Jami Attenberg: An Insufferable Narcissist for Insufferable Narcissists

I CAME ALL THIS WAY TO MEET YOU: WRITING MYSELF HOME
by Jami Attenberg
(Ecco, 272 pages)

Jami Attenberg is easily one the most narcissistic and least interesting writers of our time. She literally contributes nothing to literature other than wanton displays of privileged navel-gazing. Should there come a time in which this insufferable solipsist is precluding from publishing any further books, I will write ruthlessly joyful ballads for the many trees that are spared from massacre to spew out her deranged and self-serving lexical offerings. She is truly that awful. There is so much conceited drivel to quote from in her latest book (of which more anon), but I’ll start here:

“I was allowed to stay there for free as long as I walked the dog, an enormous Tibetan mastiff, which I did, diligently, even though the dog didn’t like me all that much and sometimes snapped at me. I felt a little bit like I was the help, there to accomplish a designated task, even though no one actually made me feel that way.”

Maybe because dogs are usually reliable at sniffing out leeches and sponges? The truly atrocious people who boast about their hollow lives and take take take from those who have earned their stature through hardscrabble years of real work? Maybe because even animals have an intuitive sense of sussing out human garbage complaining about being the “help”? (I’ll refrain from the obvious Kathryn Stockett parallel here, but I cannot help but be angered by Attenberg’s casual slide to white privilege as she boasts about traveling to Italy, Sicily, Portugal, England, and Australia without having anything particularly insightful to say. Most of us, of course, simply do our duties and never complain about it. Such are the hard knock realities of living under late-stage capitalism while subtly participating in the “great resignation.”) A few hundred pages later — because self-aggrandizement is the Attenberg formula (and it works! she has the 38,000 followers on Twitter to prove it!) — she trots out her privilege by noting how she and her merry narcissists “leave our towels on the floor for someone to pick up after it is time for us to go.” I’m guessing that this amorphous “someone” is a hell of a lot more interesting than Attenberg. This — combined with Attenberg’s frequent references to being “alone” — is the language of a drug addict and, as Attenberg is so keen to remind us throughout her dreadful dirge, she did drugs, folks! And not only that. She even named one of her chapters after Henry Rollins’s moving memoir. She’s so punk rock! Even when she appropriates from more fascinating and selfless lives for her own gain. Much as she once made a token appearance at Zuccotti Park while the rest of us Occupy Wall Streeters dodged the nets and tear gas from New York’s finest on a daily basis to stand up for the greater good. Because for Attenberg, like many two-bit con artists who confess their shallow “vulnerabilities” on social media in an attempt to win followers and clout, friendships and human relationships are purely transactional:

I knew who my people were, even though I didn’t see them that often anymore. The ones who had stuck by me in my worst moments. The ones I hoped I offered something to in return. Craving collaboration, a shared sense of something bigger than myself, and finding people seeking the same. I had been lucky. I had lost some friends in my life, or sometimes they had lost me. The thing about bad friends is you never realize when you’re being one until it’s too late. Forgiveness and understanding? Regret and apologies? Not in this economy. But I had sustained a life with the ones who counted, the ones I could talk to for hours. The ones I would build something new with every time we met. When I got to meet them.

If you think I have an axe to grind, please know that I do not make these statements lightly. Jami Attenberg is part of a strain of “literary” writers who are destroying our culture with their relentless commitment to unearned amour-propre. I read 162 books last year — many great, some bad, some striated with the usual solipsism that one expects from authors. Such is the price one pays for finding the real truth-tellers, the literary outliers who hold a mirror to our souls and truly humble us with their voices. The writers who remind us why selfless empathy is so important in an age in which caring about other people has become increasingly (and needlessly) politicized. I also had a mother who was a wildly manipulative narcissist, a sister who turned into a cruel and self-serving narcissist who left me for dead and who I will never forgive, and, just last month, ended a relationship with a wildly manipulative narcissist who I had the misfortune to fall for until I cut the cord with great succor from a dear friend (a woman, incidentally; most of my close friends are women). I offer all this not for you to feel sorry for me (that would be an Attenberg move), but to cement that I do know what the hell I’m talking about and I am very much committed to being real. Gratitude, humility, and positivism have been dependable bellwethers in my ongoing quest to be a better person. But these three vital characteristics are clearly beyond a spoiled and wildly overrated braggart like Attenberg, who thrives and subsists because Isaac Fitzgerald (once an inveterate wastrel who was thick as thieves with the abusive Stephen Elliott in his alcohol-smeared Rumpus days, a biographical detail that entailed many years of his life that he, like Attenberg, has nimbly managed to storm past) declared a Dave Eggers-style “No haters” policy when Buzzfeed commissioned this equally shallow opportunist to steer its book coverage, thus securing an agora in which tripe like the below passage is allowed to pass muster without righteous and appropriate pushback:

“Instead, I have become a superior dinner guest. I am wonderful to have at your side while you cook, particularly if you give me a glass of wine, and also to have sit at your table, because I will appreciate your food in a deep, emotional, and highly verbal way, perhaps, in small part, because I did not get to experience that kind of cooking growing up. I’m just always so appreciative of being fed a delicious, home-cooked meal; genuinely, puppy-dog-eyes astonished by the food put before me. Invite me over and feed me. I will be your best companion.”

Puppy dog eyes. Feed this voracious do-nothing dunce, dammit! She’s staring at you!

Sometimes I get so frozen in my feelings, though, or perhaps it is that one feeling is stronger than the others and that’s the one that commands me. I have multiple feelings going on at the same time within me, all day long. This is why I can appreciate a room full of old bones chattering at me silently. This is the makeup of my soul. A room full of bones, a multitude of voices, all at once.

Do you hear that? You’re all nothing more than bones. What a deeply pleasant person!

None of my friends would visit me except if it was my birthday party or the like; there had to be the guarantee of a good time. Williamsburg was too far, it seemed, but from what? The familiar.

