Loads of Learned Lumber

Saturday, August 19, 2017

Álvaro Enrigue, _Sudden Death_, trans. Natasha Wimmer

WOW. THIS IS good. Are there more translations in the pipeline? This is only his second book in English, so far as I can tell from Amazon, but I hope more are coming.

An historical novel in which the main episode--the narration of which is interspersed over the whole length of the book--is a tennis match that probably did not happen (but could have happened) between the poet Quevedo and the painter Caravaggio in Rome in 1599. The progress of the match is described game by game; between these accounts, we get documents bearing on the history of tennis, stories from the last days of Anne Boleyn, a quick look at the court of François Ier, portraits of some key figures of the Counter-reformation, highlights of Cortes's invasion of Mexico, and quite a bit more besides.

Many years ago I read Terra Nostra by Carlos Fuentes, an immense mega-novel set in the same era and with the same interest in what the arrival of Europeans in the western hemisphere meant. Enrigue's novel gave me almost the same sense of immersion in the mental world and atmosphere of an historical turning point, but by flashes and glimpses offered between a description of a tennis match--and in about 500 fewer pages than Fuentes used.

It's a startling departure from the ordinary, clay-footed tread of the historical novel. I had wondered whether a new day for the historical novel was dawning with Bruce Olds's Raising Holy Hell (1995), and Enrigue raises my hopes in the same way.

Friday, August 18, 2017

Emma Donoghue, _The Wonder_

I DID NOT read Room, but I read a chapter from this in Granta and thought, well, worth a spin.

It's a historical novel, set in post-Famine 19th century Ireland. Anna O'Donnell, an 11-year-old Irish Catholic girl in the countryside, has been living without food for weeks, an accomplishment some of her neighbors are willing to take as a miracle and a sign of sanctity. Having a saint, after all, would be a nice thing for the town--pilgrims and such.

Our point-of-view character is an English nurse, trained by Florence Nightingale herself, who has been called in to make sure the girl stays healthy and, additionally, to make sure she is not sneaking food.

Lib Wright, the nurse, arrives keen to expose what she takes to be hidebound superstition, but a kind of Stockholm syndrome in reverse takes place, and she begins to sympathize with and care for Anna. As Lib learns more of what is going on with Anna, the desire to expose her turns into a desire to rescue her. (Deliverance of the innocent from oppression in confined quarters may be a motif for Donoghue, from what I know of Room.) And, as we gradually learn more of what Lib's past life was like, we see she needs to be rescued herself, or at least find her way to a fresh start.

Donoghue does a nice job of presenting the evolution of Lib's feelings, especially the growth of the bond with Anna, and. the happy ending is cheering if not 100% plausible. Well, you can't have everything.

Thursday, August 17, 2017

Nathan Hill, _The Nix_

I WAS SLOW to pick this one up, because novels that get the kind of build-up this one did last year are often disappointing, but I took a chance, and whaddaya know, it's excellent. I will definitely get Hill's next.

We start with a quick chapter in which a woman in her early sixties, fed up with the mendacity and bad faith of a (Trump-ish) presidential aspirant in her vicinity, heaves a rock at him. She instantly becomes an object of national fascination and (among the Trump-figure's followers) odium.

Here we meet Samuel Andresen-Anderson, early 30s, blocked writer, failing academic, thwarted lover, online RPG addict...Sam is a mess, we have to say, and moreover something of a cliché. The not-so-young-anymore male writer who has come a cropper is a familiar figure. Chip Lambert in The Corrections, "Dave Wallace" in The Pale King, "Joshua Cohen" in The Book of Numbers, to say nothing of the older versions in Michael Chabon's Wonder Boys, Richard Russo's Straight Man, Julie Schumacher's Dear Committee Members.... It all goes back to Stephen at the beginning of Ulysses, I suppose, unless it goes back to Lucien de Rubempré in Lost Illusions.

Sam is the son of the rock-heaver, it turns out, who abandoned the family when Sam was quite young, much to his anguish. Sam's publisher, who is about to drop him (and require him to pay back his long-gone advance), offers him a chance to get back in the game by writing a savage tell-all memoir about his radical harpy of a mother. Sam decides to go along with it.

This project, much to the novel's benefit, gets us out of sad-male-writer world. Pursuant to the tell-all memoir, Sam recalls his childhood, richly and memorably evoked by Hill, and then digs into some research work about his mother--at which point the novel really opens out as Hill reconstructs the life of the mother, Faye. Faye was a small-town Iowa girl who as a freshman at Chicago Circle wound up at the Democratic Convention in Chicago in 1968, a historical vortex Hill does a nice job of recreating.

Hill has a Dickensian deftness in caricatural minor characters--Sam's publisher, Guy Periwinkle, for instance, or Sam's full-blown-nightmare of an entitled/aggrieved undergraduate, Laura ("I pay your salary and you can't treat me like this!"). He even brushes genius in creating some of the not-so-minor characters--Sam's RPG buddy Pwnage, for instance (Hill's narration of addiction to online gaming rivals comparable passages in Infinite Jest), Faye's college friend Alice, and especially Sam's boyhood companion Bishop Fall, unique and unforgettable.

One thinks of Dickens in again when a series of not very likely coincidences resolve the plot in the closing pages, but by that point I was ready to forgive a great deal.

A "nix," by the way, is a kind of bad sprite or curse hanging around in the wake of a past mistake or dropped responsibility, and atonement for such lapses eventually surfaces as a theme--very convincingly, I think.

Monday, August 14, 2017

Postscript on Jamison, _Robert Lowell: Setting the River on Fire_

JAMISON QUOTES FROM several of Lowell's 1977 obituaries: "fairly generally considered the most distinguished American poet, and indeed the most distinguished poet writing in English, of his generation" (the Times of London); "the most considerable poet since T. S.Eliot" (1974 Pulitzer Prize citation); "he dominated American poetry of the last 30 years" (Boston Globe); "the foremost American poet of his time" (Washington Post).

This got me wondering. Would any poet alive today be called the foremost poet of his or her time? Ashbery, perhaps? He's in the Library of America. But on the other hand, I know plenty of people who are poets that don't read Ashbery. Merwin is in the Library of America, too, and I think he is read even by quite a few people not professionally engaged with poetry, but he doesn't seem to loom over the landscape. Billy Collins and Mary Oliver have large readerships, but would you say of either, as the New York Times said of Lowell, that in their "poems we were obliged to relive so much of the history and so many of the terrible emotions of our time"? I don't know. Alice Notley? Ron Silliman?

But...maybe it's less that we lack a #1 Poet than that the role simply evaporated after Lowell. Strong American poets, pace Harold Bloom, no longer seem commensurate with each other, somehow. We stopped thinking about who was the best poet in the room because they were all in different rooms.

Or is it that poetry has somehow slipped beneath virtually everyone's radar? I was in grad school when Lowell died, and everyone in the English Department, and a good many people in other departments, knew who Robert Lowell was. But there are any number of poets with long-developed careers writing today whose work I (for one) find as rewarding to read as that of Lowell--Cole Swenson, Jorie Graham, Lucie Brock-Broido, Jennifer Moxley--but whose names probably half of my departmental colleagues (or about half of any English Department, for that matter) would not even recognize.

The longer I ramble on with this, the more I think it's just as well, maybe better, that we do not have a #1 Poet. But even so I wonder why we don't.

Saturday, August 12, 2017

Kay Redfield Jamison, _Robert Lowell: Setting the River on Fire: A Study in Genius, Mania, and Character_

NOT A BIOGRAPHY, Jamison specifies, but a study of how Lowell's manic-depressive illness (Jamison seems to prefer this term to "bi-polar disorder") and his attempts to manage it shaped his life and work. Lowell's illness was so near the center of his life and work, though, that the book feels like a biography without quite being one.

It also feels like a biography insofar as it is an answer (as Jamison herself points out) to a biography, i.e., Ian Hamilton's. Hamilton unsparingly spelled out the awful things Lowell said and did when manic, to the point that the reader just wanted to get away from Lowell, however impressive a poet he may have been. Jamison suspects Hamilton's biography contributed to the erosion ofLowell's reputation in recent decades, and she is right, I think.

To redress the balance, Jamison frankly acknowledges that Lowell said and did awful things, but does not describe them except in general terms, focusing instead on Lowell's struggle to keep working, to practice his art, in the face of a ferocious antagonist that lived in his own body.

Hard to think of anyone better qualified than Jamison to tackle the question of how Lowell's gift was entangled with his illness, or, more generally, how creativity is entangled with madness. Part V, "Illness and Art," ought to be read by anyone interested in the relationship of those two phenomena, however interested he or she may be in Lowell. Is there a relationship? Jamison's sober assessment is that yes, there probably is, although we are far from really understanding it, and Lowell's life and achievement deserve honor due to the brave and honest way he sought to navigate the Scylla and Charybdis of his condition.

Will this book really restore Lowell's standing to what it was in his lifetime, though? I'm skeptical. I'm trying to think of poets under forty I've met who really admired  Lowell, and I can't think of even one. Maybe Adam Kirsch (whom I haven't met), but otherwise...he's just too clotted and veiny, or too messianic, or too much in the shadow of Yeats and Eliot, or too something. He doesn't seem to be a poet contemporary poets think they can learn anything from.

Tuesday, July 18, 2017

Robin Coste Lewis, _The Voyage of the Sable Venus and other poems_

HAVE WE HIT some kind of golden age for African-American writing? Citizen, Between the World and Me, The Underground Railroad, The Sellout, and this one...and those are just the ones that won big prizes. We could also note John Keene's Counternarratives, Darryl Pinckney's Black Deutschland, Gary Younge's Another Day in the Death of America (unless he counts as British), Dawn Lundy Martin...and I think I'm forgetting a few.

Why so many masterpieces in so short a span of time? I might not have noticed were it not for the prizes, but even so.

The tour de force in Lewis's book is the long poem in its middle section, composed entirely from the titles and catalog descriptions that western museums gave to works of art that represented women of African descent. If Citizen gained its power by describing circumstances that could inspire outrage in the coolest of tones, "Voyage of the Sable Venus" takes the tactic even further by restricting itself to nothing but the chilled-to-frostiness, aspiring-to-objectivity language of art history yet achieving soul-wrenching effects.

