How to Be Alone Read online

  With near-unanimity, Heath’s respondents described substantive works of fiction as, she said, “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.”

  “A friend of mine keeps telling me that reading and writing are ultimately about loneliness. I’m starting to come around.”

  “It’s about not being alone, yes,” Heath said, “but it’s also about not hearing that there’s no way out—no point to existence. The point is 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 of E!, but I found myself watching anyway. Without sound, the segment of 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 yourself in 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 literary best-seller of 1994, Cormac McCarthy’s The Crossing, came in at number fifty-one on Publishers Weekly’s annual best-seller list. (Number fifty was Star Trek: All Good Things.)

  Anthony Lane, in a pair of recent essays in The New Yorker, has demonstrated that while most of the novels on the contemporary best-seller list are vapid, predictable, and badly written, the best-sellers of fifty years ago were also vapid, predictable, and badly written. Lane’s essays usefully destroy the notion of a golden pre-television age when the American masses had their noses stuck in literary masterworks; he makes it clear that this country’s popular tastes have become no worse in half a century. What has changed is the economics of book publishing. The number-one best-seller of 1955, Marjorie Morningstar, sold a hundred and ninety thousand copies in bookstores. In 1994, in a country less than twice as populous, John Grisham’s The Chamber sold more than three million. Publishing is now a subsidiary of Hollywood, and the blockbuster novel is a mass-marketable commodity, a portable substitute for TV.

  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. It’s possible, if you have the right temperament, to market yourself successfully with irony, by making fun of marketing. Thus the subject of the young writer Mark Leyner’s fiction is the self-promotion of Mark Leyner, the young writer; he’s been on Letterman three times. But most novelists feel some level of discomfort with marketing 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 the printed word is paramount 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. Salinger, Roth, McCarthy, Don DeLillo, William Gaddis, Anne Tyler, 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 (1954), a stand-in for the author cries: “What is it they want from the man that they didn’t get from the work? What do they expect? What is there left when he’s done with 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 1954, 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. Not that I was exactly bombarded with invitations; but I refused to teach, to review for the Times, to write about writing, to go to parties. To speak extranovelistically 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 1990s 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.

  ONE OF THE CHERISHED notions of cybervisionaries is that literary culture is antidemocratic—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 grownup 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: Huck Finn and Janie Crawford, Hazel Motes and 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 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 mass 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.

  It’s possible to locate various morals in Oedipus Rex—“Heed oracles,” say, or “Expect the unexpected,” or “Marry in haste, repent at leisure”—and their existence confirms in us a sense of the universe’s underlying orderliness. But what makes Oedipus human is that of course he doesn’t heed the oracle. And though Sophie Bentwood, twenty-five hundred years later, “shouldn’t” try to insulate herself from the rabid society around her, of course she tries to anyway. But then, as Fox writes: “How quickly the husk of adult life, its importance, was shattered by the thrust of what was, all at once, real and imperative and absurd.”

  I hope it’s clear that by “tragic” I mean just about any fiction that raises more questions than it answers: anything in which conflict doesn’t resolve into cant. (Indeed, the most reliable indicator of a tragic perspective in a work of fiction is comedy.) The point of calling serious fiction tragic is to highlight its dis
tance from the rhetoric of optimism that so pervades our culture. The necessary lie of every successful regime, including the upbeat techno-corporatism under which we now live, is that the regime has made the world a better place. Tragic realism preserves the recognition that improvement always comes at a cost; that nothing lasts forever; that if the good in the world outweighs the bad, it’s by the slimmest of margins. I suspect that art has always had a particularly tenuous purchase on the American imagination because ours is a country to which so few terrible things have ever happened. The one genuine tragedy to befall us was slavery, and it’s probably no accident that the tradition of Southern literature has been strikingly rich and productive of geniuses. (Compare the literature of the sunny, fertile, peaceful West Coast.) Superficially at least, for the great white majority, the history of this country has consisted of success and more success. Tragic realism preserves access to the dirt behind the dream of Chosenness—to the human difficulty beneath the technological ease, to the sorrow behind the pop-cultural narcosis: to all those portents on the margins of our existence.

  People without hope not only don’t write novels, but what is more to the point, they don’t read them. They don’t take long looks at anything, because they lack the courage. The way to despair is to refuse to have any kind of experience, and the novel, of course, is a way to have experience.