Or maybe — and this is easily corroborated by how easy it is to travel out to Williamsburg on the L line — your “friends” just didn’t like you? Speaking as someone who lives off the ass-end of the 2 and 5 lines — a far greater subway crawl than heading to Williamsburg — I’ve never had a problem persuading pals to stop by. Largely because I am fun, giving, firmly committed to secular humanism, genuinely effusive, and I deeply and genuinely care about people. Having visited Attenberg’s loft on Kent Avenue a few times, I can personally attest that every trip felt very much like coercion. A publicist who I will not name once informed me that she “didn’t want to cross Jami.” And this was well before The Middlesteins secured her “literary worth.” Others have reported to me how Attenberg would slice them out of her life if she couldn’t use them. I interviewed this meretricious writer twice back in the days when I had a literary podcast and I only did so because Attenberg — an adept and accomplished narcissist — had a knack for guilting you if you didn’t pay enough attention to her. She preys upon anyone who feels an altruistic instinct to include people. And she had a way of making you feel bad if you declined her invite. Speaking for myself, I deeply regret that I fell for her boorish egotistical act for so long. But being a true-blue empath is often a double-edged sword. And I’ve fallen on my own unscabbered blade far too many times to secure my own obscurity. Perhaps I was just as nonessential as the poor neighbor Attenberg describes in her cluelessly self-absorbed and vile volume. Your apartment floods and here’s that narcissistic writer who only hangs out with you to cadge cigarettes and does fuck all to help you. The next thing you know, you’re dead. “We looked out for each other,” writes Attenberg in a blithe manner that reminded me of Evelyn Waugh at his nastiest, “but sometimes people fall through the cracks.” Written like a true sociopath. A manipulative impostor who also writes pages later, “[I]t helps me to be of service to the universe.” Well, only in the most Brahmin of ways. Then there is risible atonement here:

I don’t regret any of it, except for how much money I spent on drugs. And also, sometimes I was an asshole. And for that: I’m sorry, I’m sorry, I’m sorry.

You’ve never been sorry at all, Jami Attenberg. You’ve hurt many good people. They’ve told me the details. You’re a terrible person. And no amount of pain that you’ve experienced gives you the excuse to be an asshole.

I am sure the easily triggered peanut gallery, all of them so eager to cavil and find fault with a middle-aged dude taking a necessary stand against an unmitigated narcissist and hubris-fueled mediocrity inexplicably bound in print, will look to my biographical details and my attack dog approach here as evidence of a bias that I may have against narcissistic women. And they may very well be right. But I have also publicly denounced a vast panoply of male narcissists (some of whom have turned out to be abusive) that includes Jonathan Franzen, Jonathan Safran Foer, Jonathan Lethem, almost every writer named John or Jonathan (though Ames and Wray are both good eggs and I will defend both of them to the death), Philip Hensher, Stephen Elliott, Blake Bailey, Dave Eggers, and scores more over the last twenty years. 88% of male cultural critics are narcissists. In my time, I have feuded at some point with nearly all of them. Because I hate narcissists. They are the cockroaches who crawl in your kitchen that you feel an overwhelming desire to crush with a ball-peen hammer. Never mind the damage to the lino and the kitchen island. There’s a greater pestilence to eradicate. A higher duty, so to speak. And any amount of collateral property damage that bites into your security deposit is worth your noble efforts at genocide. Narcissists have lied about me, blatantly mischaracterized who I truly am and attempted to ruin me with bold prevarications on social media, abused me, and hurt me in a myriad of ways. And, as we saw with the last guy who inhabited the Oval Office, narcissists can damage the nation. So when it comes to narcissists, I am an equal opportunity assassin. Let them all be sent to the gallows. They are the true scum of the earth.

But I digress.

“I am interviewing my father because I am trying to figure out why I am the way I am. The daughter of a salesman, now a salesman herself, in a way.”

Let’s talk about Jami Attenberg — an insufferable narcissist for insufferable narcissists. In other words, what now counts as a “writer’s writer” among all these self-absorbed Bookriot-reading dweebs who boast about their galleys on Twitter. An abject salesman. A repugnant and talentless asshat who really wants you to like her! I am sure she is busting out her Hitachi Magical Wand reading my words (that is, if she made it this far). Because Attenberg is one of those shameless schmucks who gets off on her own press. She’s even willing to promulgate a bullshit “ghost story” (the ghost is in the form of a man, of course) because, deep down, she thinks that little of the intelligence of her reading audience.

“Product knowledge is the big thing,” [Attenberg’s father] continues. “That’s what makes a salesperson successful, is that the salesperson can convey the knowledge to the customer. If you feel confident, they will too.”

Attenberg continues to be adulated by fawning and uncritical book nerds across the nation in large part because she has adeptly and indefatigably marketed her public image (a pug-beagle named Sid, constant shoutouts to other writers who are usually as mediocre as she is, relentless invitations to movers and shakers that are more networking opportunities than genuine social bonhomie, et al.). She is, in short, the Establishment. A completely dull and unremarkable figure who makes up for her creative deficiencies and her paucity of invention by “being there” for people in the Jerzy Kosinski sense of the idiom. Because critical thinking continues to be unpracticed in our apocalyptic age, Attenberg can get away with her act. She’s very much like that stiff from accounting who you politely invited for after-work cocktails just to be friendly and who proceeded to monopolize the banter to steal all your work friends and assert dominance.

Well, Saint Jami — who wrote a poorly researched and scantly remembered dud called Saint Mazie — now “fits in.” There is literally nobody left within the Establishment who will call her out for her insipid solipsism and her piss-poor writing. She’s living proof that, if you stick around long enough and canoodle with the right people for years, then your “work” — such as it is — will be unquestionably appraised as divine mantras from the mount. All of these acolytes — which include many authors — follow Saint Jami on any journey she embarks on without question. She has nearly every haughty careerist from John Scalzi to Roxane Gay doing cart wheels on her little finger. Perhaps because these puffed up self-promoters recognize just how effective Saint Jami has been in spinning her dubious stature as “literary novelist.” And perhaps because self-marketing is truly the only cachet that a writer has left in 2022.

“I would make my own advertising. I would be my advertising. I would stop only when they made me. I would keep driving all over America until someone bought my goddamn book.”

