“The consolation of acute bitterness is the biting retort.”—Hark
1.“Is it too soon?” It’s one of those recurring cultural questions that has lately been revived in the context of the #MeToo movement, regarding the matter of when, if ever, such high-profile sexual abusers as Charlie Rose, Louis C.K., Mario Batali, Garrison Keillor, and Kevin Spacey might make their way back into the public sphere, or at least a paying job. Alpha males, however disgraced, get twitchy on the sidelines, and so, as James Wolcott put it in his Vanity Fair column on “The Return of the Scuzzies, “we hear the # MeToo Men tap on the microphone as they seek to reintroduce themselves.”
For a male fiction writer, a foray into this massively trip-wired territory might seem about as inviting as a several-mile stroll atop a third rail. Yet there, in the pages of the Nov. 19, 2018, issue of The New Yorker, was the fearless edgemeister Sam Lipsyte with “Show Recent Some Love,” surely the first male work of fiction to address, in no way obliquely, the issues raised by the movement. To do this in what we call “the current climate” was an act of perhaps foolhardy courage; to have pulled it off with as artful and well judged mixture of sensitivity and sharpness as Lipsyte did, is a high-wire achievement of no small dimension.
The story succeeds in “going there”
without inducing moral nausea because the ogre of the piece, the abusive and
predatory Mike Maltby, CEO of Mike Maltby Media Solutions (now renamed Haven
Media) is unambiguously presented as one of “history’s ceaseless cavalcade of
dickheads.” Left to navigate the treacherous cross-currents of Maltby’s ignominious
departure is Isaac, his one-time stepson, whom Maltby rescued from a life of
video gaming and Jagermeister shots by giving him a job as a copywriter. Not
unreasonably he fears for his position now, given the toxicity of his
association with Maltby; underneath Isaac’s vocal disgust he also experiences
involuntary and unnerving spasms of sympathy, as confused and anxious humans
In Lipsyte’s fiction it is the
wives who see right through the husbands, and Isaac gets pinned to the specimen
board of contemporary male fecklessness by his wife with this observation:
“Standing next to a villain and hoping people will notice the difference is not
the same as being a hero, Isaac.” Isaac stands in here for the legions of men trapped
in the queasy twilight zone between innocence and complicity. “And don’t be
certain they won’t come for you one of these days,” she adds with brutal
Since his 1999 debut story collection Venus Drive Sam Lipsyte has published four novels and two more collections that have established him as the premier anatomist of contemporary male malaise and sexual confusion. A skilled and consistently hilarious satirist with tummler-tight timing, he explores with merciless and lacerating precision the demoralized state of the urban man-boy and alterna-dad, marinated in gender guilt, trapped in the low-paying and uncertain jobs that are the portion these days of liberal arts majors, barely tolerated or peevishly despised by his spouse and children. Call him Lipsyte Man—a baffled and wounded specimen.
2.A North Jersey native and high school shot putter and teen literary phenom (“a little show pony writer”, in his words), Sam Lipsyte amusingly was named as a Presidential Scholar of the Arts by none other than Ronald Reagan; the award was given to him by the once famed virtuecrat William Bennett. A no doubt formative lesson in the uses of cognitive dissonance. He attended Brown in the late ’80s in its peak years as a powerhouse in semiotics, cultural studies, and advanced fiction, studying with such luminaries as Robert Coover and graduating in the same cohort as Rick Moody and Jeffrey Eugenides. Dispirited by the hegemony of literary theory over practice, however, he drifted into music for a time when he came back to New York, fronting a noise rock band called Dung Beetle and dutifully picking up the bad habits of dissipation the position called for.
Sam’s path back to literature took him through Gordon Lish’s fabled and/or notorious writing workshop, where the shameful and unsayable were quarried for the rawest of raw material. Lish was also fanatical on matters of style, and perhaps Sam’s chief takeaway from his time in Gordon’s boot camp was that every word of every sentence had to count. “There is no getting to the good part. It all has to be the good part,” he once approvingly quoted Lish.
Venus Drive, published in 2000 by the much-missed literary magazine and publisher Open City, strongly reflects that aesthetic. Its sentences display aphoristic economy and keenly calibrated rhythm, as in this specimen: “His eyes had the ebb of his liver in them and he bore the air of a man who looks right at you and only sees the last of himself.” Several of the stories draw on the druggy discontinuities, moral squalor and grim, bone-in-your-throat humor of Denis Johnson’s Jesus’ Son. One character does Keith Richards considerably better by shooting up his mother’s cremains. (What stage of grief is that anyway?) Another informs us with addled precision that “I wasn’t nodding, I was passing out.” William Burroughs’s algebra of need was clearly a familiar equation to the author.
Other stories engage with a broader consensus reality, specifically the emerging service economy that appears to be our portion until the robot overlords dispose of us. In “Probe to the Negative”—the very title can be taken as an ars poetica—a failed artist with dependency issues works as a phone marketer under the faux-helpful supervision of Frank the Fink.
“Maybe Frank was a decent guy once, but he’s management now … the higher you move up, the more of a tragedy you are,” the narrator mordantly observes. But as he also says, “We’re all cold callers now,” an epitaph that has ominous ring of truth.
“My Life, for Promotional Use Only”
opens with a perfect snapshot of the emerging dot-com economy:
The building where I work used to be a bank. Now it’s lots of little start-ups, private suites, outlaw architects, renegade CPA’s, club kids with three-picture deals. It’s very arty in the elevators. Everybody’s shaved and pierced in dainty places. They are lords of tiny telephones, keepers of dogs on battery-operated ropes.
The basis of
effective satire is simply close, cruel observation.
I heard Sam Lipsyte read one of his stories at an Open City event, a literary event for me of major proportions. So I made my predatory desires known and as a result became the editor of his first novel, The Subject Steve. The shock of recognition I experienced upon first reading it was electrifying; somehow this young writer managed to channel the irreverent and unruly reading of my formative years of the ’60s and had made that sensibility his own. It was the first of many times he has caused me to use my inhaler for an episode of laughter-induced asthma.
Black humor had emerged in the late ’50s as a literary mode and broader cultural style as a release valve for the stifling seriousness and repression of the decade and also an expression of paranoia and delayed trauma from the horrors of the late war and the threat of nuclear annihilation. Its strategies were the send-up, the put-on, the resigned shrug, the spasm of panic, the barely stifled scream, the bitter laugh, the taboo-busting saying of the Unsayable. It was born on whatever day the first lampshade joke was told. Its emergence was coterminous with and fueled by what Wallace Markfield, a now forgotten black humorist himself, called in 1965 “The Yiddishization of American Humor”—comedy that, drawing on the traditions of the Borscht Belt and the shetl, was” involuted, ironic, more parable than patter”—and infused with a distinctively Jewish fatalism.
The ur-black humorist was of course Joseph Heller and as I read The Subject Steve I could, I thought, detect his influence in every line. Begin with the book’s premise: The book’s narrator and antihero Steve is informed by two quack doctors that he is dying of a disease unquestionably fatal, yet with no discernible cause nor duration; they dub it Goldfarb-Blackstone Preparatory Extinction Syndrome. A terser name would of course be “Life.” Lipsyte elaborates this illogically logical Catch-22 premise with caustic wit and a verbal energy that recalls Stanley Elkin at his most manic. Savor the spritzing pungency and tart wordplay of this passage:
The bad news was bad. I was dying of something nobody had every died of before. I was dying of something absolutely, fantastically new. Strangely enough I was in fine fettle. My heart was strong and my lungs were clean. My vitals were vital. … My levels were good. My counts were good. All my numbers said my number wasn’t up.
Heller’s brilliantly morose novel of white collar angst, Something Happened, is also a presiding influence on this and subsequent novels by Lipsyte. Steve quits his indeterminate cube-based job, stating in his exit interview: “My work, albeit inane, jibed with the greater inanities required of us to maintain the fictions of our industry.” He fails to get much sympathy from either his divorced wife or disaffected daughter, and fleeing a media frenzy goes on an increasingly violent and saturnalian New Age odyssey in search of a cure or at least of modicum of certainty.
