The underground railroad was a real historical phenomenon given a metaphor for a name. In his novel The Underground Railroad, Colson Whitehead pulls the magical realist’s trick of literalising the metaphor. He repurposes the secret network of safehouses, waystations, and channels of conveyance for runaway slaves, and transforms it into an actual, physical network of subterranean trains that carry runaways from one station to the next. This is the novel’s central conceit, and no shortage of critics and judges of literary prizes have expressed their admiration for its cleverness.
It is clever, I think, but it’s nowhere near clever enough to sustain the entire novel and it is eventually upstaged by other, more minor conceits. More cleverly, for instance, Whitehead sweeps his heroine along a journey away from a cruel plantation in Georgia and through an alternate version of the United States, and en route he transforms the literal scenarios encountered by his African American characters into metaphors for aspects of the African American experience after emancipation. In South Carolina, the runaway Cora ends up working as a living exhibit in a museum depiction of a slavery plantation. She makes suggestions on how to improve the accuracy of the scene and essentially becomes condemned to “freely” perform the torments of her old life in bondage. Other set pieces in other states offer variations on this conceit — this sort of dialectical self-subversion of daily life in antebellum America — applying it to things like lynchings, bounty hunting, abolitionist proselytising, earned manumission, and so on and so forth.
The result is a perfectly well-written novel. It’s almost the ideal of the well-written novel. There’s hardly a single sentence in The Underground Railroad that doesn’t issue straight out of the broad contemporary sense of how a novel ought to be written and what it should aim to do. It’s been years since I’ve come across such a flawless embodiment of the concept of “literary fiction” as booksellers and the marketing departments of publishing houses understand that phrase. You don’t have to squint in the slightest to see why this novel landed the Pulitzer Prize. It was a Pulitzer Prize-winning novel before it even won. Continue reading →
James Ley’s attitude in his review of George Saunders’ recent novel Lincoln in the Bardo is… well… I’m not quite sure what. Let’s say it’s in the region of prickly/irascible/dyspeptic but without any trace of genuine displeasure or hysteria:
Saunders is a formally adventurous writer; he has his characteristic quirks and obsessions, his own distinctive style. But his work sits quite comfortably within a well-established tradition of postmodern American fiction. In fact, it is hard to think of another contemporary author of comparable renown whose aesthetic is so obviously stitched together from other writers’ old fabric scraps. His fiction is a patchwork of Donald Barthelme’s conceptual whimsy, Thomas Pynchon’s zany cultural satire, and Kurt Vonnegut’s avuncular wisdom, interwoven with an anxious humanism and a demotic turn of phrase that takes a perverse delight in malapropisms, solecisms, absurd jargon and ridiculous brand names — qualities that are more or less direct cops from David Foster Wallace.
And later, building off Zadie Smith’s praise for Saunders as “a morally passionate, serious writer,” Ley adds: Continue reading →
Jeremy M. Davies’ second novel, Fancy, is the sort of thing you’d be likely to get if Thomas Bernhard had submitted himself to the stylistic and structural constraints of the OuLiPo. Like most of Bernhard’s novels, it takes the form of a long, meandering monologue, essentially an unhinged rant. The ranter is an old man named Rumrill, and he is ostensibly delivering his monologue to a young man and woman who have agreed, perhaps only provisionally, to house-sit his two dozen cats. The visitors remain silent and unnamed throughout the novel, although after Rumrill suggests that they smell like pickled cucumbers he begins to openly disparage them as “Mr. and Mrs. Pickles” and even as members of the species “Homo cucumis.” As he lays out his instructions for the Pickles to take care of his pets – instructions that become so meticulously detailed, and so outlandishly elaborate, that they tumble from the physical realm into the purely metaphysical – Rumrill intertwines the day-to-day business of pet care with an account of the time that he, as a young man, agreed to house-sit the three dozen felines belonging to an elderly cat-fancier named Brocklebank. As he rambles on and on, the reality of the situation becomes progressively murkier. Did Brocklebank really own three dozen cats or just a plurality sufficient to make it seem as if he owned that many? Was there in fact a man named Brocklebank at all, or is he some sort of hypothetical construct that Rumrill creates for purposes unknown? Is there even a Mr. and Mrs. Pickles, or is Rumrill perhaps only ranting into a void? And what’s the deal with his obsessive recall of a long ago instance of serendipitous fellatio? Continue reading →
It’s easy to make a very particular, pointed objection to Raymond Carver’s ‘So Much Water So Close to Home.’ One of the things I admire about the story, however, is the way in which, rather than shying away from this objection, Carver acknowledges it, seizes it for himself, and thematises it. One of the seventeen stories collected in What We Talk About When We Talk About Love, ‘So Much Water’ depicts the disintegrating marriage of a man named Stuart and his wife Claire. It begins just after Stuart has returned home from a weekend away on a remote fishing trip with a few buddies. On their first night of camping, we learn, he and his friends discovered the corpse of a young woman floating in a river. But rather than immediately filing a report with the police, the men agreed to tie the corpse to a nearby tree, and they only made a move to contact the authorities when they returned to town at the end of the weekend. Now there’s public outrage brewing. Stuart’s name is in the newspapers and he is receiving threatening phone calls at home. His marriage to Claire begins to strain. Claire can’t fathom how he could have so dehumanised the dead girl as to continue casting about for fish as if she wasn’t floating right there in the river.Continue reading →
Readers interested in the business of fictional “world-building” can learn many lessons from the novels of Kevin P. Keating, not least the extent to which fictional worlds are conditioned by the aesthetic choices undergirding the prose on the page. For many world-building writers, particularly those working in genres like fantasy and science fiction, the elaborate envisioning of the world, and the detailed depiction of the ways of that world, are priorities far more pressing than the careful consideration of diction and syntax and the transmutation of the world into words. But this is clearly, unambiguously not the case for Keating, even though his body of work could be construed as a creature of the borderlands between fantasy, horror, and character comedy. In a Booklist review of his début novel, The Natural Order of Things, his prose is described as “serpentine and sinewy and all-around gorgeous.” That’s not even the half of it, and the prose in Natural Order is bested by that of its recent pseudo-sequel, The Captive Condition. Throughout these two disturbing but hilarious novels, Keating displays a remarkable command of a broad vocabulary and an affinity for the subtleties of prosody, while also choosing words that exploit both of those gifts and finding ways to spool those words around syntactic structures whose complexity serves his sickening sense of humour. What his prose ends up constructing is a world in which, as a matter of course, terrible people do terrible things to themselves and to one another, but also a world in which those people are rendered in prose that makes them something distinctly other, distinctly stranger, than avatars of the merely terrible.Continue reading →