I never thought it was possible, but somehow Saint Jami has written a “memoir” that is more ego-driven and insufferable than Norman Mailer’s Advertisements for Myself. You see, these days, it’s privileged women who get to be febrile egomaniacs, not the aging dudebros. Much as it pains me to agree with her, Katie Roiphe did have a point back in 2009 when she pointed to how most contemporary male writers specialized in “an obsessive fascination with trepidation” when it came to spilling the beans about sex. I would suggest further that this trepidation extended to basic truths across the non-carnal spectrum. While this gender role reversal does allow for women to reveal themselves to be just as monstrous as their narcissistic male counterparts, I fundamentally object to the way in which Saint Jami not only sounds like Werner Erhard demanding primal screams for commonplace anxieties from his audience, but how she and her associates package her folderol with an unsophisticated windmill tilt to feminism.

In America, I was just another feminist, and a white, straight, middle-aged one at that. I did not feel radical in America. I felt basic, and when I say “basic,” I mean it in the colloquial sense, as in boring, unoriginal, mainstream. But a thing I have learned, through trial and error, is that my basic feminism can mean different things all over the world. Sometimes it is a helpful conversation to have, and sometimes I’m just being another oppressor, in a way. But in Italy, at that moment, people seemed interested in my feminism. It was a thing to be discussed.

Sure enough, I Came All This Way to Meet You: Writing Myself Home (an unintentionally hilarious title that suggests some Midwestern innocence) is a dripping pile of dewy hubris. A “memoir” that amounts to nothing more than 300 pages of quotidian and unremarkable “struggle” that dares to call itself distinct and that is driven by that most overused word in the English language: I.

“I temped. I filed. I answered phones. I typed up letters, and then I faxed them across town. I pointed people in the right direction. Down the hall. One flight up. You just missed him. I worked in fifty different offices. All these lives. I took food from the conference room without asking. I replaced women on maternity leave. (Never men.) I lent a hand when they were short-staffed. There was a big mailing. Me, alone, in an empty room, stuffing envelopes. Fingers stung with paper cuts at the end of each day. I worked temp-to-perm and was supposed to feel grateful. If you play your cards right, kid. I never made it to perm.”

A brilliant novel published last year — Jakob Guzman’s Abundance — was an emotionally moving and immensely accomplished work of fiction that didn’t make the National Book Award shortlist. Largely because the literary establishment does not like to hear from people who are both poor and not white. They do, however, like to hear from white neoliberal dullards like Jami Attenberg. Nearly every sentence she writes is so hopelessly drenched in the trite bromides of her unremarkable self. And not even in an interesting way like Kate Zambreno or movingly like Leslie Jamison. This is because Attenberg is a solipsistic blowhard masquerading as a sham empath.

There is nothing remarkable in the above passage whatsoever. Millions of Americans live like this. Millions more live much harder lives. Where is the publishing industry when it comes to their stories? In absentia, of course.

“I had jobs where I was taken less seriously or my opinions dismissed entirely for being a woman. I have been told I am difficult. I am difficult in the sense that I am not easy, but fuck easy.”

Or maybe you’re just a self-serving asshole who nobody wants to work with? And being a woman has zero to do with it?

This ridiculous “memoir” — stitched in the formulaic cobweb of the chronic first person and written by a card-carrying sociopath — has been receiving raves from the bourgie lit brigade. (Or at least fellow mediocre “memoirists” like Claire Derderer in the New York Times, who risibly suggests in her review that it is a rare thing indeed when writers blab about their careers. When, in fact, all of us know that writers can almost never shut up about themselves, even when their lives, like Attenberg’s, are duller than an underpaid barista enslaved to humiliating rituals during a pandemic.) Largely because these tasteless boosters do not recognize anyone in this nation that makes less than $50,000/year and they seldom acknowledge the presence of anyone who isn’t Caucasian. Largely because their lives are lies. This vast swath of Biden-voting, risk-averse, toe-the-line privileged scum, who see Saint Jami as their great lord for “suffering” so commonly, have never known real poverty or been homeless or known real struggle. They are, in their own way, as vile in their absence of empathy as Republicans. These unremarkable lemmings would be chewed up in the first ten minutes of the zombie apocalypse. They’re the ones who call an Uber or order regularly from Seamless and never think to tip a Doordash driver more than 10%. Oh, but they relate to this “struggle.” Jami’s “struggle.” And the whole damn book is like this. Hideous narcissism dolled up as feminist empowerment. The solipsistic cry of the privileged white woman. Me me me. Shut the fuck up. It’s disgusting.

As Joyce Carol Oates suggested on Twitter last month, we can accept a narcissistic writer who writes well and who has a distinct command of language. But Saint Jami’s “command” is laden with clunkers:

“I get asked all the time how I can write about such fucked-up families when my mother is so obviously a nice person.” (False humility.)

“I worked for a cable network on websites for critically acclaimed television shows, all of which were created by men.” (Feeble stabs at the patriarchy.)

“but I liked the idea of talking to students as much as I could, and also, I liked the idea of Davenport.” (Endless narcissistic passages that would be roundly condemned on Twitter if the writer in question had a penis.)

“I try to live in hope when I think of America. Things are terrible everywhere, all the time, I know, but let me have my hope anyway.” (Bullshit bromides.)

“I could have a job in an office, a home in the suburbs. (Not that I wanted to live in the suburbs, but still, they existed and seemed safe.) A stable existence instead of fearing for my life, alone on the road.” (Inflated sense of importance, unexamined contradiction of life goals.)

“I looked around for someone to tell, but it was all strangers. On the bus I ended up being wedged between the window and an ophthalmologist who had flown in for a convention in New York. He did not care that I had sold my first book.” (More inflated self-importance.)

“It was the best thing I had ever written, of that I was certain. Still, my publisher dropped me. It didn’t matter that it was good. They were done with me now.” (Yet another inflated sense of self-worth.)

“Peripatetic was a word I learned in my early twenties. I remember looking it up after reading it somewhere and I thought: That sounds familiar.” (Inflated intelligence.)