The Yiddish word for a hapless soul like Steve is “schlemiel,” a character without much agency and dignity, buffeted by domestic or historical forces far beyond his resistance. The schlemiel is a stock figure of black humor fiction—Yossarian, Billy Pilgrim, Benny Profane, just for starters—and can be traced as far back in American literature as Lemuel Pitkin, the All-American designated victim who gets literally taken apart in Nathanael West’s Depression-era demolishment of the Horatio Alger luck-and-pluck, A Cool Milllion. With The Subject Steve Lipsyte had revived a tradition of gleefully cynical disillusion that had largely faded from our increasingly earnest literary fiction.
Sadly, rather too much black humor of a distinctly unfunny sort attended the novel’s publication, as it was literally published on Sept. 11, 2001. Irony of any sort, however well achieved, was not in favor that grievous season; the reviews were complimentary enough but thin on the ground, and sales suffered accordingly. As a result Sam’s next novel, Home Land, was not offered on (with the keenest possible sadness) by me, and went on to garner an astounding 22 editorial rejections before being finally published as a Picador paperback original in 2004. That the novel quickly became the book to be reading on the L and M trains and with each passing year feels more and more like a masterpiece—to the point of having been selected by Christian Lorentzen in New York as one of the canonical works of fiction of the newish century, calling it “a Gen-X Notes from Underground—must prove something besides the need to pick your pub date carefully, but what? Perhaps that as the Iraq War and the broader war on terror were both clearly becoming clusterfucks of Vietnam-esque proportions, black humor Lipsyte-style acquired a new relevance and resonance that has only become stronger in the 15 disillusioning years since Home Land’s publication.
Among other things it has one of the best premises for a comic novel ever devised. Lewis Miner, aka “Teabag,” the member of the Eastern Valley High Class of ’89 who most conclusively has not panned out, pens a series of uproariously bitter letters to his Alumni Newsletter, bringing his cohort of bankers and brokers and doctors and state senators and “double major[s] in philosophy and aquatic life management” up to date on “the soft cold facts of me.” At first he “shudders” at the prospect of his successful classmates chortling at the particulars of his dismal tale, but quickly rethinks his phrasing: “Shudder, in fact, is not quite the word for the feeling. Feeling is not quite the word for the feeling. How’s bathing at knifepoint in the phlegm of the dead? Is that a feeling?”
Miner rents a dismal apartment in his hometown, attends the occasional “aphorism slam,” and ekes out a sort of living concocting fake anecdotes for a soft drink’s newsletter Fizz (while spending even more time trawling the net for lovelies in legwarmers). His dispatches at once satirize the nauseating smugness of most alumni updates and recount in granular detail the hell on earth that was most people’s experience of high school. The novel’s climax takes place at a predictably disastrous tenth anniversary “Togethering” reunion—“one big horrible flashback,” as these things tend to be.
Miner’s spew of snark is a beautiful thing to experience and he represents Lipsyte Man in his first full incarnation. Imagine—work with me on this—if Rodney Dangerfield had somehow managed to attend Oberlin or Hampshire College, but emerged with his sense of humor intact. Miner and his successors also partake a bit of W.C. Fields’s befuddled in-the-American-grain misanthropy and his sense of terminal male embattlement. These suckers are never going to get an even break.
Published in 2010 in the rump of the Great Recession, Sam’s next novel The Ask shifts the scene to an academic setting: the development office of an institution its denizens call the Mediocre University at New York, whose art program affords the marginally talented the opportunity to “take hard drugs in suitable company, draw from life on their laptops, do radical things with video cameras and caulk.” Milo Burke is a failed painter who works there none too effectively; as the book opens he has been cashiered for using an ill-advised epithet to an obnoxious coed whose ‘father had paid for our shitty observatory upstate.” Saddled with a wife and young child, his one route back to a paying job is if he can engineer a hefty give from his college friend Purdy, who ‘had been one of the first to predict that people only really wanted to be alone and scratching themselves and smelling their fingers and firing off sequences of virulent gibberish at other deliquescing life forms”—in other words a pioneering internet tycoon. (One of the many updated and flourishing Milo Minderbinder-types who populate Sam’s fiction.)
In Milo Burke, Sam Lipsyte perfected his portrayal of the sad sack contemporary male—a failure at work, a barely tolerated presence at home, overloaded with seemingly immortal student debt and untenable notions from his trendily overpriced liberal arts education. All that Lipsyte Man has to fight back with is his hefty reserved of disappointed spleen and a verbal facility that is a consistent delight to the reader if not to his interlocutors. The Ask is saturated with the feeling that the promise of American life has curdled and vanished, leaving us the task of managing our disappointments as best we can. Sam’s acute sense of the small-bore sorrows and indignities of contemporary domestic life sometimes puts me in mind of Flaubert’s Bouvard and Pecuchet, his late, terminally disenchanted satire of two dimwitted clerks failing to escape their petit bourgeois fate. Wherever you go, there you are—unfortunately.
Eight years on, with his new novel Hark, Sam engages with the Age of Trump, aka the Big Con—a time when our disappointments are so acute that the need to believe on the part of a large percentage of the citizenry apparently cannot be extinguished by the preponderance of evidence or application of common sense.
The first thing to be said about the book is that Sam has never been sharper or funnier. It is my habit when reading a bound galley for review to dog ear pages where passages that made me laugh or that seem worth quoting strike me. My galley of Hark is so comprehensively dog eared that the whole thing resembles a dog’s ear. The second thing to be said is that Hark presents Sam’s most socially expansive portrait and diagnosis of American life, tinged with a slightly futuristic and dystopian vibe. It features the largest canvas and cast of characters of all his novels, and is the first of them to be written in the third person rather than the first, allowing access to a several competing and complimentary points of views and interior realities.
The Hark of the title is Hark Morner—his mother mistook the word in the Christmas carol for a name rather than an exhortation—who has accidentally drifted from stand-up into guru status when his routine on “Mental Archery” and its sharpening of “focus” proves congenial to corporate conventions and TED-type conclaves. Despite his lack of internal conviction he has attracted a circle of seekers who see in him whatever it is they seem to need. Chief among them is Kate Rumpler, an heiress and financial angel who is on her own private atonement tour, flying bone marrow from donors on flights around the country. Then there is the obligatory Lipsyte Man, Fraz Penig, an unemployed—actually never-employed—filmmaker who tutors the children of the one percent for a sort of living and produces video content for the Harkist website. He is married to Tovah Gold, a poet who earns the real paycheck in the family concocting bullshit-speak for something called the Blended Learning Enhancement Project”; both partners are “locked in a low-level quotidian apocalypse” and the marriage is mired on the shoals of her boredom and barely contained annoyance. (“The qualities in Fraz she once claimed to adore are not so adorable anymore.”)
Hark, a cipher to himself and an empty vessel similar to the figure of Chance in Jerzy Kosinski’s Being There, serves as a blank screen on which these and other characters project their ambitions and unreasonable hopes, family, work, sex, country and community having proven to be letdowns or outright delusions.
Lipstye’s satire in Hark has never been more cutting or timely. Meg, one of Hark’s acolytes, excitedly extols the virtues of something called Mercystream: “It’s amazing. Instead of letting refugees into the country, we can give them laptops and listen to their stories as they stream them from their camps. It’s all about empathy.” Fraz’s prematurely wised-up daughter Lisa declares, “School’s like a factory where they make these little cell phone accessories called people.” Musing on the root of her attraction to Hark, a character decides, “Your brain gets tired, brittle. It’s a bitch being attuned to the bleakness all the time. You crave a certain stupor, aka belief”—in itself a neat capsule statement of the novel’s controlling theme.
Lipsyte crams quite a lot of event into Hark’s 284 pages, much of it violent, some of tragic and fatal, and some of it even mystical and visionary, with a final chapter taking place in what is clearly the afterlife. To my mind Sam is attempting to craft a contemporary parable about the birth of religion, how faith, battered into near-extinction by the fraudulence and mendacity of the world, will batten on to the nearest plausible object. In this sense the novel is strikingly similar to Robert Coover’s The Origin of the Brunists, the powerful, even overwhelming first novel of his teacher at Brown that similarly deals with the birth of a cult in the wake of death and disaster. There are also many parallels to be found in the way Nathanael West handles the volatile mixture of credulity and rage in the people he calls “the disappointed” in his indelible The Day of the Locust. In this as in so many other ways Sam Lipsyte is West’s truest successor among our living American novelists. I can offer no higher compliment.