The poems in the book's first and third are remarkable too, highly finished, formally sophisticated, clearly not the work of a beginner, even though this is Lewis's first book. They too can get the needle all the way to the bone: "The Wilde Woman of Aiken," for instance, "or "Lure," or "Félicité."

Bad days for the republic, but a good time to be a reader, I guess, as in the 1850s, when The Scarlet Letter, Moby-Dick, Uncle Tom's Cabin, and Leaves of Grass showed up in the bookstores while the nation shuddered into dissolution.

Monday, July 17, 2017

Quentin Anderson, _The Imperial Self_; Peter Nadas, _Book of Memories_, part two

THE REFERENCE TO Quentin Anderson's 1971 book in Jonathan Sturgeon's article on Franzen et al. inspired me to find it, and it was worth the trouble. Focusing on Emerson, Whitman, and Henry James, Anderson finds in the American literary canon a lack of interest in or attention to what he variously calls association, community, relationship. In analyzing this tendency, he mentions individualism (citing Tocqueville several times) and narcissism (citing Freud numerous times), but his analysis is not theory-driven or programmatic so much as it is based on close reading and (occasionally) biographical particulars.

Anderson respects all three writers and obviously spent a lot of time on them, but he sees their fascination with a kind of self-sufficiency, or willed apartness from others, or refusal to acknowledge even any deep need of others as a limitation and a problem.

Part of his thesis is that this strand in the cable of the canon regrettably disables some of its political potential. This point could get a lot of traction these days, I think, but there may be a hurdle to its wider circulation in the way Anderson frames it. See if you can spot the problem:

These three [Emerson, Whitman, James] have a profound extrasocial commitment: their imaginative work ignores, elides, or transforms history, politics, heterosexuality, the hope for purposive change. (viii)

One does not see "heterosexuality" on the same side of the ledger as "hope for purposive change" these days, but heterosexuality is one of Anderson's images of the genuine engagement with the other that progressive politics require.

That blind spot could put a hitch in the stride of the Anderson revival, but I think he has a point in arguing that classic American tends to sideline the power of community.

The most memorable for me of the many memorable scsnes in Nadas's The Book of Memories takes place in the central square of Budapest at the time of the 1956 uprising. The narrator is caught up in the crowd, in the crowd's growing awareness of its own potential--which had a tragic outcome, in this instance, but was nonetheless real:

In those early evening hours the crowd had not yet swallowed me up, made me disappear within it, trampled me underfoot, or taken away my personality as it did so often afterward, but generously allowed me to experience--in the most elementary condition of my body's life, in the act of movement--my kinship with others, what is common to us all, let me feel that we were part of one another and that, all things considered, everyone is identical with everyone else, and rather than all this making the crowd faceless, as crowds are usually described, I received my own face from the crowd just as I gave it one myself. (487)

Classic American lit, for all our celebration of democracy, has few such moments. Ishmael squeezing spermaceti, maybe?

Saturday, July 8, 2017

Michel Houellebecq, _Soumission_

HOUELLEBECQ PUTS ME in mind of my man Wyndham Lewis--brilliant and distinctive stylist, original mind, and classified as a conservative mainly by virtue of our creaky, over-determined left-right political binary. Lewis was not so much a true conservative as he was an unusually skillful satirist of complacent leftist pieties, and Houellebecq too seems keener to puncture the balloons of the enlightened than he is to defend the west, virtue, faith, etc.

Soumission (English title Submission, which is also what "Islam" translates as) imagines that, thanks to a particularly tricky (though not very likely) French electoral logjam, an Islamic party becomes part of a ruling coalition in France. Muslim mores (about polygamy, education, female dress, etc.) are adopted into law.

Sounds dystopian, right? In fact, sounds a lot like Jean Raspail's Le Camp des Saints, which caused a ruckus back when I was in graduate school with its immigration-as-zombie-movie plot line.  Houellebecq's novel, though, seems almost to suggest that the Islamization of the West might be, from a conservative standpoint, just what we need.

The narrator is a mediocre university lecturer, a Huysmans scholar who has an affair with a different student every year. He makes a reasonably good exemplar of the complete moral and spiritual vacuity of the western intelligentsia. He is initially shocked and horrified by the Muslim takeover. He even goes on a retreat at the same monastery where Huysmans became an oblate after his famous conversion to Catholicism, as though in some effort to reclaim core western values.

Thing is--he's just not that into it. His main emotion at that monastery is frustration at there being a smoke detector in his room, preventing his having a cigarette when he wants one.

Then it turns out there may be certain advantages to, so to speak, going with the flow. If he converts, he can reclaim his old position at the university, on improved terms, since the new administration understands the public relations value of having members of the old faculty embrace the new order. And besides, as the new director points out, wouldn't one say that Christianity is a bit... depleted? Out of fuel? Pithless? If conservatives want the social stability of firm morality, no-nonsense patriarchy, clear-cut values, might it not be better to look to a younger, more vigorous faith tradition, without all that weird trinitarian mumbo-jumbo?

So, our man converts. And immediately starts wondering who the university will provide for his wives... matchmaking being part of the new faculty contract. His former female colleagues, presumably, will not be getting such offers.

First, the novel flicks boogers at the left by insisting that Muslims in Europe really do want to impose sharia law and the rest of it on the whole world. Then it flicks boogers at the right by insisting that sharia law and the rest of it are exactly equivalent to what you wish to impose on society. Lewis would be tickled.

The novel is too French to get much of an audience here, I suspect, but I thought it was a brilliant performance.

Thursday, July 6, 2017

Eleanor Catton, _The Luminaries_

A LARGE, OVERSTUFFED Victorian sofa of a whodunit thriller, set in the New Zealand gold rush of the 1860s, in a decidedly Wilkie Collins vein.

With a post-modernist, twist, however. Cotton has imposed a constraint on her narration in that each character is assigned to a planet or a constellation, and she uses the actual astrological charts of particular days her narration covers to determine which characters will be encountering which other characters. So it's more like Wilkie Collins joins OuLiPo.

The prose of Cotton's update of Collins has the same leisurely, show-and-tell, tending-to-overexplanation paddedness of Collins's own:

Gascoigne did not reply, but narrowed his eyes very slightly, and pressed his lips together, to signify there was a question in his mind he could not ask with decency. Anna sighed. She decided that she would not express her gratitude in the conventional way; she would repay the sum of her bail in coin, and in the morning.

Cotton's plotting is not so well-engineered as Collins's at his best, though. As the book opens, we have a man dead in mysterious circumstances. Even more mysteriously, the Young Male Lead and the Young Female Lead seem to live each other's experiences; when the Young Female Lead smokes opium, the Young Male Lead becomes intoxicated, and when the Young Male Lead is unable to eat, the Young Female Lead loses weight.

Hundreds of pages later, however, the murderer turns out to be the character whose scoundrelly behavior has made him a suspect since his first appearance, and the couple, it turns out, are joined as one because... they are in love.

Can't help thinking old Wilkie would have thrown us a few more curveballs.

I was hoping to get a sense of why Catton wanted to do a 21st century Wilkie Collins in the first place, but I never did. Pastiche for pastiche's sake?

Saturday, July 1, 2017

Airea D. Matthews, _Simulacra_

THE WAY THAT we live now: I don't always pick up the annual Yale Younger Poet book, but I saw this on the new poetry table at Elliott Bay Books and was intrigued by the cover, so I bought it. I was reading it in the coffee shop attached to the bookstore when our younger adult child (whom we were visiting) took my picture and posted it to Facebook. Within a few minutes we found out that our kid is Facebook friends with half a dozen or so people who are Facebook friends with Airea Matthews.

That seems surprising to me, but for all I know it's the new normal.

Matthews's title and section epigraphs invoke the principal intellectual concept of Jean Baudrillard, that the original and authentic are chimerical, definitively unavailable to us, however badly we desire them. But the poems often invoke (by name and quotation) Anne Sexton, one of the great mid-century confessional poets, and confessional poetry typically does hold out the promise of the unmediated, the original, the authentic; it may be messy, it may be embarrassing, but it's authentic. So how square this circle?

The Baudrillard-Sexton conjunction makes the reader wonder how much of confessional poetry is gestural, a set of moves that speak to a certain real but unsatisfiable readerly hunger. Several poems in Simulacra, for instance, mention a father, now deceased, who was addicted to heroin. Is this confessional poetry or only a detail that we tend to read as confessional?

The book's formal versatility (e.g., a poem that adapts Schoenberg's technique of 12-tone serial musical composition) suggests to me that Matthews wants us to think about just that sort of question. Is there a formality to confession? Does form depend on matter?

 "If My Late Grandmother Were Gertrude Stein," for instance, crosses the avant-gardism of Tender Buttons with the gritty pain of the Great Migration. The historical pain reflected in the poem could have made the literary experimentation look frivolous, and the poem could have seemed like a parody. But what happens instead is that the defamiliarization that gives Tender Buttons its strange magic makes the losses and hardships of the Great Migration generation visible in a new way.

A memorable debut.

Wednesday, June 28, 2017

Han Kang, _The Vegetarian_, trans. Deborah Smith

JUST ABOUT ANY Man Booker winner is worth reading, but this one may be a classic.

The vegetarian of the title is Heong-hye Kim, a young Korean woman, raised in a strict patriarchal family, married to a businessman chosen by her father. She has an older sister, who is married to a video artist; they have a young son, and she runs a small cosmetics shop. Finally, there is a younger brother (of whom we see little), cut from the same cloth as the father.

The book is about rebellion, I'd say. Imagine The Awakening, but rather than getting Edna Pontellier's point of view, we get only those of her family and friends as they try to fathom what is going on with her, try to "help" her, correct her, chastise her, take advantage of her, sympathize with her. This strategy makes Heong-hye more difficult to identify with than Edna, but also more enigmatic, eventually more formidable, ultimately more challenging. There is something of Kafka's hunger artist in her, or something of Catherine of Siena...or maybe she's a goddess. She says little, almost nothing after the first of the novel's three sections, but everything she says seems oracular, touched by fire.

