Growing up as a vegetarian in rural England in the ’90s, I was sometimes under the impression that my lifestyle was unusual—if not radical. In recent years, vegetarianism (and reduced-meat diets) have become more mainstream even in rural areas. With time I’ve come to realize that there have always been vegetarians and vegetarian communities. Perhaps the more interesting ones for me are the artists and thinkers who go against the grain, choosing to think and live differently from the people around them. There is sometimes difficulty in ascertaining the validity of claims that certain historical figures actually followed a vegetarian lifestyle. For Da Vinci we have both Giorgio Vasari’s accounts and the letters between Andrea Corsali and Da Vinci’s patron Giuliano de’ Medici as convincing sources; for Pythagoras we have a number of ancient sources, as well as his enduring legacy. My awareness of Albert Einstein’s vegetarianism comes from primary sources—letters to Hans Muehsam and Max Kariel. I will employ the term “vegetarian sentiment” here, as vegetarianism and veganism are ideologies before they are followed through in lifestyle and dietary choices. There are many writers and thinkers who advocate for vegetarianism and/or animal rights but still consume flesh meat. There’s Alice Walker, who I’ll talk about in more detail later; there’s Voltaire, who argued fervently against Descartes’s belief that animals were mere machines (though he may have been a practicing vegetarian based on what he writes in Dictionnaire Philosophique: “Men fed upon carnage, and drinking strong drinks, have all an impoisoned and acrid blood which drives them mad in a hundred different ways.” Anna Sewell, through her children’s novel Black Beauty, taught young and old readers about how to treat both animals and humans with kindness—and in turn spurred progression in the animal welfare movement. Raskolinov’s fearful horse dream in Fyodor Dostoyevsky’s Crime and Punishment is symbolic of what is soon to come—though also revelatory of what the author feels about animals. In his later novel The Brothers Karamazov, there’s a discussion between Alyosha and the elder Zosima: Love animals: God has given them the rudiments of thought and joy untroubled. Do not trouble their joy, don't harass them, don't deprive them of their happiness, don't work against God's intent. Man, do not pride yourself on superiority to animals; they are without sin, and you, with your greatness, defile the earth by your appearance on it, and leave the traces of your foulness after you—alas, it is true of almost every one of us! Suffragists who fought for women’s rights were also heavily involved in campaigning against vivisection and the consumption of meat. Many suffragists thought that the adoption of a vegetarian diet could herald a new world where women were not confined to the kitchens. Carol J. Adams writes in her book The Sexual Politics of Meat (extract obtained from Stuff Mom Never Told You): We can follow the historic alliance of feminism and vegetarianism in Utopian writings and societies, antivivisection activism, the temperance and suffrage movements, and twentieth century pacifism. Hydropathic institutes in the nineteenth century, which featured vegetarian regimens, were frequented by Susan B. Anthony, Elizabeth Cady Stanton, Sojourner Truth, and others. At a vegetarian banquet in 1853, the gathered guests lifted their alcohol-free glasses to toast: “Total Abstinence, Women's Rights, and Vegetarianism.” Recently a friend came to me asking for a recommendation for vegetarian literature. I was taken a little off guard, for I have never actively searched for books on vegetarianism. Why read to be convinced of an opinion I already share? Though I realized that I had read books by vegetarian authors (of fiction), and writers who have expressed a vegetarian sentiment. And though I couldn’t answer his question, it compelled me to pick up work by authors whose experiences of (and sometimes motivations for) vegetarianism were entirely different from my own. While far from exhaustive, I shall discuss some among them here. 1. Franz Kafka Max Brod is often remembered as the friend who wouldn’t burn Franz Kafka’s life’s work, as was asked of him by Kafka, instead publishing it posthumously. If it were not for his refusal to follow his friend’s instructions, we might not have stories such as The Metamorphosis and The Castle. But Brod was also a prolific published writer during his lifetime, and he eventually became Kafka’s biographer. Much of what we know about Kafka comes from Brod, including his experimentation with different diets—in part to ease his lifelong sickness. One of the most striking images from Franz Kafka: A Biography is where Brod recalls how Kafka, a recently turned strict vegetarian, once visited the Berlin aquarium: Suddenly he began to speak to the fish in their illuminated tanks, “Now at last I can look at you in peace, I don't eat you any more.” ... Among my notes I find something else that Kafka said about vegetarianism...He compared vegetarians with the early Christians, persecuted everywhere, everywhere laughed at, and frequenting dirty haunts. “What is meant by its nature for the highest and the best, spreads among the lowly people.” In a letter from Brod to Kafka’s fiancee Felice Bauer, Brod writes: After years of trial and error Franz has at last found the only diet that suits him, the vegetarian one. For years he suffered from his stomach; now he is as healthy and as fit as I have ever known him. Then along come his parents, of course, and in the name of love try to force him back into eating meat and being ill—it is just the same with his sleeping habits. At last he has found what suits him best, he can sleep, can do his duty in that senseless office, and get on with his literary work. But then his parents...This really makes me bitter. 2. Jonathan Safran Foer Jonathan Safran Foer returns to fellow Jewish writer Kafka’s moment at the Berlin aquarium throughout his first nonfiction work, Eating Animals. The book is the result of three years spent immersed in the world of animal agriculture. This was in part motivated by a desire to make an informed decision about what to feed his newborn son—but also to become more resolved with regard to his wavering vegetarianism. He makes the invisible realities for factory-farmed animals visible for himself and the reader, forcing us to think about what is impaled on our forks. Eating Animals is essentially his own denunciation of factory farming, but it is also a reflection on the culture that surrounds meat eating: the history of ambivalence toward carnism; societal hypocrisies; the myth of consent and other stories cultures create for themselves to justify slaughter; the language we use to devalue some animals but place value in others that we love as companions. In several places, Safran Foer refers back to that moment when Kafka looks at fish at the Berlin aquarium. He uses Walter Benjamin’s interpretation of Kafka’s animal tales to frame this part of his own story. Benjamin tells us how Kafka’s animals are “receptacles of forgetting,” while shame—as paraphrased by Safran Foer—is “a response and a responsibility before invisible others.” “What had moved Kafka to become vegetarian?” asks Safran Foer: A possible answer lies in the connection Benjamin makes, on the one hand, between animals and shame, and on the other, between animals and forgetting. Shame is the work of memory against forgetting. Shame is what we feel when we almost entirely—yet not entirely—forget social expectations and our obligations to others in favor of our immediate satisfaction. Shame doesn’t just prompt forgetting about the animals we harm. “What we forget about animals,” writes Safran Foer, “we begin to forget about ourselves.” During the spring of 2007, Safran Foer lived in Berlin with his family, and they would visit the aquarium Kafka had visited the previous century—and like him, they would stare into the tanks at the sea life. “As a writer aware of that Kafka story, I came to feel a certain kind of shame at the aquarium,” he writes. Among the various manifestations of shame he experienced: shame at feeling “grossly inadequate” compared to his hero, shame at being a Jew in Berlin: And then there was the shame in being human: the shame of knowing that twenty of the roughly thirty-five classified species of seahorse worldwide are threatened with extinction because they are killed “unintentionally” in seafood production. The shame of indiscriminate killing for no nutritional necessity or political cause or irrational hatred or intractable human conflict. For Safran Foer, remembering thwarts forgetting when he visits the kill floor of Paradise Locker Meats and looks into the eyes of a pig who is minutes away from being slaughtered; he didn’t quite feel at ease being the pig’s last sight, though what he felt wasn’t quite shame either. “The pig wasn’t a receptacle of my forgetting,” he writes. “The animal was a receptacle of my concern. I felt—I feel—relief in that. My relief doesn’t matter to the pig. But it matters to me.” 3. Alice Walker “KNOW what the caged bird feels,” wrote Paul Laurence Dunbar in a poem entitled “Sympathy.” With this poem, Dunbar—who was born to parents who had been enslaved before the American Civil War—opened up this dreaded comparison between human and animal slavery. The line was borrowed by Maya Angelou for the title of her autobiography, I Know Why the Caged Bird Sings. Most will feel uncomfortable with comparisons between animal suffering and human suffering—the title of Marjorie Spiegel’s The Dreaded Comparison acknowledges this. The African-American writer and self-described womanist Alice Walker, known best perhaps for The Color Purple, prefaced Marjorie Spiegel’s controversial title. Walker writes, “It is a comparison that, even for those of us who recognize its validity, is a difficult one to face. Especially so, if we are the descendants of slaves. Or of slave owners. Or of both. Especially so if we are also responsible in some way for the present treatment of animals.” Though Walker acknowledges the difficulty of this comparison, she concludes that she agrees with Spiegel’s line of reason: “The animals of the world exist for their own reasons. They were not made for humans any more than black people were made for whites or women for men. This is the gist of Spiegel’s cogent, humane and astute argument, and it is sound.” Walker is not a vegetarian. In a book entitled The Chicken Chronicles, the author writes about her relationship with her flock of chickens. Rather than turn her head, Walker confronts her food vis-à-vis—in this way, the chicken is not a receptacle of her forgetting. Interviewer Diane Rehm expressed surprise upon learning that Walker eats birds. “I know, I know. It's a contradiction and I have been a vegan and I've been a vegetarian,” replied Walker, “but from time to time, I do eat chicken. I grew up on chicken and I accept that.” Vegetarianism, or veganism, is something to which Walker seems to aspire, though. To an audience at Emory University, the author talks about her love of cows and says she is glad she doesn’t eat them. She then recites a short poem she wrote for an Italian friend who wanted help giving up meat, “La Vaca”: Look into her eyes and know: She does not think of herself as steak. [millions_ad] 4. Isaac Bashevis Singer The comparison between human and animal slavery is not the only dreaded comparison; the Nobel laureate Isaac Bashevis Singer has become the classic reference for comparisons between intensive farming and the Holocaust. In “The Letter Writer,” he wrote, "In relation to [animals], all people are Nazis; for the animals, it is an eternal Treblinka." Singer was born in a village near Warsaw, Poland. His father was a Hasidic rabbi, while his mother was the daughter of the rabbi of Bilgoraj. Singer seemed destined to become a rabbi, too, though a brief enrollment at a rabbinical school turned him off the idea. He worked brief stints in a number of fields before emigrating to the United States, fearful of the rise of Nazism in neighboring Germany. In New York City he worked as a journalist for a Yiddish-language newspaper before penning his own novels and short stories, including The Slave and The Family Moskat. Vegetarianism crops up often in his work. Yet it is nowhere near as explicit as in “The Slaughterer,” a short story which first appeared in The New Yorker in 1967 and now resides in The Collected Stories of Isaac Bashevis Singer. The story follows Yoineh Meir, a Jew who—like Singer—seems destined to become a rabbi. A competitor takes Meir’s place, and instead he is offered the role of the town’s ritual slaughterer. The career causes him daily anguish and eventually leads to his own untimely demise. The story is graphic and bloody, the protagonist sensitive and empathetic toward all living creatures: Yoneih Meir no longer slept at night. If he dozed off, he was immediately beset by nightmares. Cows assumed human shape, with beards, and skullcaps over their horns. Yoineh Meir would be slaughtering a calf, but it would turn into a girl. Her neck throbbed, and she pleaded to be saved. She ran to the study house and splattered the courtyard with her blood. He even dreamed that he had slaughtered [his wife] instead of a sheep. Yoineh Meir extends his love toward all animals when he realizes what it means to kill one. Later in the narrative, Singer writes that “when you slaughter a creature, you slaughter God.” 5. J.M. Coetzee In his metafictional novella The Lives of Animals, Coetzee’s alter ego and fictional novelist Elizabeth Costello is invited to be a guest lecturer at a university’s annual literary seminary. Rather than talk about literature, she decides to talk about animal cruelty and in several places compares the mass slaughter of animals to the Holocaust: The people who lived in the countryside around Treblinka—Poles, for the most part—said that they did not know what was going on in the camp; said that, while in a general way they might have guessed what was going on, they did not know for sure; said that, while in a sense they might have known, in another sense they did not know, could not afford to know, for their own sake. ... I return one last time to the places of death all around us, the places of slaughter to which, in a huge communal effort, we close our hearts. Each day a fresh holocaust, yet, as far as I can see, our moral being is untouched. ... It was from the Chicago stockyards that the Nazis learned how to process bodies. We know Coetzee is a vegetarian and active animal rights advocate, though in The Lives of Animals it becomes difficult to distinguish between Elizabeth Costello’s views and J. M. Coetzee’s. He has written several op-eds for the Sydney Herald about beliefs we can safely say are his own. In one article, Coetzee criticizes the manner in which consumers tend to idealize family farms: It would be a mistake to idealize traditional animal husbandry as the standard by which the animal products industry falls short. Traditional animal husbandry is brutal enough, just on a smaller scale. A better standard by which to judge both practices would be the simple standard of humanity: is this truly the best that humans are capable of? In another, Coetzee expresses his optimism concerning the compassion of children: “It takes but one glance into a slaughterhouse to turn a child into a lifelong vegetarian.” 6. V.S. Naipaul V.S. Naipaul has a visceral response to the sight and smell of meat. Naipaul was born in Trinidad; unusual among Indian laborers in the Caribbean region, Naipaul’s paternal grandfather was a Brahmin—the highest ranked caste among Hindus in India. Naipaul’s father also claimed this distinction, though the validity of his claim is less clear. Often, due to general caste rules, Brahmins distinguish themselves from other castes by adhering to a strict vegetarian diet. All Hindus aspire to transcend this life through self-realization—halting the transmigration from one body to the next. To do so, in their daily lives they must act in accordance with the tenets of Sattva Guna (mode of goodness) laid out in the Bhagavad Gita, a Hindu scripture which includes the abstention of flesh meat. For many Hindus who follow a lacto-vegetarian diet, the ideological reasons for not eating animals are still ever present—for others, it is merely a distinction inherited from the cultural context into which they were born. I don’t know which category Naipaul fits into. He has, to the best of my knowledge, never spoken openly about any ideological reason for his vegetarianism. He has, however, written about his disgust at the sight of meat. What is perhaps the first mention is in his early work Between Father and Son: Family Letters. A young Naipaul received a scholarship to study at Oxford, where he found himself struggling with depression and loneliness. In a bid to bridge the distance between continents, he wrote letters to his family—a correspondence that lasted four years and ended with the death of his father. In a letter to his elder sister Kamla, dated Sept. 21, 1949, he recapitulates a distressing situation during an Old Boy’s Association dinner: “Special arrangements, I was informed after dinner, had been made for me but these appeared to have been limited to serving me potatoes in different ways—now fried, now boiled.” Turtle soup was served to the other diners; being vegetarian, Naipaul asked the manager for corn soup instead. “He ignored this and the waiter bought me a plateful of green slime. This was the turtle soup. I was nauseated and annoyed and told the man to take it away. This, I was told, was a gross breach of etiquette.” 7. Leo Tolstoy Vegetarianism was the focal point of several of his essays and tied in with his pre-existing beliefs in the benefits of abstinence. In On Civil Disobedience, for example, Tolstoy writes, “A man can live and be healthy without killing animals for food; therefore, if he eats meat, he participates in taking animal life merely for the sake of his appetite. And to act so is immoral.” Tolstoy originally wrote The First Step as the foreword to The Ethics of Diet by Howard Williams. In it, Tolstoy encourages readers to practice harmlessness: “If a man aspires towards a righteous life, his first act of abstinence is from injury to animals.” He also suggests that vegetarianism is humanity’s natural state: “So strong is humanity's aversion to all killing. But by example, by encouraging greediness, by the assertion that God has allowed it, and above all by habit, people entirely lose this natural feeling.” He wrote extensively about violence, and in a letter to Mahatma Gandhi published later as A Letter to a Hindu, Tolstoy convinced Gandhi to use nonviolent resistance to gain independence from the British colonial rule in the Indian peninsula. In his essay “What I Believe,” Tolstoy emphasizes his conviction that we become more violent by inflicting suffering upon animals: “As long as there are slaughter houses there will always be battlefields.” Four years after Tolstoy’s death, his private secretary Valentin Bulgakov wrote an article for London-based The Vegetarian News to celebrate Tolstoy’s “great service to the vegetarian movement” during the last 23 years of his life. The article ends like this: I close what I have to say with the words of Leo Tolstoy himself: “Here, indeed, outwardly, are we met but inwardly we are bound to every living creature. Already are we conscious of many of the motions of the spiritual world, but others have not yet been borne in upon us. Nevertheless they come, even as the earth presently comes to see the light of the stars, which to our eyes at this moment is invisible.” Image: Flickr/ilovebutter
