I was pregnant with my second child for most of the year and I was also working from home, which meant I was very sedentary and slothful, and able to spend a lot of time reading articles that made me miserable. And since I was working on a book, and the pace and nature of that work were utterly different from any other kind of work I’ve done, I was grumpy and anxious a lot of the time even without reading anything at all. And I worried about being miserable and anxious and grumpy, and sedentary and slothful, wondering what it would do to the fetus, and whether the fetus would want to be around someone like me. The reading I did while gestating the baby and my book was catch-as-catch-can and felt mostly like a reprieve and a cheat when I should have been working or doing something civic-minded. Books and the time they went with are blurring together for some reason. I think I read and was ruined by Housekeeping last year, but I can’t be certain it wasn’t this year. I think I read Private Citizens this year and found it spiky and perfect, but I’m not actually sure I didn’t read it in 2016. I do know this year I read The Idiot, which is among other things a delightful evocation of ostensibly fruitless but formative romantic pining, and Sport of Kings, which is absurdly ambitious and devastating. I read The Regional Office Is Under Attack, which is weird and transporting. I gratefully blew off my work for New People, The Windfall, Marlena, The Reef, Hunger, and Conversations with Friends. I read White Tears and The Changeling and Frankenstein in Baghdad on the bus to the OBGYN and marveled at the ways great writers are documenting the effects of the unholy past on the unholy present. I read 10:04 in a lovingly serene and receptive state after spending $60 to float in a very salty pool in the dark (I was trying to make the fetus turn head-down). When I was freaked out about everything the only book that sort of soothed me was the phenomenal new translation of The Odyssey, which is modern but not jarringly so, and highlights the sense of human continuity we apprehend from an ancient text. I re-read Off Course, a wonderful California novel that has become one of my favorite books in the last few years. I re-read A Suitable Boy to get ready for A Suitable Girl, which is allegedly arriving in 2018 and which I’ve been waiting for my entire adult life. I read The Golden Road, Caille Millner's gemlike memoir about growing up. I read a Word document containing the first half of Michelle Dean's excellent forthcoming literary history Sharp, and I'm clamoring for the rest of it. I read a Word document containing the entirety of Meaghan O’Connell’s forthcoming essay collection, And Now We Have Everything, and it is a stunningly insightful book that I’m hesitant to say is about motherhood because it might turn away people who might otherwise profit from it. I loved my colleagues Edan and Claire and Sonya’s novels Woman No. 17 and The Last Neanderthal and The Loved Ones, which are about motherhood (and fatherhood, and daughterhood, and a lot of other things too). More mothers: I cried over Mr. Splitfoot in an airplane after reading Samantha Hunt’s “A Love Story” in The New Yorker. The book I thought about most during my gestational period was Mathias Énard's Compass, which is a love story of a different kind. I don’t think I’ve read another book so deft in transmitting both the desire and the violence that are bound up in the production of knowledge, another complicated act of creation. In October I had the baby. I wouldn’t suggest that anyone have a baby just to shake things up, but babies have a way of returning you to your body and adjusting your relationship to time that I’d hazard is difficult to find elsewhere in the arena of positive experiences. First you have the singular experience of giving birth; then you have the physical reminders of that experience, and a baby. If you are lucky you get good hormones (if you are spectacularly lucky you get paid leave, or have a spouse who does). The morning she was born I looked at the baby lying in her bassinet and felt like the cat who swallowed the canary, or a very satisfied hen. Animal similes suggest themselves because it is an animal time: you smell blood and leave trails of it on the hospital floor; milk oozes. You feel waves of such elemental fatigue that rational thought and speech seem like fripperies for a younger species. Even now, nine weeks later, sneezing reminds me viscerally of what the flesh endured. This is what I mean when I say the experience returns you to your body. If it’s your second child, it also makes you a time traveler. I spent my first child’s infancy desperate to slow down time, to fully inhabit this utterly strange nesting season of my life and hers before we were both launched into the future. When the second baby was born I got the unhoped-for chance to live in that season again. I had forgotten so much: the comically furtive and then plucky look a newborn gets when she is near the breast, and the bizarre thing her eyes do when she's eating—zipping back and forth like a barcode scanner apprehending some ancient sequence. The sound she makes after sneezing, like a little wheeze from an oboe. Since, during this period, I felt I had a legitimate excuse to not read every dire news item for at least a couple of weeks, and since I experienced a wonderful if brief disinclination to open Twitter, and since sometimes I got to sit in clean linen sheets that are my prized possession and nurse a tiny brown-furred baby, I fell in love both with the baby and with every book I touched. I started re-reading Mating when I was waiting to give birth and finished it the week after. I read it for the first time three years ago when my older daughter was born and felt so incredibly altered by it then, and I slipped back into that state immediately. Right after Mating I read Mortals, and after Mortals, I read Chemistry, and forthcoming novels The Parking Lot Attendant and That Kind of Mother, and I loved them all too. Being with the baby and reading deeply and more or less avoiding the things that make me miserable was such an unanticipated return to Eden that even the bad things I now remembered about having a baby were good: the strange combination of agitation and dullness that enswaddled me when the sun went down and made me weep; the sudden urge to throw beloved visitors out of the house; visions of stumbling, of soft skulls crushed against sharp corners; fear of contagion; agonizing knowledge of other babies crying and drowning and suffering while your own baby snuffles contentedly in a fleece bag. But even when the blues fluoresced what registered was not the badness of the thoughts, but their intensity. The shitty hospital food you eat after expelling a baby is the best food you’ve ever had because you had a baby and you didn’t die. And like a person on drugs who knows a cigarette is going to taste amazing or a song will sound so good, an exhausted, oozing postpartum woman can do her own kind of thrill-seeking. I re-read Under the Volcano, which really popped in my altered state. It’s a hard book to follow but I found to my delight that I’ve now read it enough I’m no longer spending a lot of time trying to understand what is going on. Its insane, calamitous beauty was perfect for my technicolor emotional state; rather than despairing over my inability to form a sentence I put myself in the hands of a pro, shaking though Malcolm Lowry’s were as he wrote. It hasn’t all been déjà vu. There have been new things, some of them bad: namely the feeling of being driven absolutely bananas by my poor sweet firstborn, who is no longer tiny and blameless and new, but a harum-scarum toddler who jumps on the bed and windmills her arms and kicks and screams WAKE UP MAMA and refuses to put on her jacket. On this front one of the random galleys that pile up in the vestibule was a surprise hit—a children’s book from the Feminist Press called How Mamas Love Their Babies. My daughter loves this book, which has beautiful photo collage illustrations. It is a progressive book that encourages workers’ solidarity in a way I was not necessarily prepared to address with a just-turned-three-year-old but am now trying to do in my poky fashion (“Some mamas dance all night long in special shoes. It’s hard work!” the book reads, and my child peers inquisitively at a photo of platform lucite heels). It also helps me: I look at myself in the mirror and note that some genetic vandal has lately streaked what looks like raspberry jam across the skin of my hips and one (!) breast (“Some mamas care for their babies inside their own bodies,” the book reminds me). When the baby was three weeks old I got pneumonia, and that was a bad new sensation too, although even that interlude had its attractions. I discovered coconut water, and read Swamplandia in a febrile, almost louche state of abandon in my increasingly musty sheets, a perfect complement to the novel’s climate—its rotting house and the visions and moods of its protagonists. [millions_ad] During early nights of nursing I read a galley of a memoir by a writer who also got good hormones and who became addicted to having babies, having five in fairly rapid succession. If nothing else, I understood the irrational drive to overabundance. In the first weeks of this new baby’s life I astonished myself by wanting more, more, more. Around week five I actually googled “is it morally wrong to have a third child,” and if you are a well-fed, utilities-using first-worlder like me, yes, not to mention yes, in philosophical terms (not to mention we can’t afford it, not to mention it would surely drive me batshit). Everything you read about life on this planet, including some of the novels I read this year, suggests you should not have children, and if you must, that you should have only as many as you have arms to carry them away from danger. Even that formulation is a consoling fallacy. Things are less technicolor now, but the hormones are still there, propping me up. (I read over this and see they've even led me to write a somewhat revisionist history of what the past few weeks have been like.) Last week, week eight, I finally read Open City, which is a few years old but speaks to the state of the world today in a way that is depressing. I love how it is a novel of serious ideas and style, but is also approachable and pleasure-making for its reader. I love that it is a humane book even as it is gimlet-eyed. Now I’m reading Go, Went, Gone by Jenny Erpenbeck and finding it similarly humane and gimlet-eyed and serious and pleasure-making. It is about the state of the world at this moment. It also speaks to the double consciousness of people like its protagonist, who are living not necessarily with suffering but with a metastasizing awareness of suffering, and how it changes them, and this is on my mind. The novel also seems to be about time and space and how people are altered when their time and space are altered. It's about the difference, not between "us" and "them," but between "you" and "you." I’m thinking about that too as I time travel this winter. I know I need to prepare for the moment when all this gladness provided gratis by Mother Nature will deflate and disappear like a wet paper bag. And there will be a time—I feel it coming on as I type this and hope the baby stays asleep in her bouncer—when the deep satisfaction of one kind of generative act, this bodily one, will be supplanted with the need for other kinds of creation. I think Cole and Erpenbeck's novels will help me with these eventualities. I’m counting on them, and on all the beautiful things I hope to read next year. You know what they say about books: they’re like babies; when you have one you’re never alone. More from A Year in Reading 2017 Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now. Don't miss: A Year in Reading 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005