The three sections were apparently published as separate novellas in Korean. In the first, we primarily  have the perspective of Heong-hye's husband, annoyed by the possibility that his wife's eccentric diet will spoil his chances of promotion; he sends her back to her family as defective merchandise. In the second, her artist brother-in-law is fascinated by her and seeks to incorporate her weird power into his art, to possess her, but as a mere mortal ends up scorched by his contact with divinity. In the the third, with Heong-hye now in a mental institution, we have the perspective of the sister, whose conformity to the ideal Korean daughter/wife/mother roles begins to shiver and crack as she contemplates her sister's life.

This should be on a thousand syllabusses in ten years' time, thanks in no small part to the translation by Deborah Smith, the fidelity of which I cannot vouch for, but which is swift, elegant, and powerful. Kang has her Rabassa, and her conquest of English-speaking readerdom is assured.

Tuesday, June 27, 2017

Rae Armantrout, _Versed_

TOOK ME A while to get around to this; it appeared in 2010. To tell the truth, I usually skip Pultizer Prize winners.  They tend to be worthwhile without being quite the sort of thing I most like. I was curious about this one, though, because Armantrout seems very left-field compared to most Pulitzer winners for poetry. She was in In the American Tree, after all. As far as I can determine, no one else included in that volume has won either a Pulitzer or a National Book Award--for which prize Versed was a finalist, by the way.

I find myself wondering how this sort of development occurs. I have not read a lot of Armantrout's work, but Versed does not strike me much more accessible or domesticated than her poetry from back in the 1980s and 1990s--a bit so, perhaps, but not dramatically. The poems are still elliptical, elusive, still have a measurable WTF factor:

Repeat wake measurement.

"Check to see."

"Check to see,"

Birds say,

"That enough time

Has passed."

Sometimes there is a vein of dark humor, especially in the prose poems, that could appeal broadly: "I call 911 but reach a psychic hotline." Sometimes, there is a recognizble allusion to popular culture: e.g., Anna Nicole Smith or reality television, as in the lines "One tells the story / of his illness / in such a way / as to make the others love him."

Sometimes there is a cosmo-theological thematic, as in the poem "Dark Matter," or a glimpse at family psychology, as in "Birth Order," but you also wonder if both poems aren't really more about writing than anything else (the latter, for instance, may be about how second stanzas have a peculiar ontological status, inevitably being seen within the contexts created by first stanzas).

So...it just seems surprising that the book got a Pulitzer. Not an unprecedented development (Self-Portrait in a Convex Mirror got a Pulitzer, for instance), and certainly a welcome one, but how does this happen? Is it just who gets picked as judges? Do attitudes change? How does the unlikely become possible?

The really funny thing is that I keep thinking the poems in Versed address exactly these questions.

Friday, June 23, 2017

Jackie French, _Ophelia, Queen of Denmark_ , and Lisa Klein, _Ophelia_

PAUL GRIFFITH'S BRILLIANT Let Me Tell You got me thinking about Ophelia as a Young Adult Novel theme, and it turns out that attempts have already been made. I sampled these two--Klein's novel is from 2006, French's from 2015.

French and Klein had several of the same ideas about how to make Ophelia's story YA-friendly. First person narration, for one thing. More crucially, no madness and no drowning/suicide. Ophelia only pretends to be insane in both novels, then fakes her own drowning, to enable her escape from the infected snakebite that is Elsinore.

Gertrude is fascinating and enigmatic in both--we are for a while kept guessing at how much she knows about Claudius and how sincere her interest in Ophelia's well-being is. Hamlet is likewise fascinating and enigmatic, and his and Ophelia's love is key to both plots, but in both novels he is revealed to be Mr. Seems-Right-but-Not-Quite, a Frank Churchill/Henry Crawford/William Elliott figure, too wrapped up in his obsession with avenging his father to sustain his relationship with Ophelia (in Klein, they are even secretly married, à la Romeo and Juliet).

The true Mr. Right turns out in both novels to be someone else that Ophelia settles down with once all the drama has blown over--Fortinbras in French's novel, Horatio in Klein's.

Both Ophelias have an episode or two in male drag; both are plucky, passionate, perceptive, and possessed of enviable survival skills.

French's Ophelia is an expert on cheese (is this a Danish thing?). French seems to have set herself the challenge of mentioning cheese in every chapter, sometimes to odd effect. On hearing of Polonius' death, Ophelia tells us, "My first thought was of cheese."

Klein's Ophelia (more plausibly) is an herbalist (Klein is a scholar of early modern lit). Klein's Ophelia escapes Elsinore and winds up in...a nunnery. Which is witty, I admit. The novel's Part 3, though, set in the nunnery (where Horatio finds her), gets a bit talky, a bit like a YA Magic Mountain (God, authority, nature).

Both novels had some good passages--getting Ophelia's version of the "nunnery" scene and the "play-within-the-play" scene definitely worked. Klein's is the better-written of the two.

If the mad scene is just a charade, though, and if there is no drowning, is this still the Ophelia we love? One misses the dark, doomy subtext, the black undercurrent. These are Ophelias for the Katniss era, I guess.

Thursday, June 22, 2017

Jonathon Sturgeon, "Divine Indigestion"

YET ANOTHER COINCIDENCE (as in immediately preceding post): I finished Nell Zink's Mislaid on the plane, proceeded to a year-old issue of The Baffler that I had not yet gotten around to, and lo and behold, I found an article with a smart, interesting point about Mislaid.

To an extent, Sturgeon's article is an effort to revive interest in Quentin Anderson's The Imperial Self (1971), "largely forgotten," Sturgeon accurately notes, but worth renewed attention: "A closer look at The Imperial Self reveals a critique of a literary intellectualism that holds up because it is imaginative, yes, but also because the condition of the novel has not changed that much." Anderson, he writes, "examined the 'imaginative desocialization' of American literature at the hands of a radical individualism" and sought to "ground literature in social context."

Mislaid and Paul Beatty's The Sellout are Sturgeon's examples of strong contemporary novels that pull against the tide of this all-devouring Emersonian individualism.

The selves is Mislaid are fluid, but they don't absorb other selves, nature, matter, or information. They exist instead in a near-Spinozistic web of pressured relationships. [...] Karen, who is open to being affected by others rather than guzzling them down, is what Quentin Anderson would have called "the transitive person," one "whose world is constituted by [her] ties to other people."

That's a spot-on observation about the book and about its most appealing character. And I need to find Anderson's book.

I wish, though, that in arraigning his "bad" exemplar (Jonathan Franzen), Sturgeon had not resorted to  the lazy argument of taking one of a novelist's characters to represent the situation of the novelist. Sturgeon says of Andreas Wolf from Purity, "Well, Wolf is just Franzen after the divorce, but before he learned to subsume birds." Urk. I don't think so. I have reservations about Franzen's novels myself, but that point won't hold.

Wolf is someone whom the world takes to be a selfless, even saintly apostle of honesty and transparency, but who actually has a terrible secret he will go to almost any lengths to protect, and who eventually succumbs to the tragic contradiction of his own life. That does not seem like even the loosest kind of analogue to Franzen's circumstances.

Reminds me of Amy Hungerford's basing part of her argument in "On Not Reading DFW" on the claim that anything that comes from Mark Nechtr's mouth ("Westward the Course of Empire Takes Its Way") as good as comes from Wallace's.

Come on, now. We can do better than that.

Tuesday, June 20, 2017

Brad Gregory, _The Unintended Reformation: How a Religious Revolution Secularized Society_ via Mark Lilla

I ORDINARILY DO not write an entry on a book until I have finished it, but since it may be years before I finish Gregory's fairly dense study, I feel an urge to note right now the odd coincidence that I was in the middle of its second chapter when I read the review of it ("From Luther to Walmart") included in Lilla's The Shipwrecked Mind.

(In fact, this was the only chapter of The Shipwrecked Mind that I had not read before; the other pieces had appeared in New York Review of Books, but "From Luther to Walmart" had been published in the New Republic--not one of my usual stops.)

Lilla is none too complimentary. He sees Gregory's book as typical of the nostalgia he diagnoses as central to conservative thought. Conservative intellectuals, Lilla argues, posit a Golden Age that preceded a fall into modernity (and our present bloody-minded anxieties) and then attribute that fall to some thinker or idea, such as the gnosticism and "immanentizing the eschaton" (Voegelin) or Machiavelli (Strauss).

For Gregory, according to Lilla, "before the Reformation the harmony of the heavens was mirrored in Christian life and thought." Reformation theology, which sought only to correct some problems with the church, had unintended philosophical consequences that led to the secularization of the natural sciences, education, and political economy--and their attendant alienation and anomie.

The thing is---since I had just started Gregory's book not long before I read Lilla's review, I happened to know that Gregory explicitly denies having written the kind of book Lilla is describing. In his introduction, he states, "This is neither a study of decline from a Golden Age nor a narrative of progress toward an ever brighter future, but rather an analysis of  unintended consequences that derived from transformative responses to major, perceived human problems" (20-21; emphasis mine).


Still, even though Gregory, in his own estimation, is not writing out of philosophical nostalgia, and even though he is obviously a thorough and careful scholar and writer, I'm not sure Lilla's characterization is unfair. Gregory is meticulous about drawing connections between Reformation thinking and secularizing social trends, but something in his tone suggests not just that the secularization of the west was contingent upon certain philosophical developments within Protestant thinking, not just that it was avoidable, but that it was also undesirable, and may even be reversible.

As Jeremiahs go, Gregory is subdued. But is there a little Jeremiah in there? Lilla has a point, I think. I plan to carry on with the book, though--Gregory may be no Franz Rosenzweig, but he's an intellectual mensch nonetheless.

Monday, June 19, 2017

Nell Zink, _Mislaid_

SOMEWHAT TO MY surprise, Zink's second novel is a bit more grounded, "normal," and domesticated than her first; family conflicts in Virginia circa 1960-1980, set alternately in a small college town and in the backwoods, easily tracked plot, interesting minor characters, plenty of humorous asides…realism of a familiar sort, then, but nonetheless with a bit of an edge, like A. M. Homes, say.

And as with Homes's May We Be Forgiven, and a good many of the stories in the Ludmilla Petrushevskaya collection I read last month, we have (what I would count as) a happy ending, despite plenty of ingredients for a disastrous, traumatic, scarred-for-life blow-up.