"To start with, look at all the books." This is how Jeffrey Eugenides opens his novel The Marriage Plot, and it may as well be the opening of my life. I am surrounded by piles and piles (and, seriously, piles) of books. In my office, my bedroom, the bathroom. My girlfriend's always annoyed with the stacks that appear as if by magic on our living room coffee table. She counts them, and then says, "Fourteen books? Really?" Well, I want to say, yeah. Really. Fourteen books. What do you want from me? So in the interest of proving the worth of all of these piles, recently I've been writing essays about them. Some of them I've published. My essay "The Art of the Epigraph," published a few weeks ago right here on The Millions, came out of my desperate ploy. Now, I'm turning my attention to opening sentences. Why? Well, first, because I have a prodigious and unembarrassed passion for opening sentences. But also: Look at all the goddamn books. I tend to prefer opening sentences that get right to the point, so I'm just going to state right off the bat that this essay intends to analyze a handful of opening sentences from classic to recent novels and examine their effects. Opening sentences have long fascinated me, so much so that I've even made a point to memorize the beginnings of most of the books I read. This is what I do with my time. If possible, I love opening sentences even more than epigraphs. If I were ever a contestant on Jeopardy!, and "Opening Sentences" popped up in one of the blue boxes, I would destroy that category. Like any reader, when I pick up a book, I open it and check out the first words. I'm not looking for anything specific. Actually, what I love about opening sentences is the complete lack of rules, how each writer gets to decide how best to guide a reader into their narrative. A writer, after all, is the instructor for the experience of their own work, and the opening sentence––after the book design, title, and epigraph––is among the reader's first impressions. Opening sentences are not to be written lightly. But how do they work? What's makes a good one effective? Is there a better way to do it? Or is it a creative free-for-all? As a teen, I became enamored of the 19th-century standard: that of the Grand Declaration, a way of establishing the high themes of the work. We know these openings by heart: "All happy families are alike; each unhappy family is unhappy in its own way," from Tolstoy's Anna Karenina; "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife," from Austen's Pride and Prejudice; and, of course, Dickens's "It was the best of times; it was the worst of times…" from A Tale of Two Cities. When I first came upon these novels, these declarations thrilled me, as they implied high-mindedness, a lofty ambition of subject, even if that subject was treated satirically, as in Austen's case. The absolutist vibe they gave off made the work itself feel chiseled into rock, as if each word were crafted to unimpeachable perfection. As a fledgling novelist, I now see the malleability of fiction, its fluidity, how it is never as hard as stone, how, at most, it only appears that way. The Grand Declaration has, thankfully, mostly fallen out of fashion, though our reverence for these famous sentences persists. They're great lines, to be sure, but readers know by now that a novel is a perfect place for moral, emotional, political, and spiritual investigation. We don't need to be cued into the game so directly. Later, writers offered increasingly subtle and idiosyncratic opening lines. Woolf's "Mrs. Dalloway said she would buy the flowers herself," expressed a woman's small claim of autonomy. Ken Kesey established the mood of paranoia of authority in One Flew Over the Cuckoo's Nest with, "They're out there." J.D. Salinger distinguished his novel's famous protagonist from a particular famous protagonist of the past with the honesty of his voice and the statement contained in the opening: If you really want to hear about it, the first thing you'll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don't feel like going into it, if you want to know the truth. Contained in each of the above sentences is something crucial to the novel it opens, all without stating it outright. Much can be accomplished in seemingly straightforward prose. It would be easy to think of opening sentences as somehow representative of the rest of the book, as exemplifying some quintessence of the novel's aims, but this isn't––and shouldn't––always be so. Take D.H. Lawrence's Lady Chatterley's Lover, which opens with, "Ours is essentially a tragic age, so we refuse to take it tragically," and goes on to describe the state of life after WWI. The pronouns here––the first-person-plurals "our" and "we"––are not used in the rest of the book, which stays firmly in third person. The line immediately following this section is: "This was more or less Constance Chatterley's position." The switch from first- to third-person places us squarely into the mind and story of Lady Chatterley, and makes us, because of their aberrance, remember those lines as we read on. Does the "tragic age" remain tragic? Or, as Doris Lessing puts it, will "England…be saved through warm-hearted fucking"? Jumping ahead a number of decades, let's examine another work in which the opening line is far from representative of the style to follow. Jonathan Franzen's The Corrections starts with curiously ill-fitting grandness: "The madness of an autumn prairie cold front coming through. You could feel it: something terrible was going to happen." Isolated, this is a wonderfully evocative opening, but once I read the rest of the book (which is utterly fantastic), I wondered about those first lines. They now seemed such a transparent attempt to elevate the book to classic status. On my second read, I came across this lit bit of dialogue from Chip, about his unsold and pretentious screenplay: "My idea," Chip said, "was to have this 'hump' that the moviegoer has to get over. Putting something offputting at the beginning, it's a classic modernist strategy. There's a lot of rich suspense toward the end." Is Franzen being meta here? Is he acknowledging the ill-fitting language of his opening when set against the "rich suspense" of the rest? It's hard not to see Chip as the closest character resembling Franzen himself, who, before publishing The Corrections famously worried about the direction of the novel in his Harper's essay "Why Bother?" He writes: I resist, finally, the notion of literature as a noble higher calling, because elitism doesn't sit well with my American nature, and because even if my belief in mystery didn't incline me to distrust feelings of superiority, my belief in manners would make it difficult for me to explain to my brother, who is a fan of Michael Crichton, that the work I'm doing is simply better than Crichton's. Is The Corrections, which marked a significant shift in Franzen's style, his way of leaving his past behind? Of declaring a new ambition for fiction? Maybe the following bit of dialogue captures how Franzen felt about his former fiction, and maybe about difficult social fiction in general: As Chip's girlfriend (who couldn't make it all the way through his script) leaves him, he tries to convince her of the opening's value: "You see, though," he says, "the entire story is prefigured in that monologue. Every single theme is there in capsule form––gender, power, identity, authenticity––and the thing is…Wait. Wait. Julia?" Though Chip's argument is probably reasonably founded, no one really cares about prefiguring themes in capsule form. Readers aren't necessarily looking for structural innovations or cerebral thematic overtures. More likely, they're looking, as Franzen himself wrote, "for a way out of loneliness." I do not mean to suggest that great, classic novels can't begin simply and straightforwardly, in a style that is illustrative of the novel it opens. In fact, it's the more common practice. But that fact does not diminish the power or the greatness of any work. Dostoyevsky's Crime and Punishment, for instance, gets right into the story, like the thriller it is: "Early one evening, during an exceptional heat wave in the beginning of July, a young man walked out into the street from the closetlike room he rented on Stoliarny Place." From there, we are thrust into the mind of Raskolnikov and his murderous, immoral descent. Any other kind of opening would have been unnecessary. A novelist teaches the reader how to read the novel, and along the way they express innumerable opinions about their view of literature in relation to this one work. Dostoyevsky didn't believe that Crime and Punishment needed a conspicuous opening. (It needed a quotidian introduction with hints of aberrance. The "exceptional heat wave" (implying tension, heat, murkiness, anger) pops out of the routine, and so although Raskolnikov attempts to act naturally and arouse no suspicion, the reader knows––subtly, maybe inexpressibly––that something is amiss. (Regular life, this isn't.) But Dostoyevsky did think his incredible short novel Notes from Underground ought to start ostentatiously: "I am a sick man…I am a spiteful man." You do not get any grander than that. In other words, a portion of our measurement of an opening line's efficacy must be contextual. How does it set up what follows? From what perspective is it written? Where does it take us? And yet, it must also be judged completely on its own, for if a novel starts slowly, unpromisingly, no one will want to continue. Inserting something "offputting" at the beginning, despite what Chip thinks, is generally a really stupid idea. Two of the best novels of last year open with sentences that are simple, straightforward and representative of the whole, and they both get right to the point. Meg Wolitzer's beautiful and funny novel The Interestings begins like this: "On a warm night in early July of that long-evaporated year, the Interestings gathered for the very first time." Simple, direct, yet enticing––suggestive of a history about to unfold. See, this is an opening aimed at both establishing the focus and the narrative. The Interestings are nothing more than a group of artists who meet at a summer camp in 1974 when they're fifteen and sixteen years old. They named themselves The Interestings. Still, with this sentence Wolitzer imbues a sense of grandeur––a kind of historical importance––to the story of these friends as they age, as they wax and wane in their careers, and as they struggle to stay together. They all grow up, eventually, but when they first met, when they were teens, they believed they were important, destined for fame, fortune, critical respect––and the opening sentence reflects that. Eleanor Catton's whopper of a masterpiece, the Booker Prize-winning The Luminaries, is set in nineteenth-century New Zealand, and its language harkens back to those big Victorian novels. It is undoubtedly a tale––no other word for it––with rousing adventure and ridiculously complex intrigue and mystery. It also features an enormous cast and a narrative that moves through all of their points of view. How does one begin such a novel? How does a writer set the style, hint at its high population, and yet still retain the enigmatic air of a tale? Here's how Catton answers those questions: "The twelve men congregated in the smoking room of the Crown Hotel gave the impression of a party accidentally met." Pretty perfect, right? In this short, direct sentence, you've got the large cast (twelve men), the period and atmosphere (smoking room), and the air of mystery: why have these men met? Do they know each other? Who are they? But Catton does one better with the next sentence: From the variety of their comportment and dress––frock coats, tailcoats, Norfolk jackets with buttons of horn, yellow moleskin, cambric, and twill––they might have been twelve strangers on a railway car, each bound for a separate quarter of a city that possessed fog and tides enough to divide them; indeed, the studied isolation of each man as he pored over his paper, or leaned forward to tap his ashes into the grate, or placed the splay of his hand upon the baize to take his shot at billiards, conspired to form the very type of bodily silence that occurs, late in the evening, on a public railway––deadened here not by the slur and clunk of the coaches, but by the fat clatter of the rain. Come on! How masterful is that stretch of writing? How evocative, how eloquent, how, how…inviting. As soon as I read those words, I knew I would read all 834 pages of The Luminaries, and quickly. And I did: I blazed through it at (at least) a hundred-and-fifty-page-a-day pace. Everything in the novel is, like Chip's screenplay, "prefigured" in that opening. Except here, Catton's work is so sly, so skillfully wrought you'd have to read the whole thing to even begin to understand how expertly Catton guided you as a reader. Catton, by the way, is twenty-eight years old. Both Wolitzer's and Catton's openings skirt grandness and express no overarching theme directly. They are elegant and direct, but that doesn't mean they are only accomplishing one thing. Often the most artful way to communicate something is when it is couched within ostensible artlessness. Then, of course, there are the allusive openings, the ones that, to use a crass verb, borrow from the work of their forebears. Kurt Vonnegut's Cat's Cradle references what is perhaps the most famous opening line ever, "Call me Ishmael," from Melville's Moby Dick. Melville's line, more than simply being famous, is also one of the most complex (and economic, at three words). First, this narrator is talking to us, and in a friendly, almost conspiratorial way. Second, someone asking you to call them something usually means it's not their real name, so "Ishmael" appears a tad suspicious. Third, the reference to the Biblical Ishmael (son of Abraham, half-brother of Isaac, ancestor of the Arab peoples) hints at our narrator's exiled status. Vonnegut plays a great joke on Melville's line in Cat's Cradle: "Call me Jonah. My parents did. Or nearly did. They called me John." Again, the same direct, conversational tone toward the reader; again, the discrepancy between given name and chosen name (except here, we're given his real name); and again, the Biblical reference. And that's the great joke: the Book of Jonah tells the story of a man who is––you guessed it––swallowed by a whale. Vonnegut's Jonah, through his adventures on the mysterious island of San Lorenzo, gets swallowed by much bigger whales––religion and politics. Zadie Smith's allusive opening of On Beauty isn't nearly as cheeky as Vonnegut's (after all, how many people in the world are as cheeky as Vonnegut?). Her novel begins: "One may as well begin with Jerome's e-mails to his father," and proceeds to do just that. This is an update of the opening of E.M. Forster's Howards End, which goes: "One may as well begin with Helen's letters to her sisters." Smith's is a respectful nod, a deferential ode to a writer "to whom," she writes, "all my fiction is indebted." But Smith goes one further: her protagonist is named after Forster's titular house, and, considering what happens to Howard in On Beauty, Smith's novel may have borrowed Forster's title as well, with one addition: an apostrophe between the d and s in Howards. (Instead, Smith borrow her title from Elaine Scarry's essay "On Beauty and Being Just.") Allusions are risky, as they can fall flat very easily. I've seen numerous stories that, for example, open with something similar to Kafka's famous, "As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect," from The Metamorphosis. Most of these referential lines are just plain bad. Recently, Haruki Murakami showed that a writer could tackle Kafka's famous sentence with wit and originally. His story "Samsa in Love" from The New Yorker takes this approach: "He woke to discover that he had undergone a metamorphosis and become Gregor Samsa." Now that's interesting. In Kafka's time, the idea of changing into a bug was novel, terrifying, and confounding. We're used to such a premise by this point. Now, our great terror would be becoming a Kafka character. But, you know, that's Murakami. Most writers aren't as imaginative. And last but not least are those openings that provoke, that immediately stun a reader with brutal frankness. Philip Roth's Sabbath Theater is a dark, twisted novel, full of sexual explicitness and moral ambiguity, and Roth wastes no time letting a reader know this: "Either forswear fucking others or the affair is over." This ultimatum comes from Mickey Sabbath's mistress, and it aptly captures the strange, strict limitations sex and love can force upon us, even when they are "maddeningly improbable." Roth really does his reader a favor––if you're not comfortable with this level of candidness, this isn't the novel for you. Because, oh yeah, it only goes down (or up, depending on your view) from there. Toni Morrison's Paradise famously provides immediate and heartbreaking shock: "They shot the white girl first. With the rest they can take their time." The massacre at the Convent sets up the complex and tragic tale of Ruby, Oklahoma, an all-black community. We never learn who the "white girl" is; she joins the list of millions––billions, even––of the anonymous dead. Morrison, no stranger to frankness, is particularly good at opening her books. A Mercy: "Don't be afraid." Song of Solomon: "The North Carolina Mutual Life Insurance agent promised to fly from Mercy to the other side of Lake Superior at three o'clock." And, of course, Beloved: "124 was spiteful." Morrison's prose style is one-of-a-kind, and her ambition––to, in part, "work credibly and, perhaps, elegantly with a discredited vocabulary"––has more than been met, surpassed, even stunned into submission. These opening lines are her first punches. I probably fetishize opening lines because, well, I'm a reader and a writer. As a reader, a really wonderful opening line makes me giddy with excitement. I nestle myself as deeply into my couch as I can go, and I accept the deal the novel has offered me. Yes, I will read the rest of you. You've earned it. As a writer, the opening line is the purest, most unadulterated part of a work. Before it, the blank page. After it, the whole of a story, a novel, a book. It is the division between nothing and something, the bridge between emptiness and fullness, between something in your head and something on the page. The opening sentence is the first utterance of life, the initial gasp of air that birth forces out. Perhaps this would be better expressed through what is perhaps my favorite opening line from a recent novel. Colum McCann's Let the Great World Spin revolves around Philippe Petit's incredible guerilla tight-rope walk between the World Trade Center towers in 1974, and this is how it starts: "Those who saw him hushed." The image of Philippe Petit does not need to be described here, though a beautiful image it undoubtedly is. McCann wisely focuses our attention to the people on the pavement. Their hush is full of more beauty than any description ever could be. This accurately captures how I feel about a great opening––hell, about great literature in general: it's amazing and unbelievable, and although there is so much you can say about it, sometimes all I can do is shut up and witness. Image via Thunderchild7/Flickr
As Upworthy-style headlines sweep the internet, aiming to snag as many clicks as possible by pandering to as many whims and obsessions as possible, the dignified mystery of the great book title stands in stark contrast. The Upworthy headline had been widely satirized on other websites and social media, including some folks applying them to book titles, so my Millions colleague Nick Moran and I were inspired to muse as well — what if books were whorishly titled, optimizing our search engines rather than our imaginations, rather than leaving us to discover who Oliver Twist was or who was proud and who was prejudiced? Leave your own optimized book titles in the comments or on twitter with the hashtag #litworthy. The Shiniest Guy In School Had Her at “You’re My Particular Brand of Heroin” He Didn’t Want to Dance with Her When They First Met. Now He Really, Really Does. Watch This Kid Burst Into Tears When He’s Refused Some More Porridge They Told Him White Whales Were Impossible to Hunt. That’s When He Went Literally Crazy. You Thought Millennials Were Bad? Watch These British Kids Totally Nail Chaos Theory. Some Guy With Two First Names Proves That “Nymphet” Is The Grossest Word In English. You’ll Never Guess Which of the Four Sisters the Hot Neighbor Kid Ends Up Married To This Guy Didn’t Tell His New Governess About His Secret Ex-Wife In The Attic. What Happened Next Really Burned Him Up. Watch How Complicated This Guy’s Road Trip Gets When He Lets A Group of Dwarves Plan It. The Most Powerful Dark Wizard in the World Tried to Kill Him When He Was a Baby. On Page 4,305 You’ll Find Out Why. We Thought We Could Beat On Against The Current Without Being Borne Back Ceaselessly Into The Past. Boy, Were We Wrong. You Know How You’ve Been Looking for the Secret to Eternal Youth? This Guy With a Really Ugly Painting in His Attic May Have Found It. Here's One Weird Trick To Get Out of Paying Your Rent Forever He Paid For A Prostitute But The Pimp Punched Him Anyway. What A Phony.
At The New Yorker, Sarah Miller humorously learns why only positive book reviews might be a bad thing. "If St. Petersburg is the Little Engine That Could of city names, then the main character, Raskolnikov, is the Little Engine That Could of elderly pawnbroker murderers," she writes in her review of Fyodor Dostoyevsky's Crime and Punishment.
