Good fiction typically provides few good answers but many good questions. The great novels and stories can often be, however incompletely, expressed as a single, overarching question that the author is working out via narrative. Is the American dream an illusion? (The Great Gatsby); should a person marry for money? (Sense and Sensibility); can the son of God be born in human form and sacrifice himself to save humanity? (Harry Potter and the Deathly Hallows). Good essay, like good fiction, is also mostly engaged in the act of asking questions. But the forms differ in a few crucial aesthetic respects, leaving aside the basic fact of fictionality, which, as we know, can be an overstated difference—nonfiction is often partly invented and much fiction is true, or true enough, but never mind that. Centrally, fiction possesses a narrator that obscures the author. Largely as a function of the narrator’s existence and also simple novelistic convention, most novels seek to attain a smooth narrative surface, an artifactual quality. A great deal of received wisdom regarding fiction craft has to do with the author disappearing in the service of creating John Gardner’s “vivid, continuous dream.” This isn’t to say that essayists don’t also obsessively and endlessly revise to create a polished surface, but the goal is typically not authorial effacement. Maybe an easier way to say it would be that both fiction and essay revolve around formulating questions, but essay very often works the act of questioning—of figuring out what the question is—into the form. Joan Didion pioneered what we think of as the modern essay, a self-conscious blend of journalism, criticism, and personal experience. Some Didion essays are intensely focused on one subject, for instance, “On Keeping a Notebook.” But the most Didion-y of Didion’s essays are ones like “Slouching Toward Bethlehem” and “The White Album,” that meander through subject and theme like a car driving home from work via L.A.’s surface streets. “The White Album,” for example, combines the description of her mental instability and compulsive dread with a more panoramic view of her bad-trippy east-Hollywood neighborhood in the late ’60s, a personal account which ripples out into larger cultural considerations: the Doors, the Manson murders, and California—always California. Didion’s stylistic legacy serves as both influence and study for Alice Bolin’s Dead Girls, an excellent collection of individual essays and also, to my mind, a fascinating example of the book-length possibilities of the essay form. Dead Girls begins in what seems straightforward-enough fashion with Part One, The Dead Girl Show, a quartet of thematically unified essays examining the centrality of the figure of the dead girl in American popular culture. These include “Toward a Theory of the Dead Girl,” about the glut of recent dead girl TV shows including True Detective, The Killing, and Pretty Little Liars; “Black Hole,” about growing up in the serial killer-y Pacific Northwest; “The Husband Did It,” about true-crime TV shows; and my personal favorite, “The Daughter as Detective,” about Bolin’s father’s taste in Scandinavian crime thrillers. (A side note: It’s not a requirement that you have mystery-addict parents to enjoy this essay, but it could hardly fail to charm someone who, like myself, grew up in a house crammed with Maj Sjöwall and Per Wahlöö mysteries.) Having established its seeming method in Part One, the book veers sideways into Part Two, Lost in Los Angeles, essays largely about Bolin’s experience as a 20-something living, for no especially good reason, in L.A. Aimlessness becomes a dominant theme, as the book shifts gears into writing about freeways, Britney Spears’s celebrity journey, and wandering around graveyards. Perhaps in an attempt to pre-empt readerly confusion at the book’s shape-shifting, Bolin has made it clear, both in press and in the introduction: This is not just a book of essays about dead girls in pop culture. I understand this concern and will admit to feeling a slight confusion about Bolin’s project immediately after Part One. But proceeding through Part Two, and then Three, Weird Sisters, about teenage girlhood and the occult, I found myself increasingly glad the book had morphed and kept morphing. The book’s intelligence has a questing quality, a pleasant restlessness as it moves from literary criticism to personal anecdote to academic cultural/political critique and back again, like a jittery moth that never lands for too long on the light it circles. The way Bolin modulates subject and approach metaphorizes both the breadth and slipperiness of her main thematic concern: narratives of female objectification. The book generally proceeds from objective to subjective, mimicking the detached and objectifying eye of its central detective figure in Part One, then moving steadily into subjective, personal territory. Like Indiana Jones switching a bag of sand for gold, Bolin substitutes her younger self as the Dead Girl and, in doing so, bestows the Dead Girl agency, brings her to life. Part Four, the longform essay “Accomplices,” brings the project to an end and to a thematic whole. In a way, it embodies the entire book, incorporating the major concerns—growing up, white female objectification and privilege, romance and the lack thereof, Los Angeles—into a self-aware meditation on the author’s sentimental education in the context of literary counterparts like Rachel Kushner and Eileen Myles and, yes, Joan Didion. Bolin seems to be asking whether there is, inherent in the act of writing the classic coming-of-age “Hello to All That” essay, as she puts it, a self-objectification that echoes the deadly cultural objectifications critiqued earlier in the collection. “How can I use the personal essay,” she asks, “instead of letting it use me?” Part Four anatomizes the entire Dead Girls project, simultaneously encapsulating the book and acting as a Moebius strip that returns the reader to the more stylized and essayistic distance of the opening chapters. To be clear, there are many standout and stand-alone individual essays in these sections. The aforementioned “Daughter as Detective,” which, in addition to its many virtues, contains the unforgettable description of Bolin’s father as a “manic pixie dream dad.” “This Place Makes Everyone a Gambler,” a deft personal history of reading and rereading Play It as It Lays, that weaves together L.A. noir, Britney Spears, and Dateline NBC. “Just Us Girls,” a touching cultural study of adolescent female friendship. But the book’s biggest triumph, in my opinion, is of a larger, formal nature, as Bolin marshals her themes and interests into a book-length reflection, of and on, the persistent figure of the Dead Girl. Alice was kind enough to field a few of the questions that occurred to me in writing this review, mainly regarding how this book’s singular form came to be. The Millions: Can you provide a little general background about how the book got written? I'm curious which essays were written first. Also, if there were any pieces that it became apparent needed to be written in the interest of book-length cohesion. I'm especially interested in "Accomplices," which serves so well as an embodiment and critique of the project. Alice Bolin: This is a little hard to answer because most of the previously published essays in the book are drastically changed from their earlier forms. I would say the book really started with “The Dead Girl Show” and the essays in the second section about California, which I started writing, hilariously, the second I moved there. I started most of those pieces in 2013 and 2014 in Los Angeles, and that was when I started to see the ideas I'd been working with coming together in some vaguely book-like shape. Most of the essays in the third section, “Weird Sisters,” existed earlier, though, in different versions—I realized late in the game that my preoccupations with witchiness and teen girl pathology pretty obviously dovetailed with the Dead Girl thing. "Accomplices" was the last piece I wrote for the book, and I knew that it was my opportunity to pull up some of the narrative paths I'd laid down earlier, both about Dead Girls and about my own life. The book as a whole is about questioning received narratives, so I had ambitions for it to work as sort of a (sorry) palimpsest, putting forth suppositions and then writing over or revising them. I want there to be some dissonance for the reader. TM: At what point did the theme of The Dead Girl emerge? Was it obvious from the start? The collection approaches this subject from so many angles; I’m interested in if there was a certain amount of retrofitting in the revision—that is, were there already completed or published essays that you went back to and revised with the dead girl subject/theme in mind? Or did it all kind of hang together as it does from the start? AB: I think once I wrote “The Dead Girl Show,” I saw that Dead Girls were a theme that I had been interested in for a very long time. I had already been writing about thrillers, true crime, detective fiction, and horror movies, genres where Dead Girls were everywhere. After that I was thinking about other ways I could write about Dead Girl genres—like in the Nordic Noir essay—and about subjects from other pulp genres that could throw those essays into relief, like pop music or reality TV. I didn't really do much retrofitting that I can remember, except maybe lines here