I wrote my last Year in Reading when I was about to have a baby, and now the baby is here. In accordance with all platitudes, the year has gone by very quickly, and yet its component moments were glacial, with a glacier’s way of doing a lot while appearing to do very little. Richard Ford, whose novels I re-read just before the baby came, divided Frank Bascombe's life into the Existence Period, the Permanent Period, and the Authentic Self. My year comprised three epochs which were, more or less, 1) Magic, 2) Bad, 3) Decisive. The Magic Period was all soft blankets and endless afternoons in the nest and long, slow walks across the city. The Bad was clumps of hair like hamsters in the bathtub, and tiny plastic pump pieces, and vanished milk, and finding myself on lunch break smoking cigarettes in a shrub. Then, perhaps as a consequence of this period, came a time for making plans. Motherhood is not unlike drugs in that it has caused me to question the arrangements of life in even its most privileged iterations. "Why should people go to a desk and sit in front a computer and write emails all day,” I would say to my husband, like a very young, very high person. I suppose the thing that most characterized the year, apart from the presence of the baby herself, is an overall failure to modulate, some mechanism gone haywire, so that seeing someone with a bag on a seat on a crowded train made me want to scream “The bag doesn’t get a seat!” out of all proportion. When a series of administrative fuckups created a reversible but maddening problem with my maternity leave, I felt my rage could electrify a small village. I noticed the other day that a Vanity Fair I bought in an airport seven months ago is still sitting on our coffee table, because I’ve become strangely obsessed with ensuring my husband reads an article by William Langewiesche about commercial space flight. “You’ve got to read this amazing story -- you’ll love it!” I keep telling him, and Robin Wright gazes serenely from the cover, asking me whether I need to talk to somebody. How to describe a year where I felt simultaneously so powerless and so powerful -- when the prospect of buying a stamp or fully participating in electoral democracy seemed insurmountably difficult, but writing a book seemed possible. Or moving to a new place. Or having another baby. When I felt so inept at the womanly art of taking care of my appearance, but so unexpectedly okay at taking caring of the baby (she is what they call an easy baby; I know it could have gone any number of ways). How strange it was to go to work and long to be with her; to long for solitude in her presence. I know that I read a lot this year, but I can remember almost nothing, and what I remember is tied to the epochs outlined above. Like most efforts at periodization, things fall apart when you begin serious excavations. There was plenty of magic distributed through the year; it smiled in the winter and laughed in the spring and crawled in the summer and stood up in the fall. And the Magic Period, if I think about it, was actually marked by frequent crying episodes (mine, not the baby's), like little bursts of rain against the roof. But like rain in California -- and it actually did rain, those first few weeks of her life -- there was something nourishing and necessary about the jags. During that period I read Mating, and whether it was the time or the book I don’t know but it’s one of my favorite things I’ve ever read. I loved it so much that I immediately tried to write a novel in its image, but fortunately realized, somewhere around the third paragraph, that it wasn’t a very good idea. I read Elisa Albert's After Birth, and even though it was before my own rage came home to roost, I felt the force of her beleaguered, gimlet-eyed narrator. As my milk dried up and the Bad Period began, I read Beloved and Preparation for the Next Life, and they were vivid and perfect, although they didn't make me feel less blue. I read The Ghost Network, which has as its heroine a Lady Gaga figure, and because of it I listened to Lady Gaga on purpose for the very first time. There was a stretch of about a week when I couldn’t bring myself to climb the hill to my office without blasting the song “Do What U Want," imagining myself pirouetting up the road like someone in a training montage. I mentioned how much I liked the song to a friend, who said, “It sucks that it’s R. Kelly”; I hadn’t realized that it was R. Kelly, who is known for doing what he wants with the bodies of underage women, and I understood then that verily there are no pure pleasures. I read so many sad things this year, and felt that life itself has a failure to modulate. I read Aleksandar Hemon's essay “The Aquarium,” about his daughter, and my friend Katie Coyle's essay about hers. Sad things so generously written have a way of momentarily recalibrating the haywire apparatus, so that it registers, These are the real things -- not bags on the seat, not misfired paperwork. But it's not as if there's comfort in the suffering of others; hugging your own family close only illuminates the supremely inequitable hazards of existence. Reading the news has, of course, been unspeakable, when every drowned child and murdered child assumes the characteristics of your own, and it feels like all there is to do is watch events unfold on a chyron, and read Facebook posts. As I clambered toward the Decisive Period I read Maylis de Kerangal's The Heart, which is out next year and which is breathtaking. I read J.M. Ledgard's "Terra Firma Triptych," also breathtaking in the very particular and somewhat confounding way of J.M. Ledgard (he seems to also be a person who has reached a decisive moment, but whereas mine was, “I should quit my job and write things,” he schemes to build drone ports across rural Africa, and has evidently arranged his life thus). I read a stirring article about small-boned women and ancient cousins who bury their dead. Finally, I picked up Elena Ferrante's first Neapolitan novel, which I had once put aside after a dozen pages, and discovered that she was exactly who I needed to read: a woman writing about women, their ugliness and their ambition and their promise and their rage -- their utter humanity. I ripped through the remaining volumes. You'd think a cheerful book would be the thing to pull me out of my funk, but I needed something pitiless, something about the messy arrangements of life, something about a writer trying to "imitate the disjointed, unaesthetic, illogical, shapeless banality of things," and failing up into something vital and perfectly-formed -- more lifelike, somehow, than life itself. More from A Year in Reading 2015 Don't miss: A Year in Reading 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.
This post was produced in partnership with Bloom, a literary site that features authors whose first books were published when they were 40 or older. I respond to sun, but then I come from Minnesota and had years of being disappointed by northern California with its indeterminate weather and freezing surf. I’m overdetermined for life in Africa. I love the sun bursting up every day of your life like some broken mechanism. —from Mating, by Norman Rush 1. In her introduction to Stephen Twilley's new translation of short works by Giuseppe Tomasi di Lampedusa, recently released by New York Review of Books Classics, Marina Warner writes of the “sensuous plenitude...encrusted and sumptuous” in Il Gattopardo -- Lampedusa’s only novel, and the masterpiece for which he is best known. Of “The Professor and the Siren,” the title story of the new collection, Warner writes: Lampedusa is placing himself as the heir of an imaginative literary legacy running back to the pagan past, when Christian repression and hypocrisy did not exercise their hold but instead life was bathed in a luminous intensity and heightened by guilt-free passion. I wrote about Il Gattopardo a few years ago and considered what it was that drew me to it -- the story of an aging Sicilian nobleman, a dying breed caught between old and new worlds. At that time, I attributed my affinity for both the novel and Luchino Visconti's well-known film version to the Prince of Salina’s independence of soul -- a “certain energy with a tendency toward abstraction, a disposition to seek a shape for life from within himself and not what he could wrest from others.” After reading “The Professor and the Siren,” I see now that it was also the Prince’s lust for life -- sensual pleasures, feminine splendor, the sweltering sloth of his wild and rugged Sicily -- and his sense of loss with the coming of more pragmatic times that captivated me. Like the narrator ofNorman Rush's Mating, who was “overdetermined” for life in Africa, you could say that I -- product of an evangelical Christian upbringing and Korean heritage of stoic endurance -- was overdetermined for Lampedusa. His elevation of natural appetite as an ideal, and his vision for unity between body and spirit in their fullest expressions, radiate from the page. When I read Lampedusa the sun bursts up indeed, thawing all of that deeply seeded “puritanical horror,” as Warner puts it, and reconciling life forces that, as Lampedusa attempts to show us, were never meant to be opposed. 2. The tragedy of his literary late blooming is now the stuff of legend: Lampedusa, himself the last prince of a noble Sicilian family (Il Gattopardo is based on his great-grandfather), began writing in his later 50s and died of lung cancer at age 60 before Il Gattopardo's publication. The novel had been rejected by publishers while he was still alive, and thus Lampedusa died under the impression that his art was mere trifling, the failed scribblings of a dilettante. An earlier translation of “The Professor and the Siren,” entitled “The Professor and the Mermaid” and collected with a short memoir and the opening chapter of a second novel (a sequel to Il Gattopardo that he did not live to write), was published by Pantheon in 1962. The memoir, Places of My Infancy, was written at the prompting of his wife, a psychotherapist; she suggested the project as a way of mourning the loss of his treasured childhood home, which had been destroyed during the 1943 bombing of Palermo. In his introduction to the 1962 collection, E.M. Forster called “Places of My Infancy” exquisite -- perhaps not surprising coming from the author of Howards End. I admit that I found the piece initially off-putting: it puts so much distance between the author and the common reader as we get young Giuseppe’s impressionistic vision of his idyllic, rarefied kingdom: On the veranda, which was protected from the sun by great curtains of orange cloth swelling and flapping like sails in the sea breeze...my mother, Signora Florio (the “divinely lovely” Franca), and others were sitting in cane chairs. In the center of the group sat a very old, very bent lady with an aquiline nose, enwrapped in widow’s weeds which were waving wildly about in the wind. I was brought before her; she said a few words which I did not understand and, bending down even farther, gave me a kiss on the forehead...After this I was taken back to my room, stripped of my finery, re-dressed in more modest garments, and led onto the beach to join the Florio children and others; with them I bathed and we stayed for a long time under a broiling sun playing our favorite game, which was searching in the sand for the pieces of deep red coral occasionally to be found there. That afternoon it was revealed that the old lady had been Eugénie, ex-Empress of the French, whose yacht was anchored off Favignana. But to be fair, Lampedusa wrote these reflections for himself only; they were never revised, and he did not intend them for publication. He felt free to recall the fullness of his privilege: “For me childhood is a lost paradise. Everyone was good to me -- I was king of the home.” Beginning with the sensory richness and extravagant security of childhood was his way of exploring love and loss, the two most universal experiences. For some though, it may be hard to resist lacing Lampedusa’s biography with light mockery: “[W]hat on earth was he doing with his life anyway, and why didn't he get down to writing earlier?” Julian Barnes's imagined interlocutor posits in a 2010 article in The Guardian. “The non-literary answer: not very much.” What Barnes means by “not very much,” however, is that Lampedusa spent most of his adult life (aside from strolling to Pasticceria del Massimo for breakfast in his tailored English suits then stopping in at Flaccovio booksellers before finally settling in for the day at Café Mazzara) immersing himself in literature -- reading, studying, discussing with friends, teaching. By one account he made over 1,000 pages in notes to prepare a year-long English literature course for his nephew and a friend. Lampedusa’s eventual success at portraying a layered, multi-caste society at a time of great social upheaval is testament to the power of literature to shape the imaginative and emotional capacity of a devoted reader, no matter how sheltered his daily life. Much like Chekhov -- who, unlike Lampedusa, did have direct experience of various social strata -- Lampedusa’s narrative eye is both convincing and impressive as it roves among each segment of Sicilian society, from royalty to upstart revolutionaries to the new-moneyed precursors of the Mafiosi. 