1. Having recently regained dry land after four weeks adrift in the first thousand pages of Norwegian author Karl Ove Knausgaard’s pelagic six-volume My Struggle (only to find myself confronted with a note-strewn desk and two large books bristling with the polychromic sticky tabs it now occurs to me I might have wanted to devise a reasonably consistent system for deploying), I’m troubled by the sense that if there’s ever been a literary project best left to speak for itself, My Struggle might be it. It’s also likely that the many liberties its author takes — with conventional narrative structure, with any readily discernible logic dictating some passages’ tortuous paths of thought, with grammatical norms, and even with the ordinarily sacrosanct writer’s mandate to eschew cliché — have overwhelmed the sector of my brain that transacts in sentences, paragraphs, rhetorical touch, and so forth, to the extent that I’m in for my own considerable struggle here as I try to transform the notes I scribbled down with seeming indiscrimination in several different notebooks, Book 2’s margins, on Post-its and the back of a gas bill that it looks like still needs to be paid into an orderly account of what it’s like to read Knausgaard. Nevertheless, some thoughts: The first thing I should emphasize is that I found myself consumed by My Struggle, swallowed whole in a way that recalled for me the experience of reading similarly mammoth works like Moby-Dick, JR, Crime and Punishment, The Wind-up Bird Chronicle, 2666 — Big Books that temporarily assume an autocrat’s control over their readers’ inner lives. And then since my ostensible focus here is Book Two: A Man in Love, I should also single out for praise this second volume while conceding that it’s in many ways merely an amplification of the first, and that this is both a merit and demerit. Which is to say that if you found yourself unable to put Book One down even during some of its most water-treadingly indulgent-seeming passages of plotless drift precisely because you were compelled by the minutiae of Knausgaard’s “struggle,” then you will find a lot to keep you reading through A Man In Love’s near-600 pages. If, on the other hand, you found the former book frequently irritating, disagreed with its author’s aggressive indifference to poetic niceties; if you considered it an unconscionably navel-gazing sprawl, the dull and the mundane speciously elevated to metaphysical heights the actual text rarely managed to reach...you may not make it through Book Two. I’m in the former camp: read both books hungrily and find myself already missing Knausgaard just a few days after turning A Man in Love’s last page, searching the Web for inexpensive crash courses in Norwegian, mostly just wishing Volume Three were available in English now. (At roughly five hundred pages per installment, the last four are presumably intruding nightly on heroic translator Don Bartlett’s sleep). Some readers will be put off by the prospect of a prose work of Proustian length written in sentences that lack Proust’s style, elegance, and grace; I, too, had a hard time with some of the silly all-caps interjections (“FUCK, SHIT, FUCK!”) along with the frequent, blithe lapses into rank cliché — “The time was ripe,” “It was now or never,” “She was clearly cut from the same cloth as me,” and so on. The writing is purportedly ungainly in its original Norwegian, too. And yet the coarse phrasing serves Knausgaard’s overarching purpose oddly well. While there’s very little polish at phrase-level, sentences are syntactically complex — circuitous, recursive, serpentine in the way bar-stool disquisitions on points of intense personal interest can be — and if consistently guilty of the serial-comma-splice, then also a reflection of the almost desperate speed with which Knausgaard seems determined to track every insight, notion, thought-line, argument, reflection through the labyrinthine warrens of whatever burrowing creature’s hole it’s drawn him down. Here he is, for instance, having just returned with his nursery-school-age daughter from a classmate’s birthday party: I returned the glass to the table and stubbed out my cigarette. There was nothing left of my feelings for those I had just spent several hours with. The whole crowd of them could have burned in hell for all I cared. This was a role in my life. When I was with other people I was bound to them, the nearness I felt was immense, the empathy great. Indeed, so great that their well-being was always more important than my own. I subordinated myself, almost to the verge of self-effacement; some uncontrollable internal mechanism caused me to put their thoughts and opinions before mine. But the moment I was alone others meant nothing to me. It wasn’t that I disliked them, or nurtured feelings of loathing for them, on the contrary, I liked most of them, and the ones I didn’t actually like I could always see some worth in, some attribute I could identify with, or at least find interesting, something that could occupy my mind for the moment. But liking them was not the same as caring about them. It was the social situation that bound me, the people within it did not. Between these two perspectives there was no halfway point. There was just the small, self-effacing one and the large, distance-creating one. And in between them was where my daily life lay. Perhaps that was why I had such a hard time living it. Everyday life, with its duties and routines, was something I endured, not a thing I enjoyed, nor something that was meaningful or that made me happy. This had nothing to do with a lack of desire to wash floors or change diapers but rather with something more fundamental: the life around me was not meaningful. I always longed to be away from it. So the life I led was not my own. I tried to make it mine, this was my struggle, because of course I wanted it, but I failed, the longing for something else undermined all my efforts. What was the problem? On the other hand, it would be unfair if the ratio of thought to action here left readers with the false impression that this is a 573-page book in which nothing happens. In passages that volley back and forth through time we see young Karl Ove decamp for Stockholm; sever ties with almost all of his old life in Norway, (which program includes leaving his first wife); fall in love again; remarry; fight to sustain (and then, once it’s begun to slip away, recover) the elation of those first few months of courtship as the new couple settles into everyday routine; witness his second wife Linda’s pregnancy and the subsequent birth of their first daughter; give listless interviews and lectures on his books and ambivalence towards literary fame; discourse with friends and enemies on being, art, morality — but the sections I liked best, the ones that make the books worth reading, retreat from these episodes and trek into the underground of consciousness, where Knausgaard’s unchecked and frequently volatile reflections are no longer bound by the normative limits of decent speech and behavior in respectable company. 2. Some of these sentences and paragraphs are long, but they operate in a way very much unlike those of some other writers one tends to class as either maximalist or longwinded, depending on one’s feelings about length in prose: Thomas Bernhard, David Foster Wallace, or László Krasznahorkai. Bernhard’s read almost like parodies of manic, rabid, raving thought — they are very much internal monologues. And while they are unhinged at times, what seems like madness is really an insane deference to logic: a logic that will pursue the necessary consequences of first premises far beyond the boundaries of bourgeois comfort, into the truth that lies beneath and must be left to lie there unlooked-at if life will be lived, if family, colleagues, social circles are to be engaged — basically, if anything is to be done. Bernhard, like Beckett, is in this way very funny. His narrators’ better tirades follow their merciless logic to conclusions that are shocking or at least discomfiting not only because we can’t believe somebody’s saying this, but because of the disquieting sense that they might actually be true. Here is a representative passage from Concrete, in the midst of a mostly book-spanning “digression” from the narrator’s stated purpose, which is to write a definitive study of composer Mendelssohn Bartholdy: My preparations have now been going on for years, for more than a decade, as I have said. Perhaps, it occurs to me, I ought not to have interrupted them by doing other things, perhaps I shouldn’t have begun anything on Schonberg or Reger, or even contemplated the Nietzsche sketch: all these diversions, instead of preparing me for Mendelssohn, simply took me further and further from him. […] All these attempts […] had basically been merely distractions from my main subject; moreover, they had all been failures, a fact which could only weaken my morale. It’s a good thing I destroyed them all […] But I’ve always had a sound instinct about what should be published and what should not, having always believed that publishing is senseless, if not an intellectual crime, or rather a capital offence against the intellect. […] Had I published my essay on Schonberg I shouldn’t dare to be seen in the street any longer; the same would be true if I’d published my work on Nietzsche, although that was not a complete failure. To publish anything is folly and evidence of a certain defect of character. […] And what about my work on Mendelssohn Bartholdy? […] Naturally I intend to publish it, whatever the consequences. For I actually believe that this work will be my most successful, or rather my least unsuccessful. I certainly am thinking of publishing it! But before I can publish it I have to write it, I thought, and at this thought I burst into a fit of laughter, of what I call self-laughter, to which I have become prone over the years through being constantly alone. The reason Concrete’s narrator can’t begin the monumental work to which he has devoted this phase of his life is that he foresees, correctly, that no matter how far he manages to go it won’t be far enough. Anything he writes will fall short of his vision, and while this insight is common enough to be a cliché, it’s a cliché that the artist who aspires to make art has to disregard if he’s ever to make anything. In other words, the productive artist necessarily suppresses his integrity, proceeds as if it weren’t true that anything he ultimately brings into the world will be, beside its incorporeal Platonic vision, a disappointment. What’s simultaneously terrifying and hilarious in Bernhard is his narrators’ integrity, their refusal to compromise, to deceive themselves or allow themselves to be deceived into acceptance of the subtle deviations from the truth that are what enable us to go about our lives. Meanwhile, Krasznahorkai’s long sentences read to me much more like speech transcribed: musings, sermons, lectures, disquisitions, diatribes, and, above all, stories. They’re less internal than Bernhard’s; even when tracing a character’s unspoken thoughts they’re more like a figure talking to himself than a lunatic frantically looping along Bernhardian nightmare theme park rides, hurtling towards madness and death. Here, the former composer who has not only retired from creative life but sealed himself off from the depressed Hungarian small town in which The Melancholy of Resistance takes place has had (while hammering nails) a Saul-of-Tarsus-style revelation: It was indeed a sudden awakening, but, like all such awakenings, not wholly unheralded, for before he set out on his tour he had been aware only of the plainly laughable nature of his efforts, the chief of which was to prevent his left hand being battered to pieces, a piffling task to which he applied the whole might of his considerable intellect [that] […]laughable as it was, […] [intimated that] there was a deeper, more complex issue at stake, the nature of which was to allow him to master the art of banging in nails. He recalled various stages in his frantic efforts and the fact that even then […] he had suspected that any eventual resolution would not be due entirely to taking rational thought in the matter, a suspicion that had in the meantime become a certainty, for […]this apparently insignificant task had been resolved by a […] flexible attitude to permutations, the passage from ‘missing the point’ to ‘hitting the nail on the head’ so to speak, owing nothing, absolutely nothing, to concentrated logic and everything to improvisation […] He had arrived at the decisive moment of resignation, the happy little glimmer on the head of the nail conjured nothing more or less than a mysterious, unforgettable sensation that had surprised him on his way home, that despite the apparently insufferable condition of the town, he was glad simply to be alive […] Knausgaard, in contrast with Krasznahorkai and Bernhard, neither transposes creative-impotence-induced nerve-trauma nor conjures weirdly dialectic soliloquies. Instead, the image his prose—and even his subject—frequently calls to this reader’s mind is an author bent over his keypad, typing at very high-gear velocity: I began to work, sat in my new office on Dalagatan writing every day while Linda was at home with Vanja and came to see me for lunch, often worried about something but also happy, she was closer to the child and what was happening than me, for I was writing what had started out as a long essay [but] slowly but surely was growing into a novel, it soon reached a point where it was everything and writing was all I did, I moved into the office, wrote day and night, sleeping an hour here and there. I was filled with an absolutely fantastic feeling, a kind of light burnt within me, not hot and consuming but cold and clear and shining. At night I took a cup of coffee with me and sat down on the bench outside the hospital to smoke, the streets around me were quiet, and I could hardly sit still, so great was my happiness. Everything was possible. Everything made sense. Knausgaard’s purpose in My Struggle, explicit in its title, is to simultaneously depict, scrutinize and enact the process of writing the very work that narrates the story of its author writing himself through and ultimately out of his consuming need to write. It’s an impressive trick. If Bernhard’s books are often long uninhibited screeds “about” inhibited artists and writers, then Knausgaard’s first two volumes are “about” a man’s struggle to surmount the mundane impediments to his being present at his desk, feverishly cataloguing and endlessly carping about these same impediments to his being there. The most substantial narrative arc in these two volumes traces the composition of the memoir as it’s being composed — which means, since by default nearly every non-writing activity, obligation, interaction, and relationship constitutes a kind of roadblock in this composition’s path, antagonists abound: A few weeks after the novel was finished life began as a house husband, and the plan was it would last until next spring while Linda did the last year of her training at the Dramatiska Institutet. The novel writing had taken its toll on our relationship, I slept in the office for six weeks, barely seeing Linda and our five-month-old daughter, and when at last it was over she was relieved and happy, and I owed it to her to be there, not just in the same room, physically, but also with all my attention and participation. I couldn’t do it. For several months I felt a sorrow at not being where I had been, in the cold, clear environment, and my yearning to return was stronger than my pleasure at the life we lived. The fact that the novel was doing well didn’t matter. After every good review I put a cross in the book and waited for the next, after every conversation with the agent at the publisher’s when a foreign company had shown some interest or made an offer, I put a cross in the book and waited for the next, and I wasn’t very interested when it was eventually nominated for the Nordic Council Literature Prize, for if there was one thing I had learned over the last six months it was that what all writing was about was writing. 3. It’s true that if this were all Knausgaard had to offer his readers, few would be inclined to indulge him for 3,000 pages (and furthermore provokes contemplation of how, for instance, a 3,000-page counter-memoir composed by Linda about her struggle to put up with her husband’s duty-shirking on the home front during their matrimony’s embryonic phase might read); but intricately textured, almost Altman-like social episodes compel a mesmeric attention that’s at times tough to account for rationally. At birthday parties, literary conferences, a christening, a funeral, in bookstores, flats, supermarkets, bars, a restless Knausgaard interacts with the whole rolling cast of people intimately or peripherally involved in his professional and private life. Much of the readerly fun to be found in these transcriptions of the interpersonal mundane inheres in the persistent dissonance between Knausgaard’s mild outward manner and the frank, often punishing perlustrations to which he subsequently subjects both his interlocutors and himself. An interview that on the surface seems to come off fairly well gets angrily dismissed as ersatz-High Culture fluff — vapid onanism Knausgaard validates by placidly agreeing to take part: The problem is what surrounds all these authorships, the flattery that mediocre writers thrive on and, as a consequence of their false self-image, everything they are emboldened to say to the press and TV. I know what I’m talking about. I’m one of them myself. Oh, I could cut off my head with the bitterness and shame that I have allowed myself to be lured, not just once but time after time. If I have learned one thing over these years, which seems to me immensely important, particularly in an era such as ours, overflowing with such mediocrity, it is the following: Don't believe you are anybody. Do not fucking believe you are somebody. Because you are not. You’re just a smug, mediocre little shit. Do not believe that you’re anything special. Do not believe that you’re worth anything, because you aren’t. You’re just a little shit. So keep your head down and work, you little shit. Then at least, you’ll get something out of it. Shut your mouth, keep your head down, work and know that you’re not worth a shit. I also found it difficult to part ways with many characters. Knausgaard’s daughters, in particular, benefit from the filterless, unembellished presentation, probably because small children tend to do amusing, irritating, infuriating, and endearing things. Meanwhile, his friend and confidante, Geir, an academic equipped with copious wit and opinion, gets many of the book’s most entertaining lines, but also often makes both Knausgaard and the reader pause to think. Here he is with Karl Ove, Geir first: “I think it’s Sigurd Slembe. The time to act. To act or not to act. It’s classic Hamlet. To be an actor in your own life or a spectator.” “And you are?” “Good question.” A silence arose. Then he said: “I’m probably a spectator, with elements of choreographed action. But I don’t really know. I think there’s a lot inside me that I can’t see. And so it doesn’t exist. And you?” “Spectator.” “But you’re here. And yesterday you were in Bergen.” “Yes. But this is not the result of any decision. It was forced.” “That’s perhaps another way of making a decision, hm? Letting whatever happens do it for you?” “Maybe.” “That’s strange,” he said. “The more unreflective you are, the more active you are. You know, the boxers I wrote about had an incredible presence. But that meant they weren’t spectators of themselves, so they didn’t remember anything. Not a thing! Share the moment with me here and now. That was their offer. And of course that works for them, they always have to enter the ring again, and if you’ve been given a pounding in the previous fight it’s best if you don’t remember it too well, otherwise you’ve had it. But their presence was absolutely amazing. It filled everything. Vita contemplativa or vita activa, I supposed they’re the two forms, aren’t they? It’s an old problem, of course. Besets all spectators. But not actors. It’s a typical spectator problem . . .” Behind us, Christina stuck her head through the door. “Would you two like some coffee?” “Please,” I said. Book One’s critical event — the death of Knausgaard’s father — serves as a backdrop for the real story: Knausgaard’s breakthrough decision to build the first volume of his memoir around it; similarly, the less harrowing but no less felt drama of his grudging entrée into love and domestic life anchors A Man in Love’s story of a man fighting to reconcile that love with his almost inhuman artistic designs. No surprise that not all of the individuals who came across versions of themselves in these pages were pleased with their portrayals. (The threat of legal action on the part of certain relatives resulted in Knausgaard and his Norwegian publisher agreeing to change a few names.) But in light of Knausgaard’s overall intent, they’re probably depicted accurately — not as a Dickensian cast of characters acting out one grandly shared humanist drama but rather as figures who on occasion drop by to complicate Knausgaard’s ongoing struggle to write something great. These aren’t quite people in the ordinary sense but a near-endless series of person-shaped impressions — shadows flitting across the beam of the author’s incandescently projected vision. If anyone is conscious of just how cold this frequently can make him seem, it’s certainly Knausgaard himself, who throughout both volumes lapses into long handwringing fits of self-loathing and -condemnation, agonized by his sense that he’s letting down everyone he ought to love. 4. I call this sometimes-sociopathic-seeming tendency to reduce in their representation real people to sources of personal annoyance “accurate” because, with astounding single-mindedness (or monomania, if you prefer), Knausgaard conceives of and then executes the writing project that both consumes him and sequesters him from life. He’s Ahab, only with the final volume’s publication — which reportedly concludes with whatever the Norwegian is for “I am no longer an author” — he’s gone and caught the whale. One interpretation of a literary quest to kill its own author might be that it’s perverse: in seeking to extinguish the artistic impulse, the author aims to annihilate not only the ambition that has driven him throughout his adult life, but an identity built up and burnished over decades. If Knausgaard is no longer an author, what is he? What will he be? And then, from a career-lensed perspective, killing the whale is suicide. I’ve often wondered whether Wallace unintentionally terminated the novelist in himself with Infinite Jest; certainly the title of his final short-fiction collection, as well as that volume’s persistently bleak takes on the value of an individual’s drive to achieve anything, suggests a despair of ever returning from the wasteland that a book of near precedent-less critical approbation can exile its author to: after you’ve done it, what are you supposed to do? Just as Joyce could not in the ‘30s send Bloom off on another Dublin tour, so Wallace’s next novel couldn’t be I.J. Redux. On the other hand, few, if any, authors aspiring to compose literary art that I know of start out with the intent to make anything less than what they privately conceive of as an as-yet-unshaped, but inchoate and most importantly possible Perfect Book. This is the reason they decide to write. Reality — in the form of family life, financial circumstance, the tundra of the market, self-assurance eroded by critique or, probably worse, indifference, failure, doubt, exhaustion, time — eventually intervenes. Very few people, whether they would admit as much or not, particularly in the first inferno of ambitious burn, are willing to go down with the whale. Poverty, obscurity, irrelevance, low social standing, and so forth all seem more romantic, less intolerable, more like the plot of some young person’s adventure tale, less like the despondence-inducing signatures of failure and a wasted life at eighteen than they do when you find yourself approaching middle age. In William Gaddis’s JR, another massive meditation on ambition, art, and time, an aging, alcoholic, seemingly doomed writer is perpetually haunted by visions of windows closing, chances slipping away or already long lost to time. Since finishing my own first book, I’ve spent a lot of time trying to chart a course forward, or at least get started on some sort of new project, but have been mostly stymied by a sense that I’m just not sure what I really want to do next. I’m so much more alert to the discouraging reality that no matter what I wind up doing, committing to that work will entail an implicit decision not to try my hand at any number of other things. Granting that this might not strike your average global citizen as an existential concern on the order of the triumph of Capital, rising sea, and inequality levels, to say nothing of the looming rise of the machines, it matters to me — because I only get the handful of decades I’ve already blown through a few of, and the passage of time doesn’t seem to be bringing with it a corresponding surge in my vitality, so that the issue isn’t only that I can’t decide what kind of book I’d like to write, don’t even know how I’d like to write, I’m sick of my own sentences these days, and then I don’t know whether I should focus mainly on telling a story of sorts, and if so do I have any stories worth telling, and in this era of scattered insular intellectual and aesthetic camps, what kind of reader do I want to engage, and most of all what kind of work can I see myself committing to for the however many years it will take to complete — I can’t imagine even starting something new unless the need to carry it home takes hold of me with such force that I can’t not be working on it.... And the maybe-obvious Knausgaard link here is with the man’s sheer desperation — a desperation to emerge from all of this: the torpor, muddled thinking, indecision, and self-loathing; terror of more windows closing, fear of failure, envy, ambition so smothering it chokes off all but the most frantic exertions of will to open up the word-processing program and for Christ’s sakes just begin, the solipsism I recognized too well and have only really ever slipped free from, somewhat paradoxically, when hard at work, when the gaze is abruptly turned outward, and I’m able to see people again, see with them — perceive, if only fleetingly, that each has her own struggle, just as I do mine...in other words break out of the self’s airless solitary confinement: creative immersion as a kind of efflorescent opening out to the world at large. My Struggle provides the reader with a portrait of an artist whose sometimes-quixotic-seeming-endeavor to narrate his struggles with life and art in their entirety consumes, possesses, captivates him, in that last verb’s literal sense, and thereby sets him free. When Knausgaard tells his wife he must leave her at home to care for their recently born daughter, must write; when he won’t compromise even after she threatens to leave him, take the kid with her, then does; and when he furthermore dispenses with every last aesthetic consideration aside from this scribomaniacal need to write, he is both chronicling and dramatizing his own refusal to abandon the pursuit...and it’s this monstrously intact integrity with which he undertakes and then completes his masterwork that answers any question about the madness of a project that, like a rocket fired straight up into the sky, takes aim at its creator and terminates in the obliteration of his authorship, his hunger to create. It’s Knausgaard’s consummation, a triumph that emancipates the husband, father, son, and friend: the author is dead, leaving what’s left of the man free to walk away from his leviathan — preserved forever now in art’s time-cheating formaldehyde — freed from the echo chamber of thwarted intent, in order to emerge, maybe for the first time, into life.