and there. I have my MFA in poetry, so I have borrowed a lot of the ways I think about a collection from poetry books—that you allow your preoccupations to dictate the shape of the book, instead of the other way around. TM: The book’s critical mode seems to move somewhat from objective to subjective, and then, in Part Four, comment on that move. That is (and I realize I might be oversimplifying here, since all these elements exist in all the essays), Part One is predominately cultural critique, and then parts Two and Three become increasingly personal. To what extent was this movement something that organically emerged in revision, and to what extent was it conscious? AB: It's interesting, because in my original draft I had the California essays first, and the Dead Girl essays second—they seemed most important to me, but then my editor was like "Uh, shouldn't Dead Girls be first since that is the title and the whole point of the book?" She was so right. Someone else has pointed out that the book works like a Dead Girl show, with the Dead Girl as bait at the beginning of the book, but the rest of the narrative arc being about something totally different. I love this, but it didn't really occur to me, except maybe intuitively. I definitely wanted the fourth section to critique the strategies of earlier essays, but beyond that, the organization was more by subject than method. I actually wanted to cut the third section late into the drafting process, if that tells you anything about how uncomfortable I am with writing about my own life! TM: To me, because of the thematic unity and movement of the book, Dead Girls has a somewhat novelistic quality or instinct. Is this something you’re interested in doing? More generally, what’s next? AB: This is such a nice compliment! I am absolutely interested in experimenting with fiction. I had a sort of epiphany in the past few months about how my own attitude toward myself in the book is a lot like the detachment novelists have toward their characters—it's the only way I can break through (or maybe... use?) my self-loathing. Anyway, yes I am interested in writing an autobiographical novel sometime in the future, with more details TBA, in maybe like 10 years. I'm also thinking about another very girly essay collection about magazines, social media influencers, and the vintage internet, and more generally, the way women have mediated and monetized their personalities.
In the middle of a class discussion of F. Scott Fitzgerald’s The Great Gatsby some years ago, a student raised his hand and asked, in essence: What are we supposed to make of the scene where Nick Carraway goes off with the gay guy? And I said, in essence: Wait, what gay guy? He pointed me to the scene that closes Chapter III. This is the chapter in which Nick accompanies Tom Buchanan and his mistress, Myrtle, to an apartment Tom keeps in Manhattan. Myrtle invites her sister and some neighbors, Mr. and Mrs. McKee, to join them, and they throw a raucous party that ends with Tom breaking Myrtle’s nose. Amid the blood and the screaming, Mr. McKee awakens from an alcoholic slumber: Then Mr. McKee turned and continued on out the door. Taking my hat from the chandelier, I followed. “Come to lunch some day,” he suggested, as we groaned down in the elevator. “Where?” “Anywhere?” “Keep your hands off the lever,” snapped the elevator boy. “I beg your pardon,” said Mr. McKee with dignity, “I didn’t know I was touching it.” “All right,” I agreed. “I’ll be glad to.” …I was standing beside his bed and he was sitting up between the sheets, clad in his underwear, with a great portfolio in his hands. “Beauty and the Beast…Loneliness…Old Grocery Horse…Brook’n Bridge…” Then I was lying half asleep in the cold lower level of the Pennsylvania Station, staring at the morning Tribune, and waiting for the four o’clock train. I had, I’m embarrassed to say, never seen that passage before. Except that’s not true. I’d read the book half a dozen times since college, and taught it once, but I had somehow missed the fact that the narrator wanders off in a drunken stupor with a stranger and ends up in his bedroom. Whether my student knew it or not, he was tapping into a strain of scholarly inquiry into the sexual orientation of Nick Carraway that dates back at least to Keath Fraser’s 1979 essay “Another Reading of The Great Gatsby.” Fraser ultimately equivocated on the question of Nick’s sexuality, but in 1992, Edward Wasiolek argued in “The Sexual Drama of Nick and Gatsby” that the gay subtext in Gatsby is crystal clear: “I do not know how one can read the scene in McKee’s bedroom in any other way, especially when so many other facts about [Nick’s] behavior support such a conclusion.” In the decades since, suggestions that maybe, possibly, there’s more to Fitzgerald’s narrator than he’s letting on have given way to ever more self-assured, even faintly indignant, assertions of Nick’s queerness, with titles like The Atlantic’s 2013 article “The Great Gatsby Movie Needed to Be More Gay” or BookRiot’s 2017 piece “Nick Carraway Is Queer and in Love with Jay Gatsby.” Most queer readings of Gatsby begin with that scene with Mr. McKee and branch out from there to note that Nick’s love interest in the novel, Jordan Baker, is an athlete who carries herself “like a young cadet” and is most alluring to Nick when they play tennis and “a faint mustache of perspiration appear[s] on her upper lip.” When she and Nick break up at the end of the book, Jordan tells him she had thought he was “an honest, straightforward person,” to which he responds, “I’m thirty. I’m five years too old to lie to myself and call it honor”—a line that rings differently if you read Nick as a closeted gay man. Of course, all of this shapes how we view the relationship between Nick and Gatsby. In a straight reading of the novel, Nick is merely an interested observer who helps facilitate Gatsby’s mad dream to rekindle his love affair with Daisy, now unhappily married to Tom Buchanan. That Gatsby, the one taught for generations in high school and college classrooms, is a classic tale about the American Dream and doomed love and the impossibility of turning back time. In that novel, Nick loves Gatsby, the erstwhile James Gatz of North Dakota, for his capacity to dream Jay Gatsby into being and for his willingness to risk it all for the love of a beautiful woman. In a queer reading of Gatsby, Nick doesn’t just love Gatsby, he’s in love with him. In some readings, the tragedy is that Gatsby doesn’t love him back. In others, Gatsby is as repressed as Nick, each chasing an unavailable woman to avoid admitting what he truly desires. “Nick chooses Jordan for some of the same reasons Gatsby chose Daisy,” writes Wasiolek in “The Sexual Drama of Nick and Gatsby.” “Daisy is Gatsby’s defense against women, and Jordan is Nick’s against women.” That last one, I’ll admit, is a touch too Freudian for me, but if Nick were gay and in love with Gatsby it sure would clear up some things—such as what exactly Nick sees in Gatsby, a social-climbing fabulist with gangster friends who moves heaven and earth for a woman Nick plainly sees as a ditz. It would also make sense of Nick’s emotionally sterile affair with Jordan. And, of course, if Nick is queer, his trip to Mr. McKee’s bedroom isn’t merely a mysterious interlude in a canonical book, but a secret key that opens the door onto one of America’s first great gay novels. [millions_ad] So then, is Nick gay? The short answer is we’ll never know. The only person who could say for sure is F. Scott Fitzgerald, and he’s been dead since 1940. But it’s worth noting that when he wrote Gatsby, Fitzgerald was the golden boy of American letters at a time of near-universal homophobia. Had readers picked up even a whiff of gay subtext in Gatsby, he risked losing everything: his career, his marriage, his reputation, his friends. But no one did see it, and, in fact, as Wasiolek notes, among the thousands of essays and critical studies of one of America’s most widely read novels no one noted the gay subtext in the McKee bedroom scene until Fraser wrote about it in 1979. So, making Nick a closeted gay man makes little emotional or artistic sense unless Fitzgerald was using Nick’s sexuality to explore in a deeply coded way his own guilt and shame over his unspoken desires—a theory that runs into the not inconsiderable hurdle that there is zero evidence that Fitzgerald was attracted to men. Yes, his wife Zelda did once accuse him of being in love with Ernest Hemingway, but at the time their marriage was unraveling and she was months from being hospitalized for schizophrenia. (Zelda also despised Hemingway, whom she reportedly saw as “a pansy with hair on his chest.” Hemingway, for his part, hated Zelda right back, times approximately a million.) But here’s the thing: If Fitzgerald had wanted to scratch a sexual itch badly enough to make him write coded gay characters into his books, he suffered no shortage of opportunities. For the last decade of his life, he lived apart from Zelda in European resort towns and in Hollywood, where he was surrounded by men living more or less openly gay lives. Yet not one credible story of Fitzgerald having sex with another man has turned up, either in his journals or in the famously gossipy movie colony. Instead, he had a few minor flings with female starlets before settling into stable relationship with gossip columnist Sheilah Graham, who was with him when he died. But okay, people are