How to Be Alone (37 page)

Expecting a novel to bear the weight of our whole disturbed society—to help solve our contemporary problems—seems to me a peculiarly American delusion. To write sentences of such authenticity that refuge can be taken in them: isn’t this enough? Isn’t it a lot?

As recently as forty years ago, when the publication of Hemingway’s
The Old Man and the Sea
was a national event, movies and radio were still considered “low” entertainments. In the Fifties and Sixties, when movies became “film” and demanded to be taken seriously, TV became the new low entertainment. Finally, in the Seventies, with the Watergate hearings and
All in the Family
, television, too, made itself an essential part of cultural literacy. The educated single New Yorker who in 1945 read twenty-five serious novels in a year today has time for maybe five. As the modeled-habit layer of the novel’s audience peels away, what’s left is mainly the hard core of resistant readers, who read because they must.

That hard core is a very small prize to be divided among a very large number of working novelists. To make a sustainable living, a writer must also be on the five-book lists of a whole lot of modeled-habit readers. Every year, in expectation of this jackpot, a handful of good novelists get six-and even seven-figure advances (thus providing ammunition for cheery souls of the “American literature is booming !” variety), and a few of them actually hit the charts. E. Annie Proulx’s
The Shipping News
has sold nearly a million copies in the last two years; the hardcover 1994 literary best-seller
The Crossing
, by Cor mac McCarthy, came in at number 51 on the
Publishers Weekly
annual best-seller list. (Number 50 was Scar
Trek:AU Good Things
.)

The persistence of a market for literary fiction exerts a useful discipline on writers, reminding us of our duty to entertain. But if the academy is a rock to ambitious novelists, then the nature of the modern American market—its triage of artists into Superstars, Stars, and Nobodies; its clear-eyed recognition that nothing moves a product like a personality—is a hard place indeed. Amy Tan, the young novelist, sings backup in the Rock Bottom Remainders, the pro-literacy rock-and-roll group. Michael Chabon, an even younger novelist, gives readers his e-mail address on the dust jacket of
Wonder Boys
, his novel of a novelist in the academy. Donna Tartt (whose first book was likewise set in the academy) dons a suit of armor and poses as Joan of Arc in the
New York Times
for Halloween. The subject of Mark Leyner’s fiction is the self-promotion of Mark Leyner, the young writer; he’s been on
Letterman
twice. Rick Moody, the young author of
The Ice Storm
, has written a comic strip for
Details
magazine in which a young author named Rick Moody hires a body double to do his bookstore readings for him. In the strip, Moody is making art of the torment that many young novelists feel at the pressure to market the innately private experience of reading by means of a public persona—on book tours, on radio talk shows, on Barnes & Noble shopping bags and coffee mugs.

The writer for whom nothing matters but the printed word is, ipso facto, an untelevisable personality, and it’s instructive to recall how many of our critically esteemed older novelists have chosen, in a country where publicity is otherwise sought like the Grail, to guard their privacy. Roth, McCarthy, Don DeLillo, William Gaddis, Anne Tyler, J. D. Salinger, Thomas Pynchon, Cynthia Ozick, and Denis Johnson all give few or no interviews, do little if any teaching or touring, and in some cases decline even to be photographed. Various Heathian dramas of social isolation are no doubt being played out here. But for some of these writers, reticence is integral to their artistic creed.

In Gaddis’s first novel,
The Recognitions
(1955), a stand-in for the author cries; “What is it they want from a man that they didn’t get from his work? What do they expect? What is there left of him when he’s done his work? What’s any artist, but the dregs of his work? the human shambles that follows it around.” Postwar novelists like Gaddis and Pynchon and postwar artists like Robert Frank answered these questions very differently than Norman Mailer and Andy Warhol did. In 1955, before television had even supplanted radio as the regnant medium, Gaddis recognized that no matter how attractively subversive self-promotion may seem in the short run, the artist who’s really serious about resisting a culture of inauthentic mass-marketed image must resist becoming an image himself, even at the price of certain obscurity.