“I have been to Northern California maybe a dozen times, mostly to San Francisco, back when you could still be a young dirtbag and live there cheaply, when it still seemed a viable, reasonable place to get away for a few days. It was also where I had written my first book, in Napa.” (As someone who lived happily in San Francisco for thirteen years during the last time it was affordable to live there, go fuck yourself. We weren’t dirtbags. We were making things and finding ourselves.)

“At night I ate store-bought fresh pasta, the kind that comes refrigerated and soft and takes three minutes to prepare, and garlic and butter and olive oil and whatever vegetables I could scrounge from the garden near the big house and I would drink two or three (or four) glasses of wine and sometimes I would sob quietly by myself.” (Foodie aspirations drenched in manipulative self-pity.)

“Where were you the first time you learned the word Gorgonzola?” (Oh please.)

“At the edge of the cove, I saw a couple, the man pointing at something, a woman hugging herself to keep warm. I wondered if she wanted to be here. I wondered if she’d had a rough week at work.” (Wild and off-base assumptions about total strangers.)

“People still used digital cameras regularly then to capture moments, instead of phones like we do now. There would be no instant gratification, no immediate upload to the internet. This was just for them, for now.” (Laughable attempts at profundity.)

“There were gunshots all the time out on the streets.” (I honestly don’t know where to start when it comes to Saint Jami’s stabs at streetcred. She tries so hard throughout this book to prove that she’s “punk rock.” But this passage will do.)

“Every museum in Europe has Warhols in its collection—did you know that?” (If Saint Jami were a man, this would be a prime example of mansplaining.)

“Eventually I tired of DC. There was nothing for me there, I decided, a refrain that would become common enough in my life. I walked away so quickly from everything.” (A completely superficial sense of other cities.)

“A great lesson: When someone tells you not to bother dreaming, they’re not on your side.” (Or maybe they’re being kind?)

“The six-packs of yogurt, all different flavors, the fresh-squeezed orange juice, an entire drawer just for cheese. I did not want this life, the husband, the kids. But I did want that refrigerator full of food.” (Pathetic ramshackle gluttony.)

“Rosie brings me lasagna and Julie brings me a tuna casserole, and I have more food than I could ever eat for weeks, and I think: That was my problem in Los Angeles, I didn’t know enough Jews there.” (Gluttony and narcissism walk into a bar. You know the end of the joke.)

“We got drunk very quickly, perhaps she more than me, but I didn’t know her well enough to be able to tell, and then a few of her friends showed up, two men, and we drank a little more, and we decided to drive around town with them. Everyone was kind of a mess except for the driver, who I was trying to flirt with because I was free and in a new city I hadn’t ruined for myself yet.” (More drug addict greed.)

“I am still flattered when people want to be my friend. The chubby child wonders why anyone would want to have her over after school, is grateful to be invited. If someone asks me to meet them for a drink and it feels like something good might come out of it, some sort of future relationship, I enter into it with an open heart.” (Man, I’ve heard this bullshit line from so many narcissists before.)

“I picture her on her barstool now, this writer in Brooklyn. She is slightly older than me, but much better kept. Someone who has been found sexy her entire life. A more accessible type. Taller, more lithe, softer curls on her head, more specific lips, lips with a wry, saucy point of view, pursed, it seems, always.” (Narcissistic jealousy of other peers.)

“Can you imagine viewing everything in your life through two sets of eyes? Yet surely, I have viewed myself through thousands of sets of eyes in my life. Without even knowing it.” (More egregious narcissism.)

“The main dramatic crisis of the film is her relationship with an angry, aggressive driving instructor who has an unrequited crush on her, and who ultimately is abusive toward her in a confrontation one night. She escapes uninjured, too precious is this character for permanent damage.” (A complete misread of Mike Leigh’s Happy Go Lucky.)

“On my first book tour, sixteen years ago, a male bookstore owner hugged me too long after an event at his shop. ‘I could tell you were special by your picture,’ he said. I wondered if he’d even read my book.” (Narcissistic victimhood by way of wild assumptions.)

“Once I did an event where a man standing in my signing line said to me, ‘You remind me of my daughter; she’s also a narcissist.'” (No examination of this truth. Perhaps it’s too uncomfortable for Saint Jami. But the man in question here was spot-on.)

“I post another picture of myself in a hotel room on Instagram before I leave for the night. This is me, this is where I am, this is what I am wearing. I post it so people can tell me I look OK. I post it so people know I’m alive. I post it as a proof of life. I grow accustomed to seeing myself in a box on my cell phone. Did I live in the box?” (Jesus Christ, do you not listen to yourself, Saint Jami? What remarkable narcissism.)

“What’s it like to wake up every day and not worry what anyone else thinks?” (Saint Jami says this of a man who is not on social media. How can he not know of the “struggle” it is to be judged on social media? Well, maybe if you’re a narcissist, it consumes every hour of your day. But if you’re a well-adjusted human being, who honestly gives a fuck?)

“My boss was tall, a burly Australian man, actually physically intimidating, with a booming voice, and not a day went by that he didn’t comment on my facial expressions as he passed my desk. Particularly if I wasn’t smiling. That loud voice could be heard all across the office. Why aren’t you smiling? What’s wrong? Sometimes tapping his finger on my desk. Why don’t you smile more?” (More cartoonish description to bolster the book’s weak and shaky commitment to “feminism.”)

“At my event I am introduced as living in Brooklyn. From the crowd I hear it. A boo. For being from Brooklyn. I had traveled all that way just to get booed.” (Again, who cares? Maybe if you weren’t so concerned with what other people think and actually listened to them, you might be able to win the crowd over.)

“In 2020, a therapist tells me I’m hardwired for anxiety. I was screwed from the get-go, I think. I’m an excellent compartmentalizer of my feelings. I can organize my thoughts and emotions to protect myself and to build a shield, but that will only take me so far. I say, ‘I have been doing it for years.’ I can tell, she says, with what sounds like sympathy.” (Or maybe the therapist was probably thinking to herself, “Do I tell this solipsitic client that she’s a narcissist? Or do I continue to take her money?”)

“He sold himself to my mother, too.” (Because, as we all know, love is transactional.)

