Miniatures on a Broad Canvas
At the National Book Awards ceremony in New York City on November 2, E.L. Doctorow received the Medal for Distinguished Contribution to American Letters. On that night he joined a rarefied posse of past recipients that includes Eudora Welty, Toni Morrison, Norman Mailer, John Updike, Joan Didion, Philip Roth, Gore Vidal, Stephen King, Tom Wolfe, John Ashbery, and Elmore Leonard, among others. The award formalized something legions of readers have known for more than half a century: E.L. Doctorow is a national treasure.
While I wouldn’t presume to single out one of Doctorow’s dozen novels or story collections as his “best” book, I do think it is fair to say that, so far, his best known and best loved work is the novel Ragtime. And I would argue that this has also been his most influential book, the one that has done more than all the others to change the way American authors approach the writing of novels.
Ragtime, like so much of Doctorow’s fiction, is pinned to a particular, acutely rendered moment in American history. In other novels he has taken us back to the Wild West (Welcome to Hard Times, 1960), the Civil War (The March, 2005), post-bellum New York City (The Waterworks, 1994), the Depression (World’s Fair, 1985, winner of the National Book Award; Loon Lake, 1980; and Billy Bathgate, 1989), and the Cold War (The Book of Daniel, 1971).
In Ragtime he takes us back to the years immediately preceding the First World War, when America and much of the world lived in a state of dreamy innocence, oblivious that twinned calamities loomed. The book’s theme, as I read it, is that such innocence is an untenable luxury, then and now, and its inevitable loss is always laced with trauma, pain, and bloodshed. To heighten the trauma, Doctorow first builds a nearly pastoral world. Here is the novel’s serene opening:
In 1902 Father built a house at the crest of the Broadview Avenue hill in New Rochelle, New York. It was a three-story brown shingle with dormers, bay windows, and a screened porch. Striped awnings shaded the windows. The family took possession of this stout manse on a sunny day in June and it seemed for some years thereafter that all their days would be warm and fair.
In just four deceptively simple sentences, Doctorow has established the novel’s tone and central strategy. The key word in this passage is seemed, for it hints that this stout manse will not be able to provide the stability it promises. More subtly – and crucially – Doctorow also establishes a slippery narrative voice, which will be a key to the novel’s success. When we learn that “Father” built this house, we assume that the man’s son or daughter is narrating the story. Later references to “Grandfather” and “Mother” and “Mother’s Younger Brother” and “the Little Boy” reinforce the familial sleight of hand. But three sentences after the intimate introduction of “Father,” Doctorow switches to the impersonal third-person plural and tells us that after “the family” took possession of the house, it seemed that “their” days would be warm and fair. It is a deft shift of focus, a quiet, barely noticeable pulling back, but it gives Doctorow the freedom to have it both ways – to paint miniatures on a broad canvas. The strategy is crucial to everything that will follow.
The novel was stylistically innovative in other ways. The paragraphs are long, unbroken by quoted dialog. This allows Doctorow to immerse the reader in the seamless atmosphere of a particular place and time. In the middle of the novel’s long opening paragraph, Doctorow plays the gambit that will become the novel’s signature and the source of its enduring influence on the way many American novelists work right up to today: he starts injecting historical figures into his fictional world.
The gambit unfolds like this: “Across America sex and death were barely distinguishable. Runaway women died in the rigors of ecstasy. Stories were hushed up and reporters paid off by rich families. One read between the lines of the journals and gazettes. In New York City the papers were full of the shooting of the famous architect Stanford White by Harry K. Thaw, eccentric scion of a coke and railroad fortune. Harry K. Thaw was the husband of Evelyn Nesbit, the celebrated beauty who had once been Stanford White’s mistress.” A few lines later Emma Goldman, the revolutionary, strolls onto the page. Soon after that, Harry Houdini wrecks his car, “a black 45-horsepower Pope-Toledo Runabout,” in front of the family’s house in New Rochelle. Five pages in, and Doctorow is already off to the races.