The happy ending of Mislaid is not all the plausible, indeed flies in the face of what would most likely happen in the circumstances created by the plot, but its very implausibility is what redeems it, makes it a wondrous thing. While Mislaid certainly unfolds in the voice and pace of of the realist novel, it ends up seeming akin to Shakespeare's late romances, in which similar potentially traumatic accidents, mistakes, and decisions turn out, years later, to have prepared the ground for forgiveness, reconciliation, and content.

How likely is it that Prospero's betraying brother would fall into his hands years later? That the blindly jealous Leontes would have a chance to be reconciled with the wife whom his suspiciousness had killed sixteen years previously?  That after long separations and thinking the other dead, Posthumus would recover Imogen, or Pericles Marina? Not at all likely. Flat out incredible, really. Yet Shakespeare is able to make us see that the world is always more than the likely, more than the plausible.  And a good thing it is, too.

Zink manages something like that. And as with Miranda, Marina, Perdita, and Imogen, a young girl shall lead them. Karen Brown, a.k.a. Mireille "Mickey" Fleming, is a Perdita for our times. She's a minor miracle.

Saturday, June 17, 2017

Mark Lilla, _The Shipwrecked Mind: On Political Reaction_

LILLA IS A particular favorite of mine. The Stillborn God is brilliant intellectual history of the old kind (A. O. Lovejoy, Erich Auerbach, above all Isaiah Berlin), and his essays on the careers of various thinkers have the swiftness, assurance, and clarity of the Edmund Wilson of To the Finland Station and Patriotric Gore. His being skeptical about Marxism and respectful of certain conservative thinkers may explain, I'm guessing, why he does not have the cachet of, say, George Scialabba, the same way Berlin does not have the cachet of, say, Raymond Williams. I have to confess, though, that that skepticism and that willingness to entertain other perspectives are exactly what I appreciatre about him.

Superficially, this book has a lot in common with the Corey Robin book I wrote about a couple of weeks ago. It consists mainly of republished pieces, aims to create a kind of collage map of the intellectual right by examining the careers of crucial figures, and uses its introduction and conclusion to sketch an argument that unifies the book's various individual pieces.

Lilla finds (in spots) a greater integrity and coherence on the right than Robin does, though. Robin sees the right's arguments as inescapably founded on making cases for threatened or vanished privileges. Lilla sees them as founded on nostalgia. "Every major social transformation leaves behind a fresh Eden that can serve as the object of somebody's nostalgia," he writes (xiv); each right-wing thinker he examines "believes that a discrete Golden Age existed and that he possesses the esoteric knowledge of why it ended" and thus of how it might possibly be restored (xx-xxi).

I wonder, though, whether the Robin and Lilla summations of reaction do not so much oppose as complement each other, as in the old vase-or-two-profiles optical lllusion, in which you could see one or the other but not both at once. May one describe Trump's "Make America Great Again" campaign as nostalgic? Yes--hazily articulated, not necessarily even sincere on his part, but probably authentic  enough as regards many who voted for him. Was Trump also appealing to a sense that male privilege and white privilege and straight privilege were crumbling? Well, yes. But do we have to choose which analysis is more true? Is there a way to think about both of these ideas at once?

A wide stream in my 2017 reading has been trying to understand the advent of Trump, and both Lilla and Robin helped. Next stop--Arlie Hochschild?

Tuesday, June 13, 2017

Nell Zink, _The Wallcreeper_

RECENT NOVELS BY American novelists that set American characters in eastern or central Europe typically take on the seriousness of eastern and central European novels. They can still be witty or farcical at moments, but (thinking of Caleb Crain or Garth Greenwell, say) they do curve towards the moral gravity and earnestness of Mann, Musil, Broch, Bernhard (who can all be funny--don't get me wrong--but the somber is never far away).

So, a distinctive thing about Zink's The Wallcreeper is that it is set mainly in Switzerland and Germany and has mainly American characters, but it relies on the deadpan, unfazed, somewhat flattened tone of a lot of American fiction (in my personal shorthand, the "Didion-effect") that does not show much elation over fortunate events nor much dismay over unfortunate ones.

The novel opens:

I [the narrator, Tiffany] was looking at the map when Stephen [her husband] swerved, hit the rock and occasioned the miscarriage.

Stephen swerved because he saw a rare bird--the wallcreeper of the title--and he stops to retrieve it. Oddly enough, even though a miscarriage is a serious life event, it hardly gets mentioned again. We are left to wonder how much it mattered to Tiffany.

The bird, however, gets a lot of attention in the following pages, getting a name (Rudi) and even some celebrity, due to its rarity. But on p. 55, Rudi (even though he is the title character) gets an abrupt Janet-Leigh-in-Psycho early exit:

I got my binoculars focused on Rudi in time to see the tiny hawk raise his head wet to the nostrils with Rudi's blood and plunge it again into Rudi's chest. Rudi's beautiful red and black wings with their absurd white polka dots twitched, twitched again, and died. The hawk ate his heart and flew away.

This event too is met with a certain flatness of affect. Stephen is temporarily upset, but Tiffany does not give much away, either at the moment or later.

Situations of genuine gravity keep occurring--betrayal, adultery, drug addiction, the fate of the planet [both Tiffany and Stephen are enviro-activists), and death--but the classic Mitteleuropa earnest reflection (the main ingredient of Nádas's A Book of Memories, which I had just finished) stays far away. Tiffany has frequent recourse to the wry & dry, candidly owns up to her own lapses and misperceptions, but does not give away much about her inner weather. Her emotional life is pretty much under seal.

So why did I end up enjoying this novel as much as I did? I admit, I almost gave up after Rudi met his end. (Zink's epigraph is from Ted Hughes: "I kill where I please because it is all mine.")

Partly, I think, because Zink somehow conveys that Tiffany is feeling a great deal more than she is letting on. Late in the novel, as she and Stephen are roaming the woods, they see a terrible sight:

One day we got to a dead ewe in time to catch the goose-stepping of the griffon vultures arriving to deliver its breech birth along with everything else except its rumen, bones, and pelt. Before I closed my eyes, it skyrocketed to first place on the  list of the most repellent spectacles I had ever witnessed, lending a vivid symbolic figuration to events I had hitherto refused to name.

The miscarriage, I'm guessing--unmentioned, intentionally and fiercely unmentioned, but unforgotten.
And maybe the repression makes sense. After all, in an eat-and-be-eaten world, how much brain-space can one spare for sentimentality?

Partly, too, Tiffany just becomes good company. She is smart, she's funny, and she spreads a lovely constellation of allusions: Horace Andy and Samuel Taylor Coleridge, Prince Kropotkin and Slavoj Zizek. She even mentions Robert Walser and Thomas DeQuincey in the same sentence. So she's all right in my book.

Sunday, June 11, 2017

Sarah Manguso, _300 Arguments_

I WOULD SUGGEST 300 Conclusions as an alternate title, for while the maxims, aperçus, and one-liners in this book do seem to have under or behind them full arguments and lengthier expositions, what the reader gets its just the succinctly wrapped-up end point of the argument. "Bad art is from no one to no one," for instance, conjures up a whole essay. We get the hard sparkle, intuit the invisible underwater iceberg.

"Think of this as a short book composed entirely of what I hoped would be a long book's quotable passages," Manguso writes.  Imagine a long book like, say, Jennifer Moxley's The Middle Room, a mid-life memoir about writing as an art and as a career, about love, sex, and friendship, about mistakes made and lessons learned. Then imagine the book having 300 sentences or short passages you would tick in the margin or underline. Imagine those 300 marked sentences or short passages in a book all by themselves. That is what we have in 300 Arguments.

Maxims and aperçus that have become famous run to the inspirational, affirmative, and consolatory: "Be the change you want to see in the world," or "The arc of history is long, but it bends  towards justice," or "'Tis better to have loved and lost / Than never to have loved at all." Manguso tends to swing from the other side of the plate: "Inner beauty can fade, too," or "The most likable person you know just might be a sociopath."

So, Manguso may be our Rochefoucauld. As Swift wrote,

As Rochefoucauld his maxims drew 
From Nature, I believe 'em true: 
They argue no corrupted mind 
In him; the fault is in mankind.

As with Rochefoucauld, the outlook is generally dark, but hard to disagree with, especially given how witty Manguso normally is: "Dying young can really help an art career along. It's the careerist's ultimate paradox."

But when the tone slips into the confessional--

The most fervent kiss of my life was less than five seconds long more than ten years ago with someone else's husband. It still hasn't quite worn off.

Or pays tribute--

Picture a locked storeroom strewn with all the old sheet music I had to give back to music teachers and choral directors, paper lying unused for decades, fading yellow, annotated in sharp pencil, the page containers of such joy that it sometimes choked me silent. No one who picks it up could know how it saved my life, over and over.

Or, as it often does in the final pages, sounds almost valedictory--

I want to shed my fears one by one until there is nothing left of me.

--when we get more than the hard sparkle of the illusionless, and we have something we never get from Rochefoucauld.

Tuesday, June 6, 2017

Péter Nádas, _A Book of Memories_ (1), trans. Ivan Sanders

HAVING FINISHED SZABO'S The Door a couple of weeks ago I was hankering for another Hungarian novel, so I went ahead and read this... ha! Just kidding.

No, I actually started this about four years ago. It's a 706-page Mittel-European cinderblock of a novel, and it was a bit of a climb. I would read 100 pages or so, take a break for a few months, read another 100-150 pages, take another lengthy break, and so on.

Not the ideal way to read "the greatest novel written in our time" (Susan Sontag), but it actually worked, I think. The prose takes a lot of attention--hence the comparisons to Proust, I suppose, but it reminded me a bit more of something like Broch's The Death of Virgil. You just had to surrender to it--you needed to set aside hours, not just twenty minutes here and twenty there.  After a few days with the novel, I always needed to come up for air.

An interesting thing, though, was that I could come back to A Book of Memories after months away and be able to re-connect. Its world and its voice are so distinctive and rich that when I picked the book up again, the characters and circumstances would pop back into existence within a few pages, as if I had been reading it only a couple of days ago. It's that vivid and that complete.

It braids three strands of narrative.