“In his stories, things happened. His characters were physical and often violent. They engaged in sharp dialogue, and they said things they’d regret. They drank a lot.” (Because, of course, every male writer who dips on the dark side of life is clearly a monster. I’m sorry to hear that Attenberg was assaulted. But there’s no need to stack the deck like this.)

“I could always see right through them because I am them: an absolute living nightmare in exactly the same way they are, except slightly more tolerable, because I’m a woman.” (Finally. One slight moment of honesty — near the end of the book. Although let me assure you that Jami Attenberg is more of a “living nightmare” than even she knows.)

“Then I read a status update on Facebook by someone who had been in our writing program, and he mourned him and said, ‘He was the best writer in our class,’ and I wanted to fucking scream, because I was the best writer in our class.” (I don’t think you were. Particularly if this is the way you write as a grown-ass adult.)

What’s particularly calculating about Attenberg describing her assault is that it brilliantly inoculates her from criticism. “Oh, you don’t like my book? Well, clearly, you stand on the side of toxic masculinity!” Hardly. But I have to wonder — in light of Alice Sebold identifying the wrong man who assaulted her — how much of this story was invented or embellished or even fact-checked by the people at Ecco. It’s easy enough to suss out who “Brendan” is. (It took me three minutes to find him on Google.) And since the dude is now dead, we have no way to corroborate the story. We also get a casual detail about a suicide attempt, but no effort by Attenberg to examine what led her to this state. Victimhood has become the currency of “memoirs” of this type. Victimhood is also the very quality that a narcissist flails about to anyone who will listen.

Perhaps the literary sphere is drawn to Attenberg’s work because they too believe themselves to be victims in some way. And when a victim presents herself as largely infallible and as the hero of her own story, you can then wallow in your own collective victimhood and sell multiple copies of your terrible book.

Jami Attenberg (The Bat Segundo Show)

Jami Attenberg is most recently the author of The Middlesteins. She previously appeared on The Bat Segundo Show #172.

Condition of Mr. Segundo: Dodging the slings and arrows of families.

Author: Jami Attenberg

Subjects Discussed: Chapter headings with weight listings, why Edie wasn’t the first Middlestein to emerge from the Attenberg brain, finding the structure in The Middlesteins, The Corrections, how imagining alternative universe versions of the self is helpful in creating three-dimensional characters, Elizabeth Strout’s Olive Kitteridge, why it took so long for Attenberg to write about where she came from, the virtues of getting older, why it took nine years and four books for Attenberg to write about Judaism, the two books that Attenberg threw away, the aborted Antiheroine novel about a comic book artist, the inspirational qualities of breaking an ankle, pop-up books, the aborted Upstate novel, the problems with territorial novels, being message-oriented, attempts to get rid of bullshit, turning forty, writing a chapter in the first person plural, Joshua Ferris’s Then We Came to the End, Nick Hornby, unspoken statute of limitations concerning style, hearing fictional people gossip in the background, when agents find certain chapters to be too much of a risk, Benny’s mysterious and sudden hair loss, the long Richard chapter, how to sympathize with a bastard character, being protective of characters, leaving someone who is sick, balancing hope with hopelessness, emotional life vs. assessment, using the word “like” too much, Marilynne Robinson, when small domestic issues feel big in fiction, research into vascular surgery and Chinese cooking, exploring the unknown, asking mom for help with Yiddish, Attenberg’s new historical novel, writing a draft in four months, being a fast writer, spending too much time on a book, overthinking fiction, Joseph Mitchell’s Up in the Old Hotel, having no idea what’s going to happen, why Paul Ryan is an evil man, the horrors of National Bohemian Beer, what people drink in Baltimore, Joseph Mitchell’s Mazie as inspirational force, getting into the head of a real person, Instant Love vs. the fictional characters that inspire Attenberg now, how much “me” a novelist needs, Attenberg’s expanding worldview, and efforts to control life.

EXCERPT FROM SHOW:

Correspondent: I was curious not only about Edie’s fluctuating weight over the course of time and how time shows the perception of that, but also Benny’s hair loss. And not just because I’m bald. The fact of the matter is that you have this character. He balds all at once. Which suggests that there’s some Hapsburg-like problem within the Middlestein genotype. But I’m wondering. Was this a way to level the gender playing field in any way? Or was this a way of showing that anybody in this book could have her physicality or her place in the world just change on a dime?

Attenberg: Yes. That sounds really good.

Correspondent: (in melodramatic voice) How did it come about, Jami? (laughs)

Attenberg: I know. You always make it sound better and really important. You have a way of heightening things.

Correspondent: You’re saying you’re not important? I would disagree with that.

Attenberg: I think that Benny — I don’t know. It might be a really personal thing. Like all the men in my family, they all go bald really young.

Correspondent: All at once like that?

Attenberg: No! Not at all.

Correspondent: (laughs) I mean, it’s really one hell of a fate.

Attenberg: It’s like that psychic obvious emotional disturbance. He doesn’t really deal with things as he should in the time that he should. And he keeps things inside the family. And so that’s how it gets manifested. The hair loss. So it’s not really like a tough metaphor to get.

Correspondent: What about the long Richard chapter? This was one of my favorite parts of the book. Because he leaves Edie. And at that point, I’m thinking, “Well, this guy is a total bastard.” And then you have this long sad chapter of his efforts to date and who he gets involved with. And I then felt extremely sorry for him. And my feelings for the character changed over the course of this twenty or thirty page stretch. We were talking earlier about how a lot of the book was dictated by instinct. And I’m wondering. How much of the other side of Richard were you aware of in advance when you were working on this chapter? Or was this chapter a way for you to not view him as “Ah, this guy’s an asshole”?

Attenberg: It is a really good question that you ask. Because I actually had to write my way into feeling sympathetic for him. So you actually were with me on the journey. By the end of the book, I actually — I don’t know if I love him. But I like all of them. I was just trying to understand them all really deeply and understand all their imperfections. Again, when I say it, it just sounds so obvious and not complicated in the slightest. But people are flawed. And we need to understand why they’re flawed. And these people feel very real to me, even though I don’t know them. By the end of the book, I felt that I knew them. And I’m very protective of them actually. I’m a little terrified of any bad reviews. Like where they judge these characters. I’ll be like, “I’ll be the judge of them! Nobody else can!”