3. The short story “Joy and the Law,” for example, is a taut gem of a tale, the effects of which echo Chekhov’s best stories about peasants and functionaries (Gogol's “The Overcoat” also comes to mind): in the days leading up to Christmas, an unnamed accountant brings home to his family an enormous, fancy loaf of sweet bread, bestowed upon him by his employer. Ramping up to epic proportion the acuteness of aspirational want, Lampedusa portrays the accountant’s fog of self-deceit as a necessity for survival: [E]uphoria now welling up inside him, rosy and bright...What joy for Maria! What a thrill for the children...His personal joy was something else entirely, a spiritual joy mixed with pride and tenderness...And nothing could have dampened that invigorating sensation...nothing, not even the abrupt realization deep in his consciousness that it had come down to a moment of scornful pity for the neediest among the employees. He truly was too poor to permit the weed of pride to sprout where it could not survive. It is the wife, Maria, who matter-of-factly bursts the accountant’s bubble: she states the obvious, that the pannetone is “nothing but charity,” and deems that it must be sent to a lawyer to whom they owe a token of gratitude. The man must now spend additional money to courier the sweet bread to the lawyer, and on top of that, the package becomes lost. The reader grows as desperate as the accountant, filled with the anguish of futility and injustice. Will the universe so cruelly dash the protagonist’s hopes? the reader wonders. Then, the last lines of the story: After Epiphany, however, a visiting card arrived: “With warmest thanks and holiday wishes.” Honor had been preserved. The reader exhales momentarily, only to realize the bait-and-switch that Lampedusa has so skillfully performed: Honor? When did the story become about honor? When The Law entered, that’s when -- in the form of proper social commerce. The cost of this honor was joy, and the story conveys beautifully and tragically the universal right of the human soul to “spiritual happiness mixed with pride and tenderness,” not to mention “a respite from anguish.” Despite his privileged life, Lampedusa did not, it would seem, take such simple joys for granted. Thus the decision on the part of NYRB Classics editor Edwin Frank to collect “Joy and the Law,” but not “Places of My Infancy” in this volume results in a different impression of the author from the earlier volume. The new collection effectively counters what Archibald Colquhoun, translator of both the original English-language version of The Leopard and the 1962 Pantheon collection, described as a less-than-full embrace of Lampedusa’s success in its time -- On the members of the new Italian literary establishment the book has had a different impact; it has become a bogey, for the success of Il Gattopardo, so different in outlook from most Italian postwar literature, seems to them a sign of decadence -- as well as a 1998 article in The Economist: Italian Marxists saw his aristocrat heroes as evidence that the novel was right-wing and its author a man with no sense of progress. Much of the literary Left condemned the novel as worthless because it was neither progressive nor avant-garde. (I posed the question of curatorial selection to Frank in an email, and he revealed that his intention was simply to collect all of Lampedusa’s short fiction, which meant excluding the memoir.) Whether or not literary readers today are as concerned with an author’s socio-political outlook as they were in the early 1960’s, there will surely be much in Lampedusa’s short work that appeals to the contemporary reader -- for example the way his voracious literary autodidacticism is reflected in the “mashup” quality of “The Professor and the Siren,” which, Warner points out, brings together elements of Greek myth, the poetry of Keats and Dante, Sicilian folklore, and perhaps too Boccaccio and One Thousand and One Nights. 4. The eponymous professor of the NYRB collection’s centerpiece story is Rosario La Ciura, world-renowned scholar of Greek literature, longtime Sicilian senator, and author of Men and Gods, “recognized as a work of not only great erudition but of authentic poetry.” The narrator is Corbera di Salina, a journalist and, incidentally, sole surviving descendant of Lampedusa’s lusty Prince, il gattopardo. When the professor and the journalist meet, La Ciura is 75 years old and Corbera a young man. The seedy café in Turin that the two misanthropes frequent sets the stage for Lampedusa’s otherworldly tale: It was a sort of Hades filled with the wan shades of lieutenant colonels, magistrates, and retired professors...submerged in a light that was dimmed during the day by the clouds and the arcade outside, during the evenings by the enormous green shades on the chandeliers...It was, in short, a most satisfactory Limbo. Corbera is the pre-formed, peripheral first-person narrator that readers will recognize -- the Nick Carraway, the unnamed narrators of Bolaño's “Sensini” or Sherwood Anderson's “The Other Woman.” Over a period of months, the two develop a friendship of sorts -- La Ciura rails on subjects ranging from the “rubbish I happen to be reading” to the “squalid aspirations” of young men like Corbera vis-à-vis the female sex; Corbera attempts to speak his mind while also suspecting the great man’s profound unhappiness. One day, the professor summons the younger man to his home, where Corbera sees a photograph of the professor in his youth -- “with a bold expression and features of rare beauty...The broken-down senator in a dressing gown had been a young god.” Corbera then invites La Ciura to his own apartment, where he serves the old man fresh sea urchins, about which La Ciura had previously ranted: They are the most beautiful thing you have down there [in Sicily], bloody and cartilaginous, the very image of the female sex, fragrant with salt and seaweed...They’re dangerous as all gifts from the sea are; the sea offers death as well as immortality. The professor prepares to depart for a conference in Portugal and summons Corbera for a final visit; here we begin our ascent to Lampedusa’s allegorical summit. “I’ll have to speak in a low voice,” La Ciura says, and we appreciate his -- and Lampedusa’s -- theatricality, as the young journalist and the reader are drawn deeper into both comprehension and mystery. “Important words cannot be bellowed.” 5. The peak -- of La Ciura’s earthly existence, of the story, of all spiritual incarnation, Lampedusa proposes -- is one of pure eros: purely sensual, youthful, uncivilized. The professor’s beloved is Lighea, a siren, as much animal as human and monstrously beautiful, serene, insatiably loving. She comes to him one summer in his youth from the Sicilian sea. Their consummation lasts three weeks, and during that time the professor becomes enlightened to true pleasure, “devoid of social resonance, the same that our solitary mountain shepherds experience when they couple with their goats.” La Ciura dares Corbera to be put off by the comparison, such repulsion revealing only that “you’re not capable of performing the necessary transposition from the bestial to the superhuman plane.” Lighea is all body and all spirit, powerfully attuned: From her immortal limbs flowed such life force that any loss of energy was immediately compensated, increased, in fact...She ate nothing that was not alive. I often saw her rise out of the sea, delicate torso sparkling in the sun, teeth tearing into a still-quivering silver fish, blood running down her chin... Not only did she display in the carnal act a cheerfulness and a delicacy altogether contrary to wretched animal lust, but her speech was of a powerful immediacy, the likes of which I have only ever found in a few great poets. As Marina Warner points out, Lampedusa is not interested in supplanting reason with passion, but rather reclaiming a native unity. “Lampedusa aims to fashion a coincidentia oppositorium at many levels,” she writes. “[S]upernatural and natural, unreal and material, monstrosity and beauty, animal and human, ideal love and lubricious delight.” And this is evident throughout the story in his language: beauty and blood, “insolence” and “detachment,” the professor’s gnarled hands which caress with “regal delicacy” a page in a magazine that bears the image of a Greek statue. When Corbera serves the sea urchins, the professor “consumed them avidly but...with a meditative, almost sorrowful air.” The story’s interests are thus transparent, its purposes straightforward -- though, to my mind, no less affecting for it. Lampedusa’s passion for unity of soul and body startles and moves us; in hearing the professor’s tale, Corbera in part lives it and is changed, as are we. 6. But will the general reader agree? Perhaps it depends on one’s pre-determinations. The narrator of Mating in the above epigraph likens the African sun to a “broken mechanism.” But as they say, one person’s junk is another person’s treasure: “broken” if four distinct seasons is your norm, perfectly functional if you’ve come from extreme cold and gray. In Lampedusa’s case, we can deduce that his own deepest longings were for what he had known and lost -- the magic of his childhood -- as well as for what, as he wrote this last story, he had not achieved: transcendence via entry into the pantheon of literary artists. The result, in “The Professor and the Siren,” is a tale at once pessimistic and optimistic: La Ciura can find no worthy pleasure or meaning in earthly life after his experience with Lighea, and yet in the end he joins her, answering her call to the underwater world deep below, “where all is silent calm...in the blind, mute palace of formless, eternal waters.” Light and darkness seem also to color Lampedusa’s literary stature: Il Gattopardo won Italy’s Strega Prize in 1959, two years after his death, and has sold well over 3 million copies worldwide; but we’ll never know what the second novel, Il Gattopardo's sequel, might have been. The fragment published in both the 1962 and current NYRB collections under the title “The Blind Kittens” does reveal that Lampedusa’s eye continued to focus on Sicilian society and the epic desires of common men. Colquhoun opined on the possibility that Il Gattopardo itself was a kind of lesser preview of the real novel Lampedusa meant to write -- would have written -- had he started sooner: “Is the novel peaks, in a more or less continuous range, of a vast submerged book that was never completed?” Broken or functional, incomplete or fully realized, decadent or democratic...I am glad for Lampedusa’s sumptuous, if scant, work, so nearly kept from us by both Lampedusa’s late start and publishers’ tastes. And while the professor’s vast book collection “slowly rots” in a university archive following his descent into the sea, Lampedusa’s small body of work bursts up like the sun, reviving those of us primed to respond. Click here to read an interview with NYRB Classics editor Edwin Frank and translator Stephen Twilley.