Like many recovering English majors before me, I have a longstanding infatuation with heavy Russian novels. So on one level, a new edition of Dead Souls seems like a no-brainer: an excuse to return to a story that has endured for nearly two centuries. Nikolai Gogol’s masterpiece centers on a con man named Chichikov who is literally buying dead souls -- or more accurately, serfs who have died but are still counted on official tax rolls. His journey sweeps through a swath of 19th-century Russian life, as he glides from landowner to landowner, trying to charm and flatter them in an effort to buy as many deceased serfs as possible. The book is smart and funny; it deftly unpacks the social structure of 19th-century Russian life. It says something profound about the dehumanizing effects of buying and selling everything. And it’s the first of the great Russian novels -- predating War and Peace, Crime and Punishment, and all the rest of those weighty tomes that pretentious undergraduates lug around to coffee houses. And that gives it mystique. But as I sat down to read Donald Rayfield’s new translation of the book, I felt a sensation I didn’t expect -- guilt. I got to thinking about my reading over the past few months, as I’ve hopped from The Radetzky March to Jude the Obscure to Demons to Chekhov’s plays. All of them brilliant, and all of them properly vetted by the relevant authorities. And I realized I don’t want to get in the habit of “checklist reading” -- paging through an old book for no other reason than to say I’ve read it. Ultimately, we live in a consumer society, and it is really easy to let the habits of consumption, the habits of a collector, seep into everything. Even our reading choices. As Dwight Macdonald pointed out decades ago in his (now ironically canonical) essay “Masscult and Midcult,” “The chief negative aspect is that so far our Renaissance, unlike the original one, has been passive, a matter of consuming rather than creating, a catching up on our reading on a continental scale… We have, in short, become skilled at consuming High Culture when it has been stamped by the proper authorities.” And that’s why I can’t manage to love the classics without reservation. I am afraid that it is far too easy to read them passively -- to get so caught up in their mystique that the words don’t matter. And I fear it would be very easy to get stuck in the books of the past, and miss out on newer ones that might relate more directly to the world as I experience the rest of the day. For example, David Shields’s Reality Hunger, while nowhere near as brilliant as Dead Souls, made a profound impact on how I think about contemporary media. Shields’s book-length essay, which came out about two years ago, is downright dismissive of the traditional novel, announcing, “To write only according to the rules laid down by masterpieces signifies that one is not a master but a pupil.” But, more importantly, it backs up its iconoclasm with a fragmentary style that genuinely captures something about the way people read today. A literary collage that collects fragments (mostly) taken from preexisting works by other writers and then weaves them into a single “manifesto,” it is a genuinely unique work, one that captures something very real about our -- or at least my -- current reading habits. Engaging with Reality Hunger's bits of text made me more attuned to the way much of my reading -- on Twitter, or just surfing online -- consists of gliding between small bursts of words. Instead of presenting a clean, straightforward argument, Shields makes his case for collage-style writing through accumulation. His fragments build and build, until the reader is able to piece together the argument is his or her own mind. I do the same thing online every day. I read tweets and status updates and blog posts one after another, and eventually, I piece them together in my head to form a coherent view of the world. Shields’s book finally made me aware of something I had done unconsciously for years. This is what literature is supposed to do -- call our attention to the way society or technology or history has shaped us. Reading matters because of its relationship to thinking. What I love most about books is the way they force the reader to get involved. Unlike other leisure activities, a reader needs to actually participate in the experience. You don’t just turn a book on and enjoy it -- you need to actively engage with the material, not only sorting out the words, but imagining what they describe. The scenes, the characters, the voices: all of it needs to be created inside the reader’s mind. In that way, reading itself is an imaginative act. I’ve always seen a minor parallel between a reader and a concert musician -- a pianist for example -- just in the sense that both are taking notations written by someone else and bringing them to life. In both cases, the work of art as it exists on paper is mediated by someone else. A reader may follow the cues of the author, she may give every word her full attention, her emotions may stir in exactly the way they were intended to -- but the images and voice she creates in her mind are hers. But they are not only hers -- they are a collaboration between her and the writer. Alone among the arts, reading/writing involves mingling the thoughts of the artist and the audience. In a way, reading is itself a performance. When a critic like B.R. Myers sniffs at contemporary writing by declaring, “Every new book we read in our brief and busy lives means that a classic is left unread,” I immediately worry that an entire reading life spent rehashing books approved by the proper authorities risks turning a reader (like me) into a perpetual student, someone who treats literature as a way to check off titles on an imaginary syllabus. Someone passive. I worry those images in my head will be subsumed by what I think they’re supposed to be; what a well-known Gogol critic like Vladimir Nabokov thinks they should look like. I worry Dead Souls belongs to so many people, it might never belong to me the way a book really need to. I worry my performance as a reader will borrow to heavy on the performances of others. And yet I want Gogol’s novel in my head. It remains a profoundly inventive book, with a narrator who comments on the story as it goes along, even to the point of upbraiding the audience: I apologize. It would seem that a phrase picked up on the streets has slipped from our hero’s lips. What can one do? That’s the situation a writer in Russia finds himself in. Though, if a street word finds its way into a book, it’s not the writer’s fault, it’s the readers’, above all readers in high society: they’re the last people you will hear a decent Russian word from… Harold Bloom has used the term “canonical strangeness,” and it is precisely an inherent weirdness that makes Dead Souls so hard to give up. Think of a symphony, where a certain movement may repeat in a slightly different key -- the subtle repetitions built into Gogol’s text help build the absurdity, the humor, and the emotional force of his tale. It isn’t very realistic -- life is not so well constructed -- but that’s okay. It gives us an opportunity -- if only an opportunity -- to stand outside our regular way of looking at the world, and perhaps notice something we have been taking for granted. The strangeness of Dead Souls, its alien subject matter and its realistic-but-not-lifelike narrative structure actually aid a reader’s performance precisely because, when taken on their own terms, they draw attention away from the process of reading the book. They demand so much energy to really follow, to navigate on their own terms, that the reader’s performance becomes, if not unconscious, at least less self-conscious. As soon as I realized that, my guilt about spending so much time immersed in old books began to melt away. The way to avoid passive reading is to pay attention to what is on the page and engage it as best you can. This matters because reading offers us something quite rare -- a quiet, solitary activity that allows us to clear a little space in our minds. This feels especially true in the context of my own daily habits, which involve spending an extraordinary amount of time online, a decidedly noisy, un-solitary environment that encourages the reader to respond -- through retweeting, commenting, or “liking” -- as opposed to reflecting. Reality Hunger sticks with me because it made me more sensitive to the noisy media landscape I inhabit almost continuously. The book forced me to read actively by calling attention to just how I was looking at text. Its fragments made the fragments in my head all too obvious. Dead Souls does the opposite. It is quiet and strange and in some respects inaccessible; it uses a plot that doesn’t dwell too much on the rambling pointlessness of daily life; it is set in a past I don’t understand as much as I pretend to. It is the opposite of the tailored, easy-to-digest world of social media. With the right attitude, the right approach, its contrast with today’s fragmentary reading environment can be every bit as valuable as Shields’s effort to engage it. The key is to take both together -- to avoid getting trapped only reading classics, like Macdonald’s “catch-up” reader, or only reading fragments or bits of text online. The point is not to set up a dichotomy between old and new -- and certainly not between “good” and “bad” approaches to writing or reading. What both Shields, with his contempt for traditional narratives, and Myers, in his contempt for everything else, both miss is that each kind of text -- those grounded in the technology of the present and those insulated from it -- is equally valuable, because it offers the reader a chance to perform (to think) in very different ways. Both matter because a good performer -- good reader -- is one with a lot of range, and the only way to develop that range is to perform as many different kinds of stories as possible. In conversation, I’m fond of telling people that the difference between a work of art and a mere product is that art ultimately aspires to contemplation, while a product aspires only to consumption. I suppose my anxiety about turning the classics into a checklist stems from my realization that “art” exists only through collaboration between the artist/creator/writer and an audience; that it’s not the work that should aspire to contemplation, but myself. And that, as a reader, that means I need to be willing to work hard. To approach the performance of reading with every bit as much seriousness and effort as I expect the writer to approach the performance of writing. Art can’t exist without an audience to take it seriously. The wonder of a book like Dead Souls comes from its silence, the way it offers us a calm place to think. But that place is only as valuable as the reader makes it. A calm place to think is only worthwhile if the reader seizes the opportunity to do some thinking. Perhaps it’s not really guilt I fell about the classics but trepidation -- because at the end of the day the classics need to earned. So now, it’s up to me to put in the effort to earn them.