Correspondent: The books aren’t your children. The characters are your children.

Attenberg: The characters are my people. Yeah, I was trying to understand how somebody could do that. And how you could leave somebody who was sick. People do it all the time. And I know people who’ve done it. And I also know people who have gone back when they find out that people are sick. At some point, you have to be able to take care of yourself, I think.

Correspondent: But it seems to me — I’m wondering if you ever actually got a definitive answer to that question in exploring the other side of his character. Because people may leave someone who’s sick, but they may not even know why they do it.

Attenberg: I think he did the best that he could for himself. I don’t think he could be with her anymore. But it didn’t work out perfectly. But you just don’t get everything that you want. I don’t think there’s a lot of loose ends necessarily in the book. It’s not unfinished. There’s hope in it, but there’s also a little bit of hopelessness. You can’t have it all. You just can’t have all. Sorry, I’m getting strangely emotional about this. Because I haven’t talked about the book before. Not really, but I’m just…

Correspondent: I have yet to make anybody cry on this program.

Attenberg: Oh no! I’m not going to cry.

Correspondent: This is not a Mike Wallace kind of thing.

Attenberg: Because this is the first interview that I’ve done. So I haven’t really thought about this. Because so much of it is instinctual. So you don’t.

Correspondent: Where does thought apply when we’re talking about instinct? Obviously, assessing what you have done is an awkward thing for any author to do. But how does it play into the writing process? How do you assess what you have written? Or do you leave it and let it have its own emotional life?

Attenberg: No. I’m just starting to be able — by the way, I’m appalled at my use of the word “like” in this interview. I hear it like every five seconds and it’s making me crazy.

Correspondent: Do you need me to edit it out? (laughs)

Attenberg: What? Can you just do all the ums and all the likes?

Correspondent: We can just put a really strange sound where you say “like.” Auggh! Or something like that.

Attenberg: A little honking noise or something.

Correspondent: But seriously, back to this idea of, like, emotional life and analysis or assessment or intellectualizing something. I mean, does that play into any part of your writing process?

Attenberg: I’m so much more of a visceral writer than I am a cerebral writer. But I’m getting better at being a cerebral writer. Just the fact that I even thought about structure in the way that I did for this book makes me just think it actually is exciting to me. Because it’s just a step forward for me. I’m strategic. I’m getting to be more strategic. The more I read, the more I write. I treasure the fact that I’m a visceral writer. That it’s such a pure emotional — like, I’m on a quest for the emotional truth at all times. Again, everything I say sounds so pretentious. But I’m really trying so hard to be responsible to people’s emotions. Even if they’re fictional.

Correspondent: Maybe a way to answer this. Because we were talking before the tape was rolling about you reading Marilynne Robinson. And I’m wondering. What is it about her work right now that speaks to you as a writer? I mean, you mentioned that you were reading her for some future project. What do you draw from her? What do you take from her that is of value to you in evolving as a writer?

Attenberg: Well, she writes about faith. And since I’m writing a book about a character right now who’s finding faith, I was interested in that. But I think she’s someone who can just write about things that are very emotional and small and personal and domestic, I guess, but makes it feel really big. Like apocalyptic almost. I’m interested in the little moments, in making the little moments feel bigger. Am I answering this question? Sorry.

Correspondent: No, no, no, no. Don’t worry about it. Look, honestly, if you were to provide an insufficient answer, I would probably pester you. Or pester you politely. Or nudge you or what not. So in the acknowledgments, you mention your research into vascular surgery, Chinese cooking, and the magical powers of cumin and cinnamon. So I’m curious. What topics in this book required no research at all? And do you need to sometimes explore the unknown to push yourself further as a writer? Is this something that was part of the whole process of exploring faith? Getting older and so forth?

Attenberg: I mean, I had asked my mom for help on a lot of the Yiddish words. I will say that. Like I remember them from my youth. But I didn’t know when certain things were going to be appropriate. I was just talking about it. So the book that I’m working on now is a historical novel. And then The Middlesteins is more present tense, but also set in the world that I grew up in. And I visit there once a year and see a parents, who still live there. Who are still happily married and not morbidly obese. I should just clarify that. They’re not these characters. But it was whenever I stepped away from The Middlesteins — and I wrote it really fast. I wrote it in four months. The first draft was four months. Whenever I stepped away from it, I could come back to it fairly easily. Because I always knew where it was located. So little things that I had to research ended up informing it and being really delightful and helpful. But I didn’t have to do a lot of research on it. Because it felt really familiar. The book that I’m working on now is a million times harder. Because it’s set in an unfamiliar location. It’s set in an unfamiliar time. Everything about it is new. Everything has to be invented. And it’s just really hard for me to put myself in the room. That said, once I get there, it’s a really wonderful place to be.

Correspondent: Everything has to be invented? I mean, there’s a lot of documentation for a particular time.

Attenberg: Yeah. But it doesn’t feel like anything familiar to me for some reason. Yeah, I mean, I could look at pictures of things.

Correspondent: So you need a certain amount of familiarity with any kind of novel.

Attenberg: For it to go like super fast. Yes. I don’t need it. But it was certainly much more helpful. Like I admit. I think this book is going to take me a year to write for a first draft. Like it’s hard for me to imagine just flying through it. But I love it. I love it. I’m like very struck by the character. The narrator. And it’s fun to write first person. I haven’t done it in a while. But The Middlesteins was, I don’t want to say it was an easy book. That’s not true. Because I really thought very deeply about things. But it came out of me very easily.

Correspondent: How important, do you think, is it to maintain a certain amount of speed? Do you have any frustrations of any part of the process going slower than the norm? Or anything like that?

Attenberg: No.

Correspondent: Do you accept the pace that it is?

Attenberg: Yeah. I have always been a really fast writer. I think it’s because I have a background maybe in advertising. Or I’m a fast thinker. Or whatever. But I’m learning that it’s good to slow it down. I’m learning that your senses — like, I think you can spend too much time on a book. I actually do believe that. Because I know people who overwrite. And I’m like, “You know what? Sometimes somebody just walks across the room.” It’s totally fine for them to just walk across the room and not experience eight emotions while they do it. And you don’t need to know how their foot fell on the floor. Sometimes you just have to get that character across the room. So I think that you can overthink things. But I’m pretty into just getting to the heart of the matter. Getting to the story.

