Without missing a beat Heath replied: “Yes, but there’s a second kind of reader. There’s the social isolate—the child who from an early age felt very different from everyone around him. This is very, very difficult to uncover in an interview. People don’t like to admit that they were social isolates as children. What happens is you take that sense of being different into an imaginary world. But that world, then, is a world you can’t share with the people around you—because it’s imaginary. And so the important dialogue in your life is with the authors of the books you read. Though they aren’t present, they become your community.”
Pride compels me, here, to draw a distinction between young fiction readers and young nerds. The classic nerd, who finds a home in facts or technology or numbers, is marked not by a displaced sociability but by an antisociability. Reading does resemble more nerdy pursuits in that it’s a habit that both feeds on a sense of isolation and aggravates it. Simply being a “social isolate” as a child does not, however, doom you to bad breath and poor party skills as an adult. In fact, it can make you hypersocial. It’s just that at some point you’ll begin to feel a gnawing, almost remorseful need to be alone and do some reading—to reconnect to that community.
According to Heath, readers of the social-isolate variety are much more likely to become writers than those of the modeled-habit variety. If writing was the medium of communication within the community of childhood, it makes sense that when writers grow up they continue to find writing vital to their sense of connectedness. What’s perceived as the antisocial nature of “substantive” authors, whether it’s James Joyce’s exile or J. D. Salinger’s reclusion, derives in large part from the social isolation that’s necessary for inhabiting an imagined world. Looking me in the eye, Heath said: “You are a socially isolated individual who desperately wants to communicate with a substantive imaginary world.”
I knew she was using the word “you” in its impersonal sense. Nevertheless, I felt as if she were looking straight into my soul. And the exhilaration I felt at her accidental description of me, in unpoetic polysyllables, was my confirmation of that description’s truth. Simply to be recognized for what I was, simply not to be misunderstood: these had revealed themselves, suddenly, as reasons to write.
By the spring of 1994 I was a socially isolated individual whose desperate wish was mainly to make some money. I took a job teaching undergraduate fiction-writing at a small liberal arts college, and although I spent way too much time on it, I loved the work. I was heartened by the skill and ambition of my students, who had not even been born when Rowan and Martin’s Laugh-In first aired. I was depressed, however, to learn that several of my best writers, repelled by the violence done to their personal experience of reading, had vowed never to take a literature class again. One evening a student reported that his contemporary fiction class had been encouraged to spend an entire hour debating whether the novelist Leslie Marmon Silko was a homophobe. Another evening when I came to class three women students were hooting with laughter at the patently awful utopian-feminist novel they were being forced to read for an honors seminar in Women and Fiction.
It goes without saying that a book as dark as Desperate Characters would never be taught in such a seminar, however demonstrably female its author may be. Sophie and Otto Bentwood treat each other both badly and tenderly; there’s no way to fit such three-dimensionality into the procrustean beds of victim and victimizer. But the therapeutic optimism now raging in English literature departments insists that novels be sorted into two boxes: Symptoms of Disease (canonical work from the Dark Ages before 1950), and Medicine for a Happier and Healthier World (the work of women and of people from non-white or non-hetero cultures). That you can now easily get a BA. in English literature without reading Shakespeare—that students are encouraged to read the literature that is most “meaningful” to them personally, and even if they do read Shakespeare to read him as they “choose” (say, for his (mis)representations of the Other)—reflects a notion of culture that resembles nothing so much as a menu to be pointed at and clicked.
It does seem strange that with all the Marxists on college campuses, more is not made of the resemblance that multiculturalism and the new politics of identity bear to corporate specialty marketing—to the national sales apparatus that can target your tastes by your zip code and supply you with products appropriate to your demographics. Strange, too, that postmodernism, which is multiculturalism’s counterpart among the tenured creative-writing avant-garde, should celebrate as “subversive” the same blending of Hi and Lo culture that The New York Times Magazine performs every Sunday between ads for Tiffany’s and Lancôme.[5] Stranger yet that all these academic Che Guevaras have targeted as “monolithic” and “repressive” certain traditional modes of serious fiction that in fact are fighting television and therapy for their very life. Strangest of all, perhaps, that such heroic subversives, lecturing on the patriarchal evil du jour while their TIAA-CREF accounts grow fat on Wall Street, manage to keep a straight face.