Millions contributor Charles Finch writes about Norman Rush, author of Mortals and Mating, "There is the constant possibility that the next sentence is about to tell us something new." Pair with our own review.
This piece was produced in partnership with Bloom, a literary site that features authors whose first books were published when they were 40 or older. 1. The novels of Norman Rush are full of sharp-eyed, straight-talking men and women who are fearless in the pursuit of ideas, but who don’t forget to have fun. And though they love arguing most of all, they’re also passionate about sex and adventure. Rush, now 80, is the author of four masterly, unique works of fiction. The first, Whites, a collection of taut, voice-driven stories published in 1986 when Rush was 53, was shortlisted for the Pulitzer Prize. Five years later, Rush emerged with his debut novel, Mating, which won the 1991 National Book Award, and his novel Mortals followed in 2003. Just shy of 500 and 800 pages, respectively, these two novels are expansive, exuberant narratives set in Botswana (also the setting for Whites), where Rush and his wife of 56 years, Elsa, co-directed the country’s Peace Corps program from 1978-1983. Thick with meditations on matters scholarly and literary, political and psychological, these books feature delightful wordplay. Rush’s most recent novel Subtle Bodies was released in September. It’s his first work set entirely in America, and it’s a mere 230 pages. While much more compact than his previous novels, this fiction has lost none of Rush’s signature style nor his deep interest in human relationships — particularly marriages — and political ideals. These qualities, along with the ambition of his narrative structures and the penetrating elegance of intellectual thought woven into characters’ talk and action, have made critics swoon and generations of younger writers dive into his dense works as if they were barrels of jellybeans. In 2006, a body of more than one hundred writers and critics polled by the New York Times Book Review declared Mating one of the best American novels of the past quarter-century. Particularly striking in Rush’s books is the rich development of both action and thought. His stories are stuffed with what the author calls “thought episodes.” Norman Rush’s idiosyncratic, strong-willed people act and think for themselves — an independence of mind scarce in contemporary literature. By combining our two most powerful forms of explanation, narrative, and argument, Rush has successfully created that rare and most valuable art form, the novel of ideas. 2. Rush excels at two forms of hard-to-achieve novelistic thought. The first consists of the rich mental description we might call Jamesian, most evident in works like The Portrait of a Lady. James Wood titled his review of Mortals, “Thinking,” for the book whose “central achievement has to be the fidelity with which it represents consciousness, the way in which it tracks the mind’s own language.” Consider the opening paragraph: At least whatever was wrong was recent, Ray kept telling himself, he realized. Because he’d just done it again, turning in to Kgari Close, seeing his house ahead of him, their house. Whatever was going on with Iris was different from what had gone on in earlier episodes, minor episodes coming under the heading of adjusting to Africa. This was worse because what was going on was so hard to read. He needed to keep in mind that knowing something was going wrong at an early point was always half the battle. And he knew how to stop things in their tracks. In fact that was his field, or one of them. Anyway, he was home. He loved this house. This passage shows Ray thinking, in wonderfully penetrating detail, about thinking. He’s both trying to identify an elusive problem and reflecting on the ways in which one comes to know something. He realizes that, because he has noticed that something is wrong, he’ll come to the knowledge of the wrong thing sooner. Ray is trained to notice; he is a spy. He is also a most uxorious husband. This passage invests the reader in learning what the problem is with Iris — we want Ray to stay with Iris in the house that he loves — and in tracking precisely how he discovers it. Though Rush wrote stories from an early age, from self-publishing at age 11 to completing a “non-violent thriller” during the nine months he was imprisoned for conscientiously objecting to the Korean War, it took him years to master Mortal’s acute, free, indirect style. For a long time he wrote abstract pieces populated with inactive talking heads. When his first critical success came in 1971 — his short story “In Late Youth” was anthologized in Best American Short Stories — Rush was consciously working to write simpler tales and, as he said in a Paris Review interview, “to sync thought more closely to a character’s actions.” Mortals demonstrates how supremely Rush has accomplished this. Yet while Ray’s recursive self-examination adds depth, comedy, and poignancy, it also slows down the story. Wood doesn’t see this as a detriment — “a high level of analysis never insults the hospitality of storytelling” — but not all critics agree. John Updike wrote that Ray, “a control freak, a fussbudget, a tireless ruminator, and annoyance-nurser [most of whose] overflowing mental energy goes into an anxious gloating over his happy marriage,” is “perhaps the most annoying hero this reviewer has ever spent seven hundred pages with.” While I don’t share Updike’s level of irritation, I do find considerably more compelling the inner life and intellectual urgency of the unnamed female narrator of Mating. A nutritional anthropology grad student, she falls hard and fast for a “Serious Man” named Nelson Denoon, an intelligent do-gooder who has established a feminist utopian village in the desert. After abandoning her dissertation and dating several minimally desirable men, she takes off, solo, across the Kalahari to throw herself at the feet of Denoon and the sui generis village of Tsau. The anthropologist’s barrel-scraping, yet somehow joyful, journey toward love and self-knowledge is propulsive from the novel’s early pages. Her attractiveness stems in part from her peculiar diction, which combines high-register Latin, French, and academic phrases with vulgar formulations. Here she explains her fierce desire to visit Victoria Falls: I not only wanted to go to Victoria Falls but to stay there in splendor at the Vic Falls Hotel, the way the colonial exploiters had. This was less greed per se than it was wanting to visit or inhabit a particularly gorgeous and egregious consummation of it. I was convinced that under Mugabe accommodations would be democratized and establishments like the Vic Falls Hotel would cease to exist, which of course was only one of a number of things that didn’t happen under Mugabe. I had a fixation on seeing the greatest natural feature in Africa and seeing it at the maximal time of year, which was just then, when the Zambezi was still in spate. I might be going back home to exile in the academic tundra, but I wanted to have seen the world’s greatest waterfall from the windows of an establishment amounting to a wet dream of doomed white settler amour propre. We’re eager to follow our anthropologist — and her piercing thoughts — wherever they go. Unlike worrywart Ray, her introspection and argumentation are infused with a contagious joie de vivre. 3. A novel of ideas is driven by both story and thought. The kind of fictional thinking illustrated above is crucial, but it’s not enough. A true novel of ideas must also have arguments, the second kind of novelistic thought at which Rush excels. Ideas, just like places and people, create a vibrant fictional world and fuel its stakes: what do the people in this world believe and why? What do they want to understand, and what do they ignore at their peril? A contemporary novel of ideas must not only investigate topics of intrinsic interest, but must also render flesh-and-blood characters who vigorously and clearly express these ideas — who care about and challenge them. How does one integrate argument into narrative? It would seem the two forms of explanation are at odds. Though both require precision, argument is pegged only to logic, not to time. Narrative, on the other hand, depends absolutely on chronology and can be bogged down by too much explanation. When Rush would show to Elsa, his first reader and most rigorous editor, early pages too thick with explanations, she’d respond: “Consider maybe that there are some extremely smart people out there who are not interested in stories that require a seminar.” His tendency is to be exhaustive, he explains in the same Paris Review interview — “to show the human project of trying to reshape the world, in all its particular guises and methods.” One technique Rush exploits well is argumentative dialogue occurring at high-stakes moments. In Subtle Bodies, male college friends gather for the funeral of their former ringleader Douglas. Ned, a respected activist in the Fair Trade movement, tries to convince each jaded friend to sign his petition protesting America’s impending war against Iraq. Their jousting is energized by knowing how much it means to Ned that his friends support him and that he prove himself able to convince them on both pragmatic and idealistic grounds — thereby escaping, finally, Douglas’s shadow. But surely argument can happily exist outside heightened moments of battle. In life, arguments are sustained over time. “I like to discern an unstated, but illustrated, argument in a novel,” Rush says. “I mean, I like to become aware of an embodied view of a particular moral-slash-philosophical problem or circumstance. With my novels, I want readers to argue about my argument, at least in their heads. While writing I am very conscious of it.” Mating exemplifies how argument can be embodied throughout a novel’s entire arc. Our anthropologist is desperate to know if equality in a male-female romance is possible, given all the cultural and biological factors working against it. Her desire to understand something abstract is converted into her real-time relationship with the exalted Denoon. Tsau, a community built from scratch upon feminist and socialist ideologies, is also put under the microscope. The whole action of the novel tests whether either of these utopias is viable. 