I am an ambitious person, or so I told myself this year as I entered my credit card information on the New York Review of Books website. The subscription order came on the heels of what I came to call The Great Miscalculation of 2012. It was a glut, really – the kind of overzealous consumption more commonly seen in hungry animals. I had just signed up for subscriptions to the NYRB, The London Review of Books, The Paris Review, Oxford American, n+1, The Southern Review, and The Virginia Quarterly Review. These were to be piled on top of my existing subscriptions to The New York Times and New York Magazine. In the heat of the moment it seemed prudent. It seemed manageable. Now I will be hip to all of the literary buzz, I told myself. I will sate my cravings for fiction, nonfiction, poetry, and criticism alike. I will understand all of the jokes at parties. Quickly my folly became apparent. While I was mostly able to stick to a rigid schedule of NYT on the weekends, New York on Monday, NYRB through Wednesday and LRB through Friday, I was finding that this left me almost no time for the enjoyment of actual books. Soon even that sliver of free time was vaporized when I received the first three months’ worth of quarterlies. I was being buried by the mailman. And so my once-rigid schedule turned to mush. Whereas I once read each publication cover-to-cover within a week of receiving it, I was now compromising as a means of preserving my sanity. I’ll read this issue next week, I’d say. Then, OK, going forward, I won’t read reviews of novels unless I’ve read the novel before. Then, I won’t read a review if its first couple paragraphs fail to grab me. And so on. You see, in addition to being ambitious, I am also stubborn. I wanted to read in my apartment, and more specifically on my couch. But my efforts in this regard were complicated by something beyond my control: I had just moved in with my girlfriend. Faced with the reality of our shrunken New York-area apartment, as well as a certain someone’s affinity for Bravo TV, we were just discovering an eternal truth: living with someone means mastering the art of evasion. No matter how much you enjoy another person’s company, there are times when one would rather be alone. This is doubly true for avid readers, and perhaps triply true for ones (like me) who demand silence when they read. It was impossible – despite more-than-fair compromises on both our parts – for me to monopolize the apartment's noise level. I was simply unable to reliably read each of my subscriptions as I had initially intended. I needed isolation. Like Raskolnikov in Crime and Punishment, I found that, "It is necessary that every man have at least somewhere to go. For there are times when one absolutely must go at least somewhere!" (Those times often coincide with Real Housewives round-table recaps, by the way.) That place for me became literally "anywhere but my apartment." It became a local Indian restaurant – particularly on weekends when I could take advantage of their $9 buffet. It became the train on the way to my office every morning. It became several secluded nooks within cavernous Grand Central Terminal. Really, it became anywhere I could separate myself from a computer, a television, or the tyranny of office chitchat. In these places, my endless supply of reading material became my refuge. I no longer looked upon each week’s haul as a burden – a reading list to be tackled diligently like a job – but rather as a means of escape. I felt my mind become more at ease each time I folded an issue of the LRB in half – that tactile sensation so crisp and real compared to the computer screen to which I’ve become accustomed. Best of all, I was now finishing the issues more or less on time, and I was able to enjoy actual down time at home. What was once a weekly challenge – a battle between concentration and fatigue within my own apartment – turned out to be a welcome daily reprieve – a chance to escape the drudgery of working life, or the discomfort of mass transit, or even the loneliness of eating lunch by myself. I minimized the amount of time I dillydallied on the internet, and I wound up better because of it. None of my subscriptions stunk. I cherished them all. But some publications do things better than others. For instance the LRB’s "Diary" sections are consistently entertaining, and Oxford American’s annual music issue is a delight, but neither publication consistently appeals to my taste in poetry. The fiction in The Southern Review is beyond reproach, but it doesn’t offer any longform journalism. And so on. So in the spirit of this feature I feel obligated to raise one magazine above the rest, to name one magazine that appeals to more of my tastes than any other. That magazine is The Virginia Quarterly Review. Over the course of the past year, I’ve found myself more and more excited to read each coming issue of the VQR, a university-affiliated journal founded in 1925 that bills itself as a “national journal of literature and discussion.” Every three months, a new, gorgeous edition (with almost no advertising) arrives in my mailbox; every three months, I tear open its plastic wrapper and sit down to read it immediately. Then I’m transported – often in ways that open my eyes – to Burma, Iceland, Somalia, or Bulgaria. I read even-handed, longform takes on topics as diverse as South Asian head-hunters, Peruvian gold miners, Kazakh victims of Soviet aggression, and Irish female boxers. I’m treated to hundreds of pages of poetry and photographs. I read personal, incisive essays on feminism. The months change, but the VQR remains the same: inspiring, thoughtful, engaging, and each time refreshing. With the VQR in my hands, I no longer care about my overcrowded subway car or the din of commuters bustling around me. (Bonus: you don't run the risk of looking like a cliché if you read the VQR in public – contrary to the effect of reading a certain other journal on my subscription list.) The VQR’s diversity of material and the high standard of each issue make each reading experience fresh and unpredictable. I find reasons to leave my apartment so I can spend some time alone with each installment. It isn't a chore to read and it isn't a challenge. It is, put simply, the best thing I’ve read all year. More from A Year in Reading 2012 Don't miss: A Year in Reading 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? 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As I write this, my old neighbors in Brooklyn are still digging out from yet another brutal storm while I sit in our new home in Vancouver, British Columbia, the sun shining prettily outside our windows, gulls cawing as they swoop between the masts of the sailboats bobbing in the harbor half a minute’s walk from our front door. For a few days, it looked like we might never make it here. We had been planning our move to Canada for months, but our load-out day was October 30, the day Hurricane Sandy made landfall. Needless to say, we had to reschedule, but the movers arrived in Brooklyn at 10 o’clock the next morning, and somehow we managed to thread the needle between the complete shutdown of the subway and region-wide gas shortages to sneak our way to the airport and out of town. A couple days after I arrived, a family friend asked me, half-joking, if I felt “survivor’s guilt” about my hairs-breadth escape from New York. I don’t. What I feel instead is a deep sense of loss mixed with a still deeper appreciation of the dumb luck that offered me a front row seat onto one of those rare collisions of time and place that creates the kind of literary scene that has existed for the past decade in Brooklyn. Brooklyn, with its swarms of goateed hipsterati making artisanal cheeses and tapping out novels at corner coffee shops, is easy to mock, and in truth, the place is a little precious. But for every stay-at-home mom writing imaginary novels between trips to the yoga studio and every coffee house poseur stroking his beard over his battered Penguin edition of Crime & Punishment, there are three or four young, talented writers and editors hard at work on actual pages of actual novels. Mock all you want, but for the moment, if you want to write literary fiction or poetry, Brooklyn is still the place to be. Longtime New Yorkers tend to get misty-eyed about the seedy old Lower East Side and pre-Giuliani Times Square, but this is mostly nostalgia talking. Times Square may have had its roguish charm when Kerouac and the Beats were trawling for kicks in the early 1950s and the Lower East Side may have possessed a genuine revolutionary spirit in the Hippie Era, but by the time I got there in the mid-80s, when I first came to New York for college, most of the Lower East Side was a crack-ridden pit and Times Square was worse. Everywhere you looked there were junkies fixing in open doorways and hookers giving blow jobs in parked cars. The subways were unrideable late at night and everybody had a mugging story. One friend of mine got held up by a nine-year-old with a pistol. It all sounds so cool and edgy when you read about it in books like Eleanor Henderson’s Ten Thousand Saints and Patti Smith’s Just Kids, but the reality was ugly and depressing. And dangerous. In 1987, the year I graduated from NYU and left New York the first time, 2,016 people were murdered in the five boroughs; the year before, a gang of white kids from Howard Beach chased Michael Griffith, a Trinidadian immigrant, onto the Shore Parkway where he was run over by a speeding car, one of a series of racially motivated crimes that brought the city to the brink of full-scale riot. You can argue, as many did back then, that the rigors of everyday life in New York tested the mettle of young writers, tossing out those either untalented or unserious enough to last. But this argument, I think, is based on a hopelessly romantic notion of what nurtures and grows good literary writing. Of course, no writer who has never known real suffering will ever create anything worth reading, but for the most part, books are survivors’ tales. Suffering and crisis are always central subjects of good books, but writers who themselves have descended into crisis, whether chased there by their own demons or by societal chaos, tend not to write good books. They’re too busy digging themselves out of their deep, dark hole. This isn't necessarily true of all art forms. For instance, popular music, whether it’s rock or hip-hop or the blues, is mostly the product of young kids finding new ways to use old instruments and is, almost by definition, an outsider art form. The Lower East Side of the 1970s, just like the South Bronx of the 1980s and working-class London and Liverpool in the early 1960s, produced some of the last century’s great popular music. Listen to the mad thunder of Keith Moon’s drumming on The Who’s early albums or the angry rhymes of early rappers like Public Enemy or Run-D.M.C., and you can hear, almost in real time, the rage of the streets outside the studio. Good writing, on the other hand, requires distance, as well as a certain level of education and economic stability. Writers need time and space to work -- that room of one’s own Virginia Woolf talked about -- as well as a vibrant cultural scene to feed off of when they’re not writing. Like the Left Bank of Paris in the 1920s and New York’s Greenwich Village a few years later, today’s Brooklyn has hit that cultural sweet spot that makes it ripe for an outpouring of great writing: It is near a major center of culture, but its rents are still low enough to let younger writers cobble together a living out of a bunch of odd jobs, while crime and chaos are kept just far away enough to allow for quiet reflection. Everybody knows the boldface names who grace the borough. Jennifer Egan, Jhumpa Lahiri, and Colson Whitehead live in Fort Greene; transplanted Brit Martin Amis lives in Cobble Hill; and you could stock a fair-sized bookstore with the novels of writers now living Park Slope. But while it’s always nice to have a few famous people around to invite to book festivals and hobnob with at parties, what drives the Brooklyn Renaissance, if you want to give it a name, is the lively mix of young writers and upstart indie magazines and publishing houses, all within shouting distance of one another. Throw in several first-rate small bookstores and access to the mainstream publishing industry, and you have the makings of a burgeoning cultural mecca. I was blind to the literary ferment around me for the first three or four years I lived in Brooklyn after I moved back to New York with my wife in 2004. Twenty years earlier, when I was at NYU, Brooklyn was, to me, an industrial wasteland full of abandoned factories and grim housing projects. This was only partly true even then, but by 2004, even some of the borough’s roughest neighborhoods were on the mend and old factories in DUMBO and Williamsburg were filling up with indie presses and other arts organizations. But I didn’t see it. To me, Manhattan was where the culture was; Brooklyn was just a pleasant, less expensive place to live. Then, in early 2008, I took a writing class at Sackett Street Writers’ Workshop. For me, the success of Sackett Street, which has grown from a handful of writers sitting around founder Julia Fierro's kitchen table in 2002 to a program boasting 31 part-time instructors and hundreds of students, illustrates the true grassroots nature of Brooklyn's literary culture. Unlike most other independent creative writing programs, which run the bulk of their classes online, Sackett Street is fully analog, the classes meeting in person, usually in small groups of seven or eight sitting around the workshop leader’s living room. As with any writing course, the quality of the writing in the workshop varies widely, but the discussion in the two classes I attended was always spirited and serious, and I ended up making a number of writer friends I keep up with to this day. More importantly, though, the Sackett Street classes introduced me to the daily reality behind the cliché of literary Brooklyn. Fierro is a relentless Facebook poster, and I began to hear about readings by little-known writers I admire at Book Court and Greenlight Bookstore. After I attended a few of those, I began to run into indie publishers I only knew by reputation, like Hanna Tinti of One Story and Johnny Temple of Akashic Books. And faster than you can say “indie chic,” I felt a part of a genuine literary scene. In an article I wrote earlier this year for Prospero, The Economist magazine’s arts and culture website, I called contemporary Brooklyn “a vertically integrated factory for literature.” I was promptly cyber-mocked by the good folks at The Awl, but I stand by my metaphor. Over and over in the past few years, I have watched a young writer come to Brooklyn and begin to climb the closest thing to a career ladder that exists in the literary world, first figuring out how to eke out a living in publishing or teaching, then testing the waters by publishing stories in local lit mags or reading at local reading series before breaking through with a first book. Some of these writers, like Emma Straub, author of Laura Lamont’s Life in Pictures, and Melissa Febos, author of Whip Smart, have already begun to make their mark in the public consciousness. Dozens of others, now finishing first books or just starting to write publishable stories, will break through in years to come. To those who argue that a literary scene like Brooklyn’s breeds insularity, I would say: just wait a few years. Literary Brooklyn, like Greenwich Village and the Left Bank before it, won’t last much longer as an incubator of literary talent. Rents, already sky-high in Brownstone Brooklyn, are rising fast in newly gentrifying neighborhoods like Bushwick. For now, the economics works. Young, smart kids can still move to the outerborough neighborhoods, where if they’re willing to live in tight spaces and work long hours, they can serve their apprentice years among other young, smart readers and writers until they begin to have some success, by which time they can afford to trade up to fancier digs in Cobble Hill or Park Slope. But other smart, young New Yorkers, especially those who work in media and finance, where money is more plentiful, have already begun to discover these one-time no-go neighborhoods, driving up rents and upsetting the delicate economic balance. If you ask me, the ideal moment for the Brooklyn Renaissance -- the years just after the 2008 financial crisis -- has already come and gone, and by the time Wall Street finds its footing again in a year or two, much of Brooklyn will be like the Lower East Side is now: too pricey for all but young bankers and trustafarians. So maybe Hurricane Sandy was trying to tell me something and I got out just in time. Eric Obenauf, editor-in-chief at the indie press Two Dollar Radio, who fled Brooklyn's high rents a few years ago, has written an essay, appearing on The Millions this morning, extolling the virtues of the literary life away from cultural hothouses like Brooklyn. Maybe he's right, and in a few years I'll be telling all my friends to ditch the 718 and join me north of the border. But I'm not ready to go there yet. Vancouver is one of the prettiest cities on earth, and from previous visits I know it has a healthy arts scene, bolstered by a growing movie industry, as well as great bookstores and local theater companies. But it’s not Brooklyn. Not for me. Not yet, anyway. Image Credit: Wikipedia
Publishing for publishing’s sake was the last thing Danielle Dutton had in mind when she founded her independent press called the Dorothy Project three years ago. “Starting a press simply to add to the piles and piles of books in the world (or just in my house) wasn’t interesting to me,” Dutton said via email. “I’ve long admired presses that seem to carve out a specific niche all their own, such as Dalkey Archive (where I worked for four years before starting Dorothy), or Siglio (a press out of L.A. that focuses on work at the intersection of art and literature, and which, incidentally, published my second book).” To that end, Dorothy follows a disciplined model: two books a year with the goal “to seek out and publish writing that takes risks, that surprises and challenges and delights us as readers; to have a tightly curated list; and to work to create beautiful book objects.” The focus on quality over quantity has had good results. “We’ve been incredibly lucky so far for a new small press,” Dutton said, citing “good coverage” for the press itself and many reviews. “I’m very thankful for that, and I wonder if reviewers and editors have been intrigued by our constraint-based plan (only two books per year, all the same size, mostly written by women). We’re doing something specific, and maybe that is, for better or worse, an ‘angle’ by which to approach us.” Well-known, experimental writers such as Ben Marcus have taken notice: for The Millions’s 2011 “Year in Reading” series, he recommended the Dorothy Project’s reprint of Barbara Comyn’s Who Was Changed and Who Was Dead. Future projects will include the final book in Renee Gladman’s Ravicka trilogy, and a collection of stories by Amina Cain. The two books Dutton selects each year are intended to form a contrast. “This year’s two books — Suzanne Scanlon’s Promising Young Women and Azareen Van der Vliet Oloomi’s Fra Keeler — both deal with madness. Both are debut novels from younger American women writers. But stylistically they’re worlds apart, and the fact that they came together as a perfect pair was somewhat accidental.” Both go on sale this month. Fra Keeler begins as an investigation by an anonymous, male narrator into the mysterious death of the title character. The first scene shows him buying Keeler’s house from a realtor. (Certain) events of the unfriendliest category are now unfolding. I cannot put my finger on these events; I cannot pinpoint the exact dimensions of their effect. The truth is, I haven’t been the same since Fra Keeler’s death. Some deaths are more than just a death, I keep thinking, and Fra Keeler’s was exemplary in this sense. And it is the same thought since I left the realtor’s office: some people’s deaths need to be thoroughly investigated, and, Yes, I think then, Yes: I bought this home in order to fully investigate Fra Keeler’s death. We’re not told what the narrator’s relationship is to Keeler, why he needs to go so far as to buy the man’s house, or where he came up with the money. These omitted facts — carefully ignored pieces of character- and plot-information — belie how much this narrator depends on the momentum of his thoughts to keep his story moving. The manic energy in the language sustains a careful, unsettling tension that’s central to the plot and the novel’s meaning. We soon learn that this man is a keenly intelligent person suffering not from grief over Keeler’s death, but extreme curiosity and paranoid fixation. After telling how he moved into Keeler’s house, he suddenly stops to say, ominously, “Things creep up on us when we deny their existence. ...I must retrace,” and then he dives into a flashback that takes up the bulk of the book. In terms of plot action, he accepts a package from the mailman, makes a phone call, looks out the window, drinks water in the kitchen, goes for a walk in the nearby canyon (the valley of death?), and visits a neighbor. Meanwhile, he muses on causation and the nature of time, sits in a canoe he finds in the time-traveling yurt that’s appeared in the yard, and later decides that all of humanity’s perception of time is a “purified lie.” Headaches and dizzy spells come and go. He grows suspicious of an old woman in the neighborhood, then sees her face — or his own mother’s face — in a dream, accusing him of throwing acid at her. Van der Vliet Oloomi’s spare, clear language sets this novel apart from other fiction about mental illness. The controlled tone adds complexity to the narrator’s unreliability as we maintain an immediate awareness of who he is versus what he’s telling us. Well-placed surreal scenes are also described plainly, and then mocked sometimes, as in this moment where a cactus turns into an old woman: I spotted a cactus a few feet away. The stems were bowing down toward the ground. Not like a light bulb, I thought, this cactus, and I walked one full circle around it. It is a green mass of death, I thought. I stood there for a while, the cactus occupying the whole space of my brain, just as the sky had occupied it a moment earlier. I mused over the shape of the cactus until a chubby, toothless old lady formed in its place. She stared at the horizon. She said, “Take a good look, because this is me now, this is me as I am dying.” I felt a second pang go through my chest. I didn’t know if it was the cactus talking, or the old lady. Weren’t they one and the same, hadn’t they emerged from the same entity? Then, I thought, what rot, the things in one’s head. Because images just appear, an old lady out of nowhere, where the cactus had been. One minute, and then the next, what is the use of these things? He’s a kook with depth. As a person, he comes across as witty and self-effacing, not powerfully cold and psychotic. He later comments on why madness may be necessary in life, and makes moral judgments about other people’s behavior. Naturally, these aspects humanize him and elicit our sympathy and it doesn’t hurt that he acts like a lovable goofball at times. “Dumb as a lobster, you are Mr. Mailman,” he says at one point, while after a snack and a stroll, he says with childlike joy, “How helpful the slice of bread had been, the walk in the canyon!” He would be charming. But there’s the book’s violent ending to consider. And as I did, I saw this charm being put to a specific purpose. As I thought about it, Fra Keeler reminded me of Rivka Galchen’s Atmospheric Disturbances, Roberto Bolano’s The Third Reich, and Jean-Philippe Toussaint’s Reticence, not to mention big classics like Crime and Punishment and Lolita. And what emerged as I considered a bit of context was that one vital aspect is Fra Keeler’s construction: the ending recasts the whole tenor of the book, illuminating who that realtor truly was and who the narrator might really have been. Then something clicked: the book had ingeniously play-acted a role I had wanted it to perform. From this angle, Fra Keeler can be viewed as a critique of the attraction many writers, readers, critics, and scholars have to the clichéd glamor of evil, who fetishize the gorgeous anguish associated with men struggling with mental illness. And once we make this connection between novels that revel in spectacles of madness to the male violence at its roots (see Raskolnikov, Humbert, et al), and after we acknowledge that readers thrill to such spectacles and scholars add them to the canon – should this not prick at the conscience and urge us to examine our tastes? Sure, it may only be fiction. But our enjoyment of it says a lot. Avoiding this issue seems to do ourselves and these male characters (and their male shadows in the real world), a disservice, waiting as it were for the next male-ghoul to be put on mad-parade in front of us to jab and laugh at as we turn the page — while pretending we’re actually learning more about the glory, jest, and riddle of the world. To be clear, Fra Keeler does not abuse its male narrator in this way. Van der Vliet Oloomi hints sympathetically that war, that poisoned source of eternal male vainglory, is what might have driven the narrator to violence and madness. Rather, one of the things Fra Keeler does is offer a wondrously clear lens to those who want to examine tastes that have been taught to lurch grotesquely in the direction of male anxiety, mental illness, and violence when seeking so-called good literature.