In the course of the novel we’ll meet the muckraking journalist Jacob Riis, Sigmund Freud, Theodore Dreiser, Archduke Franz Ferdinand, Henry Ford, J.P. Morgan, Booker T. Washington, and Emiliano Zapata. With one exception – a luncheon meeting between Ford and Morgan – the appearance of these historical figures feels unforced and plausible. Doctorow’s historical research is obviously prodigious, but the reader never feels that the author is emptying his notebook or showing off. The historical details, such as Houdini’s “black 45-horsepower Pope-Toledo Runabout,” are chosen carefully and slipped into the narrative without fanfare. In other words, Doctorow’s mastery of his material and his narrative voice prevents the novel’s central conceit from sliding into mere schtick.
From Kohlhase to Kohlhaas to Coalhouse
All writing comes from other writing, and of course E.L. Doctorow was not the first writer to populate a fictional narrative with historical figures. It just seemed that way to many people when Ragtime was published, to great fanfare, in the summer of 1975.
But as Doctorow happily admitted in an interview in 1988, Ragtime sprang from a very specific source – an 1810 novella called Michael Kohlhaas by the German writer Heinrich von Kleist. The parallels between the two books are unmistakable. In Kleist’s novella, the title character is based on an historical figure, a 16th-century horse dealer named Hans Kohlhase, who seeks justice when he is swindled out of two horses and a servant, a campaign that wins the support of Martin Luther but eventually leads to Kohlhass’s violent death; in Doctorow’s novel, the black musician Coalhouse Walker mounts an equally fierce campaign for justice when his pristine Model T is desecrated by a company of racist firemen, a campaign that wins the support of Booker T. Washington but eventually leads to Coalhouse’s violent death.
“Kleist is a great master,” Doctorow told the interviewer. “I was first attracted to his prose, his stories, and the location of his narrative somewhere between history and fiction… Ragtime is a quite deliberate homage. You know, writers lift things from other writers all the time. I always knew I wanted to use Michael Kohlhaas in some way, but I didn’t know until my black musician was driving up the Broadview Avenue hill in his Model T Ford that the time had come to do that.”
Ragtime’s Ragged Spawn
I read Ragtime not as a conventional historical novel – that is, a novel that hangs its fictions on a scaffold of known events – but rather as a novel that makes selective use of historical figures and events to create its own plausible but imaginary past. Yes, Doctorow did his research and he includes factual renderings of numerous historical figures and events, but these are springboards for his imaginings, not the essence of his enterprise. Put another way, Doctorow is after truth, not mere facts. But as he set out to write the book he understood that a prevailing hunger for facts had put the art of conventional storytelling under extreme pressure. He explained it this way in a 2008 interview with New York magazine: “I did have a feeling that the culture of factuality was so dominating that storytelling had lost all its authority. I thought, If they want fact, I’ll give them facts that will leave their heads spinning.” And when William Shawn, editor of The New Yorker, refused to run a review of the novel, Doctorow remarked, “I had transgressed in making up words and thoughts that people never said. Now it happens almost every day. I think that opened the gates.”
I think he’s right. Doctorow’s selective use of historical figures and events lends Ragtime its air of verisimilitude without robbing him of the freedom to imagine and distort and mythologize. It is, for a writer of fiction, the best of all possible worlds. Small wonder, then, that Doctorow’s strategy, radical in 1975, is now so commonplace that it’s impossible to keep up with the torrent of novels, short stories, and movies that owe a debt to his act of transgression.
(For an interesting take on how transgressions can become commonplace, go see the 100th-anniversary recreation of the Armory Show, currently at the New York Historical Society. Works by Duchamp, Matisse, and Gauguin that shocked America in 1913 – the precise moment when Ragtime is set – are now part of the Modernist canon, tame and acceptable.)
Colum McCann, the decorated Irish writer now living in New York, is among the many writers who have come around to Doctorow’s way of writing novels. McCann’s early fiction is loosely based on historical events but populated with fictional characters. Then in 2003 he published Dancer, a fictional telling of Rudolf Nureyev’s life. McCann’s National Book Award-winning novel from 2009, Let the Great World Spin, pivots on Philippe Petit’s mesmerizing high-wire walk between the Twin Towers in 1974. Earlier this year, McCann published TransAtlantic, a triptych that fictionalizes the stories of three journeys across the ocean by actual historical figures: the aviators John Alcock and Arthur Brown; the abolitionist Frederick Douglass; and the former U.S. Senator and peace envoy George Mitchell. In an interview with The Guardian, McCann explained his shift toward historical figures and events over the past decade by citing a maxim from the cultural anthropologist Clifford Geertz: “The real is as imagined as the imaginary.” It follows that the imagined is as real as the real. McCann added, “I said about 12 years ago that writing about biographical figures showed a sort of failure of the writer’s imagination.” And then? “Absolutely busted. Because then I wrote Dancer…and then more or less ever since I’ve been hovering in this territory.”