complicated. Maybe Fitzgerald had a secret life he was able keep under wraps his entire adult life despite the fact that he was falling-down drunk for much of that time, or perhaps he desired men, but was so disgusted by this need that he never acted upon it. There is, I think, a deeper reason to question a queer reading of The Great Gatsby: It doesn’t sound much like a novel F. Scott Fitzgerald, gay or straight, would write. Fitzgerald was a compulsively autobiographical writer who wrote his flaws into his work, unflinchingly and in plain English. When he drank, his characters drank along with him. When his marriage failed, his characters lost their wives, too. When he had a nervous breakdown, he wrote a searingly honest set of essays called “The Crack-Up” for Esquire. It strains credulity to suggest that if Fitzgerald were gay, he would expiate his guilt and shame by writing a veiled gay love plot nobody would notice for half a century. It’s just not how his artistic apparatus worked. As a writer, Fitzgerald wore remarkably few veils. For 20 years, he opened a vein and beauty flowed onto the page. None of this, of course, proves that Nick isn’t gay—that can’t be proven one way or the other—but I suspect the queer readings of Nick Carraway say more about the way we read now than they do about Nick or The Great Gatsby. We read with a perpetually queered eye, forever on the hunt for coded language or secret lives in characters. This is not in itself a bad thing. It layers our reading, opening our eyes to stories within stories that we missed before, but it can blind us, too, because once we know the code, we start to think all writers are in on it, when some of them might not be. Just because Fitzgerald wrote a scene that reads to us like a gay tryst doesn’t mean that Fitzgerald was gay and trying to send us a message in a bottle. Similarly, the fact that Nick meets a gay man and doesn’t run screaming doesn’t make Nick gay. Maybe it just means he’s tolerant and curious about people, whether they’re closeted gay men or bootleggers who want to turn back time. Let’s go back to that scene with Mr. McKee. No writer as attuned to wordplay and symbols as F. Scott Fitzgerald could have written that line about touching the elevator lever before a scene in which two men end up in a bedroom and not meant for a reader to catch the double-entendre. Whatever his sexual persuasion, Fitzgerald wasn’t an idiot. To us, reading with our queered eye, the double-entendre must be a veiled hint that Nick is gay, but that’s us now when the closeted gay man has become a stock character in film and literature. Fitzgerald’s original readers wouldn’t necessarily have come to the same conclusion. The savvier among them might have picked up that Mr. McKee is gay. It’s McKee, after all, who invites Nick for lunch and gets accused of touching the lever. It’s also McKee who’s in bed in his skivvies while Nick stands, outside the bed, listening to McKee drone on about his photo album. Of course, Nick does follow McKee from the party and accept his lunch invitation, but that’s Nick’s role in Gatsby: he follows people and agrees to things. Nick’s tolerance, his curiosity about people, isn’t just some minor character quirk. It’s key to Nick’s character and central to Fitzgerald’s narrative strategy. Over and over, Nick meets bizarre, interesting people and reserves judgment until they reveal themselves to him—and us. It’s right there on the first page of the novel, when Nick relates the advice his father gave him about keeping in mind that not everyone has had his advantages. “In consequence,” Nick explains, “I’m inclined to reserve all judgments, a habit that has opened up many curious natures to me and also made me the victim of not a few veteran bores.” Thus, when Gatsby’s friend, the gangster Meyer Wolfsheim, winds up a story about a mob hit by showing off his cufflinks fashioned from the “finest specimens of human molars,” Nick doesn’t back slowly out of the room and call the cops. He looks closer at the mobster’s cufflinks and exclaims, “Well! That’s a very interesting idea.” Later, when Gatsby arranges for Nick to set up a date with Daisy, a married woman Gatsby hasn’t seen since he was a poor boy about to be sent off to war, Nick doesn’t tell Gatsby gently and firmly that he’s out of his mind. No, he calls Daisy to set up the date. This, to my mind, is what a queer reading of Gatsby misses: Nick’s tolerance, his willingness to reserve judgment about things his world found frightening or wrong. Yes, it’s possible Fitzgerald was using the scene with Mr. McKee to speak in code of his own hidden desires, but more likely it’s a scene in which a straight man in 1920s America meets a closeted gay man—and listens to him. Likewise, maybe Nick’s love for Gatsby is queer, but more likely it’s queer in the nonsexual sense, meaning odd, uncanny. Maybe Nick really is who he says he is: a nice, decent, rather conventional bond salesman from the Midwest who knows he shouldn’t admire Jay Gatsby, but does anyway. Maybe he loves Gatsby, not because he wants to have sex with him, but because he wants to understand him, make sense of his queer and improbable dreams.
1. On January 29, the Olympic torch relay for the PyeongChang Winter Olympics passed through Chuncheon in Gungwon Province. The last time I had really paid attention to the Olympics was when my family took me to Beijing nearly a decade ago. This year my eye alighted on the event not for the promise of feats of athleticism or sportsmanship, but on the last torchbearer of the day, the promotional ambassador from South Korea, the actor Jang Keun-suk. In 2009 I was 16 years old, and early in the winter and into the better part of spring, I was hooked on the South Korean drama You’re Beautiful. A 16-episode television series that gained international cult status, spawned remakes in Japan and Taiwan, and briefly popularized the sale of a hybrid “pig-rabbit” stuffed animal that appears in the series, the storyline follows a young nun-in-training (played by Park Shin-hye) who is forced to disguise her identity and pretend to be male in a popular boy-band-slash-idol-group, A.N.JELL, cohabiting with the three other members of the band (played by Jang Keun-suk, Jung Yong-hwa, and Lee Hong-gi) all as beautiful as—well—angels. As she tries to hide her gender and transforms into an idol, hijinks and antics, dark family histories, jealousy, and, of course, love ensue. For those who didn’t grow up with East Asian, and particularly Korean, dramas, the genre’s appeal—and the highly-specific world of idols and idol bands in the Korean media industry—can be difficult to understand. The romantic dramas are, compared to Western series, completely unsexy, or rather, unsexed. The humor is campy, even slapstick. Standard tropes include gender-bending, family debts, hospitalizations, “noble idiot”-esque sacrifices, and disappearances abroad. That Christmas I showed an episode of You’re Beautiful to a friend of my cousin, a young woman with short-cropped blonde hair. She took one look at Lee Hong-gi, pretty-faced and sporting a shaggy bleached blonde hairdo similar to her own, and snorted, “That’s a guy? No wonder people think I’m a dude.” Still, I was in love. I remember debating the merits of the moody male lead and his nice-guy romantic rival with my best friend, sprawled out on the thick green duvet on her bed, in her comfortable room with its tall, white-framed windows. She was the one who gave me my own stuffed pig-rabbit to hang on my cellphone. Last year, not long after moving to New York and in a fit of escapism, I rewatched You’re Beautiful, this time sprawled on a rainbow-colored throw on the bed in my Brooklyn sublease, autumn leaves brittle on the sidewalk. It had been eight years. There was still an undeniable charm. I found myself swept up again by the sheer escapism and audacity of the whole story, incredible as it was, or precisely because it was so incredible. One thing about the K-drama universe is its utter commitment to its implausibility. And yes—I’ll admit it—with his deep smooth voice, slim-fit blazers, gelled-up hair, and tight-collared shirts, Jang Keun-suk, the male lead, was gorgeous. 