4. While Rush beautifully embodies arguments in circumstance, he does even more than that, as a true novel of ideas should. Real people think about more than what’s immediately in front of them. They argue about free trade and two-party political systems; the virtues of television versus reading. Arguments that examine, broadly, how we should understand and reshape the world are just as much the necessary and joyful and fascinating stuff of life as the things that happen to us directly. Rush therefore also imbues his novels with abstract arguments that extend to the larger world. At the dinner party where the narrator of Mating first meets Denoon, he gives a long lecture on development in Africa, which includes five reasons why socialism will not succeed there. The whole novel is told in hindsight, and this lecture, too, is related after the fact. The lecture reads like a play. The narrator’s interpretive notes are interspersed in italics. This may sound cumbersome, but it works cleanly. We get Denoon’s arguments in his own words, as presented to his live audience. For example: Let us say you want to clear away private ownership of productive property and put everything under the state. Well and good, but then you must be prepared to pay five surcharges, very heavy surcharges. These are permanent recurrent costs that never go away. They are intrinsic to your system. At other points, the narrator summarizes Denoon, often because she’s impatient or dissatisfied with the way he puts things: [Point] Five was a mess. He couldn’t get it schematic enough, and during it some people got bored to the hilt. My notes, which I made when I went home that night, say that there are two ways to extract the social surplus--... Additionally, as Denoon speaks, the narrator speculates about how and why he’s arrived at various formulations. She explains a particularly circuitous set of remarks thus: This is intellectual loneliness showing, I thought. ...I had no idea who he had with him out in the bush, but this scene suggested that they left something to be desired as discussants. The same sort of hysteria was familiar to me. Naturally, she has a solution: she should become his mate. Rush’s Knopf editor, Ann Close, was worried this long exchange would bore readers, but Rush felt it was crucial “to prove to the reader that Denoon was an intellectual of a certain caliber.” Indeed, we have to see for ourselves that Denoon is not a charlatan. We’re to experience through our anthropologist’s eyes and intelligence, for another four hundred pages, people and places we’ve never or rarely encountered and ideas we perhaps haven’t thought much about. It’s also imperative that we trust the intelligence of our narrator. We must know she’s not been hoodwinked by Denoon’s status, charisma, or beauty — all of which he has in spades. Among Rush’s three novels of ideas, Mating is the most successful. Although it does occasionally give us too much of a good thing, by piling on more argument than can be absorbed, ideas are given life by a torrentially passionate narrator for whom it’s clear how deeply ideas matter. Developing her unusual, entertaining language was important to Rush not only in order to create a fully realized, never-before-seen character, but also because her linguistic prowess empowers her. The narrator, in her vocabulary and her attitude toward language, is like several people I have known who considered themselves underclass and at a disadvantage socially, but who were smart and discovered that knowing how to use language better than the people oppressing them was a form of power. Ned’s wife Nina in Subtle Bodies has fewer years of education than Mating’s anthropologist (who is in fact closely modeled on Elsa Rush), but Nina is similarly bold, innovative, and articulate in her use of language. 5. When asked in a recent interview in Tin House, “Will your next project find you returning to a longer form?” Rush said, “Dude, I’m 80.” He hopes to write more short stories, though he recognizes that despite Elsa’s “extraordinary forbearance” during his long-gestating novels, it may be time for the couple to spend more time on pursuits other than writing. These days Rush also worries about the value of fiction writing in a world that would benefit more from advocacy and political action than another novel. In an August 2013 profile in the New York Times Magazine, Rush dispiritedly admits to himself: “You’re an artist. You’re not a nuclear engineer, you’re not a statesman, you’re not the head of the World Bank, you’re nothing, really, in terms of who pulls the strings of the world. ...None of your acts are designed to change things.” But Rush’s argumentative impulse clearly hasn’t subsided, so one hopes for another opportunity for adventuresome intellectual love, which our anthropologist describes like this: the feeling of observing a mental searchlight lazily turning here and there and lighting up certain parts of the landscape you thought might be dubious or fraudulent but lacked the time or energy to investigate or the inner authority to dismiss tout court. It’s a description that could be aptly applied to the experience of reading Norman Rush’s body of work — with the exception of the word “lazily.” His scouring mental searchlight prompts questioning and reflection and, most of all, it makes you want to argue.
This August, not long before Labor Day, my wife and I packed the kids into the back of a rented car and left behind the garbage-smelling streets of New York for the comparative balm of Maine. For the second year running, we'd booked ourselves into a little bungalow about as far east as you can go before you drive into the ocean. This modest slice of paradise doesn't come cheap; a week's sublet costs only slightly less than our monthly rent. To my mind, though, it's worth it -- not least because the house's sun porch is my favorite place to read in the entire world. There, with the kids napping upstairs and the porch's old glass rippling the heavy-limbed spruces outside and the bees bumbling around in the hydrangeas and the occasional truck droning past on the two-lane, I can actually feel time passing. Moreover, I can choose to lavish a couple unbroken hours of it on a book, in a way life in the 21st-century metropolis (with small children!) renders vanishingly improbable. It's no surprise, then, that many of my best reading experiences of the last year were concentrated in that single week. Early on, I read for the first time Virginia Woolf's Orlando, and found in the wry lushness of its prose a perfect literary analogue for the sensory assault of high summer in a new place. In fact, the divide between the life of the senses and the life of the mind is one of the many barriers Woolf's intrepid hero/ine surmounts, "For it must be remembered that... [the Elizabethans] had none of our modern shame of book learning...no fancy that what we call 'life' and 'reality' are somehow connected with ignorance and brutality." I then devoured, in the course of two naptimes, Norman Rush's Subtle Bodies. Unlike its predecessors, Mating and Mortals, this novel has some glaring defects, and reviewers, by turns baffled and hostile, went straight for the invidious comparison. Yet what struck me was the through-line of Rush's sensibility. The supreme pleasures of all of his work (the characters, the loving irony, the human comedy) are present here, in spades, and that made Subtle Bodies feel like a gift. And just before returning to New York, I read, in a state of admiration bordering on envy, the brilliant first third of Rachel Kushner's The Flamethrowers. Probably the single most perfect book I encountered in 2013, though, appeared under completely different circumstances -- that is, in February, back in the city, amid the ice. Gertrude Stein's Three Lives didn't just reward my attention; it commanded it. To pick up the book was to be summoned away from the diced-up jumble of my own unfinished errands and brought into the presence of Anna and Melanctha and Lena. Reading Stein is like being brainwashed, but in a positive sense. It cleanses the windows of perception. It is Maine on the page. In fact, much of what moved me most in 2013 drew in one way or another on the Modernist legacy of "deep time," a countervailing force to the jump-cut, the click-through, the sample rate. I came to the reissue of Renata Adler's Pitch Dark, for example, expecting a kind of cool PoMo minimalism. Instead, I discovered a crypto-maximalist whose sentences, surfing along on volumes of unexpressed pain, are as perfect in their way as Woolf's. Péter Nádas's putatively maximalist Parallel Stories, meanwhile, offered the most miniaturist reckoning of behavioral psychology this side of...well, of Gertrude Stein. The erotic excesses everyone complains about -- e.g, the 300-page sex scene -- are in fact the opposite of erotic; they're a kind of clinical accounting of the physical side of human history, the flesh that has a mind of its own. "Unsubtle Bodies," would have been a good title. But in the end, I respected the hell out of Parallel Stories, and ended up despite myself -- despite, perhaps, even Nádas -- caring deeply about its characters. And then there was Laszlo Krasznahorkai. Where his first three novels to appear in English were dark, his latest, Seiobo There Below, is bright. Where they were terrestrial, it is astral. But in one important respect, it's just like them: it's a masterpiece. I know I tend to go on about the Hungarians, but this seemed to be a ridiculously rich year for American fiction, too. Fall, in particular, was a murderer's row of big books; I could talk here about Lethem, about Tartt, about Pynchon, about David Gilbert, about Caleb Crain, about James McBride's surprise National Book Award, but I'd like to put in a good word for a couple of books that came out in the early part of the year, and were perhaps overlooked. The first is William H. Gass's Middle C. Not only hasn't Gass lost a step at age 88; he's gained a register. One of Middle C's deep motifs involves an "Inhumanity Museum," but the surface here is warmer and funnier and more approachable than anything Gass has written since Omensetter's Luck. Fewer readers will have heard of Jonathan Callahan, whose first book, The Consummation of Dirk, was published in April by Starcherone Press. It's a multifariously ambitious story collection on the model of David Foster Wallace's Girl With Curious Hair. The glaring debts to Wallace and Krasznahorkai and Thomas Bernhard can be a liability, but in the longer stories here, including "A Gift" and "Cymbalta" and "Bob," and in the closing trio, Callahan