Will the Next J.K. Rowling Be a Robot?

As if it isn’t already difficult enough to win a literary contest, writers who submit fiction to The Nikkei Hoshi Shinichi Literary Award competition in Japan have to contend against robots.

As the LA Times reports, four out of more than 1,400 entries to the competition — which accepts submissions from robots as well as people and is named for Japanese Sci-Fi writer Hoshi Shinichi — were co-authored by computers. Although it didn’t win the award, one hybrid work was selected by blind judges to move on past the first round.

According to Hitoshi Matsubara, the professor who led the team of researchers and robots responsible for the successful cyborg entry, humans performed about 80% of the work for the hybrid novels. As The Japan News explains, researchers came up with the story’s major parameters, like its plot and the gender of its characters. They then harvested words and phrases from a (human-written) novel and compiled them into an extensive archive. Using this archive, the computer created sentences and assembled them into a story based on the humans’ outline.

Writers who are full of ideas but can’t get them down on paper shouldn’t rejoice just yet. Matsubara told The Asahi Shimbun that there are still “many problems to iron out.” Sci-Fi novelist Satoshi Hase, who read the cyborg stories, agrees. Although Hase was surprised at how “well-structured” the robot novels were, he noted that there are still “some problems…such as character descriptions.”

The Japan News reports that one of the AI entries was appropriately titled, “The Day a Computer Writes a Novel.” Decide for yourself if this excerpt from the story is cause for concern: “The day a computer wrote a novel. The computer, placing priority on the pursuit of its own joy, stopped working for humans.”

Where Pop Culture and Literature Intersect: An Interview with J. Robert Lennon and Rob McCleary

“And So, We Commence” by J. Robert Lennon and “Captain Stubing Has Collapsed” by Rob McCleary are featured in the 200th issue of Recommended Reading, along with pieces by Morgan Parker and Téa Obreht. To commemorate the 200th issue, dubbed “The 200 Episode Club,” the writers were asked to write about the 200th episode of a sitcom.

Chelsea Baumgarten: The idea for this project was to write about the 200th episode of a sitcom. Why did you choose to write about The Cosby Show? How do you think fiction writers can contribute to a political, and often very sensitive, conversation like the one that surrounds Bill Cosby?

J. Robert Lennon: I tend to steer away from politics in my fiction, so The Cosby Show seems like a weird choice in retrospect. It was an interesting technical challenge, and once I got the idea, I couldn’t turn away from it. The train wreck that is Cosby just seemed so fascinating to me: the cruelty, the delusion, the lies. The anger and resentment he must have felt to put so many women through such humiliation. And his having to act on so many levels — many of the rapes were, astoundingly, fake auditions. I mean, who knows what was going through the real guy’s head all those times he was pretending to be America’s greatest dad — maybe just some great, roaring cognitive-dissonance wind — but I wanted to take a stab at imagining it.

CB: In “And So, We Commence,” Cosby, or Cliff, views his public persona–wholesome, funny TV dad–as the “real” him and his private persona–a serial rapist–as a role he plays. Eventually the two become inseparable and he can’t identify what’s real. Can you talk about this approach to writing your piece, and about the fragmentation and self-denial of Cliff?

JRL: I guess a writer wants — needs — to think that even the most despicable person is worthy of understanding, compassion, even. And maybe that’s my answer to your earlier question, about writers contributing to a sensitive conversation. For me, understanding is the only real entry into a character — even one, like Cosby, whose crimes I despise, and one I feel, like a lot of people, personally betrayed by. He made me laugh so much! I ground the grooves to dust on his first few standup records. I feel shaped by his humor — it’s in my blood. And now I want it out. So I guess my move was to imagine that maybe, at some point, Cosby would have preferred to be Cliff, would want to remain Cliff, rather than to return, permanently, to the self that felt compelled to rape. I had to believe that to want to write about him. And believing that let me feel the drama of the curtain call — that final moment when the game was finally up.

CB: Rob, in “Captain Stubing Has Collapsed,” you riff off of Frank O’Hara’s, “Poem [Lana Turner has collapsed!].” O’Hara, who famously loved visual art and film, often addressed popular culture and celebrity life with his poetry. Some writers, however, are hesitant to do so. What do you think writers can gain from engaging with popular culture in their work?

Rob McCleary: I think the issue isn’t what the author stands to gain from engaging popular culture as what they stand to loose from making an arbitrary point of not engaging it. The idea that there is a hard stop between “popular culture” and art appeals to our need to believe that there is a hierarchy of creativity, beginning with weighty novels about “important” subjects, and descending in order through film to television, then to all forms of internet expression, bottoming out at the lowly, self-published Kindle. (Sorry lowly, self-published Kindle. I’m not picking on you, I’m just trying to make a point.)

Mainstream publishing is happy to play along with this consoling illusion because they haven’t figured out a way to monetize the mashup culture which has come to dominate our world like film, television, and the internet have. They are happy to reinforce our timid, childish belief in life as a meritocracy where only the best works of art get attention, and they can perish the idea that someone could’ve written a best seller, an important cultural statement, or a deep insight into our current condition that will never see the light of day.

Not engaging popular culture as a point of honor makes about as much sense as refusing to like a Taylor Swift song for the sole reason that it’s a Taylor Swift song. It also protects us from the frightening reality that creativity does not observe arbitrary rules, formats, human-imposed hierarchies of importance, cultural norms, or even the shared social construct we refer to adorably as “reality.” It protects us from the fact that we now live in a post-McLuhan world where the medium is no longer the message, the medium is irrelevant. And if you cannot accept that, you risk becoming irrelevant.

CB: Frank Sinatra, Andy Warhol, Lana Turner, and Captain Stubing all collapse in your piece, and the eventual collapse of The Love Boat series itself also looms. There is something so sad and powerful in the lines, “Frank Sinatra does not know why the Frank Sinatra records no longer sell,” and, “Andy Warhol has had enough of Andy Warhol.” What do you think we invest in celebrity personas, and why are we so affected by their downfalls?

RM: Celebrity is, at it’s atomic level, fame. And fame is one of the currencies of status, the secret, shameful obsession of human society. In his book Status Anxiety, Alain de Botton states:

“Every adult life could be said to be defined by two great love stories. The first — the story of our quest for sexual love — is well known…it is socially accepted and celebrated. The second — the story of our quest for love from the world — is a more secret and shameful tale. If mentioned, it tends to be in caustic, mocking terms, as something of interest chiefly to envious or deficient souls…. And yet this second love story is no less intense that the first, it is no less complicated, important or universal, and its setback are no less painful. There is heartbreak here too.”

It’s a cliché to say the trials and failures and destruction of modern day celebrities is our Greek tragedy, which does not automatically make it any less true. Scholar Bruce Meyer states that tragedy in the Greek sense is impossible in our western, Christian universe. God is Santa Claus. Always looking out for us. Omniscient. Helping professional athletes catch Super Bowl winning passes. Deciding that dum dums like George W. Bush should ascend irresistibly to the Presidency. In the light of our everyday struggles and pointless sufferings we are presented with some real head scratchers. Did God hate the loosing Super Bowl team? If God cured my kid’s leukemia, couldn’t we have all saved a lot of time and effort by Him simply not giving them leukemia in the first place? Enter celebrity tragedy with the answers.

God is supposed to provide us with the satisfying, ordered (therefore comic) resolution to all our problems. Celebrity train wrecks reflect the reality of the bullshit tragedy of our day-to-day lives, flawed to its core, like us. Self-sabotaging, imbecilic, and above all consumed with the sort of singular narcissism that makes us believe there’s a God concerned with the utterly dreary minutiae of our daily lives. We are obsessed with celebrity culture not because we are obsessed with celebrities. We our obsessed with celebrity culture because we are obsessed with ourselves.

Midweek Links: Literary Links from Around the Web (March 23rd)

Looking for some interesting reading to get you through the week? Here are some literary links from around the web to check out:

Should writers reconsider their relationship to publishing?

How climate fiction (cli-fi) is changing literary studies

Roxane Gay’s debut novel is being made into a movie

99 ways of looking at Franz Kafka

Knausgaard and the rejection of empathy

A look at the Weird in NYRB Classics books

The best books about the dangers of the internet

Dzanc has a new fiction prize with a huge $10,000 advance award

Paul Beatty on humor, race, and how few funny books get published

A humorous look at all the things you need to worry about when writing your novel

Cynthia D’Aprix Sweeney on the Surprises and Reinventions Behind Her Blockbuster Debut

Cynthia D’Aprix Sweeney, a debut novelist in her 50s, worked for many years as a nonfiction writer before taking a serious stab at fiction at the age of 48, with the encouragement of her friends and husband. She attended the low residency MFA program at Bennington College, where she began work on her novel, The Nest, which was subsequently sold in a seven figure deal to Ecco.

The Nest tells the story of the dysfunctional Plumb family through the struggles of adult siblings Melody, Beatrice (Bea), Jack, and Leo, as they battle over an endangered large family inheritance. It’s a deftly told, and sometimes humorous, tale about overcoming old resentments and growing up emotionally as a family and as individuals.

I had the pleasure of meeting with Cynthia D’Aprix Sweeney over coffee and pretzel croissants at the bustling City Bakery in New York on a recent weekday before her book launched. She is a humble and grateful writer, as well as a warm and funny person. We talked about the importance of writers (and friends) helping each other out along the way, about self doubt and breaking down writing myths, and about the importance of dedicating yourself to your passions when the time is right for you.

Catherine LaSota: You’ve said that writing fiction or writing a novel was a secret goal of yours. Why secret?

Cynthia D’Aprix Sweeney: I wouldn’t say it was a secret goal — it wasn’t like I spent all these years secretly wanting to write a novel. I spent a lot of years thinking that it wasn’t something I wanted to do, I think sort of as a protective mechanism. Because I didn’t think I could. I tried writing fiction in my late twenties in a very half-assed sort of way, and, unsurprisingly, was unsuccessful at it. And I just sort of convinced myself that I loved fiction, I loved reading, and it’s a really important part of my life as an observer, but not something that I could actually do.

CL: Because you thought you couldn’t?