He’s not alone. Here is a list, far from exhaustive and widely varying in quality, of Ragtime’s progeny, with some of the historical figures who appear in each work: Blonde by Joyce Carol Oates (Marilyn Monroe); Cloudsplitter by Russell Banks (John Brown); Quiet Dell by Jayne Anne Phillips (the mass-murderer Harry F. Powers); Hollywood by Gore Vidal (William Randolph Hearst, Warren Harding, Marion Davies, Douglas Fairbanks – not to mention Vidal’s more conventional historical novels such as Lincoln, Burr and 1876); The Public Burning by Robert Coover (Julius and Ethel Rosenberg, Joe McCarthy, Richard Nixon, the Marx Brothers); Wolf Hall and Bring Up the Bodies by Hilary Mantel (King Henry VIII, Thomas Cromwell, Sir Thomas More); The Women by T.C. Boyle (Frank Lloyd Wright); DaVinci’s Bicycle by Guy Davenport (Picasso, Leonardo, Joyce, and Apollinaire); Z: A Novel of Zelda Fitzgerald by Therese Anne Fowler (Zelda and Scott, Hem, Ezra Pound); Dead Stars and Still Holding by Bruce Wagner (Michael Douglas, the Kardashians, a Russell Crowe look-alike and a Drew Barrymore look-alike); The 100-Year-Old Man Who Climbed Out the Window and Disappeared by Jonas Jonasson (Franco, Truman, Stalin, Churchill, Mao); and the movies Forrest Gump (Tom Hanks meets Elvis, Bear Bryant, JFK, LBJ, and Richard Nixon) and Zelig (Woody Allen brushes up against Babe Ruth, Adolph Hitler, and others in this faux documentary, with added commentary from the real-life Susan Sontag, Saul Bellow, and Bruno Bettelheim).
The last three items on this list illustrate the dangers of the strategy Doctorow pursued in Ragtime. In each of these three works, the central character encounters historical figures by pure chance and for no good reason, other than to amuse the reader or audience, or show off the filmmaker’s technical wizardry. There is nothing organic or plausible about any of these contrived encounters, and they drag the works down to the level of mere schtick.
On the other end of spectrum is one of Ragtime’s worthiest successors, the under-appreciated 1990 novel Silver Light by David Thomson, a writer best known for A Biographical Dictionary of Film. The novel takes the central conceit of Ragtime – fictional characters interacting with historical figures – and then gives it a delicious twist. Using the medium he knows so well, the movies, Thomson gives us a rambling cast of characters, a mix of real and imagined people and – here’s the twist – the actors who played some of them in movies. It was not until I read the extensive Note on Characters at the end of the book that I understood the histories of these people. The character Noah Cross, for instance, was lifted directly from the 1974 movie Chinatown. The (real? imagined?) character Susan Garth is the cantankerous 80-year-old daughter of a cattle rancher named Matthew Garth, who was played by Montgomery Clift in the 1948 Howard Hawks movie Red River, which was based on a Saturday Evening Post story by Borden Chase. Thomson makes superb use of this layered source material. In a scene that goes to the heart of such fiction, Thomson puts Susan Garth on the Red River set outside Willcox, Arizona, in 1946 with Hawks, Clift, and John Wayne. No one on the movie crew is aware that Susan is the daughter of the character Clift is playing in the movie. She has told Hawks her name is Hickey, and when Clift arrives on the set, Hawks performs the introductions:
“Miss Hickey…may I introduce Mr. Clift, our Matthew Garth?”
The spurious father and the unknown daughter shook hands, worlds and fifty years apart.
“Interesting role you’ve got,” said Susan.
“Well, look,” grinned Clift, tolerantly, “this is just a Western, you know.”
“Still,” she persevered, “the real Garth. He was an unusual fellow.”