uses the pressure of influence to form shapes entirely his own. On the poetry side, I adored Bernadette Mayer's rousing and funny collection, The Helens of Troy, New York. Meyer uses various quasi-Oulipian formal constraints to turn interviews with the titular Helens -- yes, every woman named Helen living in Troy, New York -- into poems. Both Helens and Troy emerge richer for the transformation. And while Patti Smith's Just Kids isn't technically verse, it makes good on every claim for Smith as one of the few true rock n' roll poets. (The late Lou Reed was another.) Not only is Just Kids an unmissable story; it attains the same purity of expression as Horses. Usually, rock writing is a kind of guilty pleasure. Unforgettable Fire, Glory Days... I feel absolutely no guilt, though, in recommending the English journalist Nick Kent's collection of rock profiles, The Dark Stuff. It's John Jeremiah Sullivan good. Gay Talese good. Sometimes it's even Joseph Mitchell good. I made it through a couple of other great works of narrative journalism this year, as well. William Finnegan, in addition to being one of my favorite New Yorker writers, has got to be one of the best reporters on earth, and his Cold New World, published in 1998, is like a Clinton-era companion to George Packer's The Unwinding. In it, Finnegan spends months with teenagers in four far-flung American communities, uncovering the frictions of the new economy long before it blew up in our faces. Robert Kolker's The Lost Girls, which came out this summer, similarly examines the effect of those frictions on young women drawn into prostitution -- specifically, five young women who would end up murdered by a serial killer out on Long Island. Kolker doesn't turn phrases with the acuity of Kent or Finnegan, but his patient unfolding of his story gives the reader room to become outraged. As usual, I find myself running on well beyond "Year in Reading" length. But in my defense: I hardly reviewed anything this year! This is my one chance to enthuse! And though I've talked about William Gass, and William Finnegan, what about William Styron's The Long March, or William T. Vollmann's Fathers & Crows? This is not to mention The Luminaries, which is currently sitting half-read on my nightstand, alongside The Cuckoo's Calling and The Bridge Over the Neroch and Teju Cole. My wife says it's starting to look like a hoarder lives here. How am I ever going to finish all this stuff? But I remain optimistic, against all the evidence, that life might offer a little more time to read in 2014. And if not, I suppose we'll always have Maine. More from A Year in Reading 2013 Don't miss: A Year in Reading 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.
"There are only three journals that matter and one of them is Conjunctions." -- Walter Abish, author of How German Is It Behold the man -- Bradford Morrow, who spans in both biography and experience the best explorations of the teachers and writers of two centuries, the 20th and our new toddling era. Both a generous reader and writer, a community-maker in his years as founder and editor of the pioneering Conjunctions, bearing standards paradoxically rigorous, curious, and fluid, author of Giovanni’s Gift, among some other eight books, this year he came out with two new books: one, the novel The Diviner's Tale, a genre cloverleaf, combining elements of paranormal mystery, the detective story, the confessional, and a shaggy-dog story, told by a woman whose credibility proves as convincing as Norman Rush's similar feat of male-to-female ventriloquism in Mating. The second, the collection of short stories The Uninnocent, shows similar insight, plunging the reader again and again into some icy waters. Why? Because he pushes characters to extremes while luring us into unguessable sympathies: you, dear reader, become complicit with the metaphysical and actual body count of these stories. Who would you be under such complex circumstances? Would you dare call yourself good? Such is the sly question in ghostly ink between Morrow's lines. Meanwhile, his formal play (see, for instance, the highly pleasurable psychological Rubik's cube of a story,"Mis(laid)") is subtle; in its subtlety lies intrigue. *And if you want more gritty specifics embracing Morrow's upbringing and aesthetics, in addition to the interview that follows, may I direct you to the well-written biography? ** And if you want the opening of Paradise Lost, one of the undergirdings of postwar American fiction, see this: Of Mans First Disobedience, and the Fruit Of that Forbidden Tree, whose mortal taste Brought Death into the World, and all our woe, With loss of Eden, till one greater Man Restore us . . . Edie Meidav: May I ask you to connect the two following dots in your first answer? (First dot) You have tackled so many large topics in your work, and have used such varying technique, and yet your last novel, The Diviner’s Tale, as well as this most recent book of short stories, The Uninnocent, both come out of a truly American gothic sensibility. The Uninnocent bears every kind of smudged, glowing thumbprint of America gone awry: absentee fathers haunt these stories, as do grotesque physical accidents, incest, murder, subterfuge, numbing devices. (Second dot) You have a deep connection to Willa Cather. Can you connect these two points for your lay readers? Brad Morrow: That’s a really intriguing question. I see several possible ways to connect those dots, although perhaps the simplest explanation for what on the surface might seem an affinity for two quite different aesthetics would be to cite Walt Whitman’s “I contain multitudes” -- as a writer my interests are wildly wide-ranging. My taste in literature, like my taste in music, and even in people, is eclectic. I’ve never been one to limit myself in my preoccupations, my affections. Which is not to say my taste is chaotic or even all that catholic. Just that for better or worse I manage a wide embrace. Besides Willa Cather, I’m completely devoted to John Donne, for instance, and Yeats. But also William Burroughs and William Gaddis. What these writers have in common, for want of a sharper word, is genius. Originality, dynamism, vision, and a gift for language that’s electric. Two more specific vectors between the gothic and Willa Cather involve, first, her use of landscape as an active character -- a trait that’s ever-present in my most gothic work -- and, second, for all her reputation as a kind of pioneer realist, Cather is a modernist chronicler of all manner of violent and tragic behaviors. Her landscapes are often aggressive, uncooperative, and even fatally destructive to the humans who inhabit them. Likewise, her characters are capable of depravities that would take aback the darkest noir writer. When the cruel Wick Cutter blithely slits open the eyes of a woodpecker in A Lost Lady and enjoys watching the poor creature flop around helplessly trying to find its way back to its nest, you know you’re in the presence of a writer who understands evil. Murder, betrayal, deception, downfalls. Cather explores all these themes pretty relentlessly, though she also is a brilliant celebrant of human triumph against adversity, as well. Another personal connection to Willa Cather, having nothing to do with the gothic, is that my mother was born and raised in Red Cloud, Nebraska, and my grandparents, great grandparents, and great-great grandparents farmed the same rolling Nebraska lands that Cather’s family did. Most are buried there, many a stone’s throw from the graves of Cather’s family and friends. So there’s that, as well. Cather and I, generations apart, left small towns in Nebraska and Colorado to end up in New York where we each became novelists and editors. Sentimental or not, I feel she’s a kind of forebear. EM: Again, forgive me this dyadism, two quotations: "We were uninnocent, but the very isolation that in some ways damned us has also acted as our benefactor and protector." -- The Uninnocent "The druggist's was empty, its row of stools with mottled vinyl aligned kind of sad somehow before the long counter, Coke taps, pie racks, ketchup bottles, the stainless-steel malted cup -- " -- "Whom No Hate Stirs None Dances" While I don't feel this about every writer, may I venture that in your embrace of such complex and often evil characters, a lapsed idealism lives? Not that polemic pulses your fiction, but rather that some American nostalgia unites these stories. As if all might be better if we could get back to -- to what? The land, perhaps, the freedom of an individual facing the vastness of the world and needing to make those insuperably huge American choices. Cather's prairie redux! As if each character might, somewhere before the second coming or apocalypse, recognize the worth of ethics and community. Your characters are often anachronistic vigilantes, pursuing their own form of righteousness. I might be pushing it here, but the voice rising from your pages suggests that while your pariahs' psychologies rarely bear Edenic backstories, the arcs of their stories contain a ghostly hint: some lost key lives in the backstory of the States. Discuss? BM: I agree that many characters in these stories would like to get back to the Garden but that the path, if there ever was one, is overgrown with thorny flora and guarded by treacherous fauna. Indeed, Jack, in “All the Things That Are Wrong With Me,” tries to create his own Edenic animal garden in which the lion lies down with the lamb, but he is blinded by naïveté and an ignorance of community rules, and so is fated for a hard fall. Both narrators in “Lush” try their very best to overcome alcoholism and injury, but in the end it’s unclear if their dreams, despite their striving and hope, can finally create a haven that’s strong enough to protect them from their demons. As for the role of America in the book, I can say simply that the stories were meant to be individual investigations rather than a political map of the patchwork quilt that is our culture. Having said that, though, it is interesting that the first story in the collection, “The Hoarder,” involves a family moving from place to place across the country, beginning in the Outer Banks on the East Coast, passing through the Midwest and pausing in the Southwest for a time, then ending up in California. The youthful collector, on his own westward journey, at first contents himself with innocent enough things to assemble -- sea shells, birds’ nests, pottery shards; things he finds on