CDS: Yeah. I just thought that if I tried, and I really couldn’t, then I wouldn’t love fiction anymore. It was such an elaborate labyrinth of defense mechanisms. But then I was trying to get out of corporate marketing writing and do something else, and I was writing personal essays, and I liked that, I loved that. But, I quickly realized I don’t love writing about myself.

CL: Why do you think that is?

CDS: Because I don’t think I’m all that fascinating! And, I’m not comfortable exposing people in my life who don’t choose that. Also, this time period was around 2003, 2004, and it was really the rise of, the proliferation of, personal blogs, and personal essays, and mommy blogs, that, as a reader, were in ways really, really enjoyable. But I knew I was never going to write about my kids — it felt like such an intrusion, a violation of privacy. You know, they’re old enough to understand.

CL: It’s interesting that you’re not comfortable with exposing the people in your life through your writing, because that very thing happens with the characters in your book: one character exposes another’s secrets through her fiction writing.

CDS: I wrote something for the Times Magazine when they had a one-page humor column called “True Life Tales.” It was just a funny story about me taking the kids to a museum in New Jersey, and they wanted to go through the public touch tunnel–it’s like sight deprivation, and you literally need to crawl through on your hands and knees.

CL: That sounds terrifying.

CDS: It’s terrifying! But it was a funny recounting of that story, and they ended up not taking it, but I worked on it for a while because this editor really liked it. And my older son was probably 10 or 11 then, and he read it, and he said, “Oh, my teachers are going to read this!” It was something funny he said that was in there, and it didn’t feel like it would be embarrassing to me, but it was to him. It was a real moment of, oh yeah, they have their own lives, and their own embarrassments, and their own social circles, and that’s not cool for me to be exploiting what I think is hilarious about them.

CL: Maybe your kids will write their own stories someday.

…that first thing I wrote was terrible, and I knew it was terrible. But the difference for me between trying it when I was 28 and trying it when I was 45 was that I realized that terrible didn’t mean I couldn’t do it.

CDS: Maybe they will! So anyway, I did place something else on the “True Life Tales” page, and I was trying to figure out how to write the things I wanted to write that could actually be published somewhere. I was working on a different essay, about a friend of mine who had died, and I couldn’t place it anywhere, but I got some nice rejections. I showed them to my friend Liza, who had her MFA from Columbia and was just on the other side of having two small kids, and she wanted to start a writing group to get herself back into writing. She read my essay and said, “I think you should just write it as a short story.” And I said, “oh, I can’t write fiction, I’m not going to do that.” And she said, “What are you talking about?” She was so dismissive and incredulous about that thought. She said, just do it and let me read it and I’ll help you figure out, and if you’re not doing something right, I’ll tell you, and I’ll give you writing exercises. So I did. And that first thing I wrote was terrible, and I knew it was terrible. But the difference for me between trying it when I was 28 and trying it when I was 45 was that I realized that terrible didn’t mean I couldn’t do it. It just meant I had to work harder on it. I was like, oh yeah, of course. And there was one page that I wrote and I thought, that’s one page I’m not embarrassed by. If I can do one page, I can do 15 — I just have to spend time on it.

CL: That fear of not being able to do it–I think all writers go up against that fear at some point, often throughout their whole lives. How do you get past that fear?

CDS: For me, it felt presumptuous. I didn’t grow up knowing people who were artists. It kind of felt like saying, I’m going to be an actress, or, I’m going to be an astronaut.

CL: But people actually do those things!

CDS: I know! Once I let go of that, I was just like, oh yeah, this is just like any other writing I do — it’s just time and knowledge and figuring out what the craft tools are, and putting in time.

CL: It sounds like having your friend, someone who was outside of your writing, encouraging you, was very important.

CDS: Right. That’s the story of my life the last seven years up until this point, just having a lot of outside people say, “Why aren’t you doing this? What’s wrong with you?”

CL: Did it have to reach a critical mass of people saying that? Did you have to hear it a certain number of times to believe you could write fiction, to act on that encouragement?

CDS: My kids were getting older, and the work that I was doing when my kids were younger was not particularly lucrative. It was more that I needed to be working to maintain my sanity and be out in the world. So once I didn’t need the flexibility of that work anymore, I really wanted to commit more fully to a career, and I knew I didn’t want it to be the thing that I’d been doing. Or, if it was going to be the thing that I’d been doing, I needed to find a way to make it more interesting. And then that just happened to coincide with me having people in my life who were going through the same thing in different ways and different places, and all of us kind of supported one another.

I’m friends with Jill Soloway, and she would repeatedly say to me around this time, “You are a beautiful writer. Why aren’t you spending more time writing what you want to write?” We had an internet group of women all over the country who were all connected in some way, and we had a private website that only we could access, and we checked in every day. Sometimes we posted work, but it was mostly just discussion, and working out problems, both personal and professional, and parenting, and relationships, all of that stuff. Everyone was creative and feeling isolated for whatever reason, so it quickly became this very intense, intimate, wonderfully supportive group. Like what I imagine consciousness-raising to be in the 70s–and maybe it was, I was a kid then, so! (laughs) It was fun, because everyone was a really good writer. It was fun to do, to hang out in a virtual space with people who are funny and clever and honest.

CL: That’s so smart, because there are people who try to get writing groups together–myself included–and just coming together to talk about your work all the time…

CDS: It’s a drag!

CL: It’s a drag!

CDS: It’s really true, and I think I really needed that in that point in my life. I really needed people who were already creatively successful to be saying well, you should be doing this, too.

CL: Like they were bringing you into the fold?

CDS: Yeah, or just saying, what are you afraid of? And then I finally went, “yeah, what AM I afraid of? I’m not a lost, possibly slightly depressed, 28 year old — I can probably figure this out.” It was really empowering. I feel really lucky to have had so many people, during the last seven years, who have really encouraged me.

My husband is my biggest fan and cheerleader, and I think he was always kind of frustrated that I didn’t commit to doing something creative a little sooner, and so when I did he was really excited.

CL: This sounds so familiar.

CDS: Good! Good! I think it’s a really common story. And I can tell you from doing the low residency program at Bennington that it is a common story. And sort of the same trajectory: you know, I tried it when I was younger, and I wasn’t really successful at it, and I hated everything I wrote, and so I gave up, and then I had another job, and then I had some kids, and now I’ve got some time, and I’m going to try again. And I don’t think it’s a bad thing, because there are certainly pitfalls to committing to that when you’re really young. You’ve got some years probably when there’s not really a lot going on.

CL: Or you’re still trying to figure yourself out…

CDS: Who you are, what you’re writing about. And what you are about. I mean, obviously, there are people who are the exception. I’m reading The Girls by Emma Cline right now, and there’s someone who’s figured out a lot of shit at 26.

CL: You could say, well, why was I not that way, where I could figure it out when I was that young? But you’re a different person, and you write different things, and you have a different life.

CDS: Exactly, exactly, exactly. It’s really hard to let go of that. I think that moving to Los Angeles was also huge for me because all of my friends out there are creative people who are sort of hobbling it together without such a great attachment to the result, because that’s what you have to do if you’re in comedy, or in television. It’s not quite as precious, and that was really inspiring to me, just seeing my friends work so hard on things that would maybe have no outcome, but be really invested in, well, this is what you do, this is your job. You’re just doing it every day, you’re saying yes to pretty much everything.

CL: Why do you think it’s like that in LA and not in New York?

CDS: I think Los Angeles is a place where the boundaries are more liquid, and the firmament isn’t so set. I absolutely believed, especially when I lived in Park Slope, and having so many friends who are writers, that that should consume me, and I wasn’t on it.

CL: Like you had your identity and writing fiction wasn’t it?

It’s just more rigid in New York, at least that’s my perception. Los Angeles is a town of people who are constantly reinventing themselves.

CDS: Like my friends who were writers had started really young, and that was their path, and this is their reward, and there was no entryway onto that. The opposite is true in Los Angeles. It’s not a straight shot for everybody. Everybody is up and down. You could be writing for a show, and then the show ends, and you’re back at ground zero. The next time you’re looking for a job, it could take you six months, it could take you years–so, in the meantime, you’re going to fill in here or fill in there, or maybe start a podcast. It’s just more rigid in New York, at least that’s my perception. Los Angeles is a town of people who are constantly reinventing themselves. You can literally be a waitress one day and the star of a TV show the next day. You can be 65 years old and be cast in a movie and all of a sudden have a career.

CL: You lived in New York for about 25 years, and then moved to Los Angeles and wrote this novel, The Nest, that takes place in New York. Even though you had lived in the city for more than two decades, with a place like New York, you can live here forever and never figure it all out. Did you find yourself doing much research for The Nest, and did you enjoy that process?

CDS: Yeah, I did a lot of research. I don’t know how you write fiction without doing research. The job is so much harder if you’re not doing research, because research gives you details, which is what you need to make it feel true. And it’s so easy. You have no excuse for not doing research if you’re a writer, because the internet!

I’ve been a writer for a long time, a nonfiction writer, and when I started freelance writing, if you wanted to do research, someone in the office had to have a subscription to LexisNexis, or you had to go to the library and look things up on microfiche.

CL: I remember microfiche! There’s something very romantic about researching that way, the way you can discover things.

CDS: There is something very romantic. Really early on in my career, I was writing about the Statue of Liberty, and I got to go out on the island and do research in their private library, and they have these enormous bound journals of old newspapers. It was really cool. I was able to read the newspapers on the day that the statue opened up.

CL: Let’s talk some more about the writing of this book and what led up to that. Why did you decide to pursue an MFA?

CDS: I started writing fiction here in New York, and then I got sidetracked for about a year when I moved my family out to Los Angeles. I picked it back up once we were settled in Los Angeles, and I felt like, ok, I’m 48, I’m giving myself one year to figure this out, one year to really commit to writing fiction, and at the end of the year I have to say yes, this is the thing I’m going to focus on, or I have to figure out what else I’m focusing on. I took classes at the UCLA Writers Extension, and because UCLA was so far from my house, I was doing it online, and I realized I wanted to be in an actual classroom, not a virtual classroom. I heard about low residency MFA programs, so I applied to programs. I decided to go to Bennington, and that was great, that was life changing

CL: What did the MFA program give you?