“Hey, Howard,” whined Clift, “was Garth a real person? Is that right?”
Delicate and dangerous, Howard saunteringly rejoined them. “There are no real people,” he told them. “See if they sue.”
There are no real people; there are only the ones we can imagine truly. When I read Hawks’s made-up words, I could hear echoes of Clifford Geertz and Colum McCann and E.L. Doctorow and every writer on my incomplete and ever-growing list.
The I’s Have It
This homage to Ragtime would not be complete without mention of two related strains of fiction. In the first, a writer places a historical figure at center stage and then attempts to channel that character’s voice and enter his mind. One of this strain’s early avatars was the wildly popular 1934 novel I, Claudius, in which Robert Graves set out to refute the conventional view that the man who ruled the Roman Empire from 41 to 54 A.D. was a stuttering, doddering idiot. (Graves followed it a year later with Claudius the God.) Jerry Stahl took on a similar revisionist challenge in 2008 with I, Fatty, a look into the dark soul of the supposedly sunny silent-movie star Roscoe Arbuckle. Other figures from history, literature, and myth who have become titles of I, ______ novels include Hogarth, Iago and Lucifer. And then there are such masterpieces of ventriloquism as Peter Carey’s True History of the Kelly Gang, Margeurite Yourcenar’s Memoirs of Hadrian, and Thomas Berger’s Little Big Man (whose narrator, fictional 111-year-old Jack Crabb, recounts his encounters with such historical figures as Gen. George Armstrong Custer, Wyatt Earp, and Wild Bill Hickok).
In the Epilogue to Little Big Man, Ralph Fielding Snell, the fictional character who tape-recorded Jack Crabb’s reminiscences of the West, offers this caveat about their veracity: “So as I take my departure, dear reader, I leave the choice in your capable hands. Jack Crabb was either the most neglected hero in the history of this country or a liar of insane proportions.” Or maybe he was both. Does it matter? This novel, like Ragtime, is distinguished not by the facts it relates, but by the truths it reveals.
The second strain is something that has come to be known as “self-insertion,” which sounds like a sexual kink but is actually the increasingly common practice of writers inserting themselves, as characters with their own names, into their novels and stories. The practice – gimmick? – has proven irresistible to Ben Marcus, Jonathan Ames, David Foster Wallace, Kurt Vonnegut, Bret Easton Ellis, Douglas Coupland, Philip Roth, and Nick Tosches, among others. As the wave of postmodernism became a tsunami, this trend was probably inevitable; mercifully it’s not yet universal. I can’t imagine coming across a character named E.L. Doctorow in a novel by E.L. Doctorow. His imagination is too rich and too demanding to allow such a thing.
Too Much Like Work
With the 50th anniversary of John F. Kennedy’s assassination now upon us, it’s worth noting that the events in Dallas in November of 1963 continue to inspire a steadily growing shelf of American fiction, movies, and TV shows. Among the writers and filmmakers who have mined the assassination for fictional ends are Don DeLillo, Norman Mailer, William F. Buckley, Oliver Stone, Bobbi Kornblit, J.G. Ballard, and Stephen King. For readers operating under the illusion that novelists and filmmakers use historical figures and events as crutches for a hobbled imagination, listen to Stephen King’s thoughts on the research that went into the writing of his novel, 11/22/63: “I have never tried anything like that before and I’m not sure I would ever want to try it again because, man, it was too much like work.”
E.L. Doctorow has been doing that hard work for more than half a century, producing novels and stories that have illuminated the American soul by bringing American history to life. It’s why he deserves his Medal for Distinguished Contribution to American Letters. It’s what makes him a national treasure.
Icelandic poet, playwright, and novelist Sjón (pronounced “Shohn”) rummages through all of nature, history, and imagination in his newly translated trilogy, cobbling found fragments together. The resulting work holds up not through any logical scheme or solid foundation but through collective heat and gravity. More important than the fragments themselves, however, are the gaps between them, which open onto a larger and more sublime world, far beyond what any single book can encompass.
Perhaps best known as a lyricist for Björk (he co-wrote the Oscar-nominated “I’ve Seen It All” from Dancer in the Dark, as well as many other songs), three of his books – The Blue Fox, The Whispering Muse, and From The Mouth Of The Whale – have just appeared for the first time in America, in snazzy FSG editions translated by Victoria Cribb.