2. Not long after rewatching You're Beautiful, I reread The Great Gatsby. In high school, the book was taught to me as a novel commenting on the American Dream. This time, reading it while still afloat on the clouds of my K-drama high, I caught much more about Nick’s tendencies towards idolization and symbol-making, his willingness to suspend his disbelief. The first time Nick Carraway hears Gatsby tell the story of his life, he doesn’t believe it. “With an effort I managed to restrain my incredulous laughter,” he says. And who can blame him? Oxford and inheritances, tiger-hunting and rubies, war and heartbreak: It’s all too overblown, too storybook to be taken seriously. Then Gatsby shows Nick a medal from Montenegro. And Nick, all of a sudden, believes: “Then it was all true.” The layers of apotheosization in the novel are multifold: Gatsby’s idealization of Daisy, Jordan’s interest in Nick, Myrtle’s desire for Tom, Nick’s own veneration of Gatsby. Each relationship is a forceful reading of the opposite party, a transmutation of human into desire. As much as our rational instincts tell us the incredible fantasy we're being fed can't be true, the smaller, perhaps more powerful part of us, would like to buy in. Because wouldn't it be nice if the dream were true? Towards that end, the mental leaps we take can be incredible. Perhaps the root of building an idol is one’s willingness to adapt any small gesture into a symbol fitting the story. Here is Nick, for instance, on Gatsby’s smile: It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced—or seemed to face—the whole external world for an instant, and then concentrated on you with an irresistible prejudice in your favor. It understood you just so far as you wanted to be understood, believed in you as you would like to believe in yourself and assured you that it had precisely the impression of you that, at your best, you hoped to convey. This is the kind of outsized reading that fans pin upon the faraway icons of their sublimated desires, reifying details of biography, gesture, and dress, projecting objects and moments into assumptions of meaning and tenderness. One wonders what Nick was trying to escape from. Idolatry is a form of love, and love, after all, is not a usefully descriptive term: It is the catch-all hiding all sorts of projections and desires, hollow shapes and aberrant hopes, like the bland and smiling Noh mask that anonymizes completely expression, body, intent. As a 16-year-old, I did precisely the same thing to Jang Keun-suk, projecting desire and hope and all sorts of elemental qualities onto a televised phrase, a photo-shoot smile. Back then I lived in a narrow and highly-structured world where I sensed, in a way I could not have articulated then, that there was much more of life waiting on the wings, some of it beautiful, some of it unstable, some of it far less predictable or orderly than I could see. And I was netted in the promises made incarnate by crazy stories like You’re Beautiful, as Nick was by Gatsby’s self-created myth: promises of love and of pain, and of the wild ways a life could suddenly change. [millions_ad] 3. There’s a scene in You’re Beautiful in which Jang Keun-suk tells Park Shin-hye, “I am loved by thousands of people. That is my job.” Part of the fun of the drama is how it shines a light on the behind-the-scenes work of an idol, dealing with fans, keeping up appearances, providing the raw material one consumes in their story-making. The actors in the series perform roles as meta-types of the idols they are, in some form, in real life. (The four principal stars are, today, all big names in acting or music). It was this that made me realize the reciprocal nature of the idol and the idolater. To be idealized, the idol must first be believed. Out of all the people that Gatsby hosted in his mansion, it was only Nick that was willing to read so much into his smile, which in reality must have been merely a smile on a handsome face, a social tic acquired in his eagerness to please. It was also only Nick, out of all of Gatsby’s guests, that felt such loyalty, even love, to him at the end of everything, arranging his funeral, writing his story, trying to seek some recompense. Even at the end of the novel, though Gatsby’s self-made myth is imploded, Nick has found something else to deify. He’s a believer still, reworking the material to something different, even grander. He thinks about the endless parties, the green light, the transformation from James Gatz to Jay Gatsby. In relating Gatsby’s story he creates a new myth for his old idol, populating it with sensitive extrapolations he conjures from the bones of Gatsby’s experience and, in F. Scott Fitzgerald’s clamorous, perfumed language, the vocabulary of a dreamer, enshrining his legend. This year, succumbing again to the girlish fanaticism I’d once possessed for a K-drama hero, for a moody pair of guy-linered eyes, skinny jeans, and a husky voice singing love ballads, there was a part of me aware, like Nick, of the falseness and ridiculousness of it all. But incredulity conversely reinforces this desire to believe: It makes the symbol all the stronger when the disbelief is assuaged. Part of the power of icons is how much we want, despite all the evidence and common sense given to the contrary, the myths we imbue them with to be real. If only, if only the possibilities were true. By the way, I don’t have a religion. But perhaps it is the nature of faith to turn out to be misplaced. Everyone lets down everyone else: Daisy lets down Gatsby, Nick lets down Jordan, Gatsby isn’t who he told Nick he was. The dream falls apart when we can no longer believe. This time, revisiting the drama and the novel, You’re Beautiful held up rather less well than The Great Gatsby. Unlike when I was in high school, this time I found parts of the drama cheesy to the point of being embarrassing to watch. Some of the sequences I found so romantic back in the day now were just silly. But when I was 16 it was easier to love. Somewhere along the eight years between 16 and 24, fantasy had proven, was proving, to be frailer than I’d thought. This time, revisiting both stories, I was more aware of the mechanisms and pitfalls of idolatry. Many of the people and institutions that were once unimpeachable in my mind had, in the years since, gradually or suddenly fallen from their perches. Each time it happened I was a little less surprised. I guess the word is disillusionment. While cleaning out my closet, I found the pig-rabbit my best friend had given me in high school. With the jolt of time settling, I realized the actors in the drama were, at the time, younger than I am now. After finishing the drama I looked up again the handsome lead who had captivated me so. This was around the time he announced he would be the ambassador for the 2018 PyeongChang Olympics. Seeing him now, I was unreasonably surprised to see how much he’d changed. He’d cut his hair and ditched the black jeans for summer-colored suits; his skin was no longer so smooth. And I could no longer so easily suspend my disbelief, or so easily alchemize meaning from his gestures. How I wished it weren’t so. Still, his voice remained the same, and though he now sings sunny pop songs instead of slow ballads, it was easy to pretend, for a little while, that I could go back to believing.
“Located along a private beach on 235 Middle Neck Road, this opulent Gatsby-inspiring estate spans over 5 acres. A mere 25 minutes away from New York City by boat, this home is the perfect scene for a roaring 20s party. Just picture the glitz and glamour of fireworks reflecting across the water at all hours of the night.” For a cool $16.9 million you, too, can live in the home that inspired F. Scott Fitzgerald. Pair with our own Sonya Chung on adding The Great Gatsby to her teaching syllabus.
Towards the end of each year I do one of those anonymous surveys where I ask the students—high-school sophomores and juniors—how much they read, as a percentage, of each book. I’ve been doing this for the last 10 years or so, and the results are remarkably consistent: most students read most, but rarely all, of each book. About 15 percent read every single word of every single thing, some of it twice. These the kids who would read the contents list of a 7-11 freezer if told, the same students who tend to sit in the front row and take the kind of notes that end up in the Smithsonian. Another 15 percent admit to struggling to even open the books, but would gladly read the 7-11 freezer list because of its novelty value and the refreshing lack of obfuscating adjectives and modifiers. The 70 percent of students in the middle make up the dominant percentage, the ones who often leave little notes, not quite apologia, but regretful explanations about wishing that they had more time to do all the reading because they would have liked to, that they did most of it, that what they read of The Great Gatsby was really good but what with other homework, and athletics, and Uncle Steve’s birthday dinner, and the cousin in Jersey with leukemia, and x not yet having said anything about prom...well, there was a lot to think about. All this at three separate independent schools in different parts of California. Like I said, remarkably consistent results, and results that translate across gender, race, and socioeconomic status. In terms of the not-highly-rigorous breakdown of those not-highly-rigorous statistics you get about 70 percent of the students reading about 70 percent of the material 70 percent of the time. All of which sounds terrific, except that most of the time, most of the 70 percent, and even some of the 15 percent taking Smithsonian-esque notes, see words rather than read them. For most high-school students, the act of “reading” recalls the soft glow of something done at night, before bed, in jim-jams with a cup of hot cocoa—the equivalent of night-time elevator music. Or, if not that, they’re “reading” on the bus, in the car, while standing outside class two minutes before the bell. And, at best, gaining an understanding of situation and context: who did what or said what to whom and where at what time in what kind of weather. Seeing words but not really reading them, a marriage without contact. I want them to see reading as something far more intimate, even fractured at times, as something combative, vulgar, assertive—a constant back-and-forth between reading and rereading, moments of stepping outside the text then coming back and battering at it with questions. Something better done in a flak jacket than pajamas. And high school students hate doing it. Who, what, when, and where, of course, are essential. You gotta figure out who’s sleeping with whom before you ask