CDS: Deadlines. Community. Feedback.

CL: Different community than you had with the online friends, and the workshops?

CDS: Yeah, because I didn’t really know any fiction writers. Bennington really allowed me to prioritize fiction writing in my life in a major way, because I’d made this commitment, I wasn’t going to blow it. I was really determined to get everything I could out of that program, and to learn as much as I could, and take advantage of every opportunity that was given to me. I did, and it was exhilarating. It was just really thrilling. I still have this feeling every day where I’m, like, my job is reading books!

CL: Isn’t that awesome?

CDS: Yes! I so vividly remember that first term at Bennington. I was very nervous about the amount of work I had to generate every month, but I also thought, I am required to sit in this office and read fiction for several hours a day. I honestly felt like a fairy godmother had made my wish come true. It was really amazing. I had great teachers, and teachers whose reading and writing aesthetics were very different than mine in some cases. It was really valuable to have someone hand me a reading list of people I never would have gravitated to on my own.

And then just being at the residency, there are ten-day residencies — that felt like such an incredible luxury to me. Even though you’re staying in a dorm room, you think, I have my own room! I don’t have to think abut what other people are eating all day for ten days. I only have to spend every day, morning to night, talking about fiction, hearing about fiction, listening to the guest lectures, meeting with faculty, and it was…exhilarating is the only word I can think of.

CL: You worked with Bret Anthony Johnston while at Bennington?

CDS: I did. I was in his workshop in second term. Paul Yoon was my teacher, and Paul and Bret ran the workshop together, and I got to know Bret then, and we became friends. Then he was my thesis advisor a year later. I had started working on The Nest just a couple of months before that. I thought it was going to be a short story. I was having a really hard time with it. It very different in tone than the stories I had been writing.

CL: How so?

CDS: I think I was doing the thing that most people do when they get into an MFA program, trying to write more “literary,” trying to mimic the people who are venerated, which I think is not a bad exercise. So the things I’d been writing were a little bleaker–I mean, humor always crept in, but it was always a little more wry than actual funny, and they were sadder.

CL: Did you enjoy them as much?

CDS: No, I did not (laughs). So I started The Nest, and it was just coming out in a different kind of voice, probably more akin to the type of voice I was writing before coming to Bennington. I sent it to Bret, and I was pretty sure that he was going to say, no, let’s put this one aside. I thought he’d say, let’s go back and work on your old stuff. But he called me up and said, “I think you’re having a hard time with this because I don’t think it’s a short story. I think it’s the beginning of a novel, and, I don’t want to freak you out, but if you can do this for 300 pages, someone’s going to want to publish this book. Why don’t we just work on this for the next three months?”

CL: What did it sound like to you when he said that?

CDS: I felt someone took handcuffs off! I wasn’t looking forward to working on the stories that I’d already written. There were two that I liked, but I’d been working on those since before I’d applied to Bennington, and they were so sad.

CL: What work had you applied to Bennington with?

CDS: I applied with the story that came out of the personal essay that I couldn’t sell, and I applied with something else that was a little lighter. I was really excited (when Bret encouraged me to keep working on The Nest). When I sent it to him, I said, “this is my favorite thing that I’ve done while I’m here.”

CL: That’s probably a good thing to recognize, right?

CDS: Yeah, but I also knew Bret. We were friends, he’s an amazing teacher, and he was in the final weeks of finishing Remember Me Like This. We had a shorthand already about writing and reading — we think the same way about writing and what’s important in writing, we talk about books a lot, and we generally agree on stuff, so I knew it was just going to be a brain dump. I knew he was going to teach me everything he had figured out about writing a novel in three short months, he was going to help me. And he did. I learned a lot. So when I graduated I had like 125 pages that I’d written, which was great.

CL: That is awesome. Was there a lot that surprised you in the course of writing the novel?

CDS: Everything!

CL: The novel opens with this scene of siblings starting in separate bars, and then coming together for lunch. Did you have any kind of a mapping out after that of specific points you wanted to hit?

CDS: In that first conversation with Bret, I said, “how much do I need to know about the ending?” And he said, “All you need to know is where you want to leave off each character emotionally. Not what’s happening plot-wise, but where do you want to leave them emotionally?” He also asked me if I knew where Leo would end up, and I did have an idea about that. A little past the halfway mark in writing it, I figured out what was going to happen for the rest of the book, in very broad strokes.

CL: Did the writing become easier or more difficult at that point?

CDS: It almost becomes harder, not quite as fun, because you’re not discovering as much stuff. I think when you reach the point in the first draft where you are just writing what you know is going to happen, that becomes harder, and I really slowed down. And I actually went away for a week by myself, because I really felt that I just had to fucking get through it. And then once that’s done, you go back, and then it becomes fun again, because then you start to see things you didn’t notice before, and threads that you can pull back, and pull forward. That’s my favorite part.

CL: You chose to write about four siblings in The Nest, and you have a book trailer where your friends are talking about their relationships with their siblings. Do you have any siblings?

CDS: I have three siblings. I’m the oldest of four.

CL: You’re Leo!

CDS: I am Leo! And I realized in horror halfway through the writing of the book that I am a Leo. How awfully Freudian is that?

CL: Yeah, but you’re not writing an autobiographical novel.

CDS: No, I’m not. And when I first started, there were three siblings, and then I realized the dynamic of four siblings is so deeply ingrained in me that I wanted there to be four, because I know how that works.

CL: Were any of the characters more difficult for you to write than others?

CDS: Melody was the most difficult for me to write. She came out in the first draft a little too cliché, a little too suburban housewife, status-conscious, a little more of a type. I really worked on her in the revision. I did a lot of work, trying to make her a more rounded person.

CL: She’s now a very sympathetic character in a lot a ways. She’s a fighter, and she works very hard.

CDS: Yeah, I think so. I think I just hadn’t tapped into that part of her for whatever reason. Also, in the first draft, Bea was a poet, which was such a ludicrous decision on my part. I didn’t want to write about a fiction writer, I thought that was…

CL: …a taboo thing for a fiction writer to write about?

CDS: Yeah. And Bret kept saying to me, “I don’t know if this is going to work.” And he read the first draft, and he said, I have to tell you, it’s not working. We talked about ways to fix it, and once I just gave in to making Bea a fiction writer, the story came so fast, it was so much fun to write. It was a really good lesson for me in not thinking about how something was going to be received, and just writing what makes the most sense to you.

CL: It sounds like you went through a series of breaking down fears about what you should or shouldn’t do: a fear of writing fiction, and a fear of writing about a fiction writer in your fiction.

CDS: I think that there are things, especially in an MFA program, that you hear all the time. One of them is, you can be sitting in workshop, and someone will be writing a story about someone writing their first book. So you kind of absorb the message that this is a first novel trope that you should avoid. But I think that is usually in the context of someone who is young, writing an autobiographical novel.

So when I was doing the revising, and once I realized that I’d put this artificial constraint on myself with Bea, and that it wasn’t good for the book, I really just popped the clutch. I thought, no one might ever buy this book, no one might ever read it, it might just be my “drawer novel,” so I’m just going to write whatever the fuck I want to write. I’m just writing to make myself happy.

CL: And then you sold the book! And people seem to love it.

The book takes place in New York City, it references the publishing world, there’s a literary agent as a character, there’s a fiction writer–I thought, no one is even going to ask to read this thing…

CDS: I’m going to have to remind myself of that a lot in the coming months. When I started writing a query letter, when I was looking for an agent, I thought, “I’m sunk!” The book takes place in New York City, it references the publishing world, there’s a literary agent as a character, there’s a fiction writer–I thought, no one is even going to ask to read this thing, or they’re going to read the first ten pages and get to the literary agent having a conversation with Bea, and I kept joking with Bret that they were going to leave it on the subway, on a subway bench. I just thought, I really thought, man, this is not the way to write a book that someone’s going to be interested in.

CL: You were wrong.

CDS: I was wrong. But when you read about finding an agent or what agents look for, it’s like, “well, I don’t want another book that takes place in New York City about someone trying to sell their novel.” I get what they’re talking about, but it’s very easy to let all of those voices come into your head in ways that don’t even apply to you.

CL: Well, there are all kinds of writing rules that exist because a lot of it is done badly, but you can also do anything, really, if you do good work.

CDS: Exactly. If you work hard enough on it, you can do whatever you want.

CL: Are you excited for your book tour?

CDS: I’m excited about it. I like talking with people about the book. I’ve been doing bookseller stuff, and that’s been really fun. Booksellers rock, and they’re so thoughtful, and interested, and I love hearing their thoughts about the book, and everyone wants to tell me their family money problems, and that’s awesome.

So, yeah, it’s fun to interact with people, with readers.

CL: I love that you say booksellers rock. They’re kind of the ultimate readers.

CDS: Bookstores are the best! My real secret desire is to have a bookstore. Maybe someday. I just love booksellers — those guys are so smart, and they’re so committed and passionate. That’s really been, so far, the best stuff I’ve been doing for the book.

CL: So what’s your writing practice like now? Do you have a routine?

CDS: I do. I like to write pretty early in the morning. Depending on where I am in the work process, I can write for two, maybe three, hours, and then I read or do research, and then sometimes, if things are going really well, I go back to the document again in the later afternoon. That happens when I’m deep into revision more than when I’m in a first draft.

CL: Are you working on new material now while you are touring?

CDS: Yeah, I’m trying to get a new book going. I’m at the very beginning, so it’s going very slowly. But it’s going.

The Pride of Life

by Christopher Sorrentino

Toller’s mother withdrew from the world at the age of forty-five, when Toller’s parents moved to California after Toller’s father accepted a job with a computer company in Santa Clara. Toller’s mother instantly found the region to be uncongenial, and retired to her bedroom, where she would stay, more or less, for the next twenty years. Toller himself was young then, in the pride of life, and to the extent that he was aware at all of his mother’s reclusiveness he assumed that since she was now old, she had every reason to stop being an active participant in life. Toller’s father was absorbed in his work and either paid little attention to his wife’s increasingly eccentric behavior or did not confide in his son about his concerns.