beaches, in forests, and on the desert. But just as the country itself in its westward expansion, fueled by Manifest Destiny and other questionable political philosophies that hardly disguised an underlying rapacity, moved inevitably away from idealism, this boy increasingly finds himself driven to take things from others in order to feel in control of a life that’s slipping away from him. While evil is obviously universal, various forms of evil portrayed in The Uninnocent do seem to me to be, as you suggest, distinctly American. An unstable idealism that sometimes erupts into irrevocable acts of violence or crime does reside in the hearts of many of these characters, which despite my better judgment is one of the reasons I so deeply empathize with even the worst among them. Some are naive, others psychotic, still others believe that they are doing the right thing even though the rest of the world would strongly disagree. Just as America is a young country, a number of people portrayed here struggle with maturity at a fairly tender age. Again, I’m not saying the characters in The Uninnocent are meant to be small portraits of the country itself. But all of them are in one way or another the products of America and, as William Carlos Williams put it, “The pure products of America go crazy.” EM: How does music affect your writing? BM: Music was crucial to my life long before I ever thought of writing, even well before I got into reading books beyond The Phantom Toll Booth or The Cat in the Hat. My mother was church organist and choir director at the First Methodist Church in Littleton, Colorado, and was an accomplished opera singer. She had me taking piano lessons before my hands could barely reach the ivories and my feet the pedals. So music is in my blood and soul. Every kind of music, I might add, from classical to jazz, rock to rap, from sea chanteys to you name it. I’ve learned a lot from Bach and Stravinsky, Debussy and Copland, Bird and Coltrane, Leadbelly and John McLaughlin, the Geto Boys and NWA. A list of all the composers and musicians who have influenced me would run into the hundreds. I doubt I could write any of the sentences that I do without that core musical background. Narrative, be it on the scale of a short paragraph or a long novel, is told in words whose origins are ultimately musical. Emerson wrote, Every word was once a poem. And I would suggest that every poem was once a musical phrase. EM: Who was your first ideal reader? BM: I had a professor at the University of Colorado, the late and much-missed Edward Nolan, who had an enormous impact on me and read my work with care and blazing intelligence. He got me to read Woolf and Yeats and Ezra Pound and could discuss the dynamics of a sentence or phrase with dazzling precision and nuance. But in fact I have been blessed over the years with a number of dear friends who happen also to be super sharp readers of my work, and who’ve been unafraid to suggest possible improvements to this text or that. Rarely have I felt like I’m singing alone in the dark, thanks to these gracious intimates. EM: When I first read your response, above, I thought you had written thanks to these gracious inmates. Which made me think, since I believe you have a great panopticon view of American letters (belles lettres?) and much recent literary history -- what is your view of our current literary prison? Prison or paradise? While we are a rebellious clan, is there some uniting moment which we are living through? DeLillo once famously said the novelist had great freedom, living in the margins of a dying art, yet also that terrorists had usurped our ability to form compelling narrative. Answer any part of this, or go off on your own spree. BM: I may be overly optimistic or utterly blind, but my view of contemporary American fiction is that it is as rich as ever. Some of the best work is being written in what until recently was considered, at least among the conventional literati, genre fiction. Horror, gothic, mystery, fantasy, fabulism. There are so many stunningly original and serious writers working these fields. I have to think that anybody reading this interview would agree. Just one example, though there are many, would be Elizabeth Hand. She composes sentences of ravishing beauty. She is capable of creating metaphor systems that are so dynamic and provocative. She can turn a fictive moment that seems deeply rooted in the everyday into something that, in fact, touches upon the sublime, the miraculous. Just read her novella Cleopatra Brimstone and tell me that American fiction isn't pulsing with life. Like I say, I could list dozens of authors here whose work I admire and follow with care and excitement. That said, I do think that much contemporary criticism is stuck in the past and that too many reviewers want those who are exploring ways to revolutionize genre to stick to the rules. I think of them as genre police. They make too many false arrests and lead potential readers astray, keep them caged away from renegades whose work they might well dig reading. EM: Coming off your rich response: did you have an early model in your young life of generosity, whether literary or existential? BM: A few, Edie. Ezra Pound had a huge impact on me. Poet, critic, translator, editor, promoter of others’ works, shaper of Kulchur. Even now, looking back to the Pound Era (Hugh Kenner’s phrase for those astonishing years that saw everyone from Joyce to Eliot to Williams to H.D. rise into view with novels and poems sizzling with genius), I marvel at how crucial Ezra Pound’s generosity was to modernism. So certainly Pound. Also, I was devoted to Allen Ginsberg who similarly moved outward beyond his own poetry to help other writers find their voices and audiences. Kenneth Rexroth, who introduced Ginsberg’s first reading of Howl and was at least initially godfather to the Beat movement, was my mentor when I was in my 20s. Like Pound, Kenneth was a critic and translator as well as an exceptional poet who delved deeply into the mysteries of love. His generosity toward me, a young writer 50 years his junior, was a real inspiration. Kenneth was a polymath, knew everything about everything, truly the most exquisite mind I have ever encountered, and so he too was a model. Interesting that I’m only citing poets. The most generous prose fiction writer who inspired me in my 30s was John Hawkes. His generosity toward me I try to pay forward as often as I can. Jack was constantly encouraging me and a whole host of other writers -- Jeff Eugenides, Rick Moody, Joanna Scott, Mary Caponegro, so many others. I will never forget his introducing me at Brown University when I gave my first public reading. He had a wild wit, a luminescence, that inspires me to this day.
At the start of 2009, I reread Norman Rush’s Mating, as I have each year since 1995, when I received the book as a birthday gift. My well-worn paperback no longer has the front cover, a detail from Hieronymus Bosch’s eerie sixteenth-century triptych, “The Garden of Earthly Delights,” the endpapers are ragged and the yellow flags I used to mark treasured passages have faded, but Rush’s story of a brilliant anthropologist at large in Botswana, observing the ways and means of blacks and whites while she makes her erudite way in the world as a woman, an academic and an American, is as vivid and thrilling now as it was upon my first reading. Even the first part of the dedication, to Rush’s wife, incites me, and I imagine countless others, to work much, much harder: Everything I write is for Elsa, but especially this book, since in it her heart, sensibility, and intellect are so signally – if perforce esoterically – celebrated and exploited. My debt to her, in art and in life, grows however much I put against it. The novels I reread over the years take on different meanings, they change and deepen, my favorite sections shift. Sometimes a book that once held great meaning doesn’t quite reach me anymore and instead I’m reminded of other stories, themes or styles that are of more present interest. Mating only reminds me of its bold, breathtaking and impressive self. Each year, as Rush’s unnamed protagonist sets out from Gaborone to walk one hundred solitary miles across the Kalahari to Tsau, an allegedly utopian community organized by another American anthropologist, I feel this author’s powers afresh and recognize my own goals in his novel’s pages: to live honestly, ambitiously and fearlessly. More from A Year in Reading
Millions contributor Garth Risk Hallberg is the author of the novella A Field Guide to the North American Family and is a 2008 New York Foundation for the Arts fellow in fiction. This year, his work appeared in the anthologies Best New American Voices and Best of the Web.When it comes to books, I'm less a gourmet than a gourmand. It's not that the slim, perfect novel doesn't excite my palate, but when I'm in the middle of a sensational meal, I want it never to end - or at least to give the illusion of infinitude. And so I hunger for big books - thousand-calorie entrees I wrap rubber bands around to keep the bindings intact.This year, as I approached my thirtieth birthday, these big books appealed to me with even greater urgency. At some point soon, the demands of family life and the writing life are going to leave me with less time for "loose, baggy monsters," and so I've been trying to get the important ones under my belt. After all, there are only so many behemoths out there, right? Well, it turns out that big books share certain Hydra-like properties with books in general. This year, I knocked off ten enormous tomes; I added about twenty to my "to-read" list.The best of the best - the book that came closest to being everything I want in a novel - was Mortals (712 pp), by Norman Rush. It's a funny book, in that it forgoes the immediate pyrotechnics of Rush's first novel, Mating (a mere 474 pp), which I also read this year. Still I'm convinced that, once you've acquired a taste for Rush's penetrating yet hugely compassionate voice - his astonishing negative capability - you will find Mortals to be one of the two or three best American novels published this decade. And it just gets better as it goes along: the 100-page climax is almost literally explosive.A close second was Roberto Bolaño's 2666 (893 pp), a novel I'm still thinking about, half a year after first reading it. As with Mortals, I hesitate to recommend diving straight into it; you might want to learn to trust Bolaño, as I did, by first