3.Sam Lipsyte began writing in earnest in the early ’90s, just as the pundits were declaring the end of history and a global reign of liberal (or neoliberal) democracy and a goodies-producing market economy stretched into the foreseeable (hah) future. It was not perhaps the best psychic weather for a natural-born naysayer with a provocateur’s instinct and a shot putter’s explosive delivery. But what happened on 9/11 and the subsequent dot-com crash and then the Great Recession opened up a space in the culture for the sort of uncompromising and truth-telling satirist Sam was born to be and the mode of black humor most congenial to his extravagant gifts of language and imagination. It is a critical commonplace that the brain-numbing events of the Trump presidency have rendered satire powerless—a critique of fiction’s incapacity in the wake of American idiocy that dates back to Philip Roth’s in the early ’60s, a time of comparative legibility. Tell it to Aristophanes, Juvenal, Voltaire, Jonathan Swift, Gustave Flaubert, Mark Twain, Bertolt Brecht, the George Orwell of Animal Farm.
Tell it to Sam Lipstye. And then you’d better duck.
Image: Flickr/Pete Banks
Several years ago, I spent a summer traveling back and forth between Baltimore and Washington, D.C., to visit the Ralph Ellison papers stored at the Library of Congress. I had long been enthralled by Invisible Man, Ellison’s seminal 1952 novel of race and identity in the waning years of Jim Crow. But I wasn’t taking the train into the nation’s capital twice a week because of anything he had published during his lifetime. I was there to immerse myself in the26 folders containing the thousands of pages of drafts and notes for a second novel Ellison had spent 40 years writing but never completed.
Ellison began work on the untitled novel (long excerpts of which were published in 2010 as Three Days Before the Shooting . . .) less than a year after the publication of Invisible Man. He had envisioned it as a sweeping tragedy of race in America centered on the story of a boy named Bliss, whose skin appears white but whose parentage is ambiguous. Adopted by a former black jazz trombonist turned preacher named Alonzo Hickman, Bliss would eventually discover the protean power of racial ambiguity and reinvent himself as a white, race-baiting United States Senator from Massachusetts. Years after his ascent to political prominence, he would deliver an improvised speech on the Senate floor that would be cut short when his estranged son attempted to assassinate him from the balcony. After being shuttled to a local hospital, Bliss would confront his own tragic past alongside the man who had raised him.
Shortly after Ellison died in 1994, his wife, Fanny, implored Ellison’s literary executor, John Callahan, to tell her whether her late husband’s second novel had a beginning, a middle, and an end. As Callahan sifted through the reams of writing that filled Ellison’s home office, he found only fragments, some of which were virtually novels unto themselves.
As I sat in the Library of Congress’s reading room poring over drafts swamped with marginalia, paragraphs for episodes that never materialized, and ephemera scribbled on the backs of grocery store receipts and old envelopes, I was alternately entranced and dismayed. Amidst this thicket of sentences and ideas, I had hoped to discover a plan, an ending, or—better yet—an explanation for why this writer of the first order hadn’t completed what he was certain would be his magnum opus. I never found any of these. Instead, I was given an inside view of artistic struggle stretched across decades that had resulted not in the conquest of an author over form but in a sprawling curiosity cabinet of literary possibilities.
The duration and singular focus of Ellison’s work on his second novel seemed to me without parallel in literary history. Even Robert Musil, who had spent two decades laboring over The Man Without Qualities (still only half the time Ellison spent), managed to publish two volumes of the work during his lifetime. Ellison’s failure to finish his novel struck me as something for the record books, unintentional though it may have been. The thrill I felt in living in Ellison’s unfinished world—where a scrawled note or a stray revision could shuttle me down a new intellectual rabbit hole—was distinct from my experience with completed novels. It was more collaborative, more free-wheeling, more alive with—for lack of a better word—novelty. And it led me to wonder if unfinished novels constituted a genre of their own and, assuming they did, whether it would be possible to assemble a canon of literary catastrophes.
After scouring archives and bibliographies in search of this canon, it became clear that not all unfinished novels are unfinished in the same way. The most familiar type, I discovered, were those left unfinished at an author’s death that would have almost certainly been completed had the author lived a year or two longer. This is especially true of unfinished novels from the Victorian era, a period known for prolific writing. Charles Dickens’s The Mystery of Edwin Drood, Wilkie Collins’s Blind Love, and Elizabeth Gaskell’s Wives and Daughters are just a few examples. Later in the 19th century, Gustave Flaubert died while writing Bouvard et Pécuchet. And more recently, the Chilean novelist Roberto Bolaño managed to produce a fair-copy manuscript of his masterpiece, 2666, before he died of liver failure in 2003 at the age of 50.
Some novels left unfinished by authorial death are also haunted by mortality, which makes their unfinishedness feel more fitting. Jane Austen’s unfinished novel Sanditon, about a group of hypochondriacs languishing at an English health resort, is such a novel. Its obsession with illness infects the narrative, enervating the central courtship plot. According to the critic D.A. Miller, the novel’s prose is similarly depleted, which led him to quip that Sanditon is the sole Austen novel to feature a death, that of the author as inimitable stylist.
There are occasions, too, when an author, anxious about the fate of their unfinished work, seeks to destroy it before it can be made public, incineration being the preferred method. Franz Kafka asked this of Max Brod in the 1920s and Vladimir Nabokov of his wife and son in the 1970s. Nikolai Gogol took it upon himself to burn most of the second part of Dead Souls shortly before he died in 1852. In 2016, the late fantasy writer Terry Pratchett told his friend Neil Gaiman—in what I take to be a wry commentary on this trope of literary obliteration—that he wanted all his unfinished projects “to be put in the middle of the road and for a steamroller to steamroll over them all.” This request was executed last fall in Salisbury, England, by a steamroller named Lord Jericho.
But the most interesting unfinished novels, to my mind, are those whose authors strived tirelessly to complete them but who, finally, couldn’t.
The term we often hear used to describe this vague condition is “writer’s block.” This pseudo-psychological diagnosis is so common as to be immune from critique. Yet it profoundly mischaracterizes the turmoil and energy that are elemental to literary failure. It implies immobility and obstruction when, in fact, unfinishedness is often a consequence of overflow and excess. Mark Twain wrote multiple iterations of his unfinished novel The Mysterious Stranger, Nathaniel Hawthorne aborted three romances in as many years at the end of his life, and David Foster Wallace generated heaps of prose for The Pale King before he committed suicide in 2008.
A more accurate term, I think, is “agony.” Although the word now denotes intense mental suffering, the Greek word agonia originally meant a “struggle for victory,” and the combatant who did the struggling was called an agonist. The agony of authors like Ellison, Twain, and Wallace, along with others like Truman Capote, combined these senses. In their unfinished novels, we bear witness to a contest between an author and their work beneath which flows a current of psychological anguish. This palpable sense of friction is one of the chief beauties of unfinished novels.
Ralph Ellison’s agony was visible in the ebb and flow of his writing process. Periods of concentrated forward momentum were followed by periods of furious revision and, occasionally, of inertia. What he produced is a work that stretches both up (via his obsessive rewriting of episodes) and out (the sequences he wrote in his later were sometimes hundreds of pages long) as he ceaselessly searched for a coherence that ultimately evaded him. Although Ellison continued to assure even his closest confidantes that he would complete his novel, certain episodes he composed late in life betray his own suspicions that the work might, perhaps, be unfinishable.
In a particularly poignant sequence from the 1980s, the elderly preacher Hickman spies a tapestry depicting Pieter Bruegel the Elder’s painting “Landscape with the Fall of Icarus” in the lobby of a Washington, D.C., hotel. Breughel’s original painting imagined the grand tragedy of Icarus’s hubristic flight to the sun within a medieval world whose daily rhythms of commerce and labor reduce the boy’s fall to insignificance. The painting is so alive with the mundane activities of normal folk that Icarus is but a dot in the distance, unacknowledged by the painting’s occupants and barely visible to the viewer. As Hickman ponders the tapestry and teases out its many meanings, Ellison seems also to be reflecting on how his own novel had become a picture frozen in time, its central tragedy overwhelmed by the elaborate world he had built around it.