The first, to quote the jacket copy, "takes place in East Berlin in the 1970s and features an unnamed Hungarian writer ensnared in a love triangle with a young German and a famous aging actress." Intriguingly, though, this is a real triangle, in that not only are both the Hungarian writer and the young (male) German sexually involved with the actress, but they are sexually involved with each other as well.

The second strand is "composed by the writer"--that is, represents the work of the Hungarian writer involved in the triangle--and "is the story of a late-nineteenth-century German aesthete whose experiences mirror his own." I'm not sure how long it would have taken me to figure that out, left to my own devices. My initial thought was, well, this is about a Romantic Werther-Schlegel-Novalis figure (passionate and introspective, full sail into his sturm-und-drang period) and set many years before the relatively modern setting of the triangle story; I would have started looking for ways it connected to or counterpointed the Hungarian writer's story, but the jacket copy headed me off at the pass. It would have been more fun, I think, not to have known it was the Hungarian writer's work until the novel revealed that circumstance. So what is one to do? Not read jacket copy?

The jacket copy continues, "The third voice is that of a friend from the writer's childhood, who brings his own unexpected bearing to the story." Well... kinda. The third strand, set in the 1950s in the writer's home town or village, is mainly narrated by the Hungarian writer, and so is all about the person who went on to have the complicated affair in Berlin--but only the final chapter in this strand, the book's penultimate chapter, is narrated by the friend referred to in the jacket copy, for reasons that would require a spoiler alert. Almost all the third strand is in the voice of the main narrator, the Hungarian writer, so the jacket copy is actually a bit misleading. Jacket copy writers of the world, why do you fuck with our heads this way? Don't we people willing to take a chance on an enormous Hungarian novel deserve a little better?

Friday, June 2, 2017

Susan Howe, _My Emily Dickinson_

HERE'S THE QUESTION: should I shelve this with my Emily Dickinson books or with my Susan Howe books?

As a general rule, a book by a poet about another poet tells you much more about the written-by poet than it does about the written-of poet. As an extreme case, take Yeats. His essays on Blake and Shelley (and going beyond poetry, his essays on Synge and Balzac) provide abundant insight into Yeats's own poetics, but will leave you little the wiser about Blake and Shelley. Eliot aimed at a more objective, scholarly tone, as befitted someone writing for the Times Literary Supplement, but his essays on Milton, Tennyson, and the metaphysical poets tell you a lot more about Eliot's poetics than they do about those of his putative subjects. Even the generous, self-effacing Seamus Heaney--Heaney on Robert Lowell turns out to be really about Heaney.

Possible exceptions: Randall Jarrell and Stephen Burt. Pound, once in a while.

Generally, though…would anyone except a library put Ted Hughes's Shakespeare book in the Shakespeare section?

So, might as well take the personal pronoun in Howe's title seriously and put My Emily Dickinson with my other Susan Howe books.


Howe explicitly posits her book as being in dialogue with Dickinson criticism circa 1985; she sees it filling an obvious gap: "The Years and Hours of Emily Dickinson by Jay Leyda, and Richard Sewell's meticulously researched Life of Emily Dickinson, are invaluable sources of information about her living, but the way to understand her writing is through her reading. This sort of study, standard for most male poets of her stature, is only recently beginning." Ruth Miller, Joanne Feit Diehl, and Albert Gelpi have gotten this work going, Howe writes, and she is taking it further.

In short--My Emily Dickinson does for "My Life had stood--a Loaded Gun" what John Livingston Lowes's Road to Xanadu did for Rime of the Ancient Mariner and "Kublai Khan." (Do people still read Lowes? I notice the book is out of print. It is available on Kindle, though.) Howe situates the tone and imagery of Dickinson's poem in the imaginative context created by Browning's "Childe Roland to the Dark Tower Came," Shakespeare's King Lear and the first English history tetralogy, and Cooper's The Deerslayer, to list only those that come up most often.

This is illuminating. While it makes sense to read the text of a writer in more immediate kinds of context--what were the theological conversations in Amherst about in 1862? what was the latest news of the war? what was going on in her family?--it is also true that some important part of a writer lives in the world of writing, not so confined by space or time or circumstances. The poet who rarely left her house, whose life seemed so circumscribed, could even so be in a momentous conversation with great writers long dead.

So, there's a case for placing My Emily Dickinson with Sewell, Cristanne Miller, Helen Vender, et al. on the Dickinson shelf.


Was Lowes--or any critic--ever so quicksilver in mapping the terrain as this?-- "During the first two Removes of Emily Killdoe's Captivity Narrative of Discovery; the unmentioned sun, blazing its mythopoeic kinship with Sovreign and shooting its rhyme,--flash of sympathy with Gun, has been steadily declining."

Among the plates Howe keeps spinning here (discussing lines 5-6 of "My Life had stood--") are not only Shakespeare and Cooper but also Mary Rowlandson and even a little bit of Lewis and Clark. Don't blink while reading My Emily Dickinson, in other words; its un-skimmable. Rather like a poem, in fact.

Then there are the lightning flashes of Howe's poetics:

A lyric poet hunts after some still unmotivated musical wild of the Mind's world.

Connections between unconnected things are the unreal reality of poetry.

I think My Emily Dickinson needs to be with The Europe of Trusts, The Birth-mark and Singularities after all.

Wednesday, May 31, 2017

James Baldwin, _No Name in the Street_

THERE HAS BEEN a lot of indirection in my reading of Baldwin. This book came out when I was a senior in high school--so why am I reading it only now?

My parents had copies of some of the early books, Another Country and The Fire Next Time, around the house while I was growing up, and I remember having had a sense that they were important, but I never more than glanced at them. Then, in high school, I read Eldridge Cleaver's Soul On Ice, as one did in those days, and Cleaver's sneering dismissal of Baldwin was enough to persuade me that I needn't bother to start with Baldwin now. The revolution was coming any day now, after all.

The revolution was still behind schedule and I still hadn't read Baldwin when I got to graduate school. My catch-up reading in those days was more along the lines of Piers Plowman and Of Grammatology. But one semester, I had a section of Freshman Comp to teach.  The essay anthology I adopted included Baldwin's "Notes of a Native Son," so that's when I first read him...and I was a convert before I finished the first page. I still think it's one of the greatest American essays. The other selections on the anthology were very nearly as strong--"Equal in Paris," "Stranger in the Village."

So, over the next few years, I got around to the essay collections Notes of a Native Son and Nobody Knows my Name as well as the early novels Go Tell It on the Mountain and Giovanni's Room. And then I considered myself done. I'm not sure why.  I suspect it had a lot to do with the relatively chilly reviews the later work received as it appeared, which usually conveyed the idea that Baldwin was a writer whose moment had passed.

It took I Am Not Your Negro to get me back on track. I decided to try the later work I had skipped in the 1980s.

No Name in the Street appeared in 1972. It was a sequel, in a way, to The Fire Next Time, but never became the touchstone that book did. Easy to see why--in early 1963, a writer as gifted as Baldwin was could still just about able to hold the disparate elements of the civil rights movement in a single focus, still maintain a belief that the right words at the right time could make the difference. By 1972, we had seen the March on Washington and the Civil Rights and Voting Acts, but also black power, the urban riots, the Panthers, the assassinations, Viet Nam, the election of Nixon, the depredations of COINTELPRO...a plague of plagues, in short, and no one writer was going to be able to make sense of it all.

But that sense of being overwhelmed is what makes No Name in the Street powerful. That feeling that a surge of energy too vast to handle has passed through the culture, and thereby through an individual sensibility, left it scorched, brittle, wobbling, but still standing, still articulate--the feeling that one gets from Sly and the Family Stone's There's a Riot Goin' On or Joan Didion's The White Album or Renata Adler's Speedboat--that's what haunts No Name in the Street and makes it memorable.

Baldwin attempts a  few times to scale the rhetorical heights again, as he did in The Fire Next Time, but it's the more idiosyncratic, more personal passages that stand out. Baldwin, not recognized as a VIP, is lost in the crowd surrounding the church at MLK's funeral. Baldwin tells the media that he will never again wear the suit he wore to that funeral, and so is contacted by an old neighborhood friend who says, hey, can I have the suit, then?--and Baldwin delivers the suit. Hanging out in Hollywood, working on a screenplay about Malcolm. Discussions with the non-too-scrupulous lawyer Baldwin has fired for his friend Tony Maynard, framed for murder.

It's a diffuse book, a strange book, but a great book. We even find out what Baldwin thought of Soul On Ice--and it turns out that Baldwin is kinder and more insightful about Eldridge Cleaver than Cleaver ever was about Baldwin.

Tuesday, May 30, 2017

Paul Griffiths, _Let Me Tell You_

I HAVE BEEN thinking that Ophelia might make a good subject for a historical-setting Young Adult novel. In every new crop of English majors these days, there are a few Elizabeth Bennet-ites, a few Jane Eyrians, and a few Ophelia-philes. There was even one young woman with an Ophelia tattoo--at least one, I should say.

That Ophelia's story has a foreordained grim ending need not dissuade authors from adapting her as a YAF heroine--YAF is getting fairly dark these days. And indeed, a World Cat search reveals there are already a few examples out there--Lisa Klein, Jeremy Trafford, Jackie French--which I have not read, but I am curious about.

My thoughts were turned in this direction by Paul Griffiths's Let Me Tell You, which I only knew about because it has been turned into a vocal piece by Hans Abrahamsen, sung by Barbara Hannigan. The musical piece was interesting enough that I decided to pick up the source material (Griffiths adapted his own novel for the libretto).

The trick of the novel, and the feature that would make it hard to market as YAF, is that Griffiths set himself the constraint of composing a first-person narrative that uses only words that Ophelia speaks in the play. That one can write even a short novel with such a constraint is impressive; that Griffiths finds way to make the novel illuminating and moving as well is downright astonishing.

The constraint ceases some serious challenges. For instance, in a novel, Ophelia is almost obliged to mention her mother, but Ophelia in the play never uses the word "mother." Griffiths has to resort to phrases like "my father and the other one." Griffiths then redeems the awkwardness of this circumlocution by spinning its implicit sense of alienation to create the plot development of Polonius's wife having had to leave the court due to infidelity.

Similarly, Ophelia never says "Hamlet," but her not mentioning her lover's name in chapter 12, a sustained lyric prose poem, actually heightens the euphoria that passage wishes to represent.