1. From October of 2008 to May of this year, America’s Greatest Self-Published Novelist was a guy from New Jersey named Sergio De La Pava. Clearly, this was a title that begged certain questions -- sort of like being America’s Best Left-Handed Barber, or America’s Funniest Nun. Nor was De La Pava’s claim to it undisputed; in terms of sales velocity, Amanda Hocking and E.L. James would have blown him out of the ring, and C.D. Payne (Youth in Revolt) and Hilary Thayer Hamann (Anthropology of an American Girl) had racked up strong reviews well before Hollywood and Random House (respectively) came calling. But what Hocking and James were selling was fantasy of one kind or another, and even Payne and Hamman kept one foot in the junior division. The main event -- at least as De La Pava saw it -- was several weight classes up, where Dostoevsky and Melville and Woolf had battled penury and anonymity and madness to make literature that might endure. And with the great Helen DeWitt in transit from Talk Miramax to New Directions and Evan Dara’s Aurora Publishers falling into a gray area, De La Pava’s first novel, A Naked Singularity, was left more or less in a category by itself: a 690-page XLibris paperback that could withstand comparison with the classics. I first heard about the book in the summer of 2009, in an email from one Susanna De La Pava, of Amante Press. She’d read something I’d written about Joseph McElroy’s Women and Men; if I liked “both underdogs and meganovels,” she suggested, I might want to check out A Naked Singularity: “a debut work of literary fiction that combines fascinating and complex themes of morality, crime and theoretical physics.” The pitch was unusually thoughtful, but its failure to mention the book’s author seemed odd, and Amante Press wasn’t ringing any bells. When a web search for “naked singularity amante” turned up a coincidence between the author’s last name and my correspondent’s, I thought, A-ha! A vanity project! Did I want to “add it to [my] reading pile?” No offense, but Jesus, no! If this sounds discriminatory, the fact of the matter is that every reader is. Our reading lives, like our lives more generally, are short. With any luck, I’ve got enough time left between now and whenever I die to read or reread a couple thousand books, and only rough indicators to help me sort through the millions of contenders. I may be breaking a critical taboo here, but the colophon on the spine is one of those indicators. The involvement of a commercial publisher in no way guarantees that a given book isn’t atrocious; I’d be safer just sticking with...well, with Melville and Dostoevsky and Woolf. Over time, though, a given imprint amasses a kind of batting average based on its degree of overlap with one’s tastes. (My Benito Cereno and Mrs. Dalloway might be your The Hunger Games and A Game of Thrones, but that’s an exercise of taste, too -- one the folks at Scholastic and Bantam are happy to facilitate.) More importantly, the layers of editorial oversight at these imprints help to filter out hundreds of thousands of manuscripts that aren’t likely to overlap with much of anyone’s taste. To open my reading queue to pay-to-publish outfits like iUniverse or Trafford Publishing -- to be forced to consider (and here I’m just plucking titles at random from a recent iUniverse/Trafford Publishing ad in The New York Review of Books) Cheryl’s Kidnapping and Her Odyssey, or Breath of Life: The Life of a Volunteer Firefighter, or Letters to the Editor That Were Never Published (And Some Other Stuff) -- that way lies madness. Then again, to cling to a prejudice against mounting evidence is its own kind of madness. Some time after Susanna De La Pava’s email had disappeared into the bottom of my inbox, I came across a review of A Naked Singularity by Scott Bryan Wilson at The Quarterly Conversation. “It's very good -- one of the best and most original novels of the decade,” was the leading claim. This in turn sent me back to a piece by Steve Donoghue at Open Letters Monthly, which I vaguely remembered Ms. (Mrs.?) De La Pava linking to in her email. “A masterpiece,” Donoghue declared. These raves got my attention, because The Quarterly Conversation and Open Letters Monthly are venues I’ve written for, and that cover the kind of books I tend to like. It’s worth noting that both (like The Millions), started out themselves as, essentially, self-publishing projects; maybe this is what freed them to devote resources of time and attention to A Naked Singularity back when when Publishers Weekly and Slate wouldn’t. Over the years, by exercising a consistent degree of quality control, each had amassed credibility with its audience, and this is exactly what the business models of Xlibris and iUniverse prevents them from doing; neither has an incentive to say “No” to bad writing. To, in other words, discriminate. So anyway, I exhumed Ms. De La Pava’s email and asked her, with apologies, to please send over a copy of A Naked Singularity. It was time to apply the first-paragraph test. Here's what I found: --noise background, Hmm. Maybe it was time to apply the second paragraph test. My getting out or what?! Okay. Paragraph three. Here goes: Eleven hours and Thirty-Three minutes since meridian said the clock perched high atop a ledge on the wall and positioned to look down on us all meaning we were well into hour seven of this particular battle between Good and Evil, and oh yeah, that was Good taking a terrific beating with the poultry-shaped ref looking intently at its eyes and asking if it wanted to continue. We were what passed for Good there: the three of us an anyone we stood beside when we rose to speak for the mute in that decaying room (100 Centre Street’s AR-3); and in that place, at that moment, Evil had us surrounded. There were things here that excited me, from that plucked chicken of a referee to the Sunday-matinee rhythms of the closing lines. I also thought I detected, however, a dose of self-indulgence. (Why not just, "It was 11:33?"). I read on, through a digression on the Miranda Rights, and then 40 pages of dialogue between night-court defendants and their lawyers. Both were good, as these things went -- edifying, amusing, and reasonably taut -- but I still couldn’t figure it out: aside from demonstrating how smart the author was, where was this going? And here’s the second place where the imprimatur of a commercial press, and all that goes with it, might have made a difference. Had there been some larger cultural pressure assuring me my patience would be rewarded, I would have kept going. As it was, I abandoned the book on my nightstand. It would likely still be lying there, had I not gotten wind last fall that A Naked Singularity was about to be reissued by the University of Chicago Press. At this point, the story around this novel seemed too interesting for me not to give the story inside it another try. Or, to put it another way, the constellation of extraliterary signals was shining brightly enough to propel me past those first 40 pages, and then another increasingly engaging 100. I devoured what remained in the week between Christmas and New Year’s, 2011. And it's a funny thing about those extraliterary signals -- superficial, prejudicial, suspect, but also a natural part of the reading experience. Up to a certain point, they're unavoidable, but beyond that, the accumulated effect of sentences and paragraphs starts to outweigh them. In this case, I won’t say that certain caprices of De La Pava's prose (not to mention all those missing commas), faded into invisibility. On the whole, though, a good big novel lives or dies at a level far removed from considerations of teachable “craft” -- the level Henry James and Michel Houellebecq gesture toward when they speak, in different contexts, of “intensity.” (i.e., as James' preface to The Ambassadors puts it, “The grace to which the enlightened story-teller will at any time, for his interest, sacrifice if need be all other graces.") And at that level, A Naked Singularity is, if not a masterpiece, then certainly a roaring success. To call it Crime & Punishment as reimagined by the Coen Brothers would be accurate, but reductive. Better just to call it the most imaginative and exciting and funky and galactically ambitious first novel to come down the pike in I don't know how long. And if a book this good was consigned to XLibris, it meant one (or more) of three things. 1) Literary trade publishing was more gravely ill than I’d imagined; 2) My judgment was way off-base (always a possibility), or 3) There was some piece of this story I was still missing. The simplest way to find out was to go and talk to the author in person. I emailed Susanna, who presumably talked to Sergio -- unless she was Sergio? -- and by the end of January he and I had a date to meet at the most nouveau of nouveau Brooklyn’s coffeehouses. 2. This latter may have been a perversity on my part. On the jacket of the handsome new trade paperback of A Naked Singularity, the author bio reads, in its entirety, “Sergio De La Pava is a writer who does not live in Brooklyn.” In fact, as of January, most of the details of De La Pava’s personal life -- age, occupation, place of residence, education -- remained shrouded in near-Pynchonian occlusion. A Google Images search yielded exactly two results: one a blurry black-and-white mugshot from the comically low-fi website anakedsingularity.com, the other a sawed-in-half portrait posted alongside an interview in the fantastic Mexican literary journal Hermanocerdo. They might have been two different people; the only common features seemed to be curly hair and an intensity of gaze. As I rode to meet De La Pava, I wondered: what if the reason it had taken him so long to sell his book had to do with the author himself? What if De La Pava never wanted to be published commercially? Or what if he’d sold his book in 2007, but then refused to be edited? What if he’d emailed his manuscript in Zapf Dingbats font? Or forgotten to attach the attachment? Or what if -- I speculated, as the man across from me on the subway struck up a conversation with voices only he could hear -- De La Pava was certifiably crazy? When I finally reached our rendezvous point, though, I found Sergio De La Pava as sane as any serious writer can be said to be: a small man in glasses and an off-the-rack suit, waiting patiently by the counter. About the only thing I recognized from his photographs were the corkscrew curls, now longer and slightly disarranged, as if he’d rushed over from somewhere important. As it turned out, he had. He was coming, he told me, from his job as a public defender in Manhattan. His wife (Susanna!) also works a public defender. Later, they would both return home to New Jersey, where they lead an unexceptional suburban existence with their kids. As for the biographical cloak-and-dagger, the third-party emails, etc., De La Pava suggested several explanations. One was an old-fashioned sense that biography is irrelevant to the work of art -- that the artist is, as a character in William Gaddis' The Recognitions famously says, “just the human shambles that follows it around.” But a more practical consideration is that De La Pava's dayjob brings him into regular contact with criminals. "My life is probably different than the lives a lot of readers of novels are familiar with," he said. People in his line of work tend to be tight-lipped about their personal lives and daily routines, because otherwise "someone might put a bullet in someone's head.” This was, it turned out, a typically De La Pavan way of attacking a question. For someone so reticent with the public, he talks abundantly and well, his thoughts tending to organize themselves into fluid, almost lawyerly paragraphs of narrative and argument, with these little hard-boiled explosions at the climax. This is also, not incidentally, one way of describing the voice of Casi, the hypercaffeinated first-person protagonist of A Naked Singularity. As the interview went on, I came to see the riven idiom of both author and hero -- on the one hand, leisurely abstraction; on the other, urgent volubility -- as matters not just of style, but also of psyche. Like Casi, De La Pava grew up in New Jersey, the child of Colombian immigrants. The basic happiness of his upbringing -- home-cooked empanadas and "school clothes warmed on the radiator” -- suffuses the scenes of immigrant life that recur throughout A Naked Singularity and help humanize our hero. But it also seems to have been, like most childhoods, one shaped by conflict. On the most obvious level, there was the jostle of languages -- his parents’ native Spanish, the English of which De La Pava is something of a connoisseur. (At one point in our conversation, he would spend five minutes critiquing Gregory Rabassa's translation of One Hundred Years of Solitude). Then, too, there was the drama of the dreamy child in the striving household. From an early age, De La Pava was attracted to the logical harmonies of various intellectual systems -- theology, physics, classical music, math. "My earliest memories are of philosophical problems," he told me, utterly in earnest. Reading the great philosophers was like "being welcomed into a community of like-minded individuals." Later, at Rutgers, he would pursue philosophy more seriously, specializing in modal realism -- the study of the coexistence of multiple possible worlds. But as a teenager, De La Pava was also into heavy metal. And his was a boxing household, where watching the fights was a sacrosanct activity. "Boxing, that's my fucking religion," he says. His adult life has in some sense been an effort to synthesize these hot and cool impulses -- the adversarial and the communal, the sweetness and the science, Yngwie Malmsteen and Rene Descartes. One socially acceptable outlet for both aggression and ratiocination was a law career. And although one of the first things a reader notices in A Naked Singularity is its anger at the Kafkanly facacta state of the criminal justice system, De La Pava remains in love with his chosen profession. In the abstract, "the law is so strikingly beautiful and logical," he says, as opposed to "the faulty process of human beings...I feel annoyed for some reason when the criminal justice system fucks up, because I feel a great attachment to it." Still, De La Pava always thought of himself first and foremost as a writer. "I find myself constantly making up little stories in my head," he said at one point, nodding across the coffeehouse. "Like if this woman making the phone call fell down right now, what would happen?" Until then, he had been addressing me heads-up, as if I were a jury he was attempting to sway. As our talk turned to writing and literature, though, he began to look down and inward, a boxer tucking into a crouch. "I'm not that well-read," was the first thing he said on the subject of influence. When I suggested that his conspicuous engagement with two broad novelistic traditions -- the philosophical novel and the novel of erudition -- seemed to contradict him, he amended the claim: He's not that well-read in contemporary fiction. "I have old-fashioned taste.” Reviews of A Naked Singularity have tended to name-check the white male postmodernists who are its immediate forerunners – Gaddis, Pynchon, David Foster Wallace -- but De La Pava’s reading in the po-mo canon has been unsystematic. The Gaddis book he knows best is A Frolic of His Own, a late work centered around the law. Despite an apparent nod in his novel, he has not read Pynchon's Mason & Dixon. Of Wallace, he will cop only to having read "all the nonfiction." Unusually, for a novelist of his generation, De La Pava came to these writers through their own forerunners: the great 19th-century Russians, especially Dostoevsky, and Moby-Dick. This perhaps accounts for the mile-wide streak of unironic moralism that holds together the book’s formally disparate pieces. He does say, however, that Gravity's Rainbow "turned me on to the possibilities of fiction.” In his teens and early 20s, he produced some fiction that was "pretty terrible" at the level of skill, but ambitious at the level of content. He was determined to avoid the school of autobiographical offspring-of-immigrants writing he calls "Bodega Heights," and to pursue instead those “possibilities.” One way his decision to work as a public defender instead of a corporate lawyer paid off, then, is simply that the hours were shorter. "I used to have a lot of free time to write,” he told me. The other is that it gave him something most young writers hunger for: a subject larger than himself to write about. In this case, it was the system Michelle Alexander has memorably called The New Jim Crow -- a self-perpetuating prison archipelago populated by low-level offenders, disproportionately poor, disproportionately of color. Justice, in all its manifold forms, had been one of Dostoevsky’s great themes, and now it would be De La Pava’s. And that center of gravity began to pull the variegated worlds De La Pava had spent his youth exploring -- vibrantly Spanglished New Jersey suburbs, crappily furnished starter apartments in Brooklyn, airy philosophical castles -- into something "nebulous and dreamlike”: a vision of a novel. 3. "When I write, I almost begin with the end product," De La Pava explained to me, as we started in on our second coffee. Midway through the first cup, he had begun to tug on the ends of those corkscrews of hair, and now he was working them furiously. "It's similar to the way you try a case: you think of the summation first." And what was that summation, with A Naked Singularity? Quickly, almost unthinkingly, he flattened out the rolled New Yorker he'd been carrying and began to doodle something with pen in the margins. He was talking now about the structure of Beethoven's Ninth, but I was distracted by the peculiarly entropic energy of what he was drawing. Or whatever is the opposite of entropic. It was a single line, like an EKG or a lie-detector test, swinging above and below the baseline with swoops that grew smaller and tighter as X approached infinity. Finally, the line ended at an emphatic black dot. A singularity. “I wanted to take all this stuff and put it in in a way that would at first feel chaotic. I was interested in the question: at what point does something become a novel?” This effect of dissonance and resolution is, in fact, exactly what had thrown me about the first 40 pages of A Naked Singularity, without my having a sufficient sample of the book to see it whole. Which means, among other things, that A Naked Singularity managed to stay true to a formal vision that is the inverse of most first novels' (start with something singular; degenerate into randomness as ideas run out). De La Pava's indifference to the prevailing trends of the marketplace helps to account for the number of rejections he would receive from literary agents (88, according to The Chicago Tribune.) But it’s also what’s so alarming about his novel's close brush with obscurity. It suggests that traditional publishing has become woefully backward-looking, trying to shape the novel of tomorrow based on what happened yesterday. Could A Naked Singularity have benefited from a good editor? Of course, but books like this -- singular, urgent, commanding -- are supposed to be what good editors live for. As to the question of when the book’s various gambits cohere into a novel, there's an ironic twist in all this. Right around page 150, De La Pava introduces into his bricolage of Gaddis-y dialogue and Malamudian bildungsroman and potheaded discursus that most commercial of plots, the quest to pull off the perfect caper. It's this set of generic tropes, rendered with a perfection of their own, that starts to pull De La Pava’s other concern toward that convergence point he'd drawn for me. By the halfway mark, A Naked Singularity has become exactly what every publisher is looking for: a very difficult book to put down. 4. “I was 27 when I started, 34 or 35 when I was done,” De La Pava, now 41, told me; “I didn’t know anything.” Only that "This wasn't The Old Man and the Sea." A book he likes, he hastened to add. But with the help of his wife, a voracious reader who keeps abreast of new fiction, he realized that he needed representation. The first excerpt he sent out excited several literary agents enough that they asked to see more. Almost uniformly, though, the response to the sheer bulk of the complete manuscript was, “You’ve got to be kidding.” De La Pava, having poured seven years of his life into the book, wasn’t ready to see it chopped into something smaller and less risky. “My attitude was, I’ll take my ball and go home.” (Though one doubts he would have stopped writing; a second novel, Personae, less successful but still interesting, was published through XLibris in 2011). Susanna, however, wasn’t ready to give up on A Naked Singularity, and began to lobby him to self-publish it. “I think it cost about $10,000” to print it through XLibris, he says. “We had a book party and everything,” after which they ended up with “all these copies.” Susanna then took on the role of publicist...and proved adept at it as her husband had at the role of novelist. Her strategy was to send out targeted emails to bloggers and critics who had written about Infinite Jest, offering to send them something they might like. Some of them, like me, failed to take her up on it, but after Donoghue’s review, and then