For a long time, trying to follow Gaddis’s example, I took a hard line on letting my work speak for itself. I refused to teach, to review for the Times, to write about writing, to go to pub-industry parties. To speak extra-novelistically in an age of personalities seemed to me a betrayal; it implied a lack of faith in fiction’s adequacy as communication and self-expression, and so helped, I believed, to accelerate the public flight from the imagined to the literal. I had a cosmology of silent heroes and gregarious traitors.

Silence, however, is a useful statement only if someone, somewhere, expects your voice to be loud. Silence in the Nineties seemed only to guarantee that I would be alone. And eventually it dawned on me that the despair I felt about the novel was less the result of my obsolescence than of my isolation. Depression presents itself as a realism regarding the rottenness of the world in general and the rottenness of your life in particular. But the realism is merely a mask for depression’s actual essence, which is an overwhelming estrangement from humanity. The more persuaded you are of your unique access to the rottenness, the more afraid you become of engaging with the world; and the less you engage with the world, the more perfidiously happy-faced the rest of humanity seems for continuing to engage with it.

Writers and readers have always been prone to this estrangement. Communion with the virtual community of print requires solitude, after all. But the estrangement becomes much more profound, urgent, and dangerous when that virtual community is no longer densely populated and heavily trafficked; when the saving continuity of literature itself is under electronic and academic assault; when your alienation becomes generic, rather than individual, and the business pages seem to report on the world’s conspiracy to grandfather not only you but all your kind, and the price of silence seems no longer to be obscurity but outright oblivion.

I recognize that a person writing confessionally for a national magazine may have less than triple-A credibility in asserting that genuine reclusiveness is simply not an option, either psychologically or financially, for writers born after Sputnik. It may be that I’ve become a gregarious traitor. But in belatedly following my books out of the house, doing some journalism and even hitting a few parties, I’ve felt less as if I’m introducing myself to the world than as if I’m introducing the world to myself. Once I stepped outside my bubble of despair I found that almost everyone I met shared many of my fears, and that other writers shared
all
of them.

In the past, when the life of letters was synonymous with culture, solitude was possible the way it was in cities, where you could always, day and night, find the comfort of crowds outside your door. In a suburban age, when the rising waters of electronic culture have made each reader and each writer an island, it may be that we need to be more active in assuring ourselves that a community still exists. I used to distrust creative-writing departments for what seemed to me their artificial safety, just as I distrusted book clubs for treating literature like a cruciferous vegetable that could be choked down only with a spoonful of socializing. As I grope for my own sense of community, I distrust both a little less now. I see the authority of the novel in the nineteenth and early twentieth centuries as an accident of history—of having no competitors. Now the distance between author and reader is shrinking. Instead of Olympian figures speaking to the masses below, we have matching diasporas. Readers and writers are united in their need for solitude, in their pursuit of substance in a time of ever-increasing evanescence: in their reach inward, via print, for a way out of loneliness.

That this marginalized community nevertheless lives in history and feels, if anything,
more
attuned to it than the great majority of nonreaders, and that it’s often our least visible writers who produce the most trenchantly engaged renderings of the culture, is a paradox that I recently spent a long evening trying to get to the bottom of with David Foster Wallace. “A contemporary culture of mass-marketed image and atomized self-interest is going to be one without any real sort of felt community,” Wallace wrote to me afterwards. “Just about everybody with any sensitivity feels like there’s a party going on that they haven’t been invited to—we’re
all
alienated. I think the guys who write directly about and
at
the present culture tend to be writers who find their artistic invalidation especially painful. I mean it’s not just something to bitch about at wine-and-cheese parties: it really hurts them. It makes them angry. And it’s not an accident that so many of the writers ‘in the shadows’ are straight white males. Tribal writers can feel the loneliness and anger and identify themselves with their subculture and can write to and for their subculture about how the mainstream culture’s alienated them. White males
are
the mainstream culture. So why shouldn’t we angry, confused, lonely white males write
at
and
against
the culture? This is the only way to come up with what we want: what we want is to know what
happened
, why things
are
this way—we want the stor^i.”

