In the preface of his faux-memoir novel Moonglow, Michael Chabon warns the reader: “I have stuck to facts except where facts refused to conform with memory, narrative purpose, or the truth as I prefer to understand it.” The world he creates in his novel -- with a narrator so like the author in age, origin, and mannerism -- is so convincingly real that for most of the book I was distracted by my desire to know which parts of the story were true and which were made up. Did Chabon’s grandfather really want to blow up Washington D.C.? And how much is true of the grandmother’s horrifying brush with Nazis? But this, of course, is not the point of a novel, a book that is specifically marketed as fiction. Authors throughout history have taken this approach, creating fiction memoirs, perhaps to give themselves more freedom to embellish or play down scenes from life -- I’m thinking of titles like Tim O’Brien’s The Things They Carried, Sylvia Plath’s The Bell Jar, and Tobias Wolff’s Old School. In an interview with The Telegraph, Chabon clarified his intent in blending fact and fiction: “I actually feel like fiction, which is open about its deception, is a much more powerful and more revealing tool for getting at truths about what happens in families.” What kind of fiction is better at telling the truth than memoir? And what kind of truth is revealed from such writing? These questions were at the forefront of my mind when I read Elif Batuman’s debut novel, The Idiot. Like Chabon’s Moonglow, the narrator of The Idiot, Selin Karadağ, bears a strong resemblance to the author. Selin, like Batuman herself, is a New Jersey-born woman of Turkish descent, who goes to Harvard where she flirts with linguistics and the Russian language, falls in love with a senior who has another girlfriend, and follows him to Hungary that summer. Batuman writes about several of these events in her collection of nonfiction essays The Possessed: Adventures with Russian Books and the People Who Read Them (2010), a thrilling book that I devoured in a matter of a few days. I’ve long admired Batuman for her nonfiction writing (if you, too, want to fall in love, read Batuman’s essay on the peculiar history of Harvard’s Russian bells). Batuman’s incisive intelligence and blunt humor (for which she won the Terry Southern Humor Prize from The Paris Review in 2011) pervade both her essays -- in The Possessed and in The New Yorker, where she has been a staff writer since 2010 -- and her novel. Because of the similarities between The Idiot and Batuman’s personal essays, I found myself almost fact-checking the novel, measuring it up both against Batuman’s writing about her Harvard years and my own time as an undergrad there. I, too, took a psycholinguistics class with an attractive (though 15 years older) Italian man who, like Selin’s professor, wore shiny grey suits and taught in a cramped classroom on the 10th floor of the psychology building. And the series of strange events that lead to the character Selin spending a month teaching English in a Hungarian village are strikingly similar to the parade of missteps Batuman the nonfiction writer chronicles in The Possessed. I slipped so completely into Batuman’s fictional world, convinced of its truth, that when I reminded myself that Batuman had written a novel, not a memoir, I felt let down. I so wanted it all to be real. But why? Batuman speaks directly to my strange urge to read this novel as nonfiction in an interview with The Rumpus in 2012. In response to a question about why publishers are more interested in getting writers to pen memoirs rather than novels, Batuman said: They want it to be true. And it’s actually an odd thing to want. The rationale is that people these days are no longer interested in novels, because we live in a newsy age, we care about facts, we care about the truth.” She ends by mentioning Tolstoy’s War and Peace and points out, “Tolstoy didn’t think he was detracting from the truth-telling power of his book by writing it as a novel. So, now to Batuman’s novel and the truthiness living in its pages. At first blush, The Idiot is a bildungsroman of the late '90s; Selin comes of age in a world where e-mail is just emerging and students at Harvard are social slaves to their dorm room phones, hoping that crushes will call on weekend nights. Indeed, Batuman introduces her narrative with a quote from the second volume of Marcel Proust’s In Search of Lost Time, perhaps the heftiest tome of the bildungsroman genre. Batuman quotes from Proust, “In later life we look at things in a more practical way, in full conformity with the rest of society, but adolescence is the