Correspondent: When was the last time you overthought any piece of fiction that you were working on?

Attenberg: I’m overthinking it right now a little bit. I have to admit. I usually write 1,000 words a day. And I’m doing 500 words a day. And it’s like pulling teeth. Even though I love it. I love writing. And I love this book. It’s because it’s inspired by a real person, I think. That’s part of it. And I want to be respectful of her. Even though I never met her. She died before I was born. Twenty years before I was born. And I don’t know very much about her.

Correspondent: Do you fear knowing too much about her?

Attenberg: Oh yeah. I mean, it’s inspired by one of the characters in Up in the Old Hotel. Did you ever read that?

Correspondent: No, I haven’t.

Attenberg: It’s by Joseph Mitchell. Oh, you have to read it! You have to!

Correspondent: I have not read Joseph Mitchell. I know. I know.

Attenberg: Oh my god! YOU have to.

Correspondent: I know. There are gaps, I’m afraid.

Attenberg: And also because it’s reported. And you’re somebody who reports. Oh yeah. It’s totally for you.

Correspondent: I know. I know.

Attenberg: Maybe you’re afraid to read it. Are you afraid?

Correspondent: No! I just…I’ve never gotten around to it! I read a lot!

Attenberg: It’s so good.

Correspondent: I read like 200 books a year or something. So…

Attenberg: I think it’s important for you to read it.

Correspondent: I know. Other people have told me this.

Attenberg: The next interview.

Correspondent: I will read it next year. How about that?

Attenberg: Promise? Alright. I want to hear how much you love it. So anyway, that was one of the characters in the book. She — see, I’m almost more excited talking about the book that I’m working on now…

Correspondent: Sure! We can do that.

Attenberg: …than The Middlesteins. Not because I’m not excited about it, but it’s in such a no man’s land. Because I don’t know when you’re going to put this on the Internet. But I have two and a half months left to go until the book comes out. As of right now.

Correspondent: It’s going to go up in two and a half months.

Attenberg: So it’s going to go up in two and a half. So right now, I have no idea what’s going to happen. It’s August in New York. The publishing industry is dead. Everyone’s like on vacation somewhere.

Correspondent: We don’t even know what’s going to happen politically.

Attenberg: Politically.

Correspondent: Ryan has just been announced as VP. So for those who would like to travel in time with us. (laughs)

Attenberg: I know! It’s freaking me out.

Correspondent: Because what else is going to happen? This has been a crazy cataclysmic year, news wise.

Attenberg: I don’t even have anything to say about Ryan. Because I’m really stunned by the whole thing. Like he’s like a horrible evil man! He’s a terrible person.

Correspondent: I should point out that, when you said “horrible evil man,” you had this huge, huge smile on your face and this great delight and glee in your eyes. Just to be clear on this. (laughs)

Attenberg: (laughs) He’s just like the worst human being ever. And it’s interesting to read all the coverage today.

Correspondent: Oh man! What if something happens to Ryan in the next two and a half months? And this goes on. And we’ve been talking about him. And we’ve called him a horrible evil man. And it’s actually proved. And he’s disgraced or something. And then Romney has to choose another VP candidate.

Attenberg: There’s not going to be any disgrace. This man is a robot.

Correspondent: (laughs)

Attenberg: He’s such an evil robot! He’s been living a perfect unassailable life since he was like born basically. He’s like Satan’s spawn! I mean, I think he’s really been sent here to destroy all of us. I think. God, and the glee from all the commentators. They’re losing their minds over this. Because he’s so evil. Gosh, anyway…

Correspondent: Okay. I have a very important question. Probably the most important question I will ask you. And that involves National Bohemian Beer. It’s a rather notorious Baltimore specialty.

Attenberg: Yes.

Correspondent: Fifteen years, you could not even get this in draft. And they only recently put in kegs. In 2011. So I’m curious if Kenneth’s adventures late in the book was a way to atone for any notorious carousing experiences in the Baltimore area that you might have had. To exact retribution, perhaps, on the Pabst Brewing Company.

Attenberg: (laughs) No! I was just thinking about Baltimore. Because that’s where I went to college. But I’m really surprised that you know so much about this. How do you know so much about this? Or you from there?

Correspondent: I’ve been to Baltimore a few times, but, no, I just know this.

Attenberg: You just researched this.

Correspondent: National Bohemian is a terrible beer. And it’s only a Baltimore beer.

Attenberg: Natty Boh. That’s what we used to call it in college. Because he lived in Baltimore. That was the beer that you drink in vast quantities. Whether you wanted to or not.

(Photo: Jesse Chan-Norris)

The Bat Segundo Show #494: Jami Attenberg (Download MP3)

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Interview with Jami Attenberg

(Note: The full interview excerpted here can now be listened to as the 172nd installment of The Bat Segundo Show)

For my first 2008 interview, I met up with writer Jami Attenberg at her Williamsburg apartment. During our conversation, Attenberg’s very friendly and intelligent cat, Cracker, proceeded to climb upon my leg and claw at the wires. He then deposited his slinky corporeal mass upon my lap and, later, climbed atop the table and deliberately occluded my notes. I was then forced to wing a portion of the interview. But the cat’s daring locative intervention proved pertinent to the conversation at hand.

Attenberg’s second novel, The Kept Man, is as much about a woman’s relationship with topographical territory as it is about a passive thirtysomething drifting on the dregs of her husband’s legacy. To my mind, the two themes were linked. And during the course of the interview, I asked Attenberg about the connections between her protagonist, Jarvis Miller, and the neighborhood she inhabited. (The full interview will appear in a future installment of The Bat Segundo Show.)

attenberg.jpgCorrespondent: I’m wondering also about the Terri Schiavo narrative, because it does play in more later in the book than in the beginning of the book. Did you know immediately that there was this almost quasi-allegorical feel to that? Or did it start with the fact that you had Martin Miller in this coma?

