, including three lovely but deeply conservative novels, Tinkers by Paul Harding, March by Geraldine Brooks, and Olive Kitteredge by Elizabeth Strout. How much does that matter? The painter Gerhard Richter has spent the last 50 years dissolving what previously seemed like a crucial distinction between figurative and abstract painting; is it possible that novelists, too, no longer need to declare a single allegiance? If so, the books that Garcia Marquez gave a generation permission to write, produced during the truce between fabulism and realism, may begin to look odd: artifacts of the historical moment they thought they were creating. One of the pieces of shallow wisdom people like to repeat is that every great book either creates or dissolves a genre, and sometimes it’s true. One Hundred Years of Solitude, though it hasn’t quite received credit for this, established the school of fiction we currently consider great. It’s up to some other genius to dissolve it.

Winning Over James Wood

1. This is an essay about the genius of James Wood, the literary critic at The New Yorker, and how it influenced the novel I’m about to publish. Unfortunately even writing that sentence makes me feel uneasy. Enough people already like James Wood; enough people hate him, too. And while there are instances of novelists who admit to being influenced by critics – the most famous recent one is probably Michael Chabon deciding to expand the scope of his work after Jonathan Yardley praised his gifts but criticized the narrowness of their use – there’s something unsavory in that reversal, something suggestible and therefore at odds with the single-mindedness and determination that I associate (perhaps wrongly?) with good fiction. Still, there’s the truth to deal with. When people ask me about influence I don’t think of the living writers I like best – David Lodge, Jeffrey Eugenides, Norman Rush. As Jonathan Franzen pointed out, by the time they reach maturity most novelists have moved beyond the stage of direct influence. What I think about instead is James Wood: his emphasis on precision in language, his (implicit and brave) rejection of the intentional fallacy and consequent belief that he can ascertain an author’s aim, his rejection of vague or lyrical cant. But that uneasiness! I feel it. And therefore maybe it would be best to start with an inoculation – the things that are wrong with James Wood. I’ve compiled a list in my mind over the years. James Wood has a terrible sense of humor. Here’s a passage that Wood describes as “sublimely funny,” about how a character in Hardy called Cain Ball was named: O you see, mem, his pore mother, not being a Scripture-read woman, made a mistake at his christening, thinking ‘twas Abel killed Cain, and called en Cain meaning Abel all the time. She didn’t find out till ‘twas too late, and the chiel was handed back to his godmother...She were brought up by a very heathen father and mother who never sent her to church or school, and it shows how the sins of the parents are visited upon the children, mem. Only a deranged person could find this sublimely funny, even using the least general definition of the word sublime. It’s maybe faintly amusing in the donnish, ironic, humorless manner of a letter to the Economist. But the simple fact is that Hardy wrote a century and more ago, and humor is the least durable form of human communication. Someone is being born out there right now who will find it bizarre that I consider The Forty-Year Old Virgin funny, and in all but the most exceptional cases, P.G. Wodehouse for instance, comedy fades after ten or fifteen years. So to conclude, I’ve read a lot of James Wood, and whenever he finds something funny it’s a sure sign that it’s not funny. James Wood seems naïve about art. One of the interesting little ghosts in the James Wood machine is his sophisticated and perceptive love of music, which was the subject that earned him a scholarship to Eton. But his intermittent mentions of art are embarrassing. There are a few examples of this (including one nails-on-a-blackboard invocation of Andy Warhol) but the worst for me is in an essay on Laszlo Krasznahorkai, in which he describes a series of paintings as “exquisite and enigmatic.” What the hell is that? It’s unlike Wood to use such uninteresting words, the words a docent at a regional art museum might use, but there they are in print. “Exquisite,” in particular. It tells us nothing about the pictures, and worse, it implies that beauty is the metric by which to judge art. In an essay about one of the least stylistically beautiful (and one of the most stylistically interesting) writers alive! James Wood is obsessed with character names. About Revolutionary Road, he writes, “Frank is anything but frank, and springlike April will die in the fall.” Okay. Or of a character named Adam Morey in The Privileges, a book about, unsurprisingly perhaps, privilege, he