why. There’s a brother involved? What? No. Wait! They’re on a train? If that part’s hazy, the next stop becomes SparkNotes and PinkMonkey, and you might as well hand out the 7-11 freezer list. But how to truly turn them off? Ask them to annotate. The a-word: to add notes to (a text or diagram) giving explanation or comment. To say they “hate” it not strong enough. The most common disclaimers being about how it takes them out of the story, how if they stop they can’t remember what happened, that it takes too long, that it’s not enjoyable anymore. I’ve had students tell me, with genuine feeling, that reading’s been ruined for them—forever. Well, yes, if “reading” is that thing they do at bedtime with that cup of cocoa, and if that’s the thing ruined forever, then, no, I’m not sorry. How many students do trig curled up in bed without a pen or pencil? So the task has to be to get them to see reading as something a little more combative, which is not to undermine scanning and context. I love scanning and context, reading for the sheer drama of turning the page, for the drama of occupation, of escape—especially on a beach, or hungover, or sitting in 24E on a flight without a functioning TV. But in a high-school English class, the skill of reading as an intimate, assertive thing stands as the thing I’m more interested in—the premise being that if reading were less of a spectator sport maybe we’d inhabit a world better informed, more critical—and critical in a reflective rather than a reactive sense—a world shaped more collectively by thoughtfulness, by magnanimity. But annotate what, students ask? A fair question. And the place to begin is questions, the questions that come after the who, what, when, and where have been answered. Why questions—about place, about character, about motives...about the weather. Questions that pick at the story’s fabric in ways that enhance that fabric as opposed to designing a new one. So, for instance, after reading the first couple of pages of F. Scott Fitzgerald’s The Great Gatsby out loud in class, students invariably ask questions about why the novel’s named after Gatsby, about what makes him great, if his father gave him any other advice than the part about not all the people in the world having had the advantages he’s had. About how come the narrator doesn’t know the name for a seismograph. Interesting enough questions, but dead ends, as a couple of the students put it (though at least two of their classmates are adamant that we need to pursue the seismograph thing) because they depend either on plot that hasn’t happened yet or hearsay. Better the question that at least allows for the possibility of an answer through what’s already there rather than depending upon the goose chase of the imagination. So when Nick Carraway says that “[R]eserving judgments is a matter of infinite hope” it might benefit us to ask why? Why “hope” as opposed to something else? Why infinite? And what might this tell us about Nick Carraway’s temperament? Questions that allow us to begin to work out the kind of world Nick Carraway lives in and how that world might interact with ours. The kinds of questions that unnerve what’s in front of us, that give us something to hold onto in terms of plot while, simultaneously, digging a little deeper into that plot. They want to know how many they need. A ball of string question. And I tell them not to go all gung-ho and answer the questions, but to let them sit for a while, the idea being to try and read from inside the story rather than from inside a predetermined perspective. Virginia Woolf calls it the art of delaying dictation: “If we could banish all [such] preconceptions when we read, that would be an admirable beginning. Do not dictate to your author; try to become him.” Even in novels, to delay that impulse, that reflex, as long as possible, allowing the piece itself a chance to stand, at least for a moment, outside the moment of presumption. The questions more important, paradoxically, than the answers. It sounds all back to front, but getting students to trust, first and foremost, their own ability to ask questions rather than a teacher’s executive ability to provide answers leads, again, to the kind of critical, reflective impulse our world so desperately need. It allows students access to a way of thinking, a means for seeing, long after they’ve forgotten if affect works primarily as a verb or a noun, or how many suitors Odysseus slays in the great hall. Which brings up the question of quantity. If the ability to read, and think, critically is the primary currency secondary education needs to invest in, then the disfigured mathematical percentage of how many students read how much becomes less important. I’m not sure it really matters if students read all of The Great Gatsby, or Their Eyes Were Watching God, or The House on Mango Street, Macbeth, etc. Of course it’s nice if they do, and it’s nice if they go out into the world with a complex sense of Gatsby’s dream, of Janie’s epiphany, of Esperanza’s journey, Macbeth’s predicament, etc., but I think it’s more important that they know what reading looks like, that they know it as an act of meaningful aggression. We’re not in the business of creating English majors, nice as it would be to fill the world with such people. But until Birnam Wood do come unto Dunsinane, I’ll take empathetic, critical thinkers as a stop-gap. Reading in high school is not about, or shouldn’t be about, numbers of pages; it should be about a way of thinking, a way of seeing. For that, we can focus on certain passages, the certain, crucial passages that most books build to—the golden bricks. As teachers, we can fill in the rest of the building. It’s the skill of reading itself that’s the important thing, perhaps the only thing. That said, they can’t be forced. It tends to work to begin small—maybe one annotation every two pages, but a real one. Not underlining or highlighting—that’s not annotating, that’s underlining or highlighting. Annotating is where there’s something highlighted or underlined and accompanied by a note working out why said moment was underlined or highlighted. Why questions: about reserving judgments and infinite hope. So, one every two pages. And we agree to it as a class. If one person doesn’t do it, we all do jumping jacks. Not literally, though I wish, just like I wish I could pull off having class outside and using saxophones and live macaws as props. In place of jumping jacks, a two-minute free write on some contemporary event, like a wardrobe malfunction. And this is where the larger picture begins to coalesce—the significance of developing a skill through reading that translates into larger worlds, a skill learned in a safe space where poor judgment comes without real consequences, except intellectual ones. The point being that the consequences aren’t human. They’re judgments about characters experiencing pain, triumph, sadness, joy, hurt, and so on, but we can get them wrong and little changes. Getting people wrong in the real world, of course, comes with real consequences, sometimes tragic. The skill of delaying judgment, at least categorically, until sufficient questions are in play stands so powerfully at the center of empathy. To return to Virginia Woolf’s point: if reading can teach us how to begin to push preconceptions about fictional characters further aside (“banish” seems overly hopeful), then reading perhaps serves as a model for a similar push in response to people in the world, and not just those that enter our interpersonal spaces, but also the persons in the worlds outside ours—the cultural, social, and political worlds so often represented in binary ways in the media. To effectively annotate and read the fictional worlds of Jay Gatsby, Janie Crawford, Esperanza, Macbeth, et. al. allows students, ultimately, to be able to do the same for hurricanes, race riots, economic policies, state of the union speeches, even wardrobe malfunctions—but to do so from a place that begins with witness, a place that works aggressively to keep preconceptions at bay—questions not answers. This what real reading can accomplish—an aggressive stance, a flak jacket, that stands as a condition, ironically, for more empathy. Romanticized? Maybe—actually, not even maybe. But still essential. The other part of this resides in stillness. To be still, to hover, inside a piece of literature requires students stopping for moments at a time within the characters and their fates, their worlds. Annotations force them into that space, if only for a moment, alongside a partial stepping back from the worlds circumscribed by their own egos: the teaching of reading as the teaching of stillness, a kind of meditative, cognitive moment where students develop the ability to be intellectually still in a world so often pushing their intellects to move at breakneck speed from moment to moment, a constant shuffling of information, their minds the photons inside the Hadron collider moving at a searing pace. And this is crucial no matter where students go to school, no matter what the classroom: English and History, Science, Math, Art, Foreign Language, Metalwork, etc. Students need to know how to undermine and dismantle the spectacles surrounding them, and how to slow each spectacle down in turn in order to better see the axles turning inside of it. Critical reading is where that stillness begins. Annotations in the margins of Macbeth or a set of scribbled-on sticky notes in Their Eyes Were Watching God are the beginning points of interpreting their worlds, the ones screeching past them without brakes. Image Credit: Pixels.