only period in which we learn anything.” Adolescence is the beginning, middle, and end of The Idiot. Selin the character strikes me as an 18-year-old female version of Professor Timofey Pnin in Vladimir Nabokov’s Pnin; she is as confused by language and apt to make highly specific observations as the professor, though with a more modern, deadpan humor. Like this: an aerial view of one Hungarian town Selin describes as “spread out like some fantastic salad,” and a patch of overgrown grass in Boston “resembled a comb-over on the head of a bald person who didn’t want to see reality.” Batuman’s enthusiasm for words comes through in Selin, whose quest to discover the truth about language makes her quite crazed. As Selin immerses herself in linguistics, psycholinguistics, and philosophy of language, she seems to hang her theories of language up, one by one, next to the linguists’ theories, a dizzying parade of Benjamin Whorf, Edward Sapir, Donald Davidson, and Noam Chomsky. Soon, Selin begins to be unraveled by language; she cannot communicate and loses the meaning of narratives and conversations, unable to step back from a close observation of form and structure to identify her own place in the story. She begins to feel anxious about her untethered position, and begs her own novelist to show her the way. “I wanted to know how it was going to turn out, like flipping ahead in a book,” Selin says in one of several metanarrative moments. “I didn’t even know what kind of story it was, or what kind of role I was supposed to be playing.” Redemption in all this muddled language comes from literature, a nod to the author’s own preference for losing herself in the complex world of Russian fiction. Selin finds her own anxieties about language in a passage in Anton Chekhov’s “The Darling:” “You see a bottle, for example, standing there, or the rain falling, or a peasant going along in his cart, but what the bottle or rain or peasant are for, what sense they make, you can’t say and couldn’t say, even if they offered you a thousand rubles.” Even in her Russian classes, Selin sees more truth in the Russian literature the students are meant to read than in the facts of her own life. The short fiction stories in “Nina in Siberia,” which are only intended to teach the students Russian grammar and vocabulary, eerily mirror events in Selin’s life so that it becomes a challenge for Selin to separate what is happening to Nina from what is happening to her. (To me, this makes perfect sense. While a fanciful college sophomore with too many literature and language classes, I became so confused by my real life and so engrossed in Thomas Mann’s Buddenbrooks that, while writing a paper about the literary significance of mouth pain and tooth aches in the book, I became convinced that I too had a mouth infection. And indeed, a week later I found myself strapped to a dentist chair, sedated and listening to the shrieking drills dig deep into my gums. Once again the truth of the book struck me; I understand that anxious absorption of an early college career. I’ve been there before.) As Nina the character searches for her love, Ivan, Selin begins to search for her own Ivan, the Hungarian senior she falls in love with. As Selin is made to act out Nina’s lines in her beginning Russian class with Ivan (the Hungarian) playing Ivan (Nina’s lover), I heard Elif Batuman’s laughter as she pulled the strings from above, coaxing Selin through a version of Batuman’s own hilarious search for the meaning of language by way of another layer of fiction -- poor Nina’s fictional saga. It was in this part of the book -- when Elif seems to become Selin who seems to become Nina -- that I came to understand one unique achievement of Batuman’s transformation of memoir into novel. The layered truths and fictions of The Idiot compounded so that everything in the novel became true and real in a deep, shining way that cannot be achieved through essays. By the end of her novel, Batuman swerves away from the bildungsroman she seemed to have been writing all along. Selin returns to school convinced that her linguistics and philosophy of language classes had led her astray. In an allusion to Proust, whose pronouncement -- that adolescence “is the only period in which we learn anything” -- begins the book, Batuman concludes, “I hadn’t learned what I had wanted to about how language worked. I hadn’t learned anything at all.” And that, in fact, might be the real truth of the whole conceit. That if we’re really searching for meaning, trying to dissect the whole novel and nose around for the facts hidden in it, then we risk not learning anything at all.