Griffiths even manages to compose a few sonnets (in the novel, they are the work of Laertes' mistress) with his Ophelia-set of words. Good ones, in fact.

Successful though the book is, the constraint does mean that the prose has an odd, filtered atmosphere due to the inevitable lack of certain lexical items, and the references often need puzzling out. Unlikely to crossover to the YAF market, in short. But who knows? Stranger things have happened. It might in time lead to even more Ophelia tattoos.

Monday, May 29, 2017

Amy Hungerford, "On Not Reading DFW" (3)

What, still not done? I guess not. Something about this piece really bothered me. But I think I will be able to confine myself to three further points.

1. Among the things Hungerford dislikes about Wallace is that he was arrogant. Yet she feels entitled to disparage Wallace's character without having known him and to dismiss his work without having read it. Isn't that somewhat...arrogant?

2. Hungerford mentions that Leslie Jamison is one of her doctoral students, and that Jamison is doing a dissertation on "the American recovery culture that grew up in the 20th century after the founding of AA." The dissertation naturally includes consideration of Wallace's writing, by which Jamison is "both moved and inspired." Now, I am merely a fan of Leslie Jamison's work, unlikely ever to have a conversation with her, but if she were to write that she was moved and inspired by a writer I had deliberately chosen not to read, I for one would reconsider. Just saying.

3. I am now facing a refuse-to-read decision of my own. "On Not Reading DFW" is the final chapter of Hungerford's recent book Making Literature Now, but I read it first. Now I have to decide whether I want to read the rest of the book. Even though Hungerford, as she says of Wallace, "would qualify, by many measures, as 'smart'," and even though she, as she says of him, "has "sensed where an interesting question lay," I'm not sure I want to read the rest of Making Literature Now. She has endorsements from a lot of people whose opinion I respect--Mark Greif, Cynthia Zarin, Juliana Spahr, William Deresiewicz--but I find her reasoning in this chapter specious and her tone uncongenial. The book is not due back in the library for three weeks, though, so I have time to think about it.

Sunday, May 28, 2017

Amy Hungerford, "On Not Reading DFW" (2)

Hungerford has read, she acknowledges, a few things by Wallace--not a whole book, but several sections from Brief Interviews with Hideous Men and the long short story "Westward the Course of Empire Makes Its Way." The latter provides a linchpin for her argument in the character Mark Nechtr's statement that "a story, just maybe, should treat the readers like it wants to...well, fuck him." Hungerford takes Nechtr to be a stand-in for Wallace himself, and she connects the writerly aesthetic outlined in Nechtr's statement to Wallace's relentless exploitation of the sexual opportunities afforded him in his days as a young celebrity author, described in D. T. Max's biography (which Hungerford did read).

As a young male celebrity author of far from repellent aspect, Wallace did have an array of temptations that only the merest handful of men have to deal with--not on a scale with JFK, Mick Jagger, or Tiger Woods, I imagine, but wide nonetheless--and one could argue he did not pass the test with flying colors. But, practically speaking, responsible sexual behavior will not make a very good criterion for deciding who we should read. Among the writers who had dodgy records as boyfriends/partners/fiancés/husbands we could list Hemingway, Faulkner, Fitzgerald, Kafka, Tolstoy, Mann, Eliot, Pound, Dostoevsky, Flaubert, Baudelaire, Verlaine, Rimbaud, Dickens...on back to Milton and Shakespeare.

Hungerford realizes, I think, that this will not work as a reading program, which is why the line from Nechtr is important. It indicates that the same oppressive impulse that drove Wallace's sexual career (in his younger days, at least) was driving his work as a fiction writer.

But I don't think it was. Is there a bro-ishness in Wallace? Yes. Is the bro-ishness celebrated, exalted, held above critique? I would say no. Just by depicting it with fidelity--in Brief Interviews, in the sections of Infinite Jest about the Enfield Tennis Academy--Wallace made the contradictions and liabilities of contemporary American masculinity inescapably visible, from the inside, as it were. (Eschaton, anyone?) This is one of his signal services to American letters, I would say. But not even the most important one.

At the end of her chapter, Hungerford tells of how, after long avoidance, she was persuaded finally to read Middlemarch, and how much she enjoyed it. She quotes Eliot's famous sentence about how having a feeling "of all ordinary human life" would be like "hearing the grass grow and the squirrel's heart beat." If we were to know all there is to know about our fellow beings, "we should die of that roar which lies on the other side of silence."

The big irony in Hungerford's piece, for me, is that I think Wallace understood Eliot's insight into fiction better than any other contemporary American writer. The sections of Infinite Jest about Ennet House and most of what we have of The Pale King are powerful precisely because they make us feel the un-ordinariness--the unique anguish, striving, nobility--of ordinary people. Wallace heard that roar on the other side of silence, and he could make us hear it, too.

Saturday, May 27, 2017

Amy Hungerford, "On Not Reading DFW" (1)

THOUGHT-PROVOKING, CERTAINLY. Candid, audacious, a little perverse.

Hungerford is the first person I know of to write about a particular dilemma faced by people who have intellectual credentials of some sort to maintain.

The self-perception of such people (including me, since I'm a teacher) is in part defined by What One Has Read and What One Has Not Read But Ought To. (I pass over for now the What One Does Not Have to Worry About Not Having Read category, mercifully large.)

There are further important sub-divisions in the What One Has Not Read But Ought To category: As Soon as Possible, Next Summer, One of These Days, Maybe Before I Die, and so on.

The dilemma occurs when around those items in What One Has Not Read But Ought To that one realizes, or chooses, to just write off. For instance, I know I ought to read Dos Passos's U.S.A. trilogy, and I have a copy, and may actually get around to it, but Dreiser's Trilogy of Desire? No way. I got through Sister Carrie and about two-thirds of An American Tragedy, and I'm going to call it good. Thomas Wolfe's Of Time and the River? No.

This decision, for me, always comes with a bit of defensiveness and embarrassment. I am in a way making a bet that Dreiser's Trilogy of Desire just would not be worth my while, but I could lose that bet. What if next year Fredric Jameson puts out a book on Dreiser and the Trilogy of Desire is suddenly a big topic? So I am not actually going to make any public declaration about my Dreiser-avoidance. That's where Hungerford is different.

Hungerford, a scholar of contemporary American literature, does not want to read David Foster Wallace, Infinite Jest in particular. She probably has plenty of company there; what makes her essay candid and audacious is that she wants to tell the world that she will not be reading any David Foster Wallace and, furthermore, her reasons for not reading him.Her explaining the decision, rather than passing over it in silence, seems to come from a wish to apply the brakes to the process of Wallace's canonization before the train has completely left the station.

That brings us to what makes the essay a little perverse.  Usually, criticism that makes the case for why such-and-such a writer does not merit serious attention involves reading that writer (as, Hungerford notes, the editor of the LA Review of Books pointed out to her). But that is exactly what she refuses to do. Nonetheless, she wants to take on Wallace's reputation anyway--a bit like the famous instance of Joan Acocella reviewing the Bill T. Jones dance performance that she refused to see.

I wonder if this could kick off a trend of you-can't-make-me-read-it essays: "On Not Reading The Cantos," "On Not Reading The Making of Americans," "On Not Reading Finnegans Wake." Moby-Dick. Middlemarch. Proust.

This could catch on; there is probably a lot of pent-up resentment out there.

(more tomorrow)

Friday, May 26, 2017

Ludmilla Petrushevskaya, _There Once Lived a Girl Who Seduced her Sister's Husband, and He Hanged Himself_ (tr. Anna Summers)

AS FAR AS I can find out, this collection of Petrushevskaya's short stories does not correspond to any Russian language collection of hers. The selection and arrangement are those of the translator--as is, I think, the somewhat tarted-up title. In the story to which the title seems to refer, we read:

3. there were two sisters: one was married, the other was just fifteen, and she got pregnant by her brother-in-law, who hanged himself while she gave birth to a daughter she hated.

So, how did the word "seduced" get in there? The story, it turns out, is not even really about the sisters or the husband/brother-in-law; that sentence is about the only appearance they make in it, and it has none of the femme-fatale-ish flavor hinted at in the volume's title. The story is really about the "hated" daughter (Elena), and that daughter's daughter (Alla), and the daughter's daughter's daughter (Nadya), and how (to vary Larkin's phrase) woman hands on misery to woman, deepening like a coral shelf.

The stories, are short, dry, crisp, brilliant, and they do tend to be about misery.  Not precisely the misery readers of Soviet lit will remember from Nadya Mandelstam's Hope Against Hope or Solzhenitsyn's Gulag Archipelago, although Petrushevskaya's family was apparently often on the regime's shitlist, but more the routine miseries of dispiriting work, cramped quarters, and disappointed expectations.

Not much goes right for Petrushevskaya's characters, but she does not pity or condescend to them, and she is not at all given to melodrama or any kind of overstatement. An odd thing, though--often the stories end with a just-slightly-upbeat note. Not any kind of last-minute redemption or reprieve, nothing Hollywood-like, just a hint that even with all that has gone wrong for them, the characters have a capacity for survival.

For example, the last sentence of "Like Penelope":

Mama Nina observed her daughter and wondered where this new slow grace in her movements had come from, the twinkles in her laughing black eyes, the wave in her hair, the gorgeous dress.... Of course: she made it herself.

Or of "Milgrom":

The black dress [of Milgrom's daughter Sasha] shimmies down Little Bronnaya [Street], which is filled with light, underneath the setting sun, and that's it now, the day is burning its last, and Milgrom, eternal Milgrom, sits in her little pensioner's room like a guard at the museum of her own life, where there is nothing at all but a timid love.

Both these moments are hedged with irony, and the overall outlook is still bleak, but these people seem able to keep going.

Wouldn't you know, the ending of the story titled "Happy Ending" is the one that seems unrelievedly bleak. A tragically under appreciated wife finally gets away from her husband at last, but just when you think she is in the clear, she returns just for a last look and is snared again for keeps.

Petrushevskaya deserves a wide audience--which is probably what they were hoping for with that tarted-up title. Well, I hope it works.