White men are a tribe, too, of course. But what makes our tribe frustrating to novelists, even beyond our dominance in the culture, is that we are so much more susceptible to technological addictions than women are. The adolescents who spend day-sized chunks of time on-line are mainly boys, not girls. And it tends to be men, not women, who are the aggressive wielders of the TV remote control, who stay up until one in the morning watching reruns and beach volleyball. The flip side of cultural dominance is a nagging sense of responsibility for the status quo, and there’s something sweetly regressive, something surrogate-maternal, in the gratifications of technology. How tempting it is to shun responsibility and forever be boys with toys. And so we reach for the channel flipper, for the techno-thriller, for the mouse. We plug into the grid and take comfort in the crowd. The writers who might remind us that a crowd can be a very lonely place are all too “difficult.”

One of the cherished notions
of cybervisionaries is that literary culture is anti-democratic—that the reading of good books is primarily a pursuit of the leisured white male—and that our republic will therefore be healthier for abandoning itself to computers. As Shirley Heath’s research (or even a casual visit to a bookstore) makes clear, the cybervisionaries are lying. Reading is an ethnically diverse, socially skeptical activity. The wealthy white men who today have powerful notebook computers are the ones who form this country’s most salient elite. The word “elitist” is the club with which they bash those for whom purchasing technology fails to constitute a life.

That a distrust or an outright hatred of what we now call “literature” has always been a mark of social visionaries, whether Plato or Stalin or today’s free-market technocrats, can lead us to think that literature has a function, beyond entertainment, as a form of social opposition. Novels, after all, do sometimes ignite political debates or become embroiled in them. And since the one modest favor that any writer asks of a society is freedom of expression, a country’s poets and novelists are often the ones obliged to serve as voices of conscience in times of religious or political fanaticism. Literature’s aura of oppositionality is especially intense in America, where the low status of art has a way of turning resistant child readers into supremely alienated grown-up writers. What’s more, since the making of money has always been of absolute centrality to the culture, and since the people who make a lot of it are seldom very interesting, the most memorable characters in U.S. fiction have tended to be socially marginal: Twain’s Huck Finn and Hurston’s Janie Crawford, O’Connor’s Hazel Motes and Pynchon’s Tyrone Slothrop. Finally, the feeling of oppositionality is compounded in an age when simply picking up a novel after dinner represents a kind of cultural
Je refuse!

It’s all too easy, therefore, to forget how frequently good artists through the ages have insisted, as W. H. Auden put it, that “art makes nothing happen.” It’s all too easy to jump from the knowledge that the novel
can
have agency to the conviction that it
must
have agency. Nabokov pretty well summed up the political platform that every novelist can endorse: no censorship, good universal education, no portraits of heads of state larger than a postage stamp. If we go any further than that, our agendas begin to diverge radically. What emerges as the belief that unifies us is not that a novel can change anything but that it can
preserve
something. The thing being preserved depends on the writer; it may be as private as “My Interesting Childhood.” But as the country grows ever more distracted and mesmerized by popular culture, the stakes rise even for authors whose primary ambition is to land a teaching job. Whether they think about it or not, novelists are preserving a tradition of precise, expressive language; a habit of looking past surfaces into interiors; maybe an understanding of private experience and public context as distinct but interpenetrating; maybe mystery, maybe manners. Above all, they are preserving a community of readers and writers, and the way in which members of this community recognize each other is that nothing in the world seems simple to them,

Shirley Heath uses the bland word “unpredictability” to describe this conviction of complexity; Flannery O’Connor called it “mystery.” In
Desperate Characters
, Fox captures it like this: “Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy.” For me, the word that best describes the novelist’s view of the world is “tragic.” In Nietzsche’s account of the “birth of tragedy,” which remains pretty much unbeatable as a theory of why people enjoy sad narratives, an anarchic “Dionysian” insight into the darkness and unpredictability of life is wedded to an “Apollonian” clarity and beauty of form to produce an experience that’s religious in its intensity. Even for people who don’t believe in anything that they can’t see with their own two eyes, the formal aesthetic rendering of the human plight can be (though I’m afraid we novelists are rightly mocked for overusing the word) redemptive.