Attenberg: It started with Martin being in a coma. I knew that. Actually, the first chapter that I wrote in the book was about the donut girls at one point.

Correspondent: Oh, interesting.

Attenberg: That was the first thing. Because I wanted to write a little bit about the art world. I knew that. And then I knew that there was this man who was in a coma. I wanted to do that. But I didn’t know how it was going to end. I’ve said this before, but when you have a guy in a coma, you set the stakes really high like that. There’s only three ways that it can possibly end, which is that he dies, or he wakes up, or somebody kills him. Or he just keeps floating along, I suppose. But that wouldn’t be a very good ending to a book now, would it? So I didn’t know about the more political stuff until I got to the end of the book. I don’t want to give away the ending though.

Correspondent: No, no, no. We’re not.

Attenberg: But I really have no idea when I start writing a book how it’s going to end at all.

Correspondent: So you actually had sort of a mish-mash here. You jumped from Point A to Point 6 to Point Z, etcetera, throughout the course of writing these novels? And that’s how you sort of stumble upon the narrative?

Attenberg: I mean, the first two books I wrote — this is the second book — I wrote in about a year. So everything, like I said, it’s very organic. I just sort of making up things around me and putting them into a book. Eventually, when you get to the end, you filter out what worked and what didn’t work.

donuts.jpgCorrespondent: Okay, well, if Davis and the donut girls was one of the key starting points, was this an imagined experience? Or was this drawn from anything specific that you observed? Because I am certainly not familiar with this phenomenon. (laughs)

Attenberg: With donut girls?

Correspondent: Yeah, yeah.

Attenberg: Well, you have to live in this neighborhood. It’s more north side. We’re on the south side right now. And we’re doing this interview in my apartment. And on the south side, it’s very Hassidic and Puerto Rican and Dominican, and then when you head towards more of the north side, it’s Greenpoint. And then it’s really Polish over there. So you notice the Polish girls that are out there. And some people are really fascinated and obsessed with beautiful young woman.

Correspondent: Yeah.

Attenberg: And they’re recent immigrants. And they’re definitely a force in the population.

Correspondent: Well, I’m wondering though. Donut shops in particular. It seemed…

Attenberg: There is a donut shop! In Greenpoint. On Manhattan Avenue. And it just stuck in my brain. I think I went there after seeing a rock show. So it’s sort of like that donut shop. And it just sort of stuck in my head. And I wanted to write about it.

Correspondent: Did you observe any specific pickup artists there?

Attenberg: No. I don’t even know if people really do pick them up. It was just in my imagination that they did.

Correspondent: Interesting. Or even someone constantly buying clothes and this whole modeling thing.

Attenberg: Right.

Correspondent: The whole thing escalating into something else. This was the imagined part.

Attenberg: But that’s no different from Jarvis wanting to be taken care of. Or these men wanting to be taken care of. That there are these people in the world who look to other people to sponsor them or meet their needs. But they provide something in return. I think I missed the point that I wanted to make, which was that, after I had all these ideas about these characters and plot points, I came across the idea of being kept or held back. Once I realized that that was going to be the title of the book and that was a major theme, then it was really to go back to move forward and make sure that every character has something that’s holding them back or keeping them into their life. That’s where it comes from.

nabokov.jpgCorrespondent: Going back to this issue of topography as a launching point, it’s reminiscent to me of Nabokov’s rule, where he basically said that he could not write a novel until he actually had a particular location. Likewise, in addition to this inspirational momentum, I wanted to first of all find out if this was a factor for you in terms of writing this. And it also leads into another question about Jarvis’s perspective, where she’s generally taking a small item and putting it into a larger neighborhood. For example, there’s a pack of cigarettes she observes. And she’s very clear in the way that she describes it as coming from a particular deli and how it was actually purchased and the like. So I wanted to ask you about this phenomenon. Was this a way for you to generate momentum in your book? You needed to get the lay of the land before the lay of the characters?

Attenberg: I’ve lived here for five years. And I’ve lived in New York for ten years. So, for me, it’s not conscious in any sort of way. I wanted to write about the neighborhood that I lived in. And I take a lot of pictures. I go out a lot to document. And I have a blog. So I have been writing about the neighborhood a lot. So, for me, it’s just a natural — I don’t know. It’s not like — it’s not a conscious thing. I would love to take credit for it being some sort of conscious, deliberate act on my part. I just write about the world around me. But I did feel like, at that moment I was writing the book, that there was so much going on in Williamsburg. I mean, this is a rapidly gentrifying neighborhood. Thematically, it did feel perfect for Jarvis. Because Jarvis needs to break out of something in Williamsburg. And Williamsburg was very quietly becoming something. Then all of a sudden, it burst out and there was all this development. And people were really concerned with its development. And I think people in this book suddenly become very concerned with Martin Miller’s life as well.

Correspondent: Well, concerning this gentrification, you have Jarvis fleeing — almost like the Trail of Tears — across the river. And yet, she is very taken with, for example, bagel shops. The laundromat as a kind of social nexus. As well as finding comforts in the very locations that she often despises. So I’m wondering when did you know that this was coming up. Did this come about from knowing the neighborhood or as an extension of Jarvis’s consciousness?

Attenberg: I think that, if you’re going to write a true New York story, you have to write about all of these little shops and stores. We don’t know our neighbors a lot of the time. Our friends tend to live really far away from us. Or it’s not like you can walk down the street and knock on someone’s door and see them. So it becomes really crucial where you have these relationships with a person at your bodega, with a laundromat. It’s just an interesting community. And in Williamsburg, where there’s so many different kinds of people here, and there’s this big influx of young people who really like to engage, it just seems really natural. I don’t know. That’s just my version.

Correspondent: So it sounds like it very much is a topographical concentration.

Attenberg: But she’s not me. But it’s just how someone like her would. You know, I certainly identify with her. I don’t think that I’ve ever done anything that she’s done before. And I’ve certainly never had anyone support me.

* * *

For related conversations, see Jami Attenberg in conversation with Kate Christensen and Ryan Walsh interviewing Attenberg at Largehearted Boy.