Wednesday, May 24, 2017

Corey Robin, _The Reactionary Mind: Conservatism from Edmund Burke to Sarah Palin_

COREY ROBIN'S TITLE might lead one to expect a historical survey of conservative thought, but in fact The Conservative Mind is a collection of articles and reviews; everything except the introduction and the conclusion were first published elsewhere. Which is fine, in this instance--the three or four I had read already (in The Nation or LRB) I enjoyed re-reading, especially the piece on Ayn Rand, "Garbage and Gravitas," which I would call the sharpest piece on that utterly unique phenomenon that I have ever read--even counting Thomas Frank's chapter in Pity the Billionaire and Whittaker Chambers's review of Atlas Shrugged.

And besides, a collection of articles and reviews can turn out to be a very satisfying, coherent book. Trilling's Liberal Imagination, say, or Jarrell's Poetry and the Age, or, more recently, Stephen Burt's Close Calls with Nonsense and Edward Mendelson's Moral Agents. The Reactionary Mind holds together in that way, even though composed of occasional pieces.

Some reviewer--Mark Lilla, I think?--criticized The Reactionary Mind when it appeared (2011) on the grounds that Robin tends not to concede that conservative ideas are ideas, exactly.  They are more reaction formations; they respond to intellectual formations constructed by the left, the responses being provoked by those formations beginning to make headway in society. As Robin puts it in the introduction, "For that is what conservatism is: a meditation on--and theoretical rendition of--the felt experience of having power, seeing it threatened, and trying to win it back."

I can see Lilla's point; that's not all conservatism is. Reading Robin's book would not give you much sense of the genuine intellectual power that one can experience in, say, Joseph de Maistre or Carl Schmitt or Chambers. Robin's tone is a bit that of a diagnostician analyzing a particularly unpleasant disease.

Even so, I think he has an important point. There is something reactive in a lot of conservative thought, as he explains most lucidly in the introduction and in the first chapter, "Conservatism and Counterrevolution."

Conservatism, he explains, tends to make arguments for institutions that are being or have been challenged or even overthrown. As with the well-known principle of not missing one's water until the well has run dry, these institutions were taken for granted, assumed to be simply part of the natural order of things, and as such needed apologia no more than trees did. But once monarchy, or aristocracy, or capitalism, or white supremacy, or patriarchy are challenged and start to topple, the arguments that would prop them have to be rapidly formulated.

As Robin mentions, the founding thinkers of political conservatism, writers like Hobbes, Burke, and  Maistre, come along in the wake of formerly unquestionable institutions being questioned in ways to which they found no persuasive answers. "Here are the answers to those questions!" they cry, a day late.

Same thing with Hayek and Milton Friedman coming along after the New Deal and the advent of the welfare state. There's another good example in Rod Dreher's Benedict Option, the chapter titled "Eros and the New Christian Counterculture," containing an elaborate defense of marriage having to be between one man and one woman. As the prefix "counter" in Dreher's title implies, a lot of conservative thought is making arguments one never expected to have to make, in response to witnessing changes one never expected to see.

The Reactionary Mind thus may not be exactly what its title suggests, but it's smart, brilliantly written, and makes a very valuable point.

Tuesday, May 23, 2017

Marlon James, _A Brief History of Seven Killings_

BOOKER WINNER FOR 2015. The title is a puzzler, though.

Puzzle number one: At 686 pages, the novel is not what most would call brief. However--given its task of exploring the paths that led up to and the paths that led away from the failed assassination attempt on Bob Marley in December 1976, paths that wind around not only Marley himself, but also Cold War politics, Jamaican politics, Kingston gang lords, and the Jamaican diaspora--one could say that the book is shorter than it could have been. So maybe "brief" works.

Puzzle number two: There are way more than seven killings here. I think the title refers to how the men involved in the assassination attempt--for the most part, bit players in the Jamaican underworld, organized by an ambitious gang enforcer in liaison with the CIA--come to their own violent ends. But the novel's title is also the title of can article that one of the characters, an American journalist, is working on near the novel's end, an investigation of a 1985 massacre at a NYC crack house.  (The  massacre was the bloody work of that same ambitious gang enforcer, now a don and a drug kingpin,  described shot-by-shot for us a few pages before.) So it might be these seven, or those seven. Or some other seven. A lot of people get killed in this novel.

Puzzlement over the title aside, though, this is a fine book. I will have to follow suit with most of the reviewers and trot out the word "epic." The book's focus is on one particular dramatic moment, but the recreation of that moment is so dense, the contributing causes and succeeding effects so various, that I did feel that I was getting a full history of a time and place.  But after all, the Iliad is only about those few weeks Achilles was sulking in his tent; it's Homer's astonishing powers that make us feel we are getting the whole history.

James's great power is in his command of voices--most of them but not all Jamaican, most of them but not all male, some literate and educated but many not. The novel is woven out of this spectrum of testimonies, without any master-narrative to guide us (only a handy cast list at the front), so James has to make each voice count as well as make each convincing, and he succeeds.

Given that the novel involves a crucial episode in Marley's life, I was expecting it to be a bit more about him than it is--always referred to as "the Singer," he is glimpsed only briefly in the book.

I thought too there would be more about reggae in general than there is; a few of the characters (especially the American journalist) are devotees of the music, but none is a musician, and we do not even have cameo  appearances by the likes of, say, Lee Perry.

In compensation, I read A Brief History oF Seven Killings alongside a playlist consisting of (of course) Marley and the Wailers, Burning Spear, Culture's Two Sevens Clash, Max Romeo's War Ina Babylon, and the Arkology box set. That musical infusion deepened the novel for me, but I found the novel was also deepening the music for me, starkly lighting the social and political chaos that had created the apocalyptic mood that so eerily counterpoints the bouncy rhythms of late seventies reggae.

So--my humble suggestion: include a download code with future copies of the novel.

By the way, if you have the 12-inch mix of Culture's "Natty Dread Taking Over," at 4:38-39 it sounds like the singer is saying "Marlon James." No kidding.

Monday, May 22, 2017

Cynthia Zarin, _Orbit_ and _The Watercourse_

I HAD LAZILY been thinking of Cynthia Zarin, without having read any of her books, as someone who wrote the kind of elegant, well-behaved poems you would find plenty of in the New Yorker back in the Alice Quinn days, so I was surprised when I encountered a couple of startling, somewhat audacious poems she had in The Nation a few months back.  Okay, I thought, I'll bite, and I got her new book, Orbit.

And you know what? It's really good. An unusually cohesive volume, for one thing, and still elegant, but also sometimes weird, obsessive, unfathomable--just up my street, in other words.

I felt sufficiently inspired to attempt an actual review, which if my fortunes flourish will actually appear somewhere else on the web, so I'll say no more about Orbit here.

But I will say a bit about The Watercourse, which I acquired under the momentum of my enthusiasm for Orbit.  From 2002, won a prize from the L. A. Times, inspired Wayne Koestenbaum to write, "Cynthia Zarin's poems are as beautiful as anything being written today." And they are beautiful, just not all that interesting... the well-behaved thing again, hand-painted porcelain in a display case, all too, too Alice Quinn. Which can be a good thing--just not the sort of thing I seek out.

By the way, I don't approve of people praising anybody's hand-painted-porcelain-in-a-display-case poems by comparing them to the work of Elizabeth Bishop.  This is selling Bishop drastically short, I think. If a poem is not at least a little bit scary, it is not like a poem by Elizabeth Bishop.

Wednesday, May 17, 2017

Magda Szabo, _The Door_ (tr. Len Rix)

THIS PUT ME in mind of Marilynne Robinson. Is it a Calvin connection? Szabo was and Robinson is Christian in the Reformed tradition, and I wonder if that commonality grounds the thematic similarities that struck me.

So--you know what this book is about, yes? Got a lot of attention in the last couple of years. Autobiographical to a large extent, apparently--Hungarian writer (Magda), target of Stalinist scrutiny and sorely stressed, hires a housekeeper (Emerence). The employer-employee relationship soon outgrows its normal boundaries over a (I would guess) ten-year period, the writer becoming involved in the life of Emerence and thereby with her neighbors' lives in unexpected ways. Finally, the writer's long-delayed recognition (with end of Stalinist freeze out) arrives at the very same moment as a mortal crisis for Emerence.

One Robinsonian resonance: the assumptions Magda makes about Emerence always turn out to be wrong--shallow, stereotyped, ungenerous. Magda, like you and me, over-presumes. People are always more than we are likely to guess, their histories, families, sufferings, and hopes a more complicated, probably more terrible compound than our weak imaginations can conjure for them. There is more to any passerby on the street than you will ever comprehend. This is the lesson John Ames learns about Jack Boughton in Gilead, but you can see other versions of it all over Robinson's work.

A second Robinsonian resonance: kingdoms not of this world. Can anyone blame Magda for abandoning Emerence, in a dire hour, to a handful of competent neighbors and professional helpers,  so that she, Magda, can dash to Parliament to accept a literary prize, be interviewed on television, and so on? Well, no--no one of this world would blame her, at least. But from the perspective of the Absolute? That's different. As in every Robinson novel from Housekeeping on, we are shown the contest between the way things seem to good sensible people like ourselves, and the way they stand in the implacable but invisible Real. You had best be on the side of the Real, prizes or no prizes.

So--how Christian is all that? Not that Szabo or Robinson either one runs much risk of winding up in the "Christian fiction" shelves with the Amish romance novels.

Tuesday, May 16, 2017

Colton Whitehead, _The Intuitionist_

HIS FIRST, FROM 1999--I picked this up years ago, but you know how it goes. For whatever reason, I only started reading this after reading Underground Railroad. My instincts were sound in picking it up, though, because it's brilliant.

As with Railroad, we seem be in an alternate, similar-but-not-identical United States, in a city a lot like New York, roughly about the time integration is beginning to happen. The atmosphere is basic noir, but instead of a murder, we have an elevator accident, and instead of a detective, we have an elevator inspector.

Clever--even more clever, though, is the Pynchonesque world of elevator inspection that Whitehead creates, with its own history, institutions, terms of art, factions, publications (Lift magazine), and rival philosophies (the Empiricists and the Intuitionists), and sought-after lost manuscripts. The novel's McGuffin is a notebook containing drafts for the never-published third volume of Fulton's Theoretical Elevators, which might contain designs for the astonishing "black box," the next elevator. The samples Whitehead provides of Fulton's texts amaze: a hybrid of quantum physics, the pre-Socratics, and Teresa of Avila's Interior Castle.