Although Ellison never capitalized on this insight into his own work, one can hypothesize an alternate universe in which he had embraced the unfinishability of his novel and published it as a fragmentary narrative without conclusion. Such a decision wouldn’t have been without precedence either.
In my ambles through the history of literary failure, I discovered that not every unfinishable novel is as tortured as Ellison’s was. Indeed, many embrace unfinishability as an aesthetic virtue. This is certainly true of postmodern novels like Italo Calvino’s If on a Winter’s Night a Traveler, which revel in their potential endlessness, but earlier centuries had their partisans of the unfinished, too. Herman Melville concludes a chapter of Moby-Dick, for instance, with the declaration, “God keep me from ever completing anything. This whole book is but a draught—nay, but the draught of a draught.”
One of the most famous examples of this kind of work is also among the earliest. Laurence Sterne’s rollicking 18th-century comic novel, The Life and Opinions of Tristram Shandy, begins with its titular narrator declaring his intention to relate the story of his life only to get hopelessly lost in digressions that derail any narrative momentum. Like Scheherazade in A Thousand and One Nights, he writes to defer death, every digressive thread extending his life by a few pages. Sterne published the novel in parts between 1759 and 1767 (about two volumes every two years) with the hope that he would never stop. “The whole machine,” observes Tristram, “shall be kept a going [for] forty years.” The fact that the ninth and final volume ends four years before its narrator’s birth proves just how long Sterne could have kept this up. He died in 1768.
Ellison never wrote an ending to his second novel. In the four decades he worked on it, he jotted only a few scattered notes hinting at the aftermath of his tragic hero’s death. As it stands, the novel abruptly ends in a small hospital room in Washington, D.C., with the old preacher resting beside the nearly lifeless body of his adopted son as the latter prepares to draw his last breath. That he never does leaves readers on a narrative precipice with neither catharsis nor resolution to comfort them.
That Ellison never finished his novel does not diminish his achievement, but it does alter our view of it. Unfinished novels prod us to relinquish conventional approaches to reading and to seek literary pleasure elsewhere than narrative unity. They demand that we attend to dead ends as well as to false starts, to charged silences as well as to verbal excesses. They ask us to see what meanings can be gleaned from a process that has not yet hardened into product. Though their plots may be arrested, this fact does not make them any less arresting.
Image Credit: LPW.
I used to watch to a lot of DVDs with the audio turned to the commentary track. And not just the monumental works of cinematic wonder the every frame of which is worth analyzing and puzzling over. I worked at a video store — Sneak Reviews in Charlottesville, Va., one of those great labyrinthine stores stocked like an archive — and, bringing home DVDs indiscriminately, I found that even a terrible movie could be saved by simply flipping over and listening to the director, writer, or cast, chat away. Though some have taken great pains to push the commentary track to new heights of performance (see the one for the Coen Brothers’ Blood Simple, in which the possibly fictional artistic director “Kenneth Loring” claims scenes were shot upside-down and in reverse), I was more struck by the commentary tracks that are compelling accidentally: people going on tangents, revealing things obliquely they might later regret. Stallone may be dull as a dial-tone for most of his commentary on Cliffhanger, but the end, when he sounds apologetic and genuinely depressed about his life and career, turns out to be the only engaging and human moment on that disk.
A friend once even showed me a porno with a commentary track. While the director offers her insights into the filming process, along with increasingly belligerent rants about her colleagues, she gets completely shit-faced. After about 30 minutes, she passes out, and for the rest of the movie, you can hear her snoring breezily in the background. It’s bizarrely compelling, and if I could remember the title, I’d recommend it heartily. It was around this time that I considered writing a short story in the form of a commentary track for an imaginary movie. I never did write that story (it was probably a terrible idea), but it did get me thinking about all the ways that texts supplementary to larger stories — or “paratexts,” as they’re officially known — can themselves become stories.
Now, years later, I’m publishing my first novel, Any Resemblance to Actual Persons, which takes the form of one long cease-and-desist letter. Paul McWeeney’s sister is about to publish a nonfiction book in which she accuses their late father of being the Black Dahlia murderer, so in order to save their father’s name, Paul writes a letter to the publishers trying to refute his sister’s claims. As the novel started to take shape, and I realized that Paul’s story would become a discursive commentary on his sister’s story — which itself is a discursive commentary on their father’s story — I began revisiting other books with similar configurations. Pretty soon, I imagined these books forming a loose genre, the Paratext Novel, stories that take the form of — or at least have the pretense of being — explicit exegeses of other stories, real or imagined.
But perhaps “genre” is not the right word, since these books are not concerned with establishing and enforcing conventions. They are interested in exploring how commentary mediates our lives, how we are so steeped in supplementary material that we rarely directly experiencing whatever it is that material supplements: a phenomenon that these books respond to by making “commentary tracks” more human sites of engagement. Like a lot of people, I still haven’t gotten around to watching Andrei Tarkovsky’s film Stalker, but I found Geoff Dyer’s book Zona — in which he offers a commentary/summary (which he argues is an “expansion”) of the film — fascinating, in part for how Dyer’s parallel self-revelation reminds us how we understand our own stories by encountering others.
Now, when we pick up a novel, chances are we’ve already seen not just others’ commentary, but also the novelist’s self-commentary in the form of interviews and even articles like this. Whenever a writer comments on his or her own work, there’s inevitably an attempt — futile and foolish — to control how readers engage with that work. But, in these books, attempts at controlling the (ostensibly central) story spin wonderfully into their own stories, illustrating and celebrating the impossibility of narrative intervention and the chaos beneath the illusion of control.
Since listicles have become the new popular form of supplementary text, here are the top five paratext novels that have been buzzfeeding around my brain.
1. Pale Fire by Vladimir Nabokov: The paratext urtext, or at least the best known, Charles Kinbote’s deranged commentary on John Shade’s 999-line poem features, on its first page, this non-sequitur: “[John Shade] preserved the date of actual creation rather than that of second or third thoughts. There is a very loud amusement park right in front of my present lodgings.” Kinbote’s first interjection here is absurd, hilarious, and even violent in how it forces himself into someone else’s story. As with Lolita, the narrative hinges on control. In that earlier novel, Humbert Humbert not only controls Dolores Haze physically but narratively as well, since he is the one allowed a voice. In Pale Fire, Nabokov more explicitly curates, but also balances, this dynamic, revealing John Shade’s story — the tragic loss of his daughter that is the impetus for the poem — before Kinbote tries to absorb it into, and suppresses it with, his own story. It wasn’t until I read Claire Messud’s reminiscent The Woman Upstairs — about a schoolteacher who becomes obsessed with her student’s family — that I realized Kinbote is not just infiltrating Shade’s art; he’s infiltrating Shade’s family.
2. U and I by Nicholson Baker: True, this is not technically a novel, but Nicholson Baker’s “closed book examination” of John Updike’s work reads like no other work of nonfiction I’ve read. Though I would never encourage anyone to not read Updike, ignorance of his oeuvre should not keep you from reading U and I. After all, occasional ignorance certainly doesn’t stop Baker himself, as he misremembers and misunderstands, corrects himself and confesses lapses. That is partly why this book is so strange and so funny, but also because it’s the most honest portrayal of a reader’s relationship with a writer I’ve ever come across: one-sided, heavily mediated, existing entirely in his imagination. In Baker’s literary hero-worship, we begin to realize what we probably knew all along, that it uncomfortably echoes a bastard kid striving for legitimacy, and for simple fatherly validation.
3. Edwin Mullhouse by Stephen Millhauser: The full title, Edwin Mullhouse: The Life and Death of an American Writer 1943-1954 by Jeffrey Cartwright, hints at Millhauser’s interest in complicating the commentary track’s implicit attempt at narrative control and usurpation. This novel takes the form of a biography of Edwin Mullhouse, a supposed literary genius, who wrote a novel called Cartoons before dying mysteriously at age 11. His biographer and friend, Jeffery Cartwright, also a small child, is an insanely precocious Boswell whose relationship with his subject grows increasingly unsettling. Whereas in Pale Fire, John Shade has his brief moment at the microphone before Kinbote rushes the stage, in Mullhouse we have no unmediated access to Edwin — and no unmediated access to the ostensible cause for Edwin’s celebration, his novel Cartoons — which makes for a more disorienting reading experience. In the fictional introduction, the fictional Walter Logan White writes, “I myself have sternly resisted the temptation to read Cartoons, knowing full well that the real book, however much a work of genius, can no more match the shape of my expectations that the real Jeffrey could.” In creating a commentary track that seems to have supplanted Edwin’s novel, Jeffery seems to have supplanted Edwin, a figurative death equally resonant to Edwin’s literal death that illuminates the entire friendship we see develop between the two.