After Toller graduated from college, he and the girlfriend he’d had since his sophomore year broke up and Toller decided to follow his parents to California, having heard, as everyone used to hear, about how inexpensive and easygoing it was in the Bay Area.

“Great,” his father said. “Can’t wait to be able to see you all the time, sport.”

“Oh, Toller,” his mother said, “why would you want to come to this miserable place?”

Toller came anyway, bouncing around for his first few months before settling in the East Bay, in Rockridge, where he took a room in a big house on Bryant Avenue he shared with four other people. Once a month or so he borrowed a car from a friend and drove to Palo Alto to visit his parents at their small house in College Terrace. His mother would come out of the bedroom, and the two of them would usually spend some time sitting alone on the patio in the backyard, a quiet little space that caught the breeze and was shaded by a mature cotoneaster and a lemon tree. Richly colored bougainvillea climbed over the fence and up the rear of the house. His mother had hung a hummingbird feeder from the kitchen window overlooking the patio and often one of the creatures would buzz past them to feed. Toller would watch the blur of the bird’s wings as it hovered, dipping its beak into the feeder’s fuchsia-shaped port.

“There he is,” Toller’s mother would say, “my best friend.”

“Wow, he’s really great,” Toller would say, admiring the bird’s ruby throat and precise, almost mechanical, movements.

“My best friend out here,” his mother would repeat.

Toller would find this sort of exchange disconcerting: he’d bargained on admiring a bird (or a pretty house nearby, or the smell of eucalyptus, or whatever seemingly innocuous subject had briefly shuffled into position before them), and now he felt obliged to console his inconsolable mother in her loneliness. She would explain to him, again, that it was impossible here: no one interesting to talk to, nothing interesting to do, and nowhere interesting to go; and although Toller found none of these things to be true, at twenty-three he wasn’t yet prepared to reject sweeping, categorical generalizations, least of all when they came from his mother. In any case there was little to do other than to agree with her, since she seemed to grow irritated with him if he did otherwise.

*
Things happened to Toller over the next few years — he grew close to some people and drifted away from others; he took jobs that interested him, that bored him, that paid well or poorly; he traveled, he enrolled in courses, he moved to San Francisco with a friend, he played in a band. He took advantage of some opportunities and missed out on others. He was an ordinary person whose life began to take on a reliable shape, and when he took stock of his small share of failures he did not, as a rule, have regrets, or anyway he didn’t dwell on them.

Throughout, he returned again and again to the patio. The plastic hummingbird feeder grew cloudy and opaque and his mother replaced it. If it was rainy or cold, he and his mother would sit in the wing chairs adjacent to the fireplace in the living room. They’d talk while waiting for Toller’s father to arrive. His mother hated the weather and felt that it was making her sick. His mother, who refused to learn to drive, hated having to wait to be driven everyplace. His mother hated the shape in which sticks of butter were manufactured on the west coast, and she hated the taste of the milk. Since it had been some time since Toller’s father had tried to persuade her to accompany him to the various parties, dinners, barbecues, banquets, and other functions that he liked or felt obliged to attend, she no longer talked too much about how she hated the people who were being presented to her as potential friends. She did, however, forge intense, empty attachments to supermarket clerks, pharmacists, medical technicians, hair cutters, and tradesmen who came to the house to make repairs, and though she knew nothing more about them than the things she learned making small talk, she would relate the information to Toller in minute detail. His mother would tell him the elaborate plots of the television shows she watched. If Toller told her about the things that were happening to him, she would grow silent, as if he’d rudely brought up an awkward subject.

When Toller was thirty, various circumstances coalesced so that he found himself, all at once, without friends, single, unemployed, and quite unhappy. Now, abruptly, he was receptive to his mother’s particular view of things. For six months he sat on the patio or in the wing chair once and sometimes even twice a week, immersing himself in his mother’s opinions. He felt, rightly, that they were closer than they’d ever been before. It was her invigorating sense of futility that helped him get past the difficulties of the period, that and the cash subsidies that his parents pressed on him. Eventually, he found a place to live that he could afford, he found a new job, he made new friends, he met a girl. Things eased; life began to regain its reliable shape, and for the first time Toller began to resist his mother’s judgments, as though his fleeting keen appetite for them was overly reminiscent of the circumstances that had stimulated it. Besides, now that things had turned out well, so well, they seemed slightly ridiculous.

His new girlfriend, Margaret, was a lively and sensible young woman to whom a life like the one Toller’s mother was living was incomprehensible, and she bluntly pointed out to him that it was more than merely odd, the apologetic word Toller had taken to using to describe his mother, but: pathetic, limiting, pathological, antisocial, paranoid, and crazy. She’d majored in East Asian studies at Stanford, and Toller — who was both offended by this evaluation and strongly enough infatuated with Margaret to lend credence to her every utterance — pedantically questioned her qualification to make such a diagnosis.

“It’s not a diagnosis, Toller. These are colloquial expressions in everyday use. When someone tells someone else that a third person they both know is paranoid or antisocial, everyone’s clear on the meaning.”

They’d left the house in College Terrace and were stopped at a light on Page Mill Road. Glass office buildings sat facing the road from the south behind acres of parking and a wide strip of landscaping that ran parallel to the sidewalk; on the north side, hidden behind thick growths of trees, were the winding, circular residential streets nestled at the base of the Stanford foothills. Though it was a cool night, they had the windows partly open and the good smell of wood smoke came into the car.

“I’m not clear on it, Margaret.”

“Wind chimes.”

His parents’ new neighbors were a couple around Toller’s age who had moved into the house next door earlier that year; they had installed in their backyard a set of wind chimes whose presence, Toller had noted, was gradually unhinging his mother, who now seemed to view wind chimes as a prominent element in an imagined version of the loathsome state’s coat of arms. For several months, no conversation with her had been without its obligatory reference to the ubiquitous device, whose percussive tones — when he’d even noticed them — Toller had always found pleasant. Tonight, Toller’s mother had subjected them to an extended harangue about the neighbors’ chimes: how the slightest stirring of the air caused them to jangle, how their particular pitch was especially annoying and atonal, how the breeze itself — once so welcome and refreshing — seemed to be conspiring against her, invariably starting up at exactly the moment when she sought out a quiet moment on the patio . . .

Margaret had interrupted: “Have you talked to the neighbors? Maybe they’d be willing to move the chimes, or even take them down.”

Toller’s mother waved the idea away irritably, her lips pursed. “I’ve never spoken to those people,” she’d said.

Now the light turned green and Margaret put the car into gear. “That was really something,” she said, softly.

“Yeah,” Toller said. “She’s odd. I agree. But it’s been hard on her out here. Totally new place, no friends.”

“Toller, she’s made it hard on herself. She’s made it impossible. How long has she been out here? Twelve years?”

“About.”

“Does she even go to the movies?”

“She can’t. She doesn’t drive.”

“Toller. My grandmother drives. She’s eighty-two. Born and raised in Taishan. She learned when my dad finally persuaded her to move down to Campbell from the city.”

Toller didn’t know how to respond to the news of this awesome accomplishment.

“And friends, Toller? Doesn’t she have any old friends she stays in touch with?” Toller explained that his mother had perfectly naturally lost touch with some friends, had fallen out with a few others, and so forth. He did not mention the occasion, a year or so earlier, when an old family friend had called to say that she was traveling in the Bay Area and that she’d love to drop by for drinks one evening. Toller had been there on the evening in question, and was disturbed that his mother pulled the curtains and left the lights off when it began to grow dark. When the doorbell finally rang, at about six o’clock, his mother had raised a hand for silence, and the three of them had sat there in the dark, his mother with her index finger laid across her lips, until the intruder had departed.

“Let’s assume for the sake of argument that she’s right,” Margaret continued. “That it’s horrible here: horrible, vapid, unwelcoming. Which isn’t true, Toller. You know it isn’t. I’m from here. It’s very hard for me to sit across that table from her and politely listen while she tells me that everything I identify with is stupid and phony. And also when you agree with her, which, really. But let’s assume just for the sake of argument that she’s right. How often does she leave?”

“Leave?”

“You know. Get on a plane and go back to whatever home means to her. Take off for a week in Rome or Paris. Hawaii. She doesn’t work. Your dad makes money. How often does she get away from this horrible place?”

Toller remained silent, half-expecting to hear about the heroic grandmother’s annual pilgrimages back to Taishan.

“You’re the one who told me that your mother never leaves the bedroom. What is she, a character from a nineteenth-century novel? Some Victorian lady with the vapors? What is that if not antisocial, and pathetic?”

“I wouldn’t have told you if I knew you were going to use it against her.”

“First of all, reminding you of something that you yourself told me is not using it against her. Second of all, you wouldn’t have had to tell me a thing.”

Margaret was right, but for now Toller only amended his thoughts of his odd mother to characterize her as someone who’d lost her way. That her actual life, a life that held her interest, had always seemed to exist at some point in time prior to the present, that the possibility of fulfillment had always seemed irretrievably lost to her, were conclusions that eluded him, as if the long crisis and profound isolation of the current setting threw these essential truths into such sharp relief that they were unrecognizable. Margaret was right, and for love of her Toller did find the limit to which he was willing to subjugate himself in order to align his behavior with his mother’s expectations, as always defined by her cloistered outlook. Margaret was right, and she alone seemed to have established a rapport with Toller’s mother, a rapport she felt she’d achieved through the respectful exercise of candor. She thought the older woman needed to be stood up to; needed — to use another colloquial expression in everyday use — a reality check. But Toller’s mother’s refusal to accept her adult son’s assertion of his adult prerogatives was beyond Margaret’s understanding, and she couldn’t imagine how reckless nearly everything that he undertook seemed from the vantage of the bedroom. So when Margaret was seven months pregnant with Toller’s baby and the couple decided to take advantage of their underemployment to spend two weeks alone at her parents’ cabin on the north shore of Lake Tahoe, Margaret urged Toller to assert himself while he nervously prepared to inform his parents over the phone of their plans. She didn’t understand his nervousness. He was thirty-two.

“Why would you want to go there?”

“It’s beautiful, Mom.”