They’re peculiar things. Ribald, raunchy, sometimes brutal and sometimes unselfconsciously goofy (a revered 17th century Danish scholar is named Dr. Wormius; a merchant ship sets sail for Mold Bay), they combine legends and tall tales, magical realism and biblical allegory, landscape and maritime studies, arcane scientific and theological musings, YA-style swashbuckling and personal confession. Calling to mind Borges and Sebald with their cracked pseudo-scholarship and deliberately pedantic inquiries into botany, zoology, geography, and the cosmos, they’re wonder books, cabinets of curiosity, and extended riffs, not straightforwardly plotted and thematically streamlined novels.
Projecting tricks of light and memory across frozen fields, lonely islands, and stormy seas, Sjón takes a distinctly human pleasure in relating how harsh and inhospitable the world can be to human habitation within it. He renders nature, which “breeds in its lap both unimaginable horrors and precious gems,” with the romantic longing of Caspar David Friedrich and the cool desolation of Nicholas Winding Refn’s film Valhalla Rising.
Life impacts Sjón’s characters like Forrest Gump bled of all corny uplift. Dwarfed by superstition, politics, and endless winter, they bear their torment by thinking and talking endlessly, spinning a loose narrative web out of whatever absurdity is afoot.
Entering this web as a reader felt like slipping into a drawn-out encounter with an enthusiastic and linguistically agile stranger at a bar. Professing to be in no hurry, I listened to the stranger toss off boastful yarns and laments about his and the world’s younger days. As we both went on drinking and the night got deep, I found myself believing him more and more.
There’s something frivolous about an exchange like this, a sense that nothing concrete can be accomplished, but there’s also a desperate import, a sense that transitory, half-coherent communication is our only recourse in a world that always gets the better of us. The truth can never be said outright, but a storyteller like this convinces you it can be stabbed at.
In The Blue Fox, a priest trapped for five days under a glacier begins to fear for his sanity, “so he did what comes most naturally to an Icelander when he is in a fix. That is to recite ballads, verses, and rhymes, sing loud and clear to himself…This is a failsafe old trick, if men wish to preserve their wits.”
It’s a failsafe old trick in much of world literature, but there’s something distinctive in the simultaneous lightness and heaviness of Sjón’s touch, the way in which his narrators are always both joking and not-joking. “Uncouth exclamations about endless nights, burning snow, whales the size of mountains, trumpet blasts of the dead from volcanoes and icebergs”: Jonah, the exiled scholar who narrates From The Mouth Of The Whale, lists “far-fetched tales” about his homeland. But, he concedes, “in some strange way they come close to the stories we ordinary, humble folk tell ourselves in an attempt to comprehend our existence here and make it more bearable.”
What is Iceland to me? As soon as my imagination strays from the clean modern streets of Reykjavik, it lapses into a medieval dreamscape of glaciers, fjords, elves, bright astral phenomena, ships emerging from or disappearing into the mist.
I’m woefully ignorant when it comes to the Edda, which Sjón is surely playing with, and I quake before Halldór Laxness, Iceland’s “Nobel Prize winner who bridged the nation’s literary past and future,” their Mann or Hamsun. Sometimes I range over his books on the shelf and fantasize about having read them, but most of the time I fear I’m no longer brave or patient enough to take that plunge for real.
Beyond this, of course there’s Björk, but, more crucially for me, there’s Sigur Rós. Their eerie, spacey soundscapes, built of sporadic percussion, bowed guitar, and angelic falsetto vocals, have soundtracked many a headphones-wearing bus or train trip through the dead of night, or hours spent half-sleeping in layover airports…so much so that I hear them now whenever I enter these disembodied headspaces, whether or not I’m listening to their music.
They first took root in me when my freshman year roommate passive-aggressively strung a bunch of Christmas lights across our shared sleeping quarters. Instead of asking him to take them down so I could maybe sleep (I don’t think I even considered this option), I started playing Sigur Rós on repeat all night on my laptop.
For that year and several thereafter, I couldn’t sleep without going to the place their music took me to, which is to say that I couldn’t sleep without going to Iceland. I’ve never been there in my waking life, but I’ve spent thousands of sleeping hours constructing a dream-version of it.