4. The Tragedy of Arthur by Arthur Phillips: If we close Edwin Mullhouse wondering how much of Edwin’s genius is imagined and manipulated by his biographer-cum-creator Jeffery, in The Tragedy of Arthur, Arthur Phillips — both author and character — relocates this distrust to the familiar battle between Stratfordians and anti-Stratfordians. In the 250-page introduction to a recently recovered Shakespeare play, which might actually be a forgery by his father, the character of Arthur Phillips lays out a childhood fraught with questions of trust and veracity. After the introduction, Phillips presents us with the play in question, and it’s a stunning act of impersonation. Seeing the son’s introduction followed by (what might be) the father’s work reminds us how familial this narrative hijacking really is, just as all of these works ultimately boil down to simple family arguments, an interruption around the dinner table: No, let me finish this story.
5. Flaubert’s Parrot by Julian Barnes: Though published in 1985, this novel, featuring narrator Geoffrey Braithwaite’s discursive commentary on Flaubert’s life and work, is my most recent addition to this genre. I borrowed it from my dad after a recent trip to France, where my girlfriend and I visited the Musée Flaubert et d’Histoire de la Medecine. Flaubert’s childhood house in Rouen is now a museum dedicated to both his work as a writer and his father’s work as a surgeon. Although the museum’s marriage of literary and medical does at first feel incongruous, it does form a kind of commentary track, inviting us to see the work of father in son in concert. For example, a sly curator has throughout displayed passages from Gustave’s Dictionary of Received Ideas, and the son’s quote that “all men of letters are constipated” is displayed not far from the father’s very invasive-looking devices to unblock reticent colons — both of which, consolation and cure, would be resonant to anyone suffering the effects of a French diet. Mostly, though, it’s the areas of seeming discord that are most striking. The room featuring Gustave’s childhood scribbles is right next to the room featuring the embalmed cadavers that good ol’ Dad tinkered with two centuries ago. And it’s not just human bodies that are preserved there; you can also see Flaubert’s actual parrot, taxidermied and propped on a bench in a closet. In the lobby, adjacent to an uncomfortable exhibit on Napoleonic-era gyno exams, they sell copies of Flaubert’s novels alongside Julian Barnes’s Flaubert’s Parrot, which is “possibly the wittiest anti-novel since Nabokov’s Pale Fire.” Or at least that is how The Boston Globe describes it in the blurb printed on the back. Which is to say: I haven’t read the actual book yet — it’s still sitting patiently on my coffee table — but according to the paratextual commentary on the novel, the blurbs and reviews that I have read, it seems entirely appropriate.
I used to be the kind of reader who gives short shrift to long novels. I used to take a wan pleasure in telling friends who had returned from a tour of duty with War and Peace or The Man Without Qualities with that I’ve-seen-some-things look in their eyes—the thousand-page stare—that they had been wasting their time. In the months it had taken them to plough through one book by some logorrheic modernist or world-encircling Russian, I had read a good eight to ten volumes of svelter dimensions. While they were bench-pressing, say, Infinite Jest for four months solid, I had squared away most of the major Nouveau Romanciers, a fistful of Thomas Bernhards, every goddamned novel Albert Camus ever wrote, and still had time to read some stuff I actually enjoyed.
I was a big believer, in other words, in the Slim Prestige Volume. Nothing over 400 pages. Why commit yourself to one gigantic classic when you can read a whole lot of small classics in the same period of time, racking up at least as much intellectual cachet while you were at it? I took Hippocrates’ famous dictum about ars being longa and vita being brevis as a warning against starting a book in your twenties that might wind up lying still unfinished on the nightstand of your deathbed. Aside from the occasional long novel––one every twelve to eighteen months––I was a Slim Prestige Volume man, and that seemed to be that.
Even when I went back to college in my mid-twenties to do a PhD in English literature, I still relied on a kind of intellectual cost-benefit analysis that persuaded me that my time was better spent broadening than deepening—or, as it were, thickening—my reading. Had I read Dostoevsky? Sure I had: I’d spent a couple of rainy evenings with Notes From Underground, and found it highly agreeable. Much better than The Double, in fact, which I’d also read. So yeah, I knew my Dostoevsky. Next question, please. Ah yes, Tolstoy! Who could ever recover from reading The Death of Ivan Illych, that thrilling (and thrillingly brief) exploration of mortality and futility?
There’s a memorable moment in Roberto Bolaño’s 2666 where Amalfitano, the unhinged Catalan professor of literature, encounters a pharmacist working the night shift at his local drug store whom he discovers is reading his way diligently through the minor works of the major novelists. The young pharmacist, we are told, “chose The Metamorphosis over The Trial, he chose Bartleby over Moby-Dick, he chose A Simple Heart over Bouvard and Pécuchet, and A Christmas Carol over A Tale of Two Cities or The Pickwick Papers.” This causes Amalfitano to reflect on the “sad paradox” that “now even bookish pharmacists are afraid to take on the great, imperfect, torrential works, books that blaze paths into the unknown. They choose the perfect exercises of the great masters. Or what amounts to the same thing: they want to watch the great masters spar, but they have no interest in real combat, when the great masters struggle against that something, that something that terrifies us all, that something that cows us and spurs us on, amid blood and mortal wounds and stench.”
Apart from being a powerful vindication of Bolaño’s own staggering ambition, and of his novel’s vast and unyielding darkness, I found that this passage reflected something of my own slightly faint-hearted reading practices (practices from which, by the time I had got around to reading the 900-page 2666, I had obviously started to deviate). A bit of a bookish pharmacist myself, I was content with netting minnows like Bartleby, while leaving the great Moby-Dick-sized leviathans largely unharpooned. I was fond of Borges’ famous remark about its being “a laborious madness and an impoverishing one, the madness of composing vast books,” and tended to extrapolate from it a dismissal of reading them too—as though Borges, the great wanderer and mythologizer of labyrinths, would ever have approved of such readerly timidity.
And then, three or four years ago, something changed. For some reason I can’t recall (probably a longish lapse in productivity on my thesis) I set myself the task of reading a Great Big Important Novel. For another reason I can’t recall (probably the fact that it had been sitting on a shelf for years, its pages turning the sullen yellow of neglected great books), I settled on Gravity’s Rainbow. I can’t say that I enjoyed every minute of it, or even that I enjoyed all that much of it at all, but I can say that by the time I got to the end of it I was glad to have read it. Not just glad that I had finally finished it, but that I had started it and seen it through. I felt as though I had been through something major, as though I had not merely experienced something but done something, and that the doing and the experiencing were inseparable in the way that is peculiar to the act of reading. And I’ve had that same feeling, I realize, with almost every very long novel I’ve read before or since.
You finish the last page of a book like Gravity’s Rainbow and—even if you’ve spent much of it in a state of bewilderment or frustration or irritation—you think to yourself, “that was monumental.” But it strikes me that this sense of monumentality, this gratified speechlessness that we tend to feel at such moments of closure and valediction, has at least as much to do with our own sense of achievement in having read the thing as it does with a sense of the author’s achievement in having written it. When you read the kind of novel that promises to increase the strength of your upper-body as much as the height of your brow—a Ulysses or a Brothers Karamazov or a Gravity’s Rainbow—there’s an awe about the scale of the work which, rightly, informs your response to it but which, more problematically, is often difficult to separate from an awe at the fact of your own surmounting of it.