“Toller, nothing in California is beautiful. It’s all ugly. And you sound like a jackass, a true California jackass. One of those jackasses who’s always talking about getting away, about taking the weekend. One of those sun fetishists who worships the weather and the fresh air. One of those self-righteous jackasses who belongs to hiking clubs, who wears a baseball cap, who — ”

“Mom, we’re going. Margaret really wants to take this time before the
baby comes.”

“And what about the baby? Don’t you think you ought to be more careful about money, now that you’re expecting a child?”

“I don’t . . . I’m not . . . I — ”

“How are you going to take care of it, hm? It’s a big responsibility, a baby. Have you given it any thought? Any thought at all? Or is it all you and Margaret can do to think about your fun, your vacation at this lake? This is a life, a human life, that you are responsible for — forever! Neither of you has a real job. If I were in your shoes I’d just take those two weeks to hunker down with the classifieds each morning and try to find work. It’s time to be an adult, Toller, not one of these jackasses here in California, grown men and women driving pickup trucks, who think life is all about fun and bicycling in silly shorts and a helmet and wind chimes. Wind chimes! For God’s sake!”

Toller drew his attention from the abyss that had opened in the telephone receiver he held in his hand; looked around the apartment, that his mother had never seen, the apartment in which he and Margaret lived; at the books and pictures, the newspapers and mail stacked on the table, the stasis and the flux, at Margaret herself and her wondrously swollen belly, all the evidence of his life that his mother refused, at the risk of derangement, even to acknowledge. The fullness of it all, the friends she would never meet, the adventures she refused to take interest in, the enthusiasms she could not comprehend — even his own child, this grandchild, she would never really know; her stunted awareness would derive only from the monthly appearances it would make on the patio. Toller’s mother should have understood him as well as anybody, but she understood only that he was the suddenly recalcitrant instantiation of the child who had once unquestioningly accepted her authority over every sphere of his life.

“Toller!” she brayed. “I don’t want to hear about it if you find yourself in financial trouble! When you were coming down here a couple of years ago so upset and unhappy, I thought you were coming to your senses! But it appears that you’re forgetting every lesson you should have learned!”

For the very first time Toller understood that his mother was truly the enemy of everything he was, all the things he’d sedulously worked to become, and that their connection had always been entirely, deceitfully, dependent on his successfully masking those things from her. Even her embrace of Margaret seemed doubtful: with the spat pronunciation of the hard consonants in words like California and jackass, words struck against the palate as if to generate sparks, he knew that she was identifying for him what she saw as the exact source of the contamination.

“Mom,” he said, “I know what I’m doing. It’s a vacation. People take them.”

People. Only in California would people take a vacation when they’re not working! Vacation from what?

“I don’t have to ask your permission, Mom.”

“How dare you!” she said. “How dare you! You little so-and-so!” There was a strangled noise, as if the heart of her indignation was beyond expression, and she slammed the phone down, leaving Toller, and Margaret, shaken.

*
Toller’s father, vivid to him in nearly all other contexts, seemed to him (it must be said) to be a cipher in connection with his mother; Toller had no idea whether his father was concerned about his mother or not, whether he truly agreed with her condemnation of their lives or simply humored her, whether that placid agreeability masked a secret life of his own. Toller knew that his father got up and dressed and left the house every morning, that he came home every evening with stories of the greater world, that he sometimes met other people for lunch or golf, that he kept in touch with old friends. When he would join them on the patio, or by the fireplace, or around the dining table, he listened to Toller’s mother attentively, although she could not possibly have been drawing anything new to complain about from within the enclosure of her life. His father’s uncanny equilibrium was such that Toller had sometimes felt, before he met Margaret, that his mother’s oddness was entirely a product of his own imagination. Perfect loyalty is what it was; Toller’s father was loyal to a fault — but Toller wouldn’t have understood this if he hadn’t grasped, three weeks after their return from Tahoe and nearly six weeks since he’d spoken to either of his parents, the furtiveness of the call he received from his father one morning.

“Toller, you have to call your mother and apologize.”

“Why do I have to apologize to her?”

“She feels very strongly that you spoke out of turn.”

“And that’s how you feel about it? Out of turn. She’s the one who spoke out of turn. It was her. I can run my own life. I’m having a kid. I’m thirty-two years old.”

“I know you are, Toller.”

With each declaration of maturity, Toller felt more flustered and infantile. It went on like that for a few minutes. Toller wanted badly for his father to acknowledge that his mother had been wrong — wanted his father to acknowledge more than that, actually, although he was sensible enough not to share his developing opinions on his mother’s mental condition — but the subject was taboo.

“How about her apologizing to me? Have you asked her that?” Toller asked again.

“I can’t, Toller.” His father was calling from his office, but he lowered his voice. And here Toller recognized the fragilely balanced forces holding together the marriage, and what must have seemed to his father to be his own life; his having reached, at sixty, the limits of its adaptability. Toller’s father wasn’t calling as his mother’s envoy, or as Toller’s ally, but as a man maneuvering to avoid a choice that would result either way in an unbearable loss. Toller understood; he hoped for the best with his mother, but he couldn’t stand the idea of losing his father. He called and apologized.

Toller’s mother continued scrupulously for a while to all but ignore Toller. It was so awkward, the way that she would talk around him if possible, as if he weren’t there, or brusquely tell him that she would call his father to the phone if she happened to answer when Toller called, that Toller half-expected her to stop the discomfiting game; to ask him if she had demonstrated to his complete satisfaction that — as with her other feats of self-estrangement — she was fully capable of sustaining this act of will: would he now conform to her requirements? For all that she required of him, she may as well have asked such a question of the entire despised state of California. Unexpectedly, she took to Margaret again wholeheartedly, which bothered Toller, who suspected that it was her coded way of denigrating the relationship; of subtly informing him that she saw a clear and definite separation between the two of them that she could emphasize by placing the wedge of herself in it, which seemed to be confirmed by Margaret’s curious reciprocation of her evident affection.

“When a nasty old cat decides it loves only you, you always love it back,” Margaret explained. Margaret had attained the condition of hallowed and empty bonhomie embodied by the Safeway cashier, the phlebotomist, the man who sawed off the dead branches of the live oak in the front yard, all those dear people his mother thought so highly of. It didn’t matter how or why.

To remain in Toller’s mother’s good graces meant to have sustained the glow of some positive impression, no matter how arbitrarily it had been registered. The impression didn’t need to have any depth. Toller’s mother certainly didn’t want to know any more about Margaret than she did about those cherished strangers of hers: she became visibly uncomfortable if Margaret spoke to her of her childhood in the South Bay; or of her father, a radiologist in San Jose, and her mother, the owner of a Hallmark store in Los Gatos. She did clap her hands with glee when Margaret told the story of her refusal to bend to her parents’ will and follow a pre-med course at Stanford, but became perplexed and sullen when it was made clear that the resulting rift had been temporary and superficial, as if the deepest and most mysterious disappointment of the human psyche was the willingness to forgive other people. And when things finally eased between Toller and his mother, when she began again to speak to him as if he were more than an unwelcome stranger, it was plain to him that she had neither forgiven him nor stopped being disenchanted with him.

Toller might have wondered why he’d bothered apologizing at all; it was obvious that his mother suffered his presence only in order to see Margaret and the baby, a girl, who was — as Toller had predicted — delivered to the patio each month in the back of the late-model Toyota sedan that the new parents, having somehow avoided the financial ruin their vacation was sure to bring on, had bought used. He might have wondered if not for the fact that, as intended, his apology enabled him to continue to see and speak to his father — more so than before, even, since the job of sitting with his mother in the shade of the cotoneaster and the lemon tree now was delegated largely to Margaret and the baby, allowing Toller and his father to spend time together. His father was now partially retired, providing consulting services to his former employer for several well-compensated hours each week. Though Toller never pointedly inquired about his mother’s habits, his father made it clear to him that the things he was doing in his now-abundant spare time he was doing by himself.

“And Mom?” Toller would ask, casually.

“Oh, you know your mother,” his father would say. “She has her books and her cards and things. I just try to stay out of her hair.”

Toller followed this obliquely delivered advice to the letter; he persisted in hoping for the best with his mother, but he had little idea what the best might be, and the degree of deformation inherent in the family mechanism became painfully evident on occasion, most notably when his mother refused outright to attend his wedding to Margaret and insisted that his father remain behind to chauffeur her to a scheduled doctor’s appointment. Even the illusion he maintained of unfettered access to his father became strained to the breaking point in such instances, and in the case of their wedding Toller had to beg Margaret not to call his mother and give her a piece of her mind, fearing that if
Margaret made it onto what they called his mother’s “shit list” — this ordinary phrase evoked in Toller’s imagination an actual lengthy document, with names inscribed indelibly upon it — he would never be able to see his father again.

Toller and Margaret continued to make their monthly pilgrimages to Palo Alto, eventually from the suburban town of Brisbane, where they moved into a house built on one of the lower slopes of a mountain. They raised their daughter, had another. Sometimes, in the evening, when he stepped out of the kitchen door and stood on the little redwood deck overlooking his backyard with a bottle of beer in his hand, watching his older daughter play in the soft light remaining with the sun now behind the mountain, listening to a mourning dove calling, that desolately beautiful sound he associated with the pale orange of twilight here, he’d think of the precipitating offense, of the misconception at its heart — wasn’t this his house, his deck, his daughter, his beer? What had he done so badly? He was able to shrug it off, though: aside from the hunkering mystery of his mother, life was good to Toller, reliable and satisfying, and it was typical of a simplicity of mind that he would have been the last to suspect that he believed it would continue this way forever.

When Toller was forty-two, his father was diagnosed with a brain tumor, and he died six months later. Toller learned that his father was dead when his mother called while he was on his way to the hospital.

“Don’t let them take him away,” Toller said automatically.

It was the most reflexive thing he had ever said, completely unprompted and unscripted, and he pondered it, this primal desire, as he drove along 280, exiting at Sand Hill Road and coasting down the long incline toward the Stanford campus and the medical center at its edge, Hoover Tower rising in the distance. A malfunctioning sprinkler operating on one of the emerald swaths of grass on either side of the road sprayed the windshield and passenger side windows of Toller’s car as he passed, startling him from his reverie, and he fumbled for the wiper switch.