Then again, there has always been a gulf between ideologues, whose ideas abound with implicit optimism, and novelists, whose pessimism reflects their helplessness to ignore the human beings behind ideas. The contemporary fiction writers whose work is being put to such optimistic use in the academy are seldom, themselves, to blame. To the extent that the American novel still has cultural authority—an appeal beyond the academy, a presence in household conversations—it’s largely the work of women. Knowledgeable booksellers estimate that 70 percent of all fiction is bought by women, and so perhaps it’s no surprise that in recent years so many crossover novels, the good books that find an audience, have been written by women: fictional mothers turning a sober eye on their children in the work of Jane Smiley and Rosellen Brown; fictional daughters listening to their Chinese mothers (Amy Tan) or Sioux grandmothers (Louise Erdrich); a fictional freed-woman conversing with the spirit of the daughter she killed to save her from slavery (Toni Morrison). The darkness of these novels is not a political darkness, banishable by the enlightenment of contemporary critical theory; it’s the darkness of sorrows that have no easy cure.
The current flourishing of novels by women and cultural minorities may in part represent a movement, in the face of a hyperkinetic televised reality, to anchor fiction in the only ground that doesn’t shift every six months: the author’s membership in a tribe. If nothing else, the new cultural diversity of fiction shows the chauvinism of judging the vitality of American letters by the fortunes of the traditional social novel. It’s often argued, in fact, that the country’s literary culture is healthier for having disconnected from mainstream culture; that a universal “American” culture was little more than an instrument for the perpetuation of a white, male, heterosexual elite, and that its decline is the just desert of an exhausted tradition. (Joseph Heller’s depiction of women in Catch-22 is so embarrassing, certainly, that I hesitated to recommend the book to my students.) There’s little doubt that many of the new novels are at some level dramas of assimilation, which are broadening our conception of the national culture just as Roth’s novels of Jewish-American life did a generation ago.
Unfortunately, there’s also evidence that young writers today feel ghettoized in their ethnic or gender identities—discouraged from speaking across boundaries by a culture that has been conditioned by television to accept only the literal testimony of the Self.[6] The problem is aggravated, or so it’s frequently argued, by the degree to which fiction writers, both successful ones and ephebes, have taken refuge from a hostile culture in university creative-writing programs. Any given issue of the typical small literary magazine, edited by MFA candidates aware that the MFA candidates submitting manuscripts need to publish in order to obtain or hold on to teaching jobs, reliably contains variations on three generic short stories: “My Interesting Childhood,” “My Interesting Life in a College Town,” and “My Interesting Year Abroad.” Of all the arts, fiction writing would seem to be the least suited
to the monotony of academic sequestration. Poets draw their material from their own subjectivities, composers from God knows where. Even painters, though they inhale at their own risk the theoretical miasma emanating from art history and English departments (and the only thing more harmful to a working artist than neglect is idiotic encouragement), do not depend on manners, on eavesdropped conversations and surmounted quotidian obstacles, the way novelists do. For a long time, I rationalized my own gut aversion to the university with the idea that a novelist has a responsibility to stay close to life in the mainstream, to walk the streets, rub shoulders with the teeming masses, etc.—the better to be able, in Sven Birkerts’s words, to bring readers “meaningful news about what it means to live in the world of the present.”
Now, however, I think my gut aversion is just that: a gut aversion. Novelists within the academy serve the important function of teaching literature for its own sake; some of them also produce interesting work while teaching. As for the much greater volume of impeccably competent work that’s manufactured in and around the workshops, no one is forcing me to read it. The competitor in me, in fact, is glad that so many of my peers have chosen not to rough it in the free-market world. I happen to enjoy living within subway distance of Wall Street and keeping close tabs on the country’s shadow government. But the world of the present is accessible to anyone with cable TV, a modem, and transportation to a mall; and as far as I’m concerned, any writer who wants to revel in that life is welcome to it. Although the rise of identity-based fiction has coincided with the American novel’s retreat from the mainstream, Shirley Heath’s observations have reinforced my conviction that bringing “meaningful news” is no longer so much a defining function of the novel as an accidental by-product.