The upshot of this, I think, is that the greatness of a novel in the mind of its readers is often alloyed with those readers’ sense of their own greatness (as readers) for having conquered it. I don’t think William Gaddis’s The Recognitions, for instance, is nearly as fantastic a novel as people often claim it is. But it is one of the most memorable and monumental experiences of my reading life. And these are the reasons why: because the thing was just so long; because I had such a hard time with it; and because I eventually finished it. (I read it as part of an academic reading group devoted to long and difficult American novels, and I’m not sure I would have got to the end of it otherwise). Reading a novel of punishing difficulty and length is a version of climbing Everest for people who prefer not to leave the house. And people who climb Everest don’t howl with exhilaration at the summit because the mountain was a good or a well made or an interesting mountain per se, but because they’re overawed at themselves for having done such a fantastically difficult thing. (I’m willing to concede that they may not howl with exhilaration at all, what with the tiredness, the lack of oxygen and very possibly the frostbite. I’ll admit to being on shaky ground here, as I’ve never met anyone who’s climbed Everest, nor am I likely to if I continue not going out of the house.)
And there is, connected with this phenomenon, what I think of as Long Novel Stockholm syndrome. My own first experience of it—or at least my first conscious experience of it—was, again, with The Recognitions. With any novel of that difficulty and length (976 pages in my prestigiously scuffed and battered Penguin edition), the reader’s aggregate experience is bound to be composed of a mixture of frustrations and pleasures. But what I found with Gaddis’s gigantic exploration of fraudulence and creativity was that, though they were greatly outnumbered by the frustrations, the pleasures seemed to register much more firmly. If I were fully honest with myself, I would have had to admit that I was finding the novel gruelingly, unsparingly tedious. But I wasn’t prepared to be fully honest with myself. Because every couple of hundred pages or so, Gaddis would take pity on me and throw me a bone in the form of an engaging, genuinely compelling set piece. Like the wonderful episode in which one of the characters, under the impression that he is being given a gift of $5,000 by his long-lost father whom he has arranged to meet at a hotel, is in fact mistakenly being given a suitcase full of counterfeit cash by a failed confidence man. And then Gaddis would roll up his sleeves again and get back to the real business of boring me insensible with endless pages of direct-dialogue bluster about art, theology and the shallowness of post-war American culture.
I kept at it, doughtily ploughing my way through this seemingly inexhaustible stuff, holding out for another interlude of clemency from an author I knew was capable of entertaining and provoking me. At some point towards the end of the book it occurred to me that what I was experiencing could be looked at as a kind of literary variant of the Stockholm syndrome phenomenon, whereby hostages experience a perverse devotion to their captors, interpreting any abstention from violence and cruelty, however brief or arbitrary, as acts of kindness and even love. Psychologically, this is understood as a defense mechanism in which the victim fabricates a “good” side of the aggressor in order to avoid confronting the overwhelming terror of his or her situation. Perhaps I’m stretching the bonds of credulity by implicitly comparing William Gaddis to a FARC guerilla commander, but I’m convinced there’s something that happens when we get into a captive situation with a long and difficult book that is roughly analogous to the Stockholm syndrome scenario. For a start, the book’s very length lays out (for a certain kind of reader, at least) its own special form of imperative—part challenge, part command. The thousand-pager is something you measure yourself against, something you psyche yourself up for and tell yourself you’re going to endure and/or conquer. And this does, I think, amount to a kind of captivity: once you’ve got to Everest base camp, you really don’t want to pack up your stuff and turn back. I think it’s this principle that explains, for example, the fact that I’ve read Gravity’s Rainbow but gave up halfway through The Crying of Lot 49, when the latter could be used as a handy little bookmark for the former. When you combine this (admittedly self-imposed) captivity with a novel’s formidable reputation for greatness, you’ve got a perfect set of conditions for the literary Stockholm syndrome to kick in.
In order for a very long novel to get away with long, cruel sessions of boredom-torture, it has to commit, every so often, an act of kindness such as the counterfeit cash set piece in The Recognitions. This is why Ulysses is so deeply loved by so many readers—as well it should be—while Finnegans Wake has been read almost exclusively by Joyce scholars (of whom I’m tempted to think as the Patty Hearsts of literature). After the grueling ordeal of the “Scylla and Charybdis” episode, in which Stephen stands around in the National Library for dozens of pages boring everyone to damn-near-literal tears with his theories about the provenance of Hamlet, we are given the unrestrained pleasure of the “Wandering Rocks” episode. Ulysses might treat us like crap for seemingly interminable stretches of time, but it extends just enough in the way of writerly benevolence to keep us onside. And this kindness is the key to Stockholm syndrome. You don’t know when it’s going to come, or what form it’s going to take, but you get enough of it to keep you from despising your captor, or mounting a brave escape attempt by flinging the wretched thing across the room. According to an article called “Understanding Stockholm Syndrome” published in the FBI Law Enforcement Bullettin:
Kindness serves as the cornerstone of Stockholm syndrome; the condition will not develop unless the captor exhibits it in some form toward the hostage. However, captives often mistake a lack of abuse as kindness and may develop feelings of appreciation for this perceived benevolence. If the captor is purely evil and abusive, the hostage will respond with hatred. But if perpetrators show some kindness, victims will submerge the anger they feel in response to the terror and concentrate on the captors “good side” to protect themselves.
If you’re the kind of reader who doesn’t intend to give up on a Great Big Important Novel no matter how inhumanely it treats you, then there’s a sense in which Joyce or Pynchon or Gaddis (or whoever your captor happens to be) owns you for the duration of that captivity. In order to maintain your sanity, you may end up being disproportionately grateful for the parts where they don’t threaten to bore you to death, where there seems to be some genuine empathic connection between reader and writer. Machiavelli understood this truth long before a Swedish bank robbery turned into a hostage crisis and gave the world the name for a psychological condition. “Men who receive good when they expect evil,” Machiavelli wrote, “commit themselves all the more to their benefactor.” When he wrote that line in the early sixteenth century, the novel, of course, did not yet exist as a genre. I’m inclined to imagine, though, that if he’d been born a century later, he might well have said the same thing about Don Quixote.
Despite all the changes in literary fashions over the past 150 years, Gustave Flaubert remains an essential influence on how novelists approach their work, and Madame Bovary remains the key book in his career. Given Flaubert’s obsession with style and craft, any translation of Madame Bovary into English requires not merely competence but a touch of full-on windmill-charging madness. Lydia Davis has this madness, tempered by a Flaubertian fastidiousness and dedication to language. The results are exhilarating: an English Bovary that is in forceful, energetic tension with the original French. Sentence by sentence, Davis takes up the same quixotic struggle between idealism and pragmatism that Flaubert has set at the core of his writing.
The sense of the quixotic was always strong in Flaubert. Don Quixote was one of his favorite books, and Madame Bovary consciously reaches for many of the effects that Cervantes achieved in a less methodical fashion.
One of the surprises in reading Don Quixote is discovering how, especially in its early chapters, the characters are more cartoonish than human. Don Quixote is a madman, a delusional fool. His devotion to his book-fed vision of knighthood exposes him to incessant mockery and attack, not only from other people but from the author. Sancho Panza, even more surprisingly, is less a voice of reason than a dull-witted clown. His proverbs aren’t presented as insights—they’re the lazy observations of someone who is down-to-earth mainly in the sense that he lacks imagination. For much of the first half of Don Quixote, we’re reading something that’s close to a vaudeville routine: Sancho plays the sluggish straight man to his master’s flamboyant, hyperactive idiocy.
Gradually, though, Cervantes begins to probe some of his characters’ larger possibilities. I think most of us go into Don Quixote expecting the story of a noble dreamer and a levelheaded realist, but Cervantes only allows us to find this story by first working our way through his constant ridicule. Eventually, and particularly in the second half of the novel, Cervantes adds more subtlety to the satire, and rescues his characters from their puppet-show crudeness. He isn’t always consistent about this, however, and Don Quixote is one of those books where the changeability of the writing invites us to make endless interpretations of what its author is trying to accomplish.
Flaubert first read Don Quixote in 1832, when he was eleven years old, and he had heard tales from the book when he was even younger. By the time Madame Bovary was published, in 1857, he had already been thinking about Cervantes for at least a quarter of a century. Moreover, he had created in Emma Bovary a character who would renew and deepen the meaning of Don Quixote for the future.