At first, after the diagnosis, Toller had been tremendously hopeful — hopeful that his father would survive, and hopeful that the crisis would repair the rift between his mother and him. Who else, he’d wondered, could she turn to? And who else, he might have wondered, did he have? Even a hated son resists the idea of his own orphaning. But although he’d carefully dressed and groomed himself for his appearances in his role as concerned adult son, hoping to gull his mother from behind the disguise of his ongoing success, she’d been unrelenting, and when Toller had checked the time on his wristwatch, a wristwatch he was proud of, as the two of them waited for his father to emerge from surgery, she had casually ridiculed it, gesturing at it as if to the very unseen audience to whom Toller was playing. “What kind of a watch is that? That’s an absurd watch for a grown man.” And, after the surgeon had finally appeared to deliver the unhopeful news, when Toller had leaned toward his mother and begun to say vaguely reassuring words, she had twisted the section of newspaper that she held in her hands — a section he had offered her in the courtly manner that he imagined was befitting a considerate and beloved son — into a club, as if she intended to strike Toller
with it. His own newspaper!

“For God’s sake, Toller. I don’t need comforting. I don’t need you to comfort me.”

When he arrived at the hospital on the day his father died, he found his mother standing at the nurse’s station, a paper grocery bag on the counter before her. He started for his father’s room, but his mother’s voice stopped him: “He’s gone, Toller.” He pushed through the voice; she couldn’t possibly mean what she seemed to be saying, but when he reached the room it was empty, the bed already efficiently stripped.

“I wanted to see him,” Toller said.

“You didn’t want to see him like that.”

“I did,” Toller insisted. “I did want to see him.”

“Well, I didn’t want to wait in there with him while you took your time getting here,” she said. “All right? Please, don’t make a scene. If you want to see him, you can go down to the morgue. The morgue, right?”

A nurse looked up brightly from the computer terminal and open files before her and nodded. Toller’s mother had one hand on her hip and rested an elbow on the counter. She looked as if she was at the front desk of a hotel, checking out. It dawned on him that in the grocery bag were his father’s things. Toller sat down in a chair to wait while his mother squared things away. The chemo nurse came upstairs to hug her, the CT scan technician, the floor nurse, wearing a preposterous tunic depicting Sylvester and Tweety — stalking, chasing, pouncing, fluttering away, laughing. More of his mother’s great friends. Toller returned home to Brisbane that night — his mother having refused his perfunctory offer to stay with her at the house — and ate voraciously.

He had his father’s address book with him, and he wore his father’s signet ring on his finger. The girls were in bed and Margaret sat across the kitchen table watching him. He ate what was before him and then returned to the stove to get more from the pot. He drank an entire bottle of wine. Margaret said nothing when he started on the whiskey. He felt elated. A feeling of well-being spread throughout his body, easing a knotty tautness that seemed to have entered deep into each of his muscles months and years beforehand. He wondered if this was what his father had felt as his own depleted body began its final shutting down, an easeful surrender of all the worst things life had thrust upon him.

*
What, with that gone, would have been left to worry about? Surely he couldn’t have been worried about that boulder of refusal, of imprudent harsh resolve, that turned up at the hospital each day disguised as a wife, disguised as a person, to stand at his bedside, imparting her spurious good cheer to the personnel who jabbed, who poked, who choked, who abraded, who tormented his father throughout those final weeks. That fantastic act, honed over the course of decades while the malignancy of her genuine feelings burned glowing within her, lavished upon those who professionally and without the least emotion presided over his father’s destruction. After all that she could not forgive, all that fell short against that scale of rigid values she’d erected over the years, he found, with joy, that he could not forgive those smiles and tears she expended on them even after allowing their collaborators to haul his father away like meat. The two of them, mother and son, were free of one another at last. Thinking of his father dead — the imagined corpse that would always have to stand for the real one he hadn’t seen — he began finally to cry for the first time that day, and Margaret reached out to take his hands in hers with the incomplete but heartfelt understanding that is the best, really, that we can hope for.

Roxane Gay’s Debut Novel, An Untamed State, To Be Made Into a Movie

Roxane Gay’s 2014 debut novel, An Untamed State, gripped readers from its unlikely first sentence, “Once upon a time, in a far-off land.” The novel traces the abduction of a Haitan-American woman while she is on vacation in Port Au Prince and the harrowing thirteen days of her captivity.

Fox Searchlight has announced that they will turn An Untamed State into a movie. So many great books are made into terrible films (The Scarlett Letter, Great Expectations, and on), but luckily this feels like a project we can get behind. The film already has three great women onboard. Gay will cowrite the screenplay with director Gina Prince-Bythewood. Prince-Bythewood has directed and produced films such as Love & Basketball, The Secret Life of Bees, and Beyond the Lights. The lead will be played by actress Gugu Mbatha-Raw, star of Dr. Who, Concussion, and Belle. The production date hasn’t been announced, so if you haven’t read the original, you still have time.

Here Is the 2016 International Dylan Thomas Prize Shortlist

Drawing from published poetry, novels, short stories, and drama, the International Dylan Thomas Prize honors the best literary work written in the English language by an author aged 39 or under. Created in partnership with Swansea University in 2006, the prize is named for the Welsh poet Dylan Thomas, author of classics such as “Do not go gentle into that good night” and “A Child’s Christmas in Wales.” (And yes, who infamously died at age 39 after a drinking binge at New York’s White Horse Tavern.)

The winner, announced on May 15th, will receive £30,000 in prize money. Past recipients include Joshua Ferris, Maggie Shipstead, and Lucy Caldwell.

2016 International Dylan Thomas Prize Shortlist

Pond by Claire Louise-Bennet (short stories)

The Tusk that Did the Damage by Tania James (fiction)

Disinformation by Frances Lewiston (poetry)

Physical by Andrew McMillan (poetry)

Grief is a Thing With Feathers by Max Porter (fiction)

The Year of the Runaways by Sanjeev Sahota (fiction)

Drugs, Neon, and Danzig: Revisiting 1987’s Less Than Zero Adaptation

I feel like I’m doing it a great injustice saying this, but the 1987 adaptation of the Bret Easton Ellis debut of the same name is pretty much peak 1980s cinema. It’s got everything you could ask for from core brat pack members, drugs, lots of neon, and a great soundtrack with Danzig and The Bangles.

On this episode, writer Naomi Fry, who has written about Ellis, his work, and other Los Angeles topics like Vanderpump Rules and Eve Babitz, visits to talk about the film, her obsession with La La Land, and Ellis. You can find Naomi on Twitter at @frynaomifry, and should also look up the pieces we talk about.

Cinema Paradiso: excerpt from The Lights of Pointe-Noire, a memoir

by Alain Mabanckou

There are no cinemas left in this town, not since the 1990s, when the spread of the evangelical churches hijacked most of the buildings dedicated to the seventh art. The Cinema Rex, once a mythical venue for the projection of films, became a Pentecostal church called ‘The New Jerusalem’, with pastors in their Sunday best heralding Apocalypses like there’s no tomorrow, predicting the flames of Gehenna for wrongdoers, and miracles and good fortune for their flock. Disillusion is written on the faces of the blind, the deaf, the dumb and the lame. They loiter outside in the hope of divine healing.

Here, though, we would gather and wait every morning for the poster to be put up for the film to be shown in the early afternoon. Here we applauded the adventures of Bud Spencer and Terence Hill in They Call Me Trinity and Trinity Is Still My Name or Super Fuzz. The doorman, a professional boxer with a face like a gangster in a Wild West movie, called all the shots, telling us where to stand in the queue. He worked with his boxing gloves strung round his neck and at the first sign of unrest in the crowd he pulled them on. We were his subjects, who must yield to his will, comply with his whims, or we’d get an uppercut that would send us straight to the Adolphe-Sicé hospital. He would eject you from your seat if he felt like it, to make room for a member of his family, or someone who’d bribed him, and you just had to sit on the floor. He let children in to showings reserved for ‘over 18s’, in exchange for a hundred CFA franc coin. As far as I recall, he was the person responsible for most of the brawls that took place outside and inside the cinema, taking advantage of the venue to apply what he learned in the training gym. Since he was ugly, we promptly nicknamed him ‘Joe Frazier’, Muhammad Ali’s most stubborn opponent.

He would eject you from your seat if he felt like it, to make room for a member of his family, or someone who’d bribed him, and you just had to sit on the floor.

With the arrival in the capital of the first martial arts films, our local Joe Frazier realised no one was scared of boxing now, because a fighter, unlike a karateka, couldn’t fly into the air — what we called ‘lift-off ’ — landing behind his opponent, and dealing him a fatal blow. We didn’t realise these ‘lift-offs’ were just cinematic tricks, the actors were ordinary people like us. Overnight, posters of Bruce Lee in The Way of the Dragon, Enter the Dragon or The Game of Death replaced the ones of Clint Eastwood, Lee Van Cleef and Eli Wallach in The Good, The Bad and The Ugly. We lost interest in the spaghetti western actors, with their guns, which we could never own, and their horses, which we’d never seen up close. To us, karate seemed more accessible, you just had to learn the different katas and the philosophy of Master Gichin Funakoshi, the inventor of Shotokan Karate-Do. A number of dojos opened, where we handed over all our pocket money to Master Mabiala, who had proclaimed himself a black belt, 12th dan, and promised to reveal the secret of Bruce Lee’s ‘lift-off ’. We all eagerly awaited the crucial moment when we would fly into the air, emitting a cry that would terrorise our opponent, but the so-called master dwelt instead on physical exercises that left us so exhausted that the number of pupils diminished every day. The truth was, we were his servants, he made us sweep out the dojo and his house, prepare his food, do the washing up or wash his clothes in the River Tchinouka. When people grew impatient and asked him when we were going to actually learn how to do the famous lift-off he would reply:

‘You haven’t finished learning all Master Funakoshi’s katas yet, and even when you have, there’ll be more katas, ones that were added by his disciples, in memory of him! So stop complaining, a bird can’t fly the day it’s born, its wings have to grow! It’s the same with you, you have to allow the wings of your spirit to grow. One day you’ll lift off without even realising!’