says “the name suggesting both ‘money’ and ‘more’ of it.” Oh, thanks James Wood! So there you have it – I’m out now. I guess he sometimes chases the strong, vibrant language that he so admires in novelists. He can be unattractively dogmatic. But the most honest thing to say is that the way he sees fiction has changed the way I see fiction. Whether he’s funny doing it or not. 2. What makes James Wood great? One thing is his willingness to quote at length, and it seems only fair to grant him the same courtesy. Here is the long first paragraph of his review of The Stranger’s Child by Alan Hollinghurst, a review that I think should be handed out on the first day of every MFA program. Most of the prose writers acclaimed for “writing beautifully” do no such thing; such praise is issued comprehensively, like the rain on the just and the unjust. Mostly, what’s admired as beautiful is ordinary; or sometimes it’s too obviously beautiful, feebly fine — what Nabokov once called “weak blond prose.” The English novelist Alan Hollinghurst is one of the few contemporary writers who deserve the adverb. His prose has the power of re-description, whereby we are made to notice something hitherto neglected. Yet, unlike a good deal of modern writing, this re-description is not achieved only by inventing brilliant metaphors, or by flourishing some sparkling detail, or by laying down a line of clever commentary. Instead, Hollinghurst works quietly, like a poet, goading all the words in his sentences — nouns, verbs, adjectives, and adverbs — into a stealthy equality. I mean something like this, from his novel The Line of Beauty (2004): “Above the trees and rooftops the dingy glare of the London sky faded upwards into weak violet heights.” We can suddenly see the twilit sky of a big city afresh, and the literary genius is obviously centered in the unexpected strength of the adjective “weak,” which brings alive the diminishing strata of the urban night sky, overpowered by the bright lights on the ground. The effect is paradoxical, because we usually associate heights not with weakness but with power or command. And the poetry lies not just in what the sentence paints but in how it sounds: there is something mysteriously lovely about the rhythm of “weak violet heights,” and the way the two adjectives turn into a plural noun that is really just another adjective; the sentence does indeed seem to drift away into the far distance. This is not a particularly original passage of criticism – for one thing re-description sounds an awful lot like defamiliarization. But it has two qualities I associate with Wood. First, it’s absolutely correct; he’s a great reader, whether you like him or not. This passage is itself a re-description of a sentence one might easily have passed without noticing. Second, it’s a close reading that is attuned to the significance of language within fiction. The second point is the significant one. In the last ten or fifteen years precision of language has become the password that marks out serious writers of fiction. (In this respect, though in fewer and fewer others, John Updike’s influence remains enormous.) There aren’t many literary novelists at the moment who are content to be plainspoken, and those who are, Kazuo Ishiguro for instance, have clear narrative motives for the choice. Instead, when you open almost any well-regarded novel today it will have long passages of precisely poetic prose, full of surprising and carefully curated language. I attribute this generation of writers’ embrace of non-narrative and extra-narrative observation at least in part to Wood. From his first days at the Guardian he’s been a persistent and sometimes lonely advocate for Hardy and Lawrence’s brand of language-based realism. (The writers he’s criticized over the years – Richard Powers, A.S. Byatt, Paul Auster, this last to devastating effect – often have an element of magic in their works, and a fair criticism of Wood might be that he restricts his affections to books that even when they are fanciful make total sense, which sounds like a fair metric until you think about it.) To pick out language for special attention might seem like an affectation in a critic of fiction. Language is important in a novel, obviously, but less so than in poetry, where the sense of distillation makes it overarchingly vital. Novels should have room for mess and digression, the way life does – and in my opinion they should also have some speed, which precious language can check. But what seems to me to make Wood such an important critic is that he doesn’t care about language simply for itself, even when he cites its beauty, as in Hollinghurst’s case, but, crucially, as an indicator of a novel’s quality of thought. That seems to me to be his central insight: that since language is our only point of access to a writer’s intentions, its care or carelessness is the first test we