Emma embodies, in one person, the conflict between idealism and pragmatism that Cervantes divides between Don Quixote and Sancho Panza. The argument between the knight and the squire is Emma’s argument with herself: she touches both of their extremes at once, as well as many points in between those extremes. This is why so much of the novel takes place inside her head. Her marriage to Charles and her adulteries with Rodolphe and Léon matter less than her fluctuating attitudes towards the world.
It’s traditional for English-speaking readers to think of Emma mainly as a deluded romantic, but this is a serious distortion of her complexity. Fortunately, the new Davis translation allows us a fresh chance to consider the harsh, observant aspects of Emma’s personality. The various strains of her sentimentality are always doing battle with the various strains of her cynicism. When Flaubert said “Madame Bovary, c’est moi,” he didn’t just mean that Emma expressed his secret yearnings. He also meant that she expressed all the different temperatures of coldness and despair in his many degrees of pessimism.
Even before her marriage, as an inexperienced young woman who knows little of the world beyond her father’s farm and the convent where she was educated, Emma “considered herself to be thoroughly disillusioned, with nothing more to learn, nothing more to feel.” Throughout the novel, she can’t help comparing her abstract hopes against her keen eye for everything that is discouraging and ugly. Within ten pages of the start of her affair with the well-to-do landowner Rodolphe, she realizes that he has become depressingly sensible and brisk towards her. Devastated by his detachment, she again mourns the loss of all her dreams. She feels she has spent her illusions “in all those successive stages she had gone through, in her virginity, her marriage, and her love…like a traveler who leaves some part of his wealth at every inn along the road.”
Her feelings for Rodolphe revive, of course, but he leaves her at precisely the time he has promised to take her away with him forever. Later she goes to the opera, and convinces herself that nothing in the performance could possibly move her, since she now knows “how paltry were the passions exaggerated by art.” At this same opera she meets Léon, a young law student. They start an affair, but she soon cools towards him, and her bitterness becomes all-encompassing:
Why was life so inadequate, why did the things she depended on turn immediately to dust?…Every smile hid a yawn of boredom, every joy a malediction, every pleasure its own disgust, and the sweetest kisses left on your lips no more than a vain longing for a more sublime pleasure.
Emma’s cynicism and pessimism are critical to our understanding of her. Yet if they were all she had to offer us, Madame Bovary would be as narrow and harsh as some of Flaubert’s later novels. I admire Sentimental Education and Bouvard and Pécuchet—it’s hard not to enjoy Flaubert’s exacting technical skills—but the melancholy resignation of those books feels a bit mechanical to me. All action is doomed to failure and absurdity, all emotion is ghostly and pale, and nothing matters very much, either to the characters or to us as readers. I have friends who love the later Flaubert precisely for his refusal to hide his conviction that everything tastes bitter and stale. Still, on most days I want more than this from a novelist. I want a fuller sense of our possibilities: the heightened alertness to everything and everyone around us that Tolstoy and Woolf and Shakespeare provide at their best.
Emma is full of this alertness, a heady combination of physical, emotional, and intellectual responsiveness that makes her unique in Flaubert’s writing. Though it’s common for critics to ignore her intelligence, she is by a wide margin the smartest and most perceptive of the novel’s main characters. The world gives Don Quixote a beating for his romanticism, but he is usually in the honorable position of standing up for his convictions against external circumstances—circumstances that he amusingly chooses to reinterpret to his advantage. Emma, in contrast, gives most of her beatings to herself. She faces the difficult task of finding something to believe in when she must constantly fight her own mixed feelings. She is far too fierce for the tame choices available to her, and far too wise to find fulfillment in the limits of her socially allotted slots as either a contented wife or a secret adulteress.
Often in the novel we join her at the window as she looks outside and struggles with the subtleties of her dissatisfaction. She wonders how to “express an uneasiness so intangible, one that changes shape like a cloud, that changes direction like the wind…” At times she works towards a tentative feminist critique, and ponders how much more freedom her hoped-for son might someday enjoy compared to her. She sees quite clearly that much of her sense of confinement comes from the restraints placed on her as a woman, “always some desire luring her on, some convention holding her back.” Soon the gap between what she actually thinks and what she can openly admit grows intolerable:
She was sometimes surprised at the shocking conjectures that entered her mind; and yet she had to keep smiling, hear herself say again and again that she was happy, pretend to be happy, let everyone believe it…
When Emma receives the letter in which Rodolphe admits he is abandoning her, she runs up to her room “as if an inferno were blazing behind her.” In a sense, she carries this inferno with her everywhere she goes, and moves through the book with an intensity that none of the other characters comes close to attaining.
Flaubert continually brings out her restless energy. Thinking about her marriage, she “would hold the tongs in the fire till they turned red.” She sits down on the grass at one point, and quickly starts “digging into it with little thrusts of the tip of her parasol.” Later, as she listens to someone during a stroll, she begins “stirring the wood chips on the ground with the heel of her boot.” She talks to Léon before she sleeps with him for the first time, and we find her “contemplating the bows on her slippers and making little movements in the satin, now and then, with her toes.” She overflows with so much dynamism that she can’t even pass through a church without dipping her finger in the holy water.
Her tragedy is that her vitality has been diverted into channels which can’t possibly satisfy her. Like Don Quixote, she has let the fantasies of second-rate writers imprison her dreams. In her case, she is infected not with the ideal of knighthood but with the ideal of a perfect mate, as found in the novels and stories she read as a girl. Since this ideal is absurdly distant from the more difficult rewards of any actual relationship, it guarantees that she will always be unhappy.
Her love affairs can momentarily appease her frustration, but in the end they always take her in a false direction, away from the more mysterious passions that drive her at a level neither she nor anyone else in the novel can quite understand. When she begins her relationship with Rodolphe, she experiences for an instant this obscure desire, which is less for a lover than for transformation and escape:
But catching sight of herself in the mirror, she was surprised by her face. Her eyes had never been so large, so dark, or so deep. Something subtle had spread through her body and was transfiguring her.
Ultimately, it’s this promise of transfiguration that Emma seeks. She wants to break away from the confines of her life and undergo a metamorphosis into something better than the petty existence that surrounds her. Yet the only way she has been taught that she can attain any kind of transcendence—through the love of a man—repeatedly ends by making her feel cheated and unfulfilled. It’s appropriate that, by the novel’s climax, when she decides to kill herself, her rage against men takes on a magnificent ferocity, the flipside of Hamlet’s rage against women when he attacks Ophelia:
She longed to strike out at all men, spit in their faces, crush every one of them; and she walked rapidly straight on, pale, trembling, enraged, searching the empty horizon with her tearful eyes, as though reveling in the hatred that was suffocating her.
Madame Bovary is about a world where people’s highest aspirations are turned against them—are cheapened into standardized, prepackaged dreams that others can pillage and control. We’ll never know how Emma’s ambitions might have developed if she hadn’t become addicted to the romantic fantasies she read at the convent. She understands that those fantasies have failed her, but the novel prepares an even crueler recognition for her—one that’s as current for us today as the rows of foreclosures and bankruptcies along our streets.
Behind the story of Emma’s marriage and affairs, Flaubert quietly builds a hidden theme: the manipulations of Homais and Lheureux. After their introduction at the start of Part Two, their presence grows bit by bit until they finally replace Emma altogether and lead us to one of the most coolly nightmarish endings in literature.
For much of the novel we barely notice them, and we wonder why Homais, that absurd apothecary obsessed with prestige, keeps returning to the story. His mind consists entirely of received ideas: prejudices that parrot the hand-me-down Enlightenment notions of his favorite newspapers. Since he has no outstanding personal qualities to prop up his megalomania, he spends all his time trying to manipulate others and invent a public reputation that defies the extent of his ineptitude.
Emma is intelligent enough and independent enough to fight back against her fantasies at least as often as she indulges them. Homais, on the other hand, revels in the fatuousness of his ideas. He needs all thought to be secondhand and simplistic, needs all beliefs to fit strict rules of banality, because only in a society of the borrowed and the rote can he flourish.
At first he seems harmless. So does Lheureux, the merchant who loans money to Emma so she can buy the little luxury items that accompany her adulteries. As the novel goes on, however, we find that Homais and Lheureux work their way forward by exploiting and damaging the people around them.