1. Scott Fitzgerald died in Los Angeles on December 21, 1940, age 44, after spending his last 36 months working as a Hollywood screenwriter. He’d stopped drinking by then, but the well-paying screenplay re-write work that brought him to Hollywood had dried up too. With a weak heart, and a chronic lung condition aggravated by heavy smoking, he was increasingly bedridden, laboring away on a long-planned Hollywood novel. Benzedrine got him up in the morning; Nembutal tucked him in. A steady intake of cork-filtered cigarettes, coffee, Coca-Cola, and pans of chocolate fudge, rounded out the medications. They weren’t enough. Two mild heart attacks anticipated a massive third, which quickly ended things. The Tycoon manuscript, approximately 50,000 words in five-and-a-half chapters, was edited promptly by the preeminent critic Edmund Wilson, Fitzgerald’s friend from their days at Princeton, and published by Scribner’s the next year in a combined edition with The Great Gatsby, titled The Last Tycoon (issued in an edited format half a century later as The Love of the Last Tycoon). Readers will find good accounts of Fitzgerald’s Hollywood sojourn in Matthew Bruccoli’s Some Sort of Epic Grandeur and Scott Donaldson’s Fool for Love; while close-up views are rendered in Aaron Latham’s out-of-print Crazy Sundays; F. Scott Fitzgerald in Hollywood and Against the Current, the 1985 memoir of Fitzgerald’s secretary Frances Kroll Ring. But Fitzgerald’s own reports of his struggles helped to cement his legacy. In 1945, The Crack Up, a collection of his magazine articles, notes, and letters, also edited by Wilson, was published by New Directions. Its title was taken from three confessional essays that appeared in Esquire magazine in 1936, shocking then for the abject candor Fitzgerald used to describe a recent nervous breakdown and his wobbly recovery. Widely admired by young academics like John Berryman -- who published a glowing reappraisal of Gatsby in 1945 -- The Crack Up launched a movement in confessional literature that’s lasted to this hour. Once The Far Side of Paradise, Andrew Mizener’s 1951 biography, appeared, Fitzgerald’s brief, dramatic life, as reflected in his writings, became perhaps the central literary legend of the American Century. Gatsby, which had nowhere near the sales of his hit first novel, at last found an audience. Fitzgerald’s L.A. years are typically regarded as a minor coda to a tragic life, and Tycoon as a brilliant fragment of tantalizing promise. However, Tycoon succeeds in expressing a lot: its portrait of L.A., of studio work, of fully seen characters; how Hollywood’s atmosphere of imagination ruins people. Wilson edited Tycoon and The Crack Up to benefit Fitzgerald’s wife Zelda and daughter Scottie, who had been left in no small want at his death. By launching the author’s posthumous career, The Last Tycoon finally let Fitzgerald support his family comfortably with income from his writing, which had been the goal all along. I propose that this revival-after-death was planned by a man aware that time was running out; that at the end, Fitzgerald was working on something that would endure because he wouldn’t finish it; that Fitzgerald had found a way for his death to give Tycoon, a necessarily fragmented tale of loss, a more moving outcome than anything he might dream up. Largely forgotten by 1940, his subsequent literary resurrection was no less important and lasting than that of Franz Kafka, a writer who died in utter obscurity, and whose own unfinished, posthumously published novel, The Trial, Fitzgerald knew very well. 2. He had hit bottom in the summer of 1936 following the disappointing reception of his fourth novel, Tender Is the Night, which he’d struggled for years to finish. At the end of his financial rope because of Zelda’s hospital bills and Scottie’s school tuition, his short story writing, high-paying romantic hackwork for The Saturday Evening Post, was completely blocked. Hiding out at a cheap North Carolina resort hotel near Zelda’s sanitarium, Fitzgerald consoled himself with a steady intake of beer, which, not being gin, somehow didn’t count as alcohol. Without money or prospects, he wrote the abject Crack Up essays for Esquire, then a girlie magazine with literary pretensions published in Chicago. In their wake, miraculously, a sympathetic MGM executive offered Fitzgerald a writing job: $1,000 a week for six months. Out of options, he moved west, where he started re-write work on high profile projects like A Yank at Oxford, The Women, and Gone with the Wind. Edmund Wilson gave Fitzgerald a copy of The Trial in early 1939, during a visit east. In May, Fitzgerald wrote thanking him, the first of his Los Angeles letters Wilson uses in The Crack Up: “It seemed to renew old times [with you] learning about Franz Kafka […]” Fitzgerald wrote another Princeton friend around this time recommending, among other books, “The Trial --fantastic novel by the Czech Franz Kafka which you may have to wait for but it is worth it.” Eighteen months later, the Czech was still on his mind, writing Max Perkins, his Scribner’s editor: “Kafka was an extraordinary Czechoslavakian [sic] Jew who died in ’36 [wrong, but the Crack Up year]. He will never have a wide public but The Trial and America are two books writers will never be able to forget.” He closes: “This is the first day off I have taken for many months and I just wanted to tell you the book is coming along and that comparatively speaking all is well.” He was dead a week later. 3. Franz Kafka died of tuberculosis in 1924, after instructing his friend and executor, Max Brod, to burn his three unfinished novels. Brod instead had them all published in Germany within two years. The Trial’s first English translation appeared in the U.K. in 1936, in the U.S. the following year. To this day, editions of The Trial and The Last Tycoon are remarkably similar in form. Both were edited, with notes, by a close friend of the writer, both include unconnected manuscript episodes, notebook entries, and letters. Consequently, their authors play large off-stage roles in the novels’ wider drama. Some readers might also note how ably Kafka’s air of absurd paranoia translates, in Fitzgerald’s arch romantic vision, to cutthroat goings on in Hollywood. Fitzgerald first went to Los Angeles in the ‘20s, when movie sales of his stories were nearly automatic. He returned needing work few years later, and his drunken, show-off antics at Beverly Hills parties quickly sank his prospects. During both stays he spent time with Irving Thalberg, MGM’s creative chief, who, in the Crack Up year of ‘36 successfully worked himself to death: 37, pneumonia. Thalberg, of course, fascinated Fitzgerald; they were both young, gifted, successful self-made men with glamorous wives (Thalberg was married to Norma Shearer, then MGM’s biggest female star), both preoccupied with popular storytelling. That Thalberg died of overwork the same time as Fitzgerald’s own breakdown made him an irresistible subject. The Last Tycoon begins narrated by a studio chief’s daughter, Cecilia Brady, looking back to when she was twenty, five years before. Like Nick Caraway’s remembrance of Gatsby, she is recalling a dead man -- Monroe Stahr, her father’s studio partner, and bitter rival. An elegiac mood sets in early as Cecilia describes her particular view of the movie colony with a world-weariness more appropriate to a man of forty: “I accepted Hollywood with the resignation of a ghost assigned to a haunted house.” Published recollections of Fitzgerald’s appearance are in striking agreement on just how ghostly he appeared in Los Angeles: pale green eyes, light brown hair, pallid skin, old, dark Ivy League suits (he drove a used Ford sedan); and how modestly he behaved in public, fading into backgrounds when once he demanded attention. According to Beloved Infidel, his lover Sheilah Graham’s bestselling 1958 memoir, she first sees him at a party, a handsome, very pale man sitting in an armchair smoking, smiling at her from across the room one minute, and, when she looks again, vanished the next. Perhaps because Fitzgerald’s writerly dialogue and sense of storytelling was so criticized by movie people, Tycoon is built on talk, and an early scene mercilessly dissects a story conference for a bad romantic B picture. Fitzgerald’s L.A. is as sad as Raymond Chandler’s, cruel as Nathanael West’s, though richer than both. He had, in fact, been relieved earlier that last year to find that his friend “Pep” West’s The Day of the Locust, which he greatly admired, didn’t cover Tycoon’s territory. Cecilia Brady’s monologue soon shifts to a third person narration, though in much the same voice, to describe events she had no way of witnessing. Either Fitzgerald couldn’t quite decide how the story would be told, or was attempting something closer to film narration. Tycoon is held together with cuts, and mood, of making do with fragments. A sense of the incomplete pervades the story. Nothing Stahr touches is ever finished: not the endless line of movies needing his constant attention (in Chapter IV he fires a director from a set, before reviewing dailies from several different productions); not his half-built Malibu house, the novel’s central symbol; not his marriage to his dead wife, a great movie star whose image can’t