ought to take of a book’s merit, and more than that our greatest clue to the quality of their thoughts. “Intelligence is not mere ‘smartness,’” he writes at one point, “but an element inseparable from the texture and the movement of the book.” This – the division between smartness and thought – is where Wood’s brain began to work on my own. 3. In the spring of 2011 I was living in Oxford, doing halfhearted work on a doctorate (its subject was false genealogies in the work of Edmund Spenser; film rights still available) and working intensely on the final third of a novel about the city, where by then I’d lived for nearly three years. One day I read that Wood was going to be in town, to deliver a series of six lectures on fiction at St. Anne’s College. I went to all six, excited to hear him speak. They were intermittently terrific; it seemed to me that he was strongest in his readings of contemporary writers, where the weight of academic thought had yet to settle. In particular his lectures on Melville and Woolf were perceptive in parts but also seemed less persuasive in that academic setting, and I was reminded that in a very real way criticism is journalism, a first, delible draft of literary history. That was Wood’s strength, I thought: getting a living writer just right for a literate but not professional audience. His opinion of Orwell seemed less vital to me than his opinion of Ben Lerner. Around the same time I read How Fiction Works, his short guide to (truth in advertising) how fiction works. Though that book was genial company it made very little impact on me, probably because I was already aware of the existence of free indirect speech, which Wood discovered in the same way that Columbus discovered America – long after it was settled terrain. Combined with the good-but-not-great lectures, the effect of the book was to lessen his importance in my mind. It wasn’t as if he was the only critic I liked, anyway. I don’t think I’ve ever read a word Zoe Heller wrote that I didn’t love. Dwight Garner was never boring. Then a funny thing happened. By June I had finished my novel about Oxford. It was under contract to a publisher and I took some time away from it, two or three months, because I wanted to return and edit it with fresh eyes. When I went back to it late in the summer I felt pleased with the book from sentence to sentence, and with its characters. But I started to have a terrible, itchy, and at first seemingly irrelevant thought: James Wood would dislike this book. This was truly stupid, I thought at first. You might write for yourself, or some ideal reader, but never for a critic. But then my thought clarified into something worse: James Wood would dislike this book and he would be correct. There were two levels to this realization. The first was the level of language, and I experienced it as I edited from line to line, like those fibrillations you feel in a muscle just as you’re falling asleep: I would pass by a sentence and then startle back toward it, realizing the fatal slackness of its language. Where I thought I had been precise I had been quick, where I thought I had been quick and free I had been inexcusably careless. (Wallace Stegner put it so well – hard writing makes for easy reading, and the reverse.) I began to edit much more fastidiously, not in accordance with what I thought Wood would like (I wasn’t that far gone) but with what sounded like the truth. If, for instance, I had a character “crunch through the snow” in my first draft, now I would stop and think. Was there any vitality left in that word, “crunch”? Where had I received it?  Was it the best word I could think to describe the sound of shoes in the snow? What about the little shreds of wisdom (“fail better” was one I can recall cutting) that had been hollowed of meaning by familiarity? The second level of that Woodian realization, and the less agonizing, more liberating one, was about a subtler idea: withholding. That is one of Wood’s own words, an attribute he values enormously in a writer. Reticence might be another thing to call it. In his assessment (one of his most profound to me) of W.G. Sebald’s Austerlitz, he writes: And throughout the novel, present but never spoken, never written – it is the most beautiful act of Sebald’s withholding – is the other historical name that shadows the name Austerlitz, the name that begins and ends with the same letters, the place that Agata Austerlitz was almost certainly “sent east” to in 1944, and the place that Maximilian Aychenwald was almost certainly sent to from the French camp in Gurs, in 1942: Auschwitz. As I read through The Last Enchantments – as my book was and is called – I began to see how catastrophically little I had withheld. Partially this was a fault of using the first person, a choice that I began to look on with dismay. My narrator analyzed every gesture of the people around him, and was constantly