Wilson’s, things began to snowball. Soon “we’re selling like 100 books a month. And then we hear from University of Chicago Press.” A publicity director there (who was also The Quarterly Conversation's poetry editor) had become obsessed with the book. A self-published magnum opus was, to say the least, an unusual project for a prestigious academic press. It had to pass muster with the board of faculty members and administrators that signs off on each book published. But, thanks in large measure to statements of support from the novelist Brian Evenson and critics including Steven Moore, the press decided to acquire the rights to the book. From there, it was only a hop, skip, and a jump to the window of my local Barnes & Noble, where I passed it just this week. 5. This can’t have been exactly the path to prominence De La Pava dreamed of. For one thing, I thought I detected an element of rope-a-dope in his protestations of literary innocence. In the course of our two-hour conversation, he capably paraphrased John Gardner's The Art of Fiction, tossed off two allusions to “The Big Six” (a term I had to think about before I got it) and name-checked half a dozen titles from recent Knopf and FSG catalogues. There's also the matter of that New Yorker, rumpled from use. And then there’s the way A Naked Singularity returns again and again to the theme of ambition. It becomes almost a counterpoint to the theme of justice. At first, Casi's desire to do great things pulls him toward justice; later, it's a source of frustration that borders on madness. As with the scenes of family life, the writing here is too personal not to have come from firsthand experience. When Casi says, for example, of a brief he's preparing to file, "I'm determined to create a document so achingly beautiful and effective and important that should I drop dead as the final draft is being printed it would matter not the least," we can hear the novelist standing right behind him, speaking, as it were, over his shoulder. "Achingly beautiful and effective and important:" I imagine that, as he neared completion on his huge manuscript, De La Pava must have had an inkling that he'd achieved at least two of the three. And I imagine he believed, like Casi, that he was still living in a world where that would be enough. The doors of the great publishing houses would fly open, and then the arts pages of the newspapers, and then the doors of homes across America. This is what most writers believe, deep down, as the private dreaminess of the early drafts begins to give way to the public competition for attention, and money, and fame. Yet De La Pava’s more tortuous path has afforded him certain gifts that outrageous good fortune might not have. Chief among these is something both the MFA and the NYC trajectories Chad Harbach sketched in a recent N+1 essay tend subtly to conceal: the knowledge that one is free to write the kinds of books one wants, with the kinds of effects that engage one's own imagination, however rich, complex, and challenging. "That kind of freedom is important to me,” De La Pava told me, as we sat in the heart of Mayor Bloomberg's stop-and-frisk New York, in a neighborhood I could no longer afford to live in, amid the artisinal cheese-plates and the coffee priced by the bean. “I’m very into freedom as a writer.” I asked him what his ambitions were for the next book. “I want to preserve this mode of doing things," he said. "The rest I can’t control.” Then we paid up, and said our goodbyes, and he walked out the door, bound for the wilds of Jersey. Bonus link: "Reasons Not to Self-Publish in 2011-2012: A List" by Edan Lepucki Bonus link: De La Pava boxing piece at Triple Canopy: "A Day's Sail" Image Credit: Genevieve McCarthy
This past winter I wrote a pair of essays about The Brothers Karamazov that included the admission that I preferred “Tolstoy’s ability to see the angles of everyday life to Dostoevsky’s taste for the manic edges of experience.” That line elicited more of a reaction from readers than anything else I wrote, which prompted me to dive deeper into the question: Just which of these two titans of Russian literature is considered the greater novelist? As it turned out, I was not the first to consider the provocation. The literary critic George Steiner has provided the most authoritative resolution to the problem with his book Tolstoy or Dostoevsky, which positions Tolstoy as “the foremost heir to the tradition of the epic” and Dostoevsky as “one of the major dramatic tempers after Shakespeare.” Isaiah Berlin considered the seemingly opposing qualities of the two authors in his enduring essay “The Hedgehog and the Fox.” Nabokov argued in Lectures on Russian Literature that it was Tolstoy in a landslide, while America’s First Ladies have tended to give the nod to Dostoevsky: both Hillary Clinton and Laura Bush cite The Brothers Karamazov as their favorite novel. Still, I wasn’t satisfied with the answers I found online so I decided to get a second opinion — or rather, eight more opinions. I reached out to the foremost scholars of Russian literature as well as avid lay readers I know and asked if they’d be willing to contribute 500 words weighing the respective merits of Tolstoy and Dostoevsky. Almost everyone said yes, though a few echoed the sentiments of a distinguished emeritus professor who replied to me from a beach in Mexico, writing, “There really is no competition on Parnassus. From my point of view at least, they are both great writers and now live in a realm beyond competition.” And of course that’s true — just as it’s true that it is fun (and often illuminating) to debate Williams vs. DiMaggio and Bird vs. Magic even though at the end of the day we acknowledge that they’re all irreducibly great. So with that, enjoy eight very knowledgeable, passionate takes on two of the great storytellers of all time. And when you’re done reading, please go ahead and share your own views in the comments section. Carol Apollonio, Professor of the Practice of Russian, Duke University The question shot straight into my brain and disabled the parietal cortex. There was a sizzle and a puff of smoke, and the smell of sulfur filled the air. I groped in the dark for a 50-kopeck piece and tossed it upwards. It clinked hollowly on the linoleum. The flickering light of the candle from above illuminated the tiny but unmistakable image of the double-headed eagle. Heads up: Dostoevsky, then. His protagonist is the head: bait for smart people. The intellect sends forth an unending flow of words. YES! You’ve thought this exact same thing so many times! How can there be justice on earth if it comes at the cost of a child’s tear? How can God be all good and all powerful, yet allow suffering in the world? If God exists, then how can he allow ME to walk the earth, sick, sniveling, spiteful creature that I am, scrawny spawn of the most abstract and premeditated city on the earth? If God does not exist, though, how can I be a captain? Should I return my ticket? Read on! They give us the bread that we ourselves have made, and we accept it back from them in exchange for our freedom: cheap sorcery in place of miracle. I love mankind, but how can you expect me to love the stinking, jabbering drunk across the table, the loser who sold his own daughter into prostitution so he could sit here and drink? Prove that you exist, then! Move this mountain, and I will believe! His protagonist is the head, but his hero is the heart. Logic and words will get you nowhere: the more talk, the less truth. Twice two is four, but twice two is five is a charming little thing too. A hug, now, a kiss, a fall to the earth, a leg over the iron railing of a cold St. Petersburg bridge, a pouring forth of tears, a pouring forth of blood, a turning pale, a fainting dead away, an issuing forth of the spirit of decay, a slamming of your own finger in the door, the plaintive sounds of a pipe-organ on the street, ragged orphans begging, the dying gasps of the overworked, bludgeoned horse, the barely detectable breathing of the doomed old woman on the other side of the closed door — you, YOU are the murderer — the clink of coins in the cup, the dizzying whirl of the roulette wheel, brain fever, a silhouette in the doorway, the noble young lady bowing down to the earth before you, YOU, you lustful worm! Shrieks, a rope, a gun, a slap on the cheek, and suddenly... Suddenly an image appears in the darkness: a thin, timid girl in a green shawl, her face pale and drawn from illness. She smiles joyfully and stretches out her hand to me. I must go, for if I do not, I will keep on talking and will never stop…. Ellen Chances, Professor of Russian Literature, Princeton University The question, in my mind, is meaningless. One of the worrisome tendencies of contemporary society is its impulse to rank. Who is better? Who is Number One? The question should not be, “Who is the greater novelist?,” but rather, “What do I learn from reading the books of Tolstoy or Dostoevsky, or of anyone else? Why does everything have to be a race? Why does everything have to be competitive? This implies that there is a winner and a loser. Why does the reading of Tolstoy or Dostoevsky or of anyone else have to be part of a “success” or “failure” story? Framing the question, “Tolstoy or Dostoevsky: Who’s the better novelist?,” in this way does a disservice, it seems to me, to the act of contemplating the meaning of these writers’ books. Asking the question is equivalent to asking, “Which is the greater food, milk or orange juice? Which is the greater food, blueberries or strawberries? Which is better, the sky or the grass, night or day?" To me, both Dostoevsky and Tolstoy are equally great writers. Each focused on some of the important “big questions” of life. Dostoevsky’s Ivan Karamazov, in The Brothers Karamazov, asked how a just God could have created a world that includes the suffering of innocent children. Tolstoy, through his character, Levin, in Anna Karenina, asked what the meaning of life is. Both Dostoevsky and Tolstoy asserted that the essence of life cannot be found by relying on the intellect alone. Both Dostoevsky and Tolstoy understood that being true to the authentic rhythms of life means respecting the non-linear nature of life. Each of the two offers profound insights about psychology. Tolstoy emphasizes the ways in which people relate to one another in a societal context. Dostoevsky digs deeply into the individual human psyche. Tolstoy paints a world in which extreme things happen to ordinary people. Dostoevsky shows us the extremes of which people are capable. Each of the two writers describes crises in faith. Each describes the journey to a life of spiritual values. Both Dostoevsky and Tolstoy write in a way that conveys the energy of life. That energy comes about, in Dostoevsky, through the clash of ideas, through the tension he creates through suspense and the use of words like “suddenly.” Ivan Karamazov says that he loves life more than the meaning of life. Tolstoy shows a love of life of this world – the smell of the earth, the beauty of a flower. He speaks about living a life of authenticity. Both Dostoevsky and Tolstoy make me think about what is important in life. Both urge the reader to appreciate those things that money or competition cannot bestow – love, and life itself... ...So who is the greater writer, Dostoevsky or Tolstoy? Both Tolstoy and Dostoevsky are great...And then there is Chekhov, and Pushkin, and Mandelstam and Akhmatova and Bitov... And that’s just the Russians... Raquel Chanto, Graduate Student, Woodrow Wilson School of Public and International Affairs It is likely that these words express more about me than about Tolstoy or Dostoevsky. I have long ago given up on the idea of objective appraisal of literature: reading is a much more mediated process than we would like to admit. All sorts of ghosts crawl into the pages, a prehistory of tastes and experiences and prejudices and fears. So if I say Dostoevsky is a greater writer than Tolstoy, I only mean he has been greater to me. My first encounter with Russian literature was as random as can be expected for a twelve-year-old girl growing up in suburban Costa Rica. Both Tolstoy and Dostoevsky emerged like potatoes out of a giant plastic bag containing several books of ranging worth. I was lucky enough to be, at the time, very young, very curious and seriously uninformed. Unlike most people, I read War and Peace without having the faintest idea of the book’s reputation. Crime and Punishment followed shortly after, with the same scandalous lack of veneration. I loved them both: Tolstoy, for the story he told, and Dostoevsky, for the thoughts he provoked. Many years and many books later, the two authors continue to inhabit different places in my mind and in my memory. Tolstoy conjures up images of endless steppes and elegant Petersburg homes, where great and complex characters go about the business of living. His books are showcases of literary craftsmanship, epic tales told with impeccable skill. Dostoevsky’s work is less precise, more ambiguous. I experience his books as a ceaseless battle of demons that never rest — not even as you turn the page, as you end a chapter, as you finish the novel and read it again. A Dostoevsky novel sitting on a shelf is a bowl of anxiety and confusion, a bundle of frustrations marked by a desperate need for redemption. His protagonists are shown in extreme situations, where not only their personality but their very nature is put to the test. What I find mesmerizing in Dostoevsky is not just the details of the story, the particular twists and turns of the lives of Rodion Raskolnikov or Dmitri Karamazov; it is the mere possibility of their existence. It is, in the end, the mind-bending notion that we could be just like them — that any of us, any ordinary, simple human being, carries around the highest plane and the lowest point of moral capabilities. Tolstoy’s characters tell me a lot about themselves. Dostoevsky’s characters tell me a lot about myself. If that is not writing of the ultimate importance, I do not know what is. Chris Huntington, author of the novel Mike Tyson Slept Here Reading Tolstoy transports me to another world; reading Dostoevsky makes me feel alive in this one. As I’m reading Tolstoy, I’m drawn into a dream of serfs and country estates, endless royal titles and army ranks. So many beautiful horses! A loyal dog! Women like Kitty and Anna Karenina! But then I put the book down and I find myself using a coat hanger to get the hair out of the shower drain, and it doesn’t feel like the Battle of Austerlitz. It feels like my life again. On the other hand, many times someone will frustrate me at work, and I hear these words from The Brothers Karamazov thundering in my head: 'Why is such a man alive!' Dmitri Fyodorovich growled in a muffled voice, now nearly beside himself with fury, somehow raising his shoulders peculiarly so that he looked almost hunchbacked. ‘No, tell me, can he be allowed to go on dishonoring the earth with himself?’ I say this kind of shit to myself all the time. It’s part of the fun of being alive. As I lead my every day life (so unlike ice-skating in Moscow or cutting grain on my estates), just imagining that I resemble beautiful Levin is to invite self-ridicule. I like him more than he would like me. I’m not nearly as nice, nor as sincere. I find that I can openly admire Prince Myshkin, however, because in The Brothers Karamazov, I’m right there doing it. I’m Dmitri or Ivan, holding Alyosha’s hand. The message of the brothers is that we are all each other; we share each other’s passions. We suffer identically. We demonstrate things differently. I can be innocent and guilty both. That, to me, is life. Borges, I believe, said there was something adolescent about a love of Dostoevsky – that maturity demanded other writers. All I know is, when I first read Crime and Punishment, that book represented a lot of work for me. I didn’t get it! What did I have to feel so guilty about, at eighteen? I hadn’t DONE anything. I was frantic with potential energy. I would have been better off with War and Peace – because I had the temperament of Prince Andrei, ready to go to war. I was angry with myself and frustrated, but I had no major regrets. I certainly could never have understood Ivan Fyodorovich’s madness. I had just spent a summer drifting with a beautiful 17 year-old girl on Harrison Lake; if you’d asked me why Prince Myshkin pursued the troubled Nastassya or allowed the beautiful Aglaya to get away, I would have had no idea. In adolescence, I was loyal with my friends, but also so fiercely uncompromising that I would never have endured a friend like Myshkin’s Rogozhin. That kind of bond would only come later for me, when I understood what it was like to tie myself to someone for life- when I understood what mutual forgiveness was. When I was in my early twenties, one of my friends drunkenly stabbed another. It wasn’t serious. One of my best friends asked me not to see a girl he’d broken up with. Instead, I married her. Later on, I lost her. I chased her in the snow, like Dmitri. I understand Dostoevsky now. What adolescent understands these things? In any case, I realize that the “competition” between Dostoevsky and Tolstoy is just an exercise in love. No one really has to choose one or the other. I simply prefer Dostoevsky. For my last argument, I will simply cite an expert far older and wiser than me: Just recently I was feeling unwell and read House of the Dead. I had forgotten a good bit, read it over again, and I do not know a better book in all our new literature, including Pushkin. It’s not the tone but the wonderful point of view – genuine, natural, and Christian. A splendid, instructive book. I enjoyed myself the whole day as I have not done for a long time. If you see Dostoevsky, tell him that I love him. -Leo Tolstoy in a letter to Strakhov, September 26, 1880 Andrew Kaufman, author of Understanding Tolstoy and Lecturer in Slavic Languages and Literature, University of Virginia All mediocre novelists are alike; every great novelist is great in his own way. Which is why the choice between nineteenth-century Russia’s two supreme prose writers ultimately boils down to the question of which kind of greatness resonates with a particular reader. My own sympathies are with Tolstoy, and even my criteria for judging a work of fiction, I admit, are relentlessly Tolstoyan. “The goal of the artist,” Tolstoy wrote, “is not to solve a question irrefutably, but to force people to love life in all its countless, inexhaustible manifestations.” By this standard Tolstoy’s novels succeed where Dostoevsky’s fall short. True, Dostoevsky saw and felt modern experience in all of its isolating, tragic depth. He showed the obsessive power of ideas and the psychological crises, cracks, and explosions of the soul that have become familiar in our modern world. What he doesn’t do, however, is make you love life in all its manifestations. In fact, when he tries to do so, he reveals his deficiencies. At the end of Crime and Punishment Raskolnikov flings himself at the feet of Sonya, who has followed him to Siberia where he is serving his sentence for double homicide. Sonya jumps up, looks at him and trembles. “Infinite happiness lit up in her eyes; she understood, and for her there was no longer any doubt that he loved her, loved her infinitely, and that at last the moment had come...” If this smacks of modern soap opera or those maudlin French novels Dostoevsky was raised on, that’s because it is melodrama. Sonya’s “infinite love” is an ideal, “the moment” that has supposedly come, an abstraction. What modern readers need, Tolstoy believed, is not more lurching after “infinite happiness” or “the Great Idea,” as Stepan Trofimovich, near the end of The Demons, claims to have discovered, but the ability to embrace an imperfect reality. The author of Anna Karenina teaches us how to seek meaning not through grandiose romantic strivings, like Anna and Vronsky, but within the limits of imperfect social and family structures, like Kitty and Levin. Tolstoy's novels depict the norms and continuities of human behavior by means of grand narratives that expand slowly over time and against the backdrop of vast natural tableaus. “As is usually the case” and “such as often occurs” are phrases you encounter frequently in Tolstoy. Dostoevsky’s world, by contrast, is one in which you can come home one evening and “suddenly” find an axe buried in your skull. Life is always on the verge of imploding on itself. Tragedy is just around the corner, or in your living room. Tolstoy’s living room is a place where people, well, live. It’s where dark-eyed, voluble twelve-year old Natasha Rostova comes running with doll in hand, or where, a decade later, she enjoys with Pierre one of those endearingly mundane conversations between wife and husband about nothing and everything. “I am a realist in a higher sense,” Dostoevsky rightfully claimed. But Tolstoy was a realist in the total sense. “The hero of my tale... is Truth,” he wrote. And that truth is one every generation recognizes as its own, not just those in a state of social crisis or existential despair. If Dostoevsky urges us to reach for the heavens, then Tolstoy teaches us by artistic example how we may touch the transcendent here and now in our messy, fleeting world. Gary Saul Morson, Frances Hooper Professor of the Arts and Humanities, Northwestern University A Soviet