A number of dojos opened, where we handed over all our pocket money to Master Mabiala, who had proclaimed himself a black belt, 12th dan, and promised to reveal the secret of Bruce Lee’s ‘lift-off ’.

The brave souls who continued to take his classes did finally manage lift-off: Master Mabiala put them up on the roof of his house with the aid of a ladder, and told them to jump, while doing Bruce Lee’s battle cry from The Big Boss

Comedies did survive the breaking wave of the martial arts films, thanks to the energy and droll mannerisms of Louis de Funès in the saga of The Gendarme of St Tropez or in Fantomas versus Scotland Yard and Fantomas Unleashed. The French actor played the role of Commissioner Juve, who is obsessed with capturing Fantomas, public enemy number one. The anti-hero spends his whole time taunting Superintendent Juve, then melting into the crowd, to the applause of the cinema audience. It was one of the rare times we cheered a baddie; we would never do that in a spaghetti western, where everyone booed Clint Eastwood’s enemies, demanding their money back. We particularly disliked it when villains Clint Eastwood had killed in a previous film appeared again in the next one. Since we took what happened in the cinema to be real, we were shocked and decided they must think we were too stupid to realise this was a piece of trickery designed to get us to hand over our money.

The Indian films escaped unscathed, thanks, no doubt, to the interminable love stories that were their hallmark, as well as to the physical strength of the actor Dara Singh, not to mention the magical world of The Magician from Hell, and above all the music, which made us weep. We dreamed that we would one day go to India, where we would marry Indian girls, adorned with the same jewels as the actresses who adorned the screen. India was our Peru, the place where our dreams would come true, with a little bit of magic, learned from what we saw at the cinema. We would express ourselves with ease in Hindi or Urdu, since we already sang along in these languages with the actors from these countries, even if we didn’t understand the words. Of course we’d be poor, but we wouldn’t mind, because in these films the man with no money always ended up marrying the beautiful girl, beating the rich man to it. We would insist on kissing the women properly, none of that modesty we found so irritating, and which obliged you to work out for yourself that the main actor and his sweetheart must have finally slept together…

We dreamed that we would one day go to India, where we would marry Indian girls, adorned with the same jewels as the actresses who adorned the screen.

The projectionist at the Cinema Rex was a young womaniser who took a different girl up to his box at each showing. He picked them from among the young ladies who stood in line with us. In order to get chosen, they dressed up and put on lots of make-up, as though they were going to a party. We watched as they fluttered their eyes, to catch the attention of the technician, who took his time making up his mind. They’d bicker and insult each other over who would be the chosen one, privileged to watch the film through a little hole, right next to the one the images came through. Certain mishaps in the projection of the film were caused by the operator who, in order to impress the girl, explained all the tricks of the trade and what he called ‘the enchantment of cinema’. Since he talked rather loudly, the spectators at the back could hear him explaining that a film had twenty-four images per second, and that a shutter closed off the light beam in between them to create an impression of fluid movement on the screen. Suddenly the young woman would get overexcited and ask to be allowed to replace the reels, and send out the images upside down, by mistake. You could hear them giggling, running off into their hidey-hole and starting to make out, to the applause of the crowd. We bore no grudge against the projectionist, since we knew the enchantment came from him and his skill in handling the 35mm projector.

The young man’s work was not limited to what he did up in his box. You’d hear him hurtling down the stairs and dashing outside to receive the reels delivered from the Duo and the Roy, on the other side of town, in a little Renault 4L van. In fact we had to wait till the two other places had finished at least two reels of fifteen to twenty minutes each. This meant that for long films — like The Savage Princess, which lasted over two and a half hours — the courier had his work cut out, as did the projectionist, who got booed by the spectators if there was a delay and the showing got cut off in the middle of some thrilling piece of action because the van had broken down, or the other cinemas had had a hitch. Cool as a cucumber, the operator would simply show us an advert for Cadum soap, over and over again…

The two protagonists would meet in the amphitheatre of the law faculty in Paris. We would hold our breath reading the passage where the white girl decides to introduce her black husband-to-be to her parents.

Outside the cinema a number of vendors spread their merchandise on the ground: comics featuring Tex Willer, Rodeo, Ombrax, Blek le Roc, Zembla, as well as the novels of Gérard de Villiers and San-Antonio. Sometimes you would come across an anthology of poems by Rimbaud, Baudelaire or the complete works of some author, published by Pléiade, bearing the stamp of the French Cultural Centre. Not something easy to sell, since in the ‘bookshop on the ground’ the most popular title was African Blood (volume 1, The African; and volume 2, A Woman in Love), by Guy des Cars. We were captivated by the two protagonists of African Blood, who were bound in a mixed marriage: a French woman, Yolande Hervieu — with her rich, racist ex-colonial parents — and the orphan from l’Oubangui- Chari, Jacques Yero, born into a poor family, adopted by whites who sent him to France to study in the 1950s, a time when the Negro was still struggling to prove to the world that he was a man like any other. The two protagonists would meet in the amphitheatre of the law faculty in Paris. We would hold our breath reading the passage where the white girl decides to introduce her black husband-to-be to her parents. We would be touched by the courage of the Frenchwoman, who would follow her husband to Africa, aginst the wishes of her parents, who were naturally opposed to their union. Throughout the first volume of African Blood, it was our own story we were reading, for the life of the couple on the black continent coincided with the independence of several francophone countries, and with l’Oubangui-Chari becoming the Central African Republic. The second volume showed us a couple in which the man had risen to a position of political power, arousing jealousy among blacks, as well as those whites who still liked to foster the view that their own race was superior. Later, when I arrived in France, I realised that Guy des Cars was an underrated author, so much so that his works were referred to as ‘station bookshop novels’, and the author sometimes nicknamed ‘Guy des Gares’. But this in no way diminished my admiration for a man who, without a doubt, had inspired a whole generation of Pontenegrins, not to say French-speaking Africans, with a taste for reading.

The ‘bookshops on the ground’, which were often to be found outside the Roy and the Duo, were dependent on the cinema clientele and therefore did not survive the demise of the cinemas. Times change; outside the Cinema Rex, traders have set up a makeshift telephone booth, offering calls for fifty CFA francs, selling mobiles and top-up cards. Others sell petrol in used pastis bottles they’ve collected in the centre of town. If the faithful of the New Jerusalem respect the spirit of the Bible, perhaps one day they will lay into these street traders, as Christ challenged the merchants in the Temple of Jerusalem.

***

It’s early afternoon and I’m standing outside the building that delivered our dreams, bringing fictional heroes from all over the world to our neighbourhood. The Cinema Rex looks tiny to me now, though at the time it seemed vast, immeasurably so. Is that because I have since been to bigger cinemas in Europe and Los Angeles, or in India, where the cinemagoers actually become actors themselves?

The Cinema Rex looks tiny to me now, though at the time it seemed vast, immeasurably so.

I look at our old cinema, and can scarcely conceal my disappointment. A banner announces that a festival of Christian music will take place in the building. Two members of the congrega- tion of the New Jerusalem, one tall, one small, are standing at the entrance, and give me a challenging look, as though they have guessed I’m planning on coming in. I approach the entrance and the taller one steps aside. Perhaps he thinks I have an appointment with the pastor. In the doorway I turn round and wave to my cousin Gilbert and my girlfriend, who are outside the Paysanat restaurant opposite. They cross the Avenue of Independence to join me.

At the sight of my girlfriend’s camera, the little one frowns and rushes up to her:

‘What’s that, madame? This is a place of worship, no filming or photographs allowed!’

At once Gilbert comes to her rescue: ‘My cousin’s from Europe, he’s a writer, he’s writing a book about his childhood memories and…’

‘Out of the question! Anyway, non-believers aren’t allowed in here, writer or not!’

‘Non-believer? You don’t even know him, and you call him a non-believer?’

‘I can tell by looking at him! If he was one of God’s children he wouldn’t turn up here with a video camera!’

‘It isn’t a video camera, it’s just a camera…’

‘Same thing!’

At a loss for arguments, my cousin decides to cut to the chase:

‘Bollocks to your religion! Why do you film your Sunday masses, then, to get on TV, if God doesn’t like images?’

The tall one intervenes: ‘That’s enough, now beat it!’

Furious, Gilbert pushes the little one aside and comes through to join me in the auditorium. My girlfriend does the same, while the two congregation members stand there like pillars of salt, shocked by our cheek. They come on through as well, and stick to us like glue. The tall one complains loudly while my girlfriend takes pictures: ‘Stop filming in the house of God!’

A young man dressed up to the nines appears at the back of the worship area.

The little one growls like a cooped-up dog:

‘Pastor, we couldn’t stop them! We told them they mustn’t enter the house of the Lord, but they came in anyway!’

In a calmer tone, the pastor asks us: ‘Do you have the owner’s permission to take photos in here?’

‘Who is the owner?’ my girlfriend asks.

‘He lives just at the back, I don’t think he’s going to be too happy about what you’re doing, you’re violating private property. You’d better come with me and explain yourself. He will make you destroy the pictures you’ve already taken. It’s not the first time this has happened!’

We exit in single file, the pastor at the front, and walk round to the back of the building. We find ourselves outside a plot where a man with a shaven head in a pair of bermuda shorts and vest is sitting in front of one of three doors in a long building up for rental.

The man notices us, opens his eyes wide in amazement when he sees me, and gives a great yell, leaving the pastor stunned: ‘It’s the American! I can’t believe my eyes! You came to see old Koblavi!’‘The Lord has forsaken this town, and in doing so He also turned His back on the Cinema Rex… Sometimes I go into the auditorium, I close all the doors, and I sit down in the middle, just to remember the

‘The Lord has forsaken this town, and in doing so He also turned His back on the Cinema Rex… Sometimes I go into the auditorium, I close all the doors, and I sit down in the middle, just to remember the old days, when it was packed full…’

The pastor murmurs something in his ear, but Koblavi pushes him aside: ‘No! No! No! He belongs here! He can photograph whatever he likes! You know the little street opposite the cinema, rue du Louboulou, that was his uncle who made that!’