disappear, continued (as Sheilah replaced Zelda) in her apparent double, Kathleen Moore. Early, or untimely, death is never far off. Fitzgerald didn’t need a complete novel to show how short Hollywood lives could be. Working from a story outline, trying to keep to a production schedule, he took great care with each emerging chapter, polishing them until they were nearly done. The sketched-in ending -- a plane crash related somehow to a studio power struggle -- had a possible coda: (spoiler) a boy finds Stahr’s briefcase in the wreckage and keeps it. That is: the papers survive the man. Wilson was given the manuscript by Perkins and lacking any obvious directions consulted both Graham and Kroll Ring to shape the manuscript for publication. One Fitzgerald biographer asserts that he made the work appear more realized than it was. Whether Fitzgerald was confident his old friend, a la Brod, would fashion something from the manuscript is impossible to say. But given Wilson’s stature then as America’s foremost critic (he had just published the magnificent historical study, To the Finland Station), it almost certainly crossed his mind. Three weeks before he died, Fitzgerald wrote Wilson, the last letter in The Crack Up, saying how pleased he was with the new novel, and that its emotional honesty will probably get him in trouble. “I honestly hoped somebody else would write it but nobody seems to be going to.” He closes with a p.s. mentioning he was working under “a horrible paucity of time.” Late in Chapter V, shortly before the manuscript stops, his heart doctor realizes that Stahr “was due to die very soon now. Within six months one could say definitely. What was the use of developing the cardiograms?” Indeed, Fitzgerald was waiting for a visit from his own cardiologist at Sheilah’s apartment near Sunset when the third attack hit. “He will never have a wide public,” Fitzgerald, writing about Kafka the week before he died, was probably thinking the same of himself. However wrong that turned out to be, he absolutely knew what he had with The Great Gatsby and The Last Tycoon: “two books writers will never be able to forget.” That same day he also wrote Zelda to say he was getting better; that he needed rest; that it was odd how, alone of all the body’s organs, the heart was able to repair itself. Image: Wikipedia
This completes a series of essays on craft that I privately refer to as “The Art of…: The Series.” (You can see why the name has remained private.) Previous entries include Epigraphs, the Opening Sentence, Close Writing, and Chapters. (Spoilers, spoilers, blah, blah, blah.) There are fewer famous closing lines than there are opening ones, probably because we start reading more books than we finish, i.e., the options are sparser. Not to mention how much context is sometimes required to understand the meaning (literal and figurative) of a book’s ending. You can’t just say: Hey, check this out: “He loved Big Brother.” To those unfamiliar with George Orwell’s 1984, what the hell would this mean? Some man is fan of reality television? Also, there is less pressure on a final line, isn’t there? If you’ve managed to keep a reader’s attention until the end, then you’ve already accomplished a great deal. In other words, the success of a book doesn’t exactly hinge on the quality of the last sentence, whereas an opening must rivet, pull, hook, excite, invite. The more well-known closers tend to be lyrical passages of direct conclusion. A Tale of Two Cities features the oft-cited, “It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known,” and The Great Gatsby's equally as referenced (most recently in the title of Maureen Corrigan’s book on Gatsby, And So We Read On), “So we beat on, boats against the current, borne back ceaselessly into the past.” Other notable finishers spell out the meaning of the title, as in John Irving’s The World According to Garp, which ends with Garp’s daughter, considering her father: “In the world according to her father, Jenny Garp knew, we must have energy. Her famous grandmother, Jenny Fields, once thought of us as Externals, Vital Organs, Absentees, and Goners. But in the world according to Garp, we are all terminal cases.” Or in Joseph Conrad’s Heart of Darkness, which ends, “The offing was barred by a black bank of clouds, and the tranquil waterway leading to the uttermost ends of the earth flowed sombre under an overcast sky--seemed to lead into the heart of an immense darkness.” And finally, Gabriel García Márquez’s masterpiece One Hundred Years of Solitude (one of the few, like Gatsby, to have a famous opening and closing): Before reaching the final line, however, he had already understood that he would never leave that room, for it was foreseen that the city of mirrors (or mirages) would be wiped out by the wind and exiled from the memory of men at the precise moment when Aureliano Babilonia would finish deciphering the parchments, and that everything written on them was unrepeatable since time immemorial and forever more, because races condemned to one hundred years of solitude did not have a second opportunity on earth. My personal favorite among the famous closers is Ernest Hemingway’s “Isn’t it pretty to think so?” from The Sun Also Rises. This line not only aptly summarizes the themes of the novel but also stands as a wonderfully evocative statement on life in general -- the beauty of our imagination is rarely matched by the ugliness of reality. Most great last lines are not extractable or isolatable quotations; as I said, they require context. And sometimes their beauty comes more from what’s literally being described than the efficacy of the language. The ending of Edith Wharton’s The Age of Innocence isn’t a poetic line in and of itself. Its power comes from the scene it ends. Newland Archer, older, now a widower, has the chance to see Madame Olenska again, she being the woman, as Newland’s son has it, “you’d have chucked everything for: only you didn’t.” When they go to meet her, Newland opts to sit outside the hotel instead, saying, “perhaps I shall follow you.” He stares at the balcony he knows to be Olenska’s, hoping to catch a glimpse. But he only sees the servant close the shutters. Then: “At that, as if it had been the signal he waited for, Newland Archer got up slowly and walked back alone to his hotel.” The tragedy in this line is inextricably linked to the scene it concludes. Wharton’s success lies in right ending as much as the words that describe it. Leo Tolstoy’s ender in The Death of Ivan Ilych is also simple but masterful: “He drew in a breath, broke off in the middle of it, stretched himself out, and died.” This short novel deals with Ilych’s life in a plain style, refusing to make death abstract, and the ending emphasizes that. Death is a stark fact, one Ilych was not prepared for, and, unfortunately, it happens as easily and as unceremoniously as Tolstoy’s final sentence. Philip Roth, riffing on Ivan Ilych for his short parable Everyman, takes his unnamed protagonist through all the sicknesses of his life, using the close-calls of death as a way to narrate a life, for what is life, after all, than the continual resistance to death? His everyman perishes thusly: “He went under feeling far from felled, anything but doomed, eager yet again to be fulfilled, but nonetheless, he never woke up. Cardiac arrest. He was no more, freed from being, entering into nowhere without even knowing. Just as he’d feared from the start.” Roth is particularly good as final lines (as well as opening ones). American Pastoral, after delicately and intricately describing how the Swede’s family life literally explodes from the blast of his Patty Hearst-like daughter, ends with distinctly American questions: “And what is wrong with their life? What on earth is less reprehensible than the life of the Levovs?” But maybe my favorite Roth ender comes from, appropriately, his final novel. Nemesis tells the story of a Polio outbreak in New Jersey in 1944. Bucky Cantor, a well-intentioned weightlifter and javelin-thrower, tries valiantly to help his community as the epidemic ravages its citizens. Eventually Bucky flees New Jersey for Indian Hill, a summer camp where his girlfriend Marcia’s a counselor. The fresh air promises health, a safe haven, but soon one of the counselors gets sick, and Bucky comes to believe that he is the carrier who introduced polio to the camp. When he, too, falls ill and has to be hospitalized, he ends things with Marcia, his love, because, “I owed her her freedom...and I gave it to her. I didn’t want the girl to feel stuck with me. I didn’t want to ruin her life. She hadn’t fallen in love with a cripple, and she shouldn’t be stuck with one.” Years later, a former student of Bucky’s from New Jersey runs into him. The sight of the former weightlifter with a “withered left arm and a useless left hand,” wearing a “full leg brace beneath his trousers,” is shocking, but even more so is his deep-seated bitterness. “God killed my mother in childbirth,” he says, “God gave me a thief for a father. In my early twenties, God gave me polio that I in turn gave to at least a dozen kids, probably more…How bitter should I be? You tell me.” The books ends with the former student’s vivid recollection of Bucky at his peak, when the kids would watch him throw his javelin: He threw the javelin repeatedly that afternoon, each throw smooth and powerful, each throw accompanied by that resounding mingling of a shout and a grunt, and each, to