Statement of Intentions

Scott did it. And I’m going to do it right now. In fact, I’d like to see anyone with a passion for books set down precisely what it is about literature makes them groove. That goes for you, Mr. Sarvas! And you, Mr. Smokler! And, hell, even you, Mr. Freeman. And you, Ms. Crispin, so we might be able to find some books you’d like. And anybody else who writes or gives a damn about books.

Why do this? Well, for starters, it’s a good exercise to confirm just why we’re all batshit crazy about literature and permits us to understand our respective perspectives. Perhaps in setting down precisely what it is about literature that means something, we might better be able to expand beyond our paradigms and try a few new things in the process. Think about it: Instead of bemoaning vicious reviews and keeping a review’s tone artificially sunny, wouldn’t it be interesting to know what Leon Wieseltier or Dale Peck like so that we might better comprehend what makes them write so angrily about books? Is it possible that the negative reviewers are misunderstood? Wouldn’t it be invaluable to have a supplement to a weekly book review section that lists each critic’s statement of intentions?

So, like Scott, I’m going to offer my statement of intentions. And I hope that you will too. And you, and you, and you.

Here then is what I look for in a work of fiction:

A sense of playfulness. I will confess that a novel with a playful prose style is likely to tickle my fancy more than a straightforward tale written in that humorless realist mode that James Wood is so smitten with. This is not to suggest that I am adverse to realism or serious fiction. Richard Yates remains a firm favorite and I’ll go into the whys of this a tad later. The playfulness, however, should adhere to some reasonable human construct. It should be justified, motivated not by an author flexing his chops (see Dave Eggers and, to some degree, Saul Bellow, early Martin Amis, and Benjamin Kunkel), but because the nature of the fiction requires it. But here’s the strange loophole: If an author presents a unique and distinct way of seeing the world (such as Colson Whitehead, Richard Powers or David Foster Wallace), I’m more willing to forgive him his narrative digressions.

A concern for details. I have a soft spot for books that dare to present the world’s quotidian details in ways we haven’t seen before. Nicholson Baker comes to mind. Carol Shields too. Colson Whitehead, definitely. I suspect this is why I also like Updike so much and am willing to forgive Terrorist (and even the dreadful Gertrude and Claudius) for its flaws. When Updike writes about old buildings being split up like a cardboard box, there is something in his phrasing and imagery that makes me quite giddy. I feel as if I am seeing the world in ways that I haven’t observed it before. Sometimes, it could be through a miniscule detail in the phrasing. Sometimes, it’s just outright daffy foci. When Baker describes a paperclip and dares to chart precisely how it was manufactured, I feel indebted to him for overlooking some pivotal aspect of the world that I should be paying attention to.

Keeping it real. I’m not a big fan of magical realism. My bullshit detector flies off the charts when people inexplicably begin flying in the middle of a novel because the author can’t determine a way to progress his narrative forward. There are certainly exceptions (Murakami, Calvino, Borges) with authors who dabble in the surreal, but, for the most part, such exercises escape a writer’s first and foremost duty: to convey the human experience in a way in which we can believe it. I can believe, for example, the extraordinary world of China Mieville’s New Crobuzon because there is an underlying structure to its gaslights, its curious criminal justice system with the Remades, and its underground scientists toiling away at experiments in dingy apartments. Likewise, I can look at a book like Richard Yates’ Revolutionary Road and ferret out the precise details which reveal the Wheelers’ discontentment. The environs or the genre or the highbrow/lowbrow status matters little to me. It’s the verisimiltude that keeps my motor purring.

A fresh perspective. For the next LBC round, I nominated a book that had one of the most unique perspectives I had encountered in some time. It was not simply the book’s unusual and quite idiosynchratic perspective that rocked my world, but, tied into my last point, the realization that this author had weaved a tale of unexpected poignancy that felt as real as any other tale. This harkens back to my earlier point of recontextualization. I think Scott and I differ a bit on this point. We once got into a heated conversation about David Mitchell’s Cloud Atlas, in which he felt that what Mitchell was portraying was typical and I defended the book’s ability to recontextualize both narrative and the world around us, while agreeing that its platitude-stacked ending was a bit of a letdown.

A sense of ambition. One of literature’s great challenges is to push the envelope further in a way that we haven’t seen it before. I can forgive a flawed book like Elliot Perlman’s Seven Types of Ambiguity, which I wrote about here, because it’s attempting an earnestness that is well at odds with the irony-soaked novels and literary realism so fashionable today. Likewise, if Robert Coover sometimes leaves me cold or a John Barth volume flounders, the ambition still sticks to the craw.

Giddy experimentalism. To me, Gilbert Sorrentino and David Markson are extraordinary writers because they experiment in a manner which invites. Sorrentino’s elaborate lies (such as the giddy notion of a character playing “roles” in various novels offered in Mulligan Stew) and Markson’s sentence-by-sentence approach to narrative remind us that experimentalism doesn’t have to be a cold and off-putting affair. Theirs is the purest and most difficult form of experimentalism to pull off.

Difficulty. I like books that challenge me. Books that I have to deconstruct, books in which I constantly have to look up things, books that compel me to reread them later, books I savor. I like books in which I don’t really have a sense of what’s going on until Page 75. I like books, like Ander Monson’s Other Electricities, that, with its index, suggest an interconnectedness that a grad student might spend weeks dwelling upon. I like Gaddis’s approach to dialogue in J.R., where we have to work to figure out who is speaking (which implies that we really aren’t paying nearly as much attention as we should).

Balls. I like writers who make me feel uncomfortable. I like writers who tell the truth. I like writers who want to take me to places I would never visit in a million years. I like writers who throw me into a horrific place and refuse to take the easy way out.

Since Scott has also presented a preference list, here are my answers:

The Intuitionist or John Henry Days? John Henry Days
Mailer, Roth, or Updike? Updike
Fitzgerald or Hemingway? Fitzgerald
White Noise or Underworld? White Noise
Pale Fire or Lolita? Lolita
Romanticism, Moderism, or Postmodernism? Romanticism, then Postmodernism, then Modernism

[UPDATE: Dan Wickett has thrown in his hat.]


  1. fab blog! very inner resting. good reading-points. Roth is still before Updike, though. Sabbath’s Theater still (one of) the best book of the ’90. follows Powers and Ford, the 2 dicks. well, Gaddis kicks them all, maybe.

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