At first, Shields’s call for boundary-breaking fiction is laughably at odds with Sjón’s compendia of wonders and horrors. Almost too fittingly, from Reality Hunger:
I don’t have a huge pyrotechnic imagination that luxuriates in other worlds. People say, “It was so fascinating to read this novel that took place in Iceland. I just loved living inside another world for two weeks.” That doesn’t, I must say, interest me that much.
But, as I thought more about it while continuing to read both, they drew unexpectedly together.
What I understand Shields to be saying, beneath his supposed attack on fiction, is cut to the chase. Whatever you’re trying to do in writing, do it right away. Don’t build a house for the things that are important; just spill them naked onto the page.
Sjón’s ultra-digressive style does just this. Though he relishes not getting to any particular point, soaring through stories within stories like a rogue angel of history, he makes no attempt to do anything else. His narrators aren’t dragging their feet or turning their backs on more pressing matters. They’re interested in a great many things and they leap freely and sometimes jarringly among them, but they aren’t motivated by anything other than their own genuine interest.
These aren’t books designed to be filed in memory as discrete artistic units. Rather than telling any definite and delimited story, they open a tap and let out a draught of Story, formless and potent as beer. “What a symphony,” Whale’s Jonah exclaims as he tries to gather his thoughts. “It is as if the east wind is bringing me all the songs of Earth at once, bellowing out the saddest dirge together with the most joyous paean…”
This is a recognition, in the mind and in nature, of the same charged collage quality that Shields hungers for in literature.
As if I needed any help, Shields got me thinking hard about death. He has no interest in literature that doesn’t confront it directly; he won’t invest in a writer who promises escape or treats writing like a safe haven.
Without getting too Jungian here, I’ve always felt that leaving behind plot and entering Story (what John Crowley calls “The Tale” in Little, Big) is a means of subjectively overcoming the dominion of my own death, not just of ignoring it for a while.
Conventional novels begin and end. Whether or not the characters you identify with die, the last page marks the death of the world the novel has labored to create, a world that has tried to impress its autonomy and uniqueness upon you. This death is singular and finite. You can read the novel again but you can’t use it to enter a place bigger than what it contains.
The Story that Sjón’s books open onto is such a place. It’s a place of Life and Death, not of individual lives and deaths. When I’m truly engrossed in this realm, I feel neither alive nor soon-to-be-dead. I feel nothing but engrossment. Death becomes no less awesome, but it does not remain in ultimate opposition to everything else. It becomes part of the party rather than the infinite darkness that shuts it down.
The drunken storyteller, like the 1940’s sailor in The Whispering Muse who claims to have sailed with Jason and the Argonauts, takes on a life that’s immeasurably greater than that of a single person. Both he and Jonah appreciate that “God’s tongue…pronounced the world, as if it were a tale so tremendous that no one but He Himself would live to hear it all.” Story is greater than any lifetime and yet only realized, in the moment of telling, through a living teller: somehow it houses life while housed within it.
Sjón’s narrators aren’t talking about other worlds; they’re talking about the real but often unseen places beneath and inside of this one. In a flight of especially poetic prose, The Whispering Muse characterizes the onset of Story thus:
Once the ear has fallen asleep, the humming takes on a new form. It becomes a note, a voice sounding in the consciousness, as if a single grain of golden sand had slipped through the mesh of the sieve and, borne on the tip of the eardrum’s tongue, passed through the horn and ivory-inlaid gates that divide the tangible from the invisible world.
Ships rarely get where they’re going, but this voyage away from the tangible world and into the invisible proves possible for those who sincerely attempt it. For me, it was a journey back to the Iceland I first discovered during those long nights in college, contemplating the grim relief of drifting off to the place the music was coming from and never returning.
David Shields won’t place his faith in the bulwark of a novel that claims to encompass everything. He wants porous, disjointed work that makes no attempt to master all that it takes on. One way or another, the literature that saves his life has to take on everything, all of Life and all of Death, and break down in the face of that ambition, rather than living and dying in a vacuum. He doesn’t want to hang out in a place of make-believe with Death lurking just outside. Neither do I. I want to open the door, invite Death in, and take it from there.