reading his more trenchant performances (Nazi Literature in the Americas (227 pp including epilogue) (review), then Distant Star (149 pp), and then The Savage Detectives (still comparatively lean at 577 pp) (review)). But 2666 is a cabinet of wonders, and a landmark in contemporary letters.Inspired by Joshua Ferris' 2007 Year in Reading entry, I went on a late-period Henry James bender this year, which (to return to the food metaphor) is sort of like gorging on lobster with a heavy cream sauce. In its rich evocation of human subjectivity, The Wings of the Dove (711 pp) is a dazzling technical achievement, but it's James' deep feeling for his characters that makes this my favorite of his novels. Of course, if the representation of subjectivity is to your taste, I should also recommend Under the 82nd Airborne (230 pp in The Stories (So Far) of Deborah Eisenberg) (review), in which our finest short story writer refines into deft turns of phrase what James took pages and pages to do. I think of Eisenberg and James as two-thirds of a triumvirate: Discoverers of the American Mind. The third third is Saul Bellow, with whom I spent most of June. Of the several books I read, Mr. Sammler's Planet (260 pp) struck me as the most surprising, courageous, and challenging.Ms. Eisenberg's advocacy, at a PEN World Voices panel, persuaded me to sate my appetite for German-language literature with Robert Walser's Jakob van Gunten (176 pp), a bewitching (and blessedly brief) evocation of adolescence. I also marveled at Alfred Döblin's pitch-black Berlin Alexanderplatz (378 closely printed pp). Then I turned back to the big American novel. Joseph McElroy's Women and Men (1192 pp) is the longest book I have ever read, by a good 150,000 words. It took me six weeks to finish, at least, and, python-like, I'm still digesting, but the achievements in sections like "Larry," "the future," and "Alias Missing Conversation" rank with the best of Pynchon, Barth, Gaddis, and David Foster Wallace.Speaking of Wallace, the best book I re-read this year was Infinite Jest (1079 pp with footnotes), which was fresh in my mind when news of the author's death reached his readers. IJ still looks to me like the fictional high-water-mark of a generation. I welcome debate on this point, but revisiting the book debunks claims that Wallace is too intellectual, too indulgent, or too stylized; here, he does everything the ten next-best American writers can do, and does it better (see, e.g., pp 851- 981). That we'll never get to see another novel from him is an incalculable loss.Fortunately for us, the reservoir of literary talent in his generation runs deep; following other writers as they advance the cause of fiction forward is a kind of consolation. Trance (505 pp), by Year in Reading participant Christopher Sorrentino, was the book by a young American that most impressed me this year (review). The writing - tough, funny, elegant, jive - really astonished me, as did the way the novel mobilizes the 1970s in service of the now. I guess all history really is present history.The work of nonfiction I most enjoyed in 2008 was Janet Malcolm's Gertrude and Alice: Two Lives (224 pp). Malcolm is at least as good a critic as she is a journalist; her approach to literature is refreshingly humble, nimble, curious, and delighted. (I'm reading her Chekhov book now (205 pp.)) I only made it halfway through Gertrude Stein's novel The Making of Americans this summer (it's an annual endeavor; 925 pp), but Gertrude and Alice, which I devoured in a single, lovely July day, was a welcome substitute. I would also be remiss if I didn't mention Timothy Donaldson's book on the development of alphabets, Shapes for Sounds. Reading it is like sitting in on a lecture by the most brilliant professor in the department. It is also - not incidentally - a triumph of design on the order of David Macauley.Finally, I have to say something about political books, which functioned this year as quick, bitter palate-cleansers. For eight years, a small corps of investigative journalists - Hersh, Wright, Mayer, Packer - has been working to keep our government honest. I'd like to nominate Washington Post reporter Barton Gellman for inclusion on this honor roll. In addition to being a riveting, lively, and infuriating read, his book, Angler (384 pp), introduced me to one of the most fascinating literary characters I've yet encountered: Richard B. "Dick" Cheney. For pure, mysterious "lifeness" (to borrow the most useful term from James Wood's How Fiction Works (248 pp)), Cheney rivals Wallace's Don Gately, and Rush's Ray Finch, Bellow's Artur Sammler, and Eisenberg's many protagonists. We'll be chewing over (or choking on) his legacy for years to come. It's a good thing we'll have good books, large and small, to nourish us along the way.More from A Year in Reading 2008
Bryan wrote in with this question:I'm a 2007 graduate of Columbia. I majored in American Studies with a concentration in 20th century American literature. I'm a huge fan of the Millions. I'm attaching a recent reading list, if there's any chance you'd be interested in giving a book recommendation [based on it], that would be totally awesome. Here goes:Currently reading:Heart of Darkness by Joseph ConradRecently read (sep 07 - april 08):Elementary Particles by Michel HoullebecqA Heartbreaking Work of Staggering Genius by Dave EggersMan In The Dark by Paul AusterPortnoy's Complaint by Philip RothWhat We Should Have Known - n+1The Heart Is A Lonely Hunter by Carson McCullersLook Back In Anger by John OsborneThe Road by Cormac MccarthyPages From A Cold Island by Frederick ExleyUltramarine by Raymond CarverThe Unbearable Lightness Of Being by Milan KunderaThe Country Between Us by Carolyn ForcheLiterary Criticism: An Introduction to Theory and Practice by Charles BresslerA Good Man Is Hard To Find by Flannery O'ConnorGoodbye, Columbus by Philip RothWinesburg, Ohio by Sherwood AndersonThe Big Sleep by Raymond ChandlerMeditations In An Emergency by Frank O'HaraSwann's Way by Marcel ProustThe Sound And The Fury by William FaulknerLife Studies and For The Union Dead by Robert LowellFor Whom The Bell Tolls by Ernest HemingwayIncidences by Daniil KharnsJourney To The End Of The Night by Louis-Ferdinand CelineBryan's recent reading list is an interesting one, and in discussions among Millions contributors, several interesting observations were made. Emily noted, for example, that it is a "very testosterone-y" reading list and added, "I think all testosterone diets are bad for the soul. (as are all estrogen diets)." Her prescription? Orlando by Virginia Woolf. Ben, meanwhile, noted several "upgrades" that Bryan might consider to the books above. Instead of Goodbye, Columbus, read Saul Bellow's Herzog. If you're going to read Exley, read A Fan's Notes, and "Infinite Jest should be on there, probably the greatest work of 20th century literature," Ben adds. Garth said that Bryan "needs urgently to read is Mating by Norman Rush, which is like an amalgam of Conrad, Roth, Proust, F. O'Hara, and Hemingway," all authors featured on Bryan's list.In thinking and discussing Bryan's list, we also hit the idea of a "staff picks" for recent grads - a year out of school, Bryan qualifies, and with another round of graduates set to be expelled from academia, we figured that it might be both timely and useful. Below follows a handful of suggestions. This list is woefully incomplete though, so we ask you to help us out with your own reading suggestions for recent graduates in the comments.Autobiography of Red by Anne Carson recommended by EdanThis novel-in-verse is a contemporary retelling of the myth of Geryon and Herakles. In the original myth, Herakles kills Geryon, a red-winged creature who lives on a red island; Carson's version is a kind of coming of age story, in which Geryon falls in love with Herakles. If the form intimidates you, don't let it: this is one of the most beautiful books I've ever read.The Quick and the Dead by Joy Williams recommended by EdanThree teenage girls, a bitch of a ghost, and the apathetic desert. The Quick and the Dead is an odd and very funny novel that has pretty much no narrative drive but is nonetheless a joy (no pun intended!) to read because of its wondrous prose.Air Guitar: Essays on Art and Democracy by Dave Hickey recommended by EdanThis is a fun collection of essays that will feel far more entertaining than any criticism you read in college (though maybe not as mind blowing). The best piece in the book, I think, is Hickey's argument for why Vegas (where he lives) is so terrific.George Orwell's Down and Out in Paris and London recommended by AndrewSo you're holding your degree in one hand and, with the other, you're untangling a four-year growth of ivy from your jacket. All the while maintaining that cool, detached air that you've been carefully cultivating. Well, before you join the real world and settle into the routine that will destroy your soul bit by bit, each and every day FOR THE REST OF YOUR LIFE, take a breath, find a copy of George Orwell's Down and Out in Paris and London, and shake your foundations one last time.Orwell was probably about your age - mid-twenties or so - when he found himself out of the army and living in the underbelly of Paris and then in London, living in poverty, working as a plongeur and doing other assorted subsistence-level jobs, and scraping by. A largely autobiographical account of those years, Down and Out in Paris and London exposes Orwell's social soul. "I shall never again think that all tramps are drunken scoundrels, nor expect a beggar to be grateful when I give him a penny."Lucky Jim by Kingsley Amis and The Sun Also Rises by Ernest Hemingway recommended by MaxTo me, the post-college years are characterized by two often warring desires, to become a contributing member of society despite the horrifying drudgery of those first post-college jobs and to extend the second childhood of undergraduate life for as long as possible. Lucky Jim riotously encapsulates the former, as junior lecturer Jim Dixon finds himself surrounded by eccentric buffoonish professors and overeager students at a British college. He wants what many of us want: to escape the dull life before it traps us forever. The Sun Also Rises famously depicts the pitfalls of the other path. Brett and Jake and their burned out gang live life in a perpetual day-after-the-party fog. The Pamplona bullfights, aperitifs, and camaraderie may be tempting, but the attendant spiritual weariness gives pause.