Even more impressive than that, though, is the way Whitehead incorporates the thematics of race. It's as simple as taking the metaphor of "lifting up the race" or "still I rise" and making it literal, which then gives him room to make it metaphorical again in a fresh, invigorating way.

All that and a terrific protagonist, the grounded-yet-soaring Lila Mae Watson, whose conversations with Fulton's housekeeper enable The Intuitionist to pass the Bechdel test. Classic noirish revelations and betrayals keep the plot percolating, and the novel's style dazzles--more so than did that of Railroad, actually, I would say. Maybe as a first-time novelist, Whitehead gave himself more room to show off as a writer.  I didn't mind a bit.

Sunday, May 14, 2017

Rod Dreher, _The Benedict Option_

A VOLUME FAR from the beaten path for me, but the New Yorker profile on Dreher called it a good book for the "ideologically bi-curious," so off I went to the local Catholic book store.

The book's subtitle is "A Strategy for Christians in a Post-Christian Nation," which neatly sums up the book's purpose. For Dreher, the secularization of the United States has advanced to the point that Christians who want to live as Christians will have to be deliberate and tactical about it, for our society's default tone is at best indifferent to Christianity when it is not hostile.

Conservative Christians (he seems to have in mind conservative Roman Catholics, most Orthodox communities, and evangelicals--mainline Protestants, not so much), he writes, thought that they could stem the tide by campaigning and voting for Republicans. As we readers of Thomas Frank's What's the Matter with Kansas? know, this did not work out. Rather like African-Americans and the Democratic Party, conservative Christians got plenty o' lip service around election time but not much else.

We are in a time of Flood, Dreher says in his first chapter, and Christians need an Ark.

The "Benedict Option" is his proposal for that ark--so named for St. Benedict, founder of the Benedictines, a monastical community that kept the Church alive in the wake of the collapse of the Roman Empire and the ascendancy of the barbarians.

Dreher does not envision a new cloistered, celibate community (although he respects such efforts) so much as a "parallel polis," a society that in-but-not-of the larger one. Not isolation, not a siege mentality exactly, but a restricted engagement, more inward- than outward-focused.

The politics of the Benedict Option are less about laws and elections than developing an alternative community, more centered on families and congregations. Churches will focus more on liturgy and the sacraments than on getting people to rallies. Liturgy will be more traditional--fewer drums, guitars, and PowerPoints, maybe. Christians will definitely need their own schools, and some will have to sacrifice fast-track professional careers if those careers involve unhealthy compromise with secular values. Gay Christians are welcome provided they neither have actually have sex nor wish to be married.

Wait, what? Right. Turns out that the Obergefell decision and the subsequent persecution of "bakers, florists, and photograhers" is Dreher's Exhibit # 1 that the United States is inhospitable to Christianity.

Well, I don't know. I know a lot of Christians and Jews for whom the profounder meaning of their faith does not depend so utterly on a few verses in Leviticus and a few strictures from Paul.

One of those Christians is someone I know Dreher respects, Dreher being the author of How Dante Can Save Your Life.  In Canto 26 of Purgatorio, a great crowd of homosexuals and another great crowd of heterosexuals are running through fire to purge themselves of lust. Purgatory is just a way station, really, so they are all alike headed for Paradise, gay and straight both. Who knows whether Dante, if he lived now, would support gay marriage, but it's clear that even back in 1312 he did not see that there was any important difference between homo- and hetero-.

Saturday, May 13, 2017

Emma Cline, _The Girls_

FINISHED THIS, AS fortune would have it., the same day that the new Granta arrived, in which Cline is tipped as a Best Young American Novelist. She was already on the radar, one would have to say--blurbs from Jennifer Egan, Richard Ford, and Lena Dunham (!), reviewed all over the place, lots of best-of-the-year lists.

And the book is good. Premise: teenage girl caught up in periphery of a Manson-ish cult, but not in on the murders, tells her story some forty years on. Each of the novel's four sections begins with a brief account of the narrator Evie's present circumstances, house-sitting in a friend's vacation place, then rewinds back to 1969 and the story of how Evie fell in with the crew surrounding Russell and his experiment in intentional community.

The brilliant thing about the novel is Evie's being attracted to the group not by Russell's seedy charisma or past-its-sell-date hippie palaver, but by Suzanne, one of several young women orbiting Russell, but for Evie a star all her own. Fourteen or fifteen when the novel opens, Evie is looking hard for clues of how to be in the world. Her self-absorbed, thwarted parents are not providing any useful ones, nor are her pettily jealous schoolfriends, nor her suburban neighborhood. The long-haired, beautifully stoned, don't-give-a-fuck girls she sees in the park one day, however...especially Suzanne...seem to be angels from a freer, more exciting world.

Suzanne is a genuinely memorable fictional creation. I was myself fifteen in 1969, and I remember seeing such creatures passing by in the park, and Cline seems to have a preternatural sense of what it would feel like to be drawn into their force field, and what it might cost.

Mild reservations: some anachronistic touches in the accounts of the music, and in the presence of tattoos--as I recall 1969, only bikers and Navy guys had tattoos. Also, the 50-some-year-old Evie does not sound much like a 50-some-year-old.

The 15-year-old Evie, though, has an utterly convincing voice, even when it lifts into its lyrical upper register, which it does gratifyingly often, even in so unlikely a moment as visiting a neighbor boy's room:
Teddy led me to his room, expectant as I glanced around at his boyish novelties. They seemed arranged for viewing, although it was all junk: a captain's clock whose hands were dead, a long-forgotten ant farm, warped and molding. The glassy stipple of a partial arrowhead, a jar of pennies, green and scuzzy as sunken treasure. Usually I'd make some crack to Teddy. Ask him where he got the arrowhead or tell him about the whole one I'd found, the obsidian point sharp enough to draw blood. But I sensed a pressure to preserve a haughty coolness, like Suzanne that day in the park.

Friday, May 12, 2017

George Saunders, _Lincoln in the Bardo_

I LIKE IT a great deal, but speaking as a longtime fan, Saunders's first novel is not at all what I was expecting. Our laureate of the alienation of labor in late capitalism, Saunders's short fiction tends to be set in a world recognizably our own, given a bit of satirical exaggeration--that is, even though we have no theme parks where employees have to pretend to be Neanderthals, nor teenagers raised to be marketing focus groups, nor immigrants used as lawn decorations, such things seem all-too-possible extrapolations of the world we live in.

The setting of Lincoln in the Bardo, however, is quite literally other-worldly. As the title tips off to anyone with a cursory knowledge of Tibetan Buddhism, we are in the afterlife. What's more, we are in a peculiarly American afterlife, contemplating Lincoln, that most American of presidents, in the midst of the Civil War, that most American of historical traumas, as he grieves for the death of his young son, Willie.

The novel's most prominent characters, though, are neither Lincoln nor Willie, but the... souls, I guess we have to say, of several folks buried in the same cemetery Willie has been buried in. Unconvinced that they are indeed dead, confident that their loved ones are making every effort to revive them, they are hanging around in increasingly attenuated and bizarre forms, refusing to "move on." Hans Vollmer, Roger Bevins III, and the Rev. Everly Thomas are the ones we hear from most often, but there are quite a few more, including some slaves from a different section of the cemetery.

The plot turns on their recognition that Willie really ought to "move on," and that for the sake of the nation Lincoln has to "move on" as well--to which ends they bend their efforts, compromised though they are by their incorporeality.

These characters, for all their delusions, are great fictional company. It's as though they stepped out of some wild evening's collaborative composition by Melville, Hawthorne, and Stowe during the heyday of Matthiessen's American Renaissance. The afterlife conjured here evokes the same moment in the history of American spirituality: a little Emerson, a bit of borrowing from the Mysterious East, a good bit of home-made Christian cosmology á la the Millerites, the Mormons, the Shakers, and the whole burned-over district crew.

Lincoln in the Bardo is like one of those great mid-19th-century American one-offs, say The Confidence Man or The Blithedale Romance; the surprise is that within all the pastiche it turns out to be emotionally affecting as well, in a way that my fellow Saunders-fans will recognize.

Monday, April 17, 2017

Brian Blanchfield, _Proxies: Essays Near Knowing: a reckoning_

VERY MUCH LOOKING forward to the poetry collection that will be the sequel to A Several World, but glad to have this.

The twenty-four essays in Proxies were written, a prefatory note tells us, with two compositional principles in mind: one, they are based only on what Blanchfield could call to mind, without recourse to the internet or "other authoritative sources," and two, they "stay with the subject until it gives onto an area of personal uneasiness, a site of vulnerability, and keep unpacking from there."

The first principle means that the essays contain their share of misstatements, but Blanchfield provides a useful appendix, "Correction," in which the record is set straight and we learn (for instance) that Sylvia, not Juice Newton, recorded the hit version of "Tumbleweed." (I flipped back to "Correction" on finishing each essay, but I noticed that it would also work well read straight through from beginning to end, so perhaps it could be seen as the 25th essay.)

The second principle means that this is one amazing, delightful, continually surprising, and deeply worthwhile book. A brave book--not in a showy way, but convincingly brave nonetheless--and a beautiful one.

Presiding presences here include Montaigne, recalled in the titles (e.g., "On Owls," "On Sardines," and so on) and in the essays' "que sais-je?" premise; Roland Barthes, especially the Barthes of Mythologies, in the book's willingness to put under the microscope such routine and seemingly (but not really) inane phenomena as minute-taking and academic dossiers; Maggie Nelson, for the unsensationalized honesty of pieces like "On Man Roulette" and "On Frottage"; and the great Guy Davenport, for the whole book's boundary-hopping intelligence, lucidity of style, and clarity of perception.

(By the way, Blanchfield has a wonderful essay on Davenport in the Spring 2017 issue of Oxford American, and you should go read it right now.)

I read the book one or two essays at a time over about several weeks, which worked nicely, but the book has a gathering momentum, becoming as it proceeds more personal, virtually a memoir, so by the time you get to "On Reset," "On the Understory," and "On the Near Term," it actually becomes rather difficult to put down.

Is the rumor true that he has been hired by a university in Idaho? If so, smart move, Idaho.