Lheureux’s method is more obvious, and more immediately effective. He draws Emma into taking higher loans than she can realistically repay, and he keeps extending her credit in what she finally sees is an effort to ruin her. By selling her the romantic clothes and props that she thinks will spike her affairs with greater potency, he ends up winning the right to take all of her family’s possessions. This, for Emma, is the final disillusionment, the one that tips her towards her suicide. She is forced to understand that not only have her dreams failed to satisfy her—they’ve been twisted, through her own foolishness, to lead her into financial ruin.
Homais, in turn, accidentally provides the arsenic that Emma uses to poison herself. He also fails to purge her of the poison in time to perhaps save her life. His incompetence here mirrors his earlier incompetence in the novel’s famous clubfoot episode, where a young man’s leg has to be amputated after an unnecessary operation. (Interestingly, in both situations, Homais is less negligent than Emma’s husband, a medical practitioner who should know better.)
Moreover, in addition to the pain that Homais inflicts unintentionally, he becomes steadily more aggressive in mistreating anyone he perceives as a nuisance or a rival. He has a habit of practicing medicine without a license, and has always feared that Emma’s husband, the hapless Charles, will expose his misconduct. Because of this, Homais has done his best to undermine Charles in constant small ways while pretending to be his friend. Then Emma dies, leaving Charles plagued with debts, and Homais completely abandons him as soon as it becomes clear that Charles no longer has the social standing to interfere with anyone’s ambitions.
This is when Homais largely takes over the narrative. He tries to cure a blind man with a salve, fails,and then keeps the failure from harming his reputation by attacking the man in a series of newspaper articles. The success of his articles emboldens him, and he decides that he is an expert on government affairs and major social issues. He starts to crave awards and honors, and uses his public position to discredit and drive out of town three doctors in a row. The novel’s stark final lines tell us that he is protected by the authorities and local opinion, and has just won the cross of the Legion of Honor.
His conquest is complete. He has replaced conscientious medical practice with irresponsible quackery, and has successfully made over reality in his own image. Public recognition is all, and the manipulation of appearances not only hides his banality but enshrines that banality as the mark of superior skill. In the light of his grotesque victory, we see more clearly the confused splendor of Emma’s struggles, which have at least the nobility of her outsized passion. People like Homais and Lheureux, Flaubert suggests, are the source of much of the fraudulence that ensnares Emma and the rest of us throughout our lives. With our enthusiastic cooperation, they build mazes of debased aspirations and desiccated dreams, traps in which we lose our sense of direction, wasting our strength as we search for a way out.
Lydia Davis, already a formidable translator and short story writer, has now presented us with an English Bovary that powerfully recreates the different elements of Flaubert’s style.
Flaubert is often as hard on Emma as Cervantes was on Don Quixote and Sancho Panza, and Davis brings a tart, astringent tone to much of the writing. Some reviewers have complained about this, but it seems to me that Davis is usually just following Flaubert more closely than, say, the overly placid Francis Steegmuller version does. I love the Steegmuller version, and he deserves permanent recognition not only for his Bovary translation but for Flaubert in Egypt and his two-volume edition of Flaubert’s correspondence. Still, Davis provides a necessary corrective to Steegmuller, similar to the corrective she provided to Scott Moncrieff’s florid Proust.
It’s an essential virtue of this Bovary that Davis conveys the full force of Flaubert’s harshness. After all, the novel’s constant mockery of Emma is part of Flaubert’s overall plan, and I suspect it was Don Quixote’s scornful prose he had in mind when he wrote passages like these, ridiculing the way that Emma uses her mother’s death as an excuse for indulging in self-conscious displays of grief:
Elle se laissa donc glisser dans les méandres lamartiniens, écouta les harpes sur les lacs, tous les chants de cygnes mourants, toutes les chutes de feuilles, les vierges pures qui montent au ciel, et la voix de l’Éternel discourant dans les vallons. Elle s’en ennuya, n’en voulut point convenir, continua par habitude, ensuite par vanité, et fut enfin surprise de se sentir apaisée, et sans plus de tristesse au cœur que de rides sur son front.
With characteristic sharpness, Davis reproduces Flaubert’s air of fast-moving amusement at Emma’s stylized mourning:
And so she allowed herself to slip into Lamartinean meanderings, listened to harps on lakes, to the song of every dying swan, to the falling of every leaf, to pure virgins rising to heaven, and to the voice of the Eternal speaking in the valleys. She became bored with this, did not want to admit it, continued out of habit, then out of vanity, and was at last surprised to find that she was at peace, and that there was no more sadness in her heart than there were wrinkles on her forehead.
“Lamartinean meanderings” captures the rhythmic elegance of “méandres lamartiniens” and is much more concise than Steegmuller’s typically relaxed “meander along Lamartinian paths.” It’s also a bit less flat-footed than the “Lamartine meanderings” in the old Eleanor Marx-Aveling translation. More crucially, the second sentence shows the skill with which Davis renders the bounce and pace of the novel’s French. Flaubert rushes through Emma’s psychological changes with the comic deftness of a sped-up film clip, and Davis keeps the speed without losing the sense.
On page after page, Davis succeeds in conveying Flaubert’s invigorating bravado whenever he’s treating Emma’s foibles with unrestrained contempt. Part of what Flaubert learned from Cervantes is that you could make merciless fun of your characters without destroying them. Both Emma and Don Quixote emerge from their authors’ derision battered yet triumphant, oddly purified and preserved by the very attacks that superficially seem to discredit them.
For the most part, Davis sticks tightly both to the meaning of Flaubert’s text and to its constant changes of tone. She is especially good at following the different rhythms of the original and making them work in English, a difficult task with Flaubert. He is a hard writer to imitate. He approaches each sentence as a separate problem, and painstakingly fits each of those problems into the larger problem of the paragraph, the episode, the novel as a whole. Stylistically, you never quite know what the next sentence is going to be like—long or short, stoic or humorous, rich with description or sparse with subtle pathos. A key source of Flaubert’s greatness is that he manages to contain such variety within a voice that is still distinctive and strong. Davis has done a wonderful job of catching both the main voice—the rigorous, lucid tone that dominates the novel—and the wide range of other styles that wrestle with this voice throughout the story. Flaubert’s French practically seethes with all the moods and emotions that it includes. You have the sense, crucial to the novel’s impact, that powerful feeling is being conducted under powerful control.
Davis recognizes this. She knows that Flaubert’s style depends not merely on his renowned chill but on the heat that is constantly threatening to melt through the ice—the passion that the style needs to save while purging the words of sentimentality or sensationalism. Flaubert is celebrated for his irony, but we wouldn’t care about his irony if he weren’t equally good at moments like the one when Emma first considers killing herself in the wake of Rodolphe’s rejection. Upstairs in her home, she leans against the window and looks down at the paving stones while she listens to the whirring of a nearby lathe:
Le rayon lumineux qui montait d’en bas directement tirait vers l’abîme le poids de son corps. Il lui semblait que le sol de la place oscillant s’élevait le long des murs, et que le plancher s’inclinait par le bout, à la manière d’un vaisseau qui tangue. Elle se tenait tout au bord, presque suspendue, entourée d’un grand espace. Le bleu du ciel l’envahissait, l’air circulait dans sa tête creuse, elle n’avait qu’à céder, qu’à se laisser prendre; et le ronflement du tour ne discontinuait pas, comme une voix furieuse qui l’appelait.
Without doing anything especially tricky or spectacular, Davis gives this passage its full measure of life, the force of Emma’s despair mingled with the lathe’s turning:
The ray of light that rose directly up to her from below was pulling the weight of her body down toward the abyss. It seemed to her that the ground in the village square was swaying back and forth and rising along the walls, and that the floor was tipping down at the end, like a vessel pitching. She was standing right at the edge, almost suspended, surrounded by a great empty space. The blue of the sky was coming into her, the air circulating inside her hollow skull, she had only to give in, to let herself be taken; and the whirring of the lathe never stopped, like a furious voice calling to her.
Flaubert presses his translators into a nearly impossible position. They must balance fidelity to his meticulously chosen words against the desire to communicate his awesome stylistic achievement—must sway, as his characters do, between the earthbound and the ideal. Lydia Davis, stronger than Emma Bovary, sustains this balance from start to finish. The time is always right for a Flaubert revival. Davis has now given us the best possible reason to start one.