our delight, landing several yards farther down the field than the last. Running with the javelin aloft, stretching his throwing arm back behind his body, bringing the throwing arm through to release the javelin high over his shoulder -- and releasing it then like an explosion -- he seemed to us invincible. Roth’s last group of short novels (Everyman, Indignation, The Humbling and Nemesis, collectively referred to as Nemeses) deal with this theme, that of the delicacy and vulnerability of us all, how, despite our intentions, regardless of our ethics or our choices, life can destroy you whenever it wants, and for whatever reason. Toni Morrison can also open and close a book with power. Her Song of Solomon takes the hero, Milkman, to the town of Shalimar in search of gold. Milkman’s best friend, Guitar, tries to kill him but instead kills Pilate, Milkman’s mystical sister. After singing to her as she dies, Milkman realizes “why he loved her so. Without ever leaving the ground, she could fly.” The promise (and failure) of human flight runs throughout Song of Solomon, beginning with its inimitable opening line: “The North Carolina Mutual Life Insurance agent promised to fly from Mercy to the other side of Lake Superior at three o’clock.” Whereas this man’s promise proves to be nothing more than a boast, Pilate flies in the truer, more significant sense. Milkman goes after Guitar after Pilate dies, and the novel concludes both ambiguously and conclusively: Milkman stopped waving and narrowed his eyes. He could just make out Guitar’s head and shoulders in the dark. “You want my life?” Milkman was not shouting now. “You need it? Here.” Without wiping away the tears, taking a deep breath, or even bending his knees -- he leaped. As fleet and bright as a lodestar he wheeled toward Guitar and it did not matter which one of them would give up the ghost in the killing arms of his brother. For now he knew what Shalimar knew: If you surrendered to the air, you could ride it. It is uncertain as to which man emerges victorious, but the real meaning here is in Milkman’s realization about the air. Flying is impossible for a person to do literally, and Milkman finally sees this– -- his stubborn pride is released as he lets himself be guided by the “air,” or, more aptly, the right choice. Morrison’s books nearly always hint at magical realism, and sometimes they deliver it, but usually the magic stays where it lives, in the imagination, and her characters must find other ways to save themselves. Notice in these last few examples how neatly their authors are able to unify the themes and the plots of the books into a distilled moment. Tolstoy’s frank style reinforces the matter-of-factness of death, Roth’s childhood memory evokes the naïve belief in human power, and Morrison’s “riding the air” answers a question set up by the first line. The skill here is in giving the sense of a cohesive whole, of arriving at a place that is both surprising and inevitable. The surprise comes as you read it; the feeling of inevitability comes after you’ve considered the ending in the context of the entire narrative. Ivan Ilych is coldly pronounced dead on page one, but his death doesn’t happen in a scene until the finale, where we now feel empathy. Roth reminds us of Bucky’s strength in his youth, a fact made poignant the sight of him as an older, decrepit adult. A man promises to fly who can’t, and then Milkman finds his own way of doing it. Other than bringing a character to a pivotal point, or circling back to the beginning, and besides lyricism that summarizes the novel’s point of view, what are other ways novelists end their books in a satisfactory manner? Some choose to simply not end their novels at all. James Joyce’s Finnegans Wake has a circular structure in which the last sentence (which ends mid-sentence) loops back to complete the opening one (which begins mid-sentence). But since I haven’t read that book nor do I believe that I could rightfully analyze it, I’ll stick here with books within my intellectual capabilities. (Joyce has the distinct honor of having not one but three famous endings: Finnegans Wake, Molly Bloom’s soliloquy in Ulysses, and the perfect final sentence of his story “The Dead.”) Bret Easton Ellis’s The Rules of Attraction also starts and concludes in medias sententia. Ellis’s aim, rather than suggesting circularity, is to suggest that we as readers have only momentarily joined a narrative that has been going on long before and will continue long after. Plus, his college-age characters are manic, erratic, and uncertain of everything. Ellis’s choice to cut them off is appropriate: they would have continued forever had he not done so. David Foster Wallace’s first novel, The Broom of the System, (published a month before his 25th birthday) is a playful, extended riff on Wittgensteinian theories of language. (This is, mind, a novel in which a talking cockatiel named Vlad the Impaler ends up proselytizing on a Christian television network.) The final line is actually dialogue, spoken by Rick Vigorous, the protagonist Lenore’s boss and lover: “You can trust me,” R.V. says, watching her hand. “I’m a man of my”. For a narrative focused on language (most notably Ludwig Wittgenstein’s assertion that philosophical problems arise because of confusions of language stemming from false assumptions about how language works) to end by omitting the word ‘word’ -- which is doubly meaningful as here the term denotes trust, an oath, the kind of certainty the book spends much energy making sure we don’t forget is linguistically suspect if not impossible -- may seem too clever by half, but by the time a reader reaches this point, no other ending would seem appropriate (certainly not as pointed). Jonathan Safran Foer’s novel Everything Is Illuminated ends with a similar excision, though aimed at an entirely different purpose. The “guileless,” Thesaurus-happy Alexander Perchov -- truly one of the most lovable characters in recent fiction -- guides Jonathan Safran Foer through their trip to Trachimbrod in search of the woman who saved Foer’s grandfather from the Nazis. Alexander’s grandfather accompanies as driver (though he claims blindness), and it soon becomes apparent he has his own ghosts to search for in their Ukrainian journey. Grandfather, it turns out, had betrayed his best friend Hershel to the Nazis (revealed, in the novel, in a heartbreaking, punctuation-less section), and in the end he writes a letter to Jonathan and Alexander (also called Sasha) to explain his decision to take his own life. The letter ends as Grandfather does: I am writing this in the luminescence of the television, and I am so sorry if this is now difficult to read, Sasha, but my hand is shaking so much, and it is not out of weakness that I will go to the bath when I am sure that you are asleep, and it is not because I cannot endure. Do you understand? I am complete with happiness, and it is what I must do, and I will do it. Do you understand me? I will walk without noise, and I will open the door in darkness, and I will Like Wallace’s ending, this line is an interrupted promise, but here it is meaningfully sincere and incomplete for another reason entirely. I will is a strong subject-verb phrase, and by leaving it unfinished, Foer ends his book with nearly limitless optimism– -- quite a feat considering it comes in a suicide note. I am aware, as in all of these essays, that I haven’t said anything new or insightful on the subject of endings in general. Let me attempt something now. Unlike almost all other elements of fiction, the final lines do not participate in the project of keeping a reader reading. This may appear to grant a writer complete freedom, like the final two years of a two-term presidency -- the absence of an impending re-election ostensibly allows for sweeping, public-opinion-be-damned initiatives. But in fact the last moments of a novel are its most delicate and important. If opening lines can be likened to a carnival booth runner’s shouts to passing fair-goers, the final lines are more than the prize of the game. Think about how much a reader gives a novelist -- they agree to spend thousands of words listening and absorbing the novelist’s story. They are granting the novelist the rare chance to take them, via hundreds of pages, to a precise point, an incredibly particular moment that only fiction with all its complexity and length can reach. With enough trust, a novelist can take us anywhere, and the tools of narrative allow for remarkable specificity -- the exact moment a marriage fails or the aftermath of a war for one family or a man’s tragic death that his whole life has seemed to point to. For writers, the last sentences aren’t about reader responsibility at all -- it’s a once-in-a-lifetime chance to stop worrying about what comes next, because nothing does. No more keeping the reader interested, no more wariness over giving the game away. This is the game. This is the best time for a writer to get real, to depict reality as they see it, without compromises, without fear. The reader has stuck with you -- give them something true, something honest and unquestionably yours. Take them from the promise of the opening line to those hyper-specific moments in life that take tens of thousands of words to set up -- take them, as Junot Diaz did, to the beauty! The beauty! See? It’s easy. Now everybody -- See Also: The End of the End: Writers on Last Lines Image Credit: Wikimedia Commons