anecdote has it that Stalin once asked the Central Committee: which deviation is worse, the right or the left? Some fearfully ventured “the left,” others hesitantly offered, “the right.” The Great Helmsman then gave the right answer: “Both are worse.” I answer the question, “Who is the greater novelist, Tolstoy or Dostoevsky?”: Both are better. Dostoevsky spoke to the twentieth century. He was unique in foreseeing that it would not be an era of sweetness and light, but the bloodiest on record. With uncanny accuracy, The Demons predicted, in detail, what totalitarianism would be. Bakhtin understood the core principle of Dostoevsky’s ethics: a person is never just the product of external forces. Neither heredity nor environment, singly or together, fully accounts for a human being. Each person retains a “surplus,” which constitutes the self’s essential element. True, some people, and all social sciences aspiring to resemble physics, deny the surplus. But they apply their theories only to others. No matter what he professes, nobody experiences himself as a mere play of external forces. Everyone feels regret or guilt, and there is no escaping the agony of choice. We behave as if we believed that each moment allows for more than one possible outcome and that our freedom that makes us in principle unpredictable. Without that unpredictability we would lack humanness. We would be zombies, and no one has ethical responsibility to zombies. Hence ethics demands: always treat another person as capable of surprise, as someone who cannot be explained entirely at second hand. Dostoevsky despised both capitalism and socialism because each treats people as the mere product of economic (or other) laws. If socialism is worse, it is because it also presumes that experts know how to organize life for the best and socialism not only denies but actively removes choice for a supposedly higher good. At best, this view leads to the Grand Inquisitor, at worst to the nightmarish plans of Pyotr Stepanovich. Tolstoy speaks more to the 21st century. His novels’ key concept was contingency. At every moment, however small and ordinary, something happens that cannot entirely be accounted for by previous moments. Like Dostoevsky, Tolstoy also denied the possibility of a social science, which must always wind up resembling the “science of warfare” preached by the generals in War and Peace. Like macroeconomists today, these “scientists” are immune to counter-evidence. To use Tolstoy’s word, social science is mere “superstition.” If social scientists understood people as well as Tolstoy, they would have been able to depict a human being as believable as Tolstoy’s characters, but of course none has come close. If we once acknowledge that we will never have a social science, then we will, like General Kutuzov, learn to make decisions differently. We intellectuals would be more cautious, more modest, and ready to correct our errors by constant tinkering. If we have left the age of ideologies behind, we may need Dostoevsky’s warnings less than Tolstoy’s wisdom. Donna Tussing Orwin, Professor of Russian and Chair, Department of Slavic Languages and Literatures at the University of Toronto, and author of Consequences of Consciousness: Turgenev, Dostoevsky, and Tolstoy I inclined first to Tolstoy. His combination of moral sensibility and love of life appealed to me, and I didn’t like Dostoevsky's over-the-top world of the self in crisis. The two authors have much in common, and yet diverge in ways that make comparison irresistible. Both associate the self with moral agency; for both therefore, the individual is the ultimate source of good and evil. For both, goodness, which consists in overcoming selfishness, is natural but weak. For both feelings trump reason in the soul, though Tolstoy is closer to the Greeks and the Enlightenment in his association of virtue with reason. For Dostoevsky, reason is always tainted by egotism, and therefore he relies on love to spur moral impulses. Dostoevsky concentrates more on evil; for this reason his writings anticipate the horrors of the twentieth and the nascent twenty-first centuries. Tolstoy depicts crimes, such as the lynching of Vereshchagin (War and Peace) or uxoricide in Kreutzer Sonata, but not the pure malice embodied in such Dostoevskian characters as Stavrogin (Demons) or Smerdyakov (Brothers Karamazov). Tolstoy's most evil characters, like Dolokhov in War and Peace, seem to invade his texts from another (Dostoevskian?) world. Dostoevsky also portrays pure goodness. Prince Lev Nikolaevich Myshkin (The Idiot), even though he is named after Tolstoy, is more virtuous than any Tolstoyan character could be, and so is Alyosha Karamazov. Both authors are wicked satirists. Tolstoy's rationalizing solutions to social ills can seem naive, while Dostoevsky's high-minded ones seem sentimental. Tolstoy's fiction encompasses a broader range of experience than Dostoevsky's. No one has described childhood, family life, farming, hunting, and war any better. This reflects his affinity for the physical and the body. Not coincidentally, Tolstoy is also celebrated for his portraits of nature and animals. Dostoevsky usually associates the physical with the base. (Compare fleshy old Fyodor Karamazov with his ethereal son Alyosha.) In his writings illness often brings insight, while Tolstoy mostly (though not always) prefers healthy states to unhealthy ones. Dostoevsky's fiction aims at the revelation of character to the fullest extent possible. He believes that each individual is unique, however, and therefore ultimately inaccessible to others. His protagonists vacillate between good and evil; this makes the future of any one of them, even the most virtuous, unpredictable. Tolstoy’s characters are complex but not unique. The variety among them (greater than in Dostoevsky) is a result of a practically but not theoretically infinite number of combinations among all the possibilities inherent in human nature, and the interaction of these with the outside world. Tolstoy depicts the intersection of chance, historical forces, and character. In his view, the more disengaged we are from outside circumstances, the freer we are. Tolstoy gravitated in old age toward Christian anarchy, while Dostoevsky in his last novel (Brothers Karamazov) seems to advocate for a Christian theocracy headed by someone like Zosima. I still prefer Tolstoy’s earthiness and expansiveness to Dostoevsky’s brilliant, edgy anatomy of the psyche, but I can't imagine life without them both. Joshua Rothman, graduate student in English at Harvard University, and author of the column, Brainiac, which appears every Sunday in the Boston Globe's Ideas section I have the usual reasons for thinking of Tolstoy as the “better" — really, as the best — novelist. There’s the incredible variety of scenes and subjects he explores; there’s his precise, uncluttered style; there’s his epic tone, with its special combination of detachment and humanity. And I’m always overpowered by the way his novels describe everyone from the inside, even the dogs and horses. I have the same reaction to Tolstoy’s writing as his sister-in-law, Tanya Bers, who was the model for Natasha in War and Peace: “I can see how you are able to describe landowners, fathers, generals, soldiers,” she told him, “but how can you insinuate yourself into the heart of a girl in love, how can you describe the sensation of a mother — for the life of me I cannot understand.” I think Tolstoy is better at “insinuating himself” than any other novelist. It’s Tolstoy’s scenes, though, which impress me most. Tolstoy, I’m convinced, is the single greatest writer of scenes in literature. Dostoevsky is often given credit for being more “dramatic” (George Steiner, in Tolstoy or Dostoevsky?, calls Dostoevsky “one of the major dramatic tempers after Shakespeare”). But Tolstoy’s novels are unique in the way they’re constructed entirely out of short, perfect, easy-to-read scenes, and in the way those scenes build on one another until they address the most complex issues in a nonchalant, natural way. Take the run of scenes around Kitty and Vronsky’s ball in Anna Karenina. In the first scene, Kitty and Anna are sitting on a sofa. Kitty invites Anna to the ball, and suggests that she wear a lilac-colored dress. Then a gaggle of children run to Anna, Anna takes them in her arms, and the scene ends. Reading the scene, we understand that that’s how Kitty sees Anna: as a mysterious, beautiful, poetic young mother. Then, two scenes later, Kitty arrives at the ball, wearing a peach-colored dress, and sees Anna — in black velvet. That’s the scene when Anna steals Vronsky from Kitty. Right there, in the juxtaposition of those two scenes, which are only two or three pages apart, you have the difference between childhood and adulthood, and between sexual innocence and experience. No other novelist can show you so much, so quickly. It’s not just that his short scenes move quickly, though; it’s that they let Tolstoy focus on very ordinary things, like the color of a dress. One of the best scenes at the end of Anna Karenina is organized around a thunderstorm; in War and Peace, he does two scenes around an oak tree, bare and then in bloom. In each scene, the details feel unremarkable — but, over many scenes, they assemble themselves into a structure that’s more than the sum of its parts. Tolstoy called that structure a “network.” Dostoevsky built up networks, too, of course, and in some ways they’re more powerful. But I prefer Tolstoy’s ordinary materials to Dostoevsky’s extraordinary ones, because they can teach you to uncover the “scenes” and “networks” in your own life. Images of Tolstoy and Dostoevsky via Wikimedia Commons
In my early and mid teens, I was a big reader of genre fiction: murder mysteries and thrillers, sci-fi and horror. Stephen King was a favorite, of course, and so was a novel by Frank de Felitta called Audrey Rose, about an eleven-year-old girl who turns out to be the reincarnation of girl who died in a gruesome car fire. The idea of being haunted from within, of being literally inhabited by the past, was deliciously frightening. Then, at a new school, I came under the influence of teachers who lobbed some biggies at us: Dostoyevsky, Proust, Mann. Crime and Punishment showed me that the movements of a mind can be as suspenseful as migrating spirits and telekinetic powers, while Proust’s intricate explorations of time revealed less supernatural ways in which the past penetrates the present. Reading these masters, I began to feel, physically, the difference between sentences that merely move the plot along and sentences that are a type of music and a conduit for the exploration of human character. I became a lit snob and didn’t look back. There were only so many years to hit all the high points between Gilgamesh and the latest Alice Munro! Even when I was drawn to the premise or plot of the latest blockbuster, I found I lost interest by page 20. If a book doesn’t hold me sentence by sentence, it doesn’t hold me at all. Dan Chaon is a writer for those of us who thought we’d left genre behind. Sure, contemporary writers such as Michael Chabon, Jonathan Lethem, and Colson Whitehead import genre conventions into their literary fiction, but my guess is that their most avid readers tend to be those who never lost their taste for the detective story, the thriller, or the futuristic drama, stories in which character generally takes a back seat to magic and adventure. You may read Chabon or Lethem for their powers of invention and their remarkable sentences, but you don’t read them for richly nuanced characterization. In Chaon’s work, character, and character’s corollary, relationship, are primary -- and therefore so are the emotions of longing, grief, guilt, and rage. Chaon has long been creating completely realistic scenarios that nevertheless transmit all of the distressing uncanniness of the best supernatural tales. A lover of Austen, Eliot, and James may never warm to Lethem and Co., but is likely enough to fall for Dan Chaon. Chaon published his first short story collection in 1995, but it was his second, Among the Missing, that put him on the map. It featured bizarre premises, such as a woman who purchases an inflatable doll to replace her dead husband, or a boy who believes that his next-door neighbor is literally himself, grown up. The standout stories created phenomenally convincing worlds in which Chaon’s typically isolated and self-distrusting characters are trapped by an ambivalence and epistemological uncertainty so strong as to become a crippling dread. In “I Demand to Know Where You’re Taking Me,” a woman is tormented by the pet parrot of her brother-in-law, who has been imprisoned for a series of rapes he says he didn’t commit (but the woman suspects he did). The parrot screams phrases like “Smell my feet!” and “Stupid cunt!” channeling the brother-in-law’s threatening presence into her previously safe-feeling home. In “Here’s a Little Something to Remember Me By,” a married man, on a visit to his childhood home, is suffocated by the saccharine attentions of the Ormsons, the parents of a boyhood friend who went missing when they were fourteen years old. Mr. and Mrs. Ormson treat the narrator like their substitute son, but their desperate affection feels vampiric. The horrors here are the horrors of ambiguity and unstable identity, of circumstances that feel supernatural even though they are always explainable in rational terms. The pleasures and the impact continue with Chaon’s new collection, Stay Awake, following two well-received novels, You Remind Me of Me and Await Your Reply. While Stay Awake does not abandon Chaon’s signature themes of identity and isolation, disappearance and memory, it flirts even more openly with the line between the supernatural and the rationalistic – and indeed two of the stories, “The Bees” and “The Farm. The Gold. The Lily-White Hands,” have overtly supernatural elements. The situations have grown even more extreme: a couple has a two-headed baby, a woman drowns several of her children, a father comes into his young daughters’ bedroom intending to kill them in their sleep. Two men in two completely different stories fall off of ladders, severing a finger – a coincidence that I must admit I found distracting. Characters desperately want to or do escape their homes, their towns, the marriages they’ve made; they think they’re free of the past until memory or something even more sinister catches up with them. One character watches Soylent Green on late-night TV, and an actor in that horror movie is described as “running through the future, screaming.” The phrase could easily be an alternate title for this book. Stay Awake also is more preoccupied than Chaon’s earlier collection with the sending and receiving of messages – from departed family members or loved ones, from the universe itself. Chaon has spoken publicly about his wife’s premature death from cancer in 2008, and it’s impossible not to see in these stories a yearning for communication between those who disappear and those who remain. Chaon nicely leaves open the question of whether it’s scarier to imagine that the universe is trying to send us certain messages, or is not. While there isn’t a single clunker in the entire collection, the standout, for my money, is “Shepherdess,” which is also, I must say, the one most in the Among the Missing vein. No truly gruesome situations here -- just a drunken woman who falls rather comically out of a tree -- and no supernatural elements. “Shepherdess” is simply about a youngish man, his mother who has just died, and a girlfriend whom he suspects is about to dump him: the old story of human bafflement and longing. Waiting in the hospital while his possibly-ex-girlfriend is getting treated after her fall, the story’s narrator speaks for nearly all of the significant characters in Stay Awake when he says: “I am not really sure how I am supposed to behave in this situation.” The last story, “The Farm. The Gold. The Lily-White Hands” shows Chaon taking major risks with point of view and style, and bringing it off wonderfully. The narrator is dead, albeit only in an alternative universe, and the result is really freaking spooky. In the margin of my copy I scribbled, “I’m sorry I read this at night.” (Beside another story, I wrote: “No!! This is horrible -- and very effective.”) Chaon’s style is tone-perfect but hard to quote; there are no lyrical flights or riffs of obvious brilliance. It mixes brisk, sometimes even brutal, colloquialism with unobtrusively elevated language, and its power is contextual and cumulative. Easiest to cite are the more comic moments, as in the terrific opening to “Shepherdess”: This girl I’ve been seeing falls out of a tree one June evening. She’s a little drunk -- I bought a couple of bottles of hopefully decent Chardonnay from Trader Joe’s on my way over to her house -- and now she’s a little drunk and a little belligerent. There is something about me that she doesn’t like, and we’ve been arguing obliquely all evening. Can people ever change? Are our identities fixed in all the worst ways and fluid in all the worst ways, too? Chaon says: Unclear, and Yes and Yes. The take-away? Be Afraid. The truth is I didn’t just stop reading books like Audrey Rose so long ago because my taste improved. It was also because, the older I got, the more they scared the hell out of me. Scared me beyond pleasure and into real distress. Maybe, upon leaving the cocoon of family and childhood, I discovered that reality was more than enough to be frightened of. Dan Chaon knows that, too, and evokes just enough of the uncanny to bring me back to those old innocent genre thrills, while offering the lit-snob side of me the realism-based subtleties of language and character that I need like bread and water.
On the last Sunday in November, book critic Adam Begley scooped Frank Rich and Maureen Dowd for the top spot in the New York Times most emailed list. Not with a review though. Instead, he wrote an excellent piece about Florence for the travel section, in which he recommended E.M. Forster's Room with a View as a kind of literary guidebook to the city. The Florence piece came several months after Begley employed the same tactic to tour Sicily, that time with Giuseppe de Lampedusa's The Leopard in his pocket.Those two pieces inspired me to think about other novel-city pairings. Last June, The Millions ran a guest post from novelist Joan Silber, in which she detailed some of her favorite books for enriching a trip abroad. Here I have something slightly different in mind: novels that allow you to follow Forster's advice to leave the guidebook at home (and instead replace it with a great work of fiction). So, without further ado:The American southwest: Try Willa Cather's The Professor's House for its stark descriptions of a New Mexico mesa.If you don't know Boston already, let Henry James introduce you with The Bostonians, his story of love and politics in the 19th-century city.It feels cheap, I know, to make John Grisham your tour guide, but I devoured The Client on a boat trip up the Amazon and don't regret it a bit. If, for some reason you're looking to weigh down your trip to Brazil, go with Claude Levi-Strauss' Tristes and TropiquesSee the Windy City through the eyes of Dreiser's classic Sister Carrie, which renders a teeming, if not always hospitable portrait of Chicago.I like Graham Greene for Cuba, with Our Man in Havana. Greene recurs a lot in this list, so in order to get it out of the way all at once: London (The End of the Affair); Mexico (The Lawless Roads or The Power and the Glory); Switzerland (Doctor Fischer of Geneva); Vienna (The Third Man); Vietnam (The Quiet American)There's still no better guide to Dublin than James Joyce (The Dubliners).Greece: Bring along The Colossus of Maroussi by Henry Miller.E.M. Forster's good for Florence. He's also good for intrigue in colonial India: A Passage to India.It's always a decision, do you want to see a place through the eyes of a perceptive foreigner or a local? In Orhan Pamuk's Istanbul: Memories and The City you get both.Jerusalem: Mark Twain voyages to the ancient capital in The Innocents Abroad. How can you resist?London: OMG. Ready to party? Try and keep up with Evelyn Waugh's Vile Bodies. A jaded post-colonial? Nick Hornby's About a Boy. Prefer to delve into immigrant life? Zadie Smith's White Teeth. Or, if you take your London straight up, there's no better pour than Bleak House by Dickens.Try Joan Didion's Miami if you have half a mind not to come back.I can think of nothing finer than New York in the hands of E.B. White: Here is New York.Paris: Again, are you going for the expat experience or the genuine article? If the former, go with James' Portrait of a Lady or Hemingway's A Moveable Feast. But for my money, see the city like a native. Stendahl's The Red and the Black.The great Russian novels are like a trip abroad no matter where you read them. Try Crime and Punishment or Gogol's "The Nose" and "The Overcoat" for St. Petersburg.Switzerland has inspired some great books in addition to the aforementioned Greene. There is Twain again with A Tramp Abroad and Thomas Mann's The Magic Mountain.I conclude the list with wanderlust. Books and foreign places are a fitting pair. There will always be more of both than there is time. This is of course anything but an exhaustive list. I'd love to hear what books you recommend in lieu of a tour guide.