The pastor stands with his arms drooping, his head on one side, and offers his apologies. Retracing his steps, he stops three times, to bow. Koblavi points to a chair at his side: ‘Please, take a seat, little brother! Gilbert and madame, you go and film the cinema while I have a chat with my American…’

As soon as Gilbert and my girlfriend are gone, Koblavi assumes a pained expression: ‘I’ve seen you so often on the TV, talking about your books. I’m sorry, I’m ashamed, I’ve never read them… One day in an interview you even mentioned the Cinema Rex, I can’t tell you what pleasure it gave me to hear that!…’

He looks up at the sky: ‘The Lord has forsaken this town, and in doing so He also turned His back on the Cinema Rex… Sometimes I go into the auditorium, I close all the doors, and I sit down in the middle, just to remember the old days, when it was packed full. I can hear the noise, the shouting, I can still see the dreams of those young people floating up above their heads, forgetting their everyday troubles, just for an hour or two…’

‘There are video recorders now, DVD machines, they can still have their dreams and…’

‘That’s all garbage, Mr American! How could that replace the atmosphere we had at the Cinema Rex? All these new things, it’s the age of individualism! We’ve forgotten the true meaning of cinema, little brother! A film you watch at home doesn’t affect you like a film you watch with a crowd at the cinema!’

He brushes away a couple of flies buzzing round his head and continues:

‘You’ve come from America, let me recommend you watch Becky Sharp! Now that’s real cinema, you take my word! And it’s not just because I like Miriam Hopkins, though I have seen her before, in Doctor Jekyll and Mr Hyde! She’s quite marvellous!’

He stands up, goes into the house, comes back a minute later with a photo of the American actress and hands it to me:

‘Look at her, wasn’t she beautiful? I insisted we show every film she’d ever been in at the Cinema Rex! Of course, people would rather watch shoot-outs and native Indians and Louis Funès fooling about, and all those idiot actors in the martial arts films. What can you learn from a martial arts film?’

He practically snatches the photo out of my hands and blows on it.

‘I’m not having any dust on my idol’s picture!’

He goes to put the photo back inside, and comes back with a bottle of beer and two glasses. I tell him about America, since he asks me. His eyes shine, he’s almost like a child who’s thrilled with a present:

‘So you’ve actually seen Miriam Hopkins’ two stars on the Hollywood Walk of Fame?’

‘No, sadly, I haven’t… I don’t know that actress. I wasn’t paying attention when I saw Doctor Jekyll and Mr Hyde…’

His face stiffens, as though I had just committed sacrilege. With eyes half closed, he murmurs: ‘That’s my dream, to go to Hollywood. I can’t believe you live in the city of cinema and you’ve never found time to go and see Miriam Hopkins’ two stars…’

Resigned now, he launches into a diatribe against the political authorities who failed to help him, obliging him to rent the Cinema Rex out to a religious congregation: ‘Those politicians, they killed the cinema! And it’s the same everywhere, little brother! Even in Brazzaville there are no cinemas left! How will young people ever get to know Miriam Hopkins? The cinema was something magical; wherever there was a picture house, the neighbourhood took its name. We’ve got the Rex district and the Duo district and the Roy district, but those politicians understand nothing about that kind of impact!’

‘Those politicians, they killed the cinema! And it’s the same everywhere, little brother! Even in Brazzaville there are no cinemas left! How will young people ever get to know Miriam Hopkins?’

Out of pure modesty, Koblavi avoids mentioning his historic and prestigious family name, the name of his Ghanaian grand- parents, who, in the late 1940s, dominated the fishing trade in Pointe-Noire. But the thing their descendant is apparently most proud of is the cinema, whose demise he continues to bewail. He’s almost apologising for having done a deal with these servants of God who sell tickets to paradise to their flock, unaware that many children in Pointe-Noire will never taste the atmosphere of those darkened movie houses, the succession of adverts and the opening credits of the film, followed by the applause of the audience. Noticing the little chain with a cross on around his neck, I say nothing critical about religion. But he touches it and tells me: ‘Ah no, I don’t belong to the New Jerusalem, I’m still a Catholic in the strict sense of the word…’

And finally he talks about my mother, whom he knew, about Uncle Albert, who was a friend of his father. As though speaking his last words, he murmurs very softly: ‘I know my origins are Ghanaian, by my parents, but I’ve always felt Pontenegrin. D’you hear my accent? No one’s more Pontenegrin than I am in this town! I’ve never been made to feel an outsider here, by anyone. This is where I live, this is where they’ll bury me…’

***

Gilbert and my girlfriend are back now. They’ve spent over half an hour taking photos of the old Cinema Rex, and as they show them to Koblavi his features, sunk in nostalgia till now, light up with a smile. He even allows himself to be photographed, with his broadest smile: ‘You should never look sad in a photograph, you don’t know who might look at it in ten years’ time, or twenty, or thirty, or forty, or fifty!’

He comes with us as far as the exit to his plot, and watches as we walk away.

We pass by the cinema again, where the two worshippers are still standing guard like a pair of Cerberuses. This time they don’t dare look us straight in the eye. There’s even a shadow behind them: the pastor, who watches us closely as we cross the Avenue of Independence…

Great Dysfunctional Families of Fiction

While I was working on my book, The Nest, the question I dreaded most was, “So what is it about?” It’s a logical question, of course, and that it never failed to stump me was embarrassing and, I feared, indicative of some kind of mushiness of intent or clarity or effort. When I would haltingly try to describe it, mumbling something about estranged adult siblings and money, my perplexed listener would almost always say, “Oh, so it’s about a dysfunctional family?”

I guess?

I never loved that descriptor because every family has its share of function and dysfunction; it’s just a question of percentages. A strictly functional family is, let’s be honest, a little boring in literature and life. I adore the adventuresome Ingalls and the can-do March sisters, but if I had to spend time in the company of a family from a book, I’d pick one with a little more spice and verve, a group with shifting alliances and festering grudges and faulty memories and unreliable behaviors. I like a raucous gathering populated by folks who have interesting stories to tell and that one person who just doesn’t know when to keep his or her mouth shut. So here are just a few of my favorites in no particular order.

The Corrections

The Lamberts from The Corrections by Jonathan Franzen

I know, so predictable, but what can I say? I just really want to hang with Denise, who’s probably been priced out of Brooklyn by now. Probably she’s running an excellent food joint in Minneapolis so she can be closer to Enid. I’d invite Enid over for a girls’ night and maybe slip her a little Mexican A for old time’s sake. Denise would bring a nice wine and we’d get a little silly and complain about the Lambert men folk.

We Are All Completely Beside Ourselves by Karen Joy Fowler

The Cookes from We Are All Completely Beside Ourselves by Karen Joy Fowler

I’m a sucker for a family of academics and this novel features well-meaning academic parents with a tragic lack of boundaries. If you haven’t read it, don’t read anything about it before you do because the way Karen Joy Fowler manages to slowly reveal the plot-point at the heart of this broken family is both miraculous and devastating.

The Particular Sadness of Lemon Cake by Aimee Bender

The Edelsteins from The Particular Sadness of Lemon Cake by Aimee Bender

Speaking of lack of boundaries, the opening of Aimee Bender’s novel still stays with me, years after first encountering it, when nine-year-old Rose Edelstein bites into a piece of lemon cake her mother made and can taste her mother’s sadness and discontent–and chooses to bear the burden on her own.

On Beauty by Zadie Smith

The Belseys & The Kipps from On Beauty by Zadie Smith

Not one but two families of academics populate this smart, funny, generous book that is, in part, an homage to Howard’s End. Zadie Smith brilliantly dissects marriage, friendship, family life, politics, identity, personal beliefs and compromises, academia, Rembrandt and, of course, the elusive nature and relative value of beauty.

Position

The Mellows from The Position by Meg Wolitzer

I recommend this book all the time because it’s so much fun. Adulterous parents acting like entitled children; wounded children acting like entitled children; everyone aggrieved at the other’s behavior while obstinately blind to their own flaws. And it’s by Meg Wolitzer so it’s wickedly funny and smart. Did I mention the mysterious sex position? There’s a mysterious sex position.

The Cranes from The Past by Tessa Hadley

Four adult siblings and various family members come together for three weeks one summer to decide whether to keep or sell their family home. Tessa Hadley’s descriptions of the house and the Somerset countryside where it sits are so lovely and evocative that I think I’d recognize the house if I saw it, and I could ring the bell and invite myself in for tea with these complicated, argumentative, siblings who are trying to preserve and escape their past.

The Middlesteins

The Middlesteins by Jami Attenberg

Oh, to eat Chinese pork buns with Edie. I grew up in suburban Rochester, New York, which has much more in common with Chicago than New York City, and I relate to every member of this mid-western family and their particular heartaches. I would love to drop into the novel’s brilliant Bar Mitzvah set piece and roam from table to table, listening to the love and angst and history and hope in that room.

Mr. Bridge & Mrs. Bridge by Evan S. Connell

Mrs. Bridge and Mr. Bridge by Evan S. Connell

She wouldn’t approve of me, but I’d like to spend some time with India Bridge. Maybe she’d let me make her a drink (probably a whiskey sour) and then I’d refill her glass without her noticing. I’d tell her she deserves the things she desires and to stop worrying about her kids so much and read her the first line from Mr. Bridge: “Often, he thought: My life did not begin until I knew her.”

Nomi & Ray from A Complicated Kindness by Miriam Toews

Miriam Toews is such a powerful writer that just spotting the slim pink spine of this book on my shelf induces a wave of sadness. I love this broken family of Mennonites, including the two characters who have already fled the claustrophobic community in Manitoba and exist primarily in flashbacks that illustrate the gradual breakdown of this family. Sixteen-year-old Nomi is sure she belongs in New York City — or at least away from the place she lives–but for the “complicated kindness” that keeps her and her father rooted to each other’s side until one of them breaks.

Model Home

The Zillers from Model Home by Eric Puchner

Set in a beach town just south of Los Angeles in the mid-80s, Eric Puchner’s family is on the brink of implosion, about to be torn apart by the tried-and-true family destroyers: money and secrets. I especially want to take 16-year-old Lyle (short for Delilah) under my wing, not just to spare her her father’s folly and self-destruction, but because she is so recognizably flawed, so intelligent and witty, such a survivor.