checking in on his own thoughts. He also explained the emotional significance of all the interactions he had, as if he were writing for a child. So I began to cut as ruthlessly as possible, and just as importantly to elide plot, to remove connective tissue, to cede control of the book to the reader. As with the language, it wasn’t a slavish choice, taken in obeisance to James Wood’s critical opinion. Instead, it was that he had, as in the opening to his Hollinghurst review, illuminated an idea I already understood in my mind – that the best texts are writerly, per Barthes – but had never cared all that much about, until I relearned it through his gift for instantiating abstractions through criticism. How rare that seemed to me at the time, and seems still, in a critic. I spent that whole fall of 2011 cutting and rewriting my novel. By the end of it I felt nearly sick with anxiety over the process. Still, I forced myself to take another few months away from it, and when I returned again I realized, with a tremendous exhalation of relief, that it was a better book now. When I finished reading the last draft I was sitting in a coffee shop in New York, and I can remember, though it sounds bizarre, thinking of James Wood – and feeling grateful to him. Also, and not irrelevantly, on that day I remember thinking that even after all of my changes he would see the book as a failure. A few months away from publication, I still do, for reasons I’ll describe now. 4. Of John Updike, whom I mentioned earlier, Wood has written, “he is not, I think, a great writer, and the lacuna is not in the quality of his prose but in the risk of the thought.” The risk of the thought. That phrase has settled in my brain. The Last Enchantments is a relatively conventional story about an American abroad at Oxford, where he makes a break with his past life, meets new people, and falls in love. These could be the elements of a radical book or a safe one, a good one or a terrible one. I don’t personally think it’s terrible, but it may be safe. The fact of the matter is that language and elision – the lessons that James Wood reshaped and renewed for me as I was editing – are important, but they’re still not as important as conception. As I look upon my book as a finished object, preparing to exchange it for money with people out in the world, I can’t help but feel its conception risks too little. (I should say I don’t think risk means formal radicalism – Alice Munro, to me, is a far riskier writer than, say, John Barth, because her stories rely on her perception of human psychology, which when written falsely is disastrous.) The Last Enchantments seems to exist too much within the contours of books that I’ve loved in the past, both long ago (Brideshead Revisited) and not that long ago (The Line of Beauty). That may sound odd, since at the outset of this essay I specifically disavowed the direct influence of other novelists, but I don’t mean that the books were influential on my own. I mean that I accepted the terms of other writers too easily – their view of the world. My own book is new, in the sense that I feel very sure it’s written with my voice, but I now I wonder if perhaps it’s not new enough. Of course this is a common tactical retreat. Every writer must feel his last book is the worst one ever, and I don’t know how I’ll come to judge this one when I’ve traveled farther away from it. I’m working on something now that is riskier, or feels riskier to me, but it could be that I’ll look back on it with far greater regret than I do on The Last Enchantments. At any rate it’s certain that I’ll look back on it with regret. It seems impossible to me not to. Iris Murdoch said it best: every book is the wreck of a perfect idea. This returns me to James Wood. Almost no subject on earth has more nonsense mysticism attached to it than writing. I think perhaps in the end what he has given me is the feeling that any real work of literature is underwritten not by inspiration, or genius, but by actual thought – actual work – actual choice. In every line of his criticism, Wood searches for the real work that an author is doing, rather than the most generous possible reading of its brilliance. No wonder his highest praise for Lydia Davis is for her “relentless control” of her work, which “gives it an implacable Beckettian power.” The fact that this praise gets right is that writers live within the borders of their choices. That is the lesson I owe James Wood for teaching me, better than I was able to teach it to myself. Critics should never determine what a writer should write, of course. But writers shouldn’t be proud, either; they should take their lessons where they can find them. Read with the craft in mind, Wood can give a writer who pays attention the wherewithal to write with greater care, to take greater risks, and therefore ultimately to – one more time, why not – fail better.