The value of Heath’s work, and the reason I’m citing her so liberally, is that she has bothered to study empirically what nobody else has, and that she has brought to bear on the problem of reading a vocabulary that is neutral enough to survive in our value-free cultural environment. Readers aren’t “better” or “healthier” or, conversely, “sicker” than nonreaders. We just happen to belong to a rather strange kind of community.
For Heath, a defining feature of “substantive works of fiction” is unpredictability. She arrived at this definition after discovering that most of the hundreds of serious readers she interviewed have had to deal, one way or another, with personal unpredictability. Therapists and ministers who counsel troubled people tend to read the hard stuff. So do people whose lives have not followed the course they were expected to: merchant-caste Koreans who don’t become merchants, ghetto kids who go to college, men from conservative families who lead openly gay lives, and women whose lives have turned out to be radically different from their mothers’. This last group is particularly large. There are, today, millions of American women whose lives do not resemble the lives they might have projected from their mothers’, and all of them, in Heath’s model, are potentially susceptible to substantive fiction.[7]
In her interviews, Heath uncovered a “wide unanimity” among serious readers that literature ‘“makes me a better person.’” She hastened to assure me that, rather than straightening them out in a self-help way, “reading serious literature impinges on the embedded circumstances in people’s lives in such a way that they have to deal with them. And, in so dealing, they come to see themselves as deeper and more capable of handling their inability to have a totally predictable life.” Again and again, readers told Heath the same thing: “Reading enables me to maintain a sense of something substantive—my ethical integrity, my intellectual integrity. ‘Substance’ is more than ‘this weighty book.’ Reading that book gives me substance.” This substance, Heath added, is most often transmitted verbally, and is felt to have permanence. “Which is why,” she said, “computers won’t do it for readers.” With near unanimity, Heath’s respondents described substantive works of fiction as “the only places where there was some civic, public hope of coming to grips with the ethical, philosophical, and sociopolitical dimensions of life that were elsewhere treated so simplistically. From Agamemnon forward, for example, we’ve been having to deal with the conflict between loyalty to one’s family and loyalty to the state. And strong works of fiction are what refuse to give easy answers to the conflict, to paint things as black and white, good guys versus bad guys. They’re everything that pop psychology is not,”
“And religions themselves are substantive works of fiction,” I said.
She nodded. “This is precisely what readers are saying: that reading good fiction is like reading a particularly rich section of a religious text. What religion and good fiction have in common is that the answers aren’t there, there isn’t closure. The language of literary works gives forth something different with each reading. But unpredictability doesn’t mean total relativism. Instead it highlights the persistence with which writers keep coming back to fundamental problems. Your family versus your country, your wife versus your girlfriend.”
“Being alive versus having to die,” I said. “Exactly,” Heath said. “Of course, there is a certain predictability to literature’s unpredictability. It’s the one thing that all substantive works have in common. And that predictability is what readers tell me they hang on to—a sense of having company in this great human enterprise, in the continuity, in the persistence, of the great conflicts.”
Flying back from Palo Alto in an enforced transition zone crewed by the employee-owners of TWA, I declined the headphones for The Brady Bunch Movie and a special one-hour segment on the E! channel, but I found myself watching any-way. Without sound, the segment on E! became an exposé of the hydraulics of insincere smiles. It brought me an epiphany of inauthenticity, made me hunger for the unforced emotion of a literature that isn’t trying to sell me anything. I had open on my lap Janet Frame’s novel of a mental hospital, Faces in the Water: uningratiating but strangely pertinent sentences on which my eyes would not stick until, after two and a half hours, the silent screen in front of me finally went blank.
Poor Noeline, who was waiting for Dr. Howell to propose to her although the only words he had ever spoken to her were How are you? Do you know where you are? Do you know why you are here?—phrases which ordinarily would be hard to interpret as evidence of affection. But when you are sick you find in yourself a new field of perception where you make a harvest of interpretations which then provides you with your daily bread, your only food. So that when Dr. Howell finally married the occupational therapist, Noeline was taken to the disturbed ward.
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 li
terary 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.