When I write literary criticism for publication in an academic journal or a collection of essays, the experience feels like the intellectual equivalent of hauling a boulder to the top of a seaside cliff, watching it plummet over the edge, and then letting it sink, unseen, into the depths. It’s rare that more than a handful of people will ever read a given academic article, and rarer still that any of them will offer a response to it, and rarest of all, in my experience, that any article that might attract attention should have my name attached to it. Occasionally someone will remark on the effort that goes into throwing the boulder, but more often than not the boulder disappears without a trace while I set off in search of another.

No such luck with my most recent article, though, which was published on September 11, 2011, and has since drawn a response from Lars Iyer, author of Spurious, who scores a mention in the article itself. The article, as its publication date suggests, was commissioned as part of a broader academic consideration of American culture in the decade following the terrorist attacks of September 11, 2001. With my general research area being American literature, I was asked to write about the literary legacy of ‘9/11.’  The usual suspects sprang to mind — Extremely Loud and Incredibly Close, Falling Man, Netherland, and so on — but rather than trying to find something new to say about these ‘classic’ post-9/11 novels, which invariably leave me underwhelmed, I tried to make the case that critical analyses of ‘post-9/11 literature’ should expand the scope of that term to encompass much more than simply literature about 9/11.

I attempted to bring Spurious into the fold, for reasons too convoluted to summarise here, alongside a few other recent novels including Tom McCarthy’s Remainder and Lee Rourke’s The Canal. I wish I had more space to discuss the particularities of these novels. Given the constraints of the journal format, though, I had to settle for pointing to them as symptoms of the greater literary phenomenon that I did set out to discuss. That phenomenon had to do with the favourable American reception of these three novels and other works like them. Obviously these novels were not written by American authors, but they have benefited immensely from the institutional apparatus of the American literary scene — American publishing houses and critical venues — even as they seem to me to stand opposed to the prevailing mode of American literary responses to 9/11 and its aftermath. In other words, I think they represent something that is essentially what American post-9/11 literature is not, and the fact that they have been warmly received by an American readership suggests to me that many readers are not content with what post-9/11 literature supposedly is. They are a type of post-9/11 literature that is the negative image of literature about 9/11, a type that formally internalises the crisis of 9/11 rather than externalising it for narrative purposes.

I titled the article “Rebirth of the Nouveau Roman” and made the suggestion that these sorts of novels adopt a stance towards what is now called post-9/11 literature which resembles the stance of the mid-twentieth century nouveau romanciers towards the social realism of Balzac, Stendhal, et al. Lars Iyer and his interviewer at 3:AM Magazine, David Winters, have been generous enough to take seriously an article that I wrote in sincere anticipation of a readership of zero, although neither one of them is sold on what I see as a resemblance between the novels mentioned above and the nouveau roman. “Wood,” Lars says of me, “is quite elastic with respect to his notion of the nouveau roman, which seems, for him, to name a free-floating suspicion of realism and a messianic promise for literature.” That’s true to an extent, and I’ll wear the criticism, except to quibble with the words “free-floating” and “messianic.”

The sort of fiction I’m trying to identify here does not exhibit “a free-floating suspicion of realism” in the sense that the work of David Foster Wallace, for instance, exhibited such a suspicion. Its suspicion of realism manifests in a way that is much more contained or constrained, more austere, more obsessive or self-obsessive — one might say, more like the fiction of Alain Robbe-Grillet — than that of the sprawling, discursive, digressive, and self-consciously ‘difficult’ novel. There’s a reason I make no mention of Steven Moore in my article: the sort of fiction I’m trying to identify does exhibit a suspicion of realism, but not all fiction that exhibits such a suspicion is the sort of fiction I’m trying to identify. Nor would I say that this sort of fiction — or any sort of fiction — advances what Lars calls a “messianic promise for literature,” a promise which I presume he sees as the impossible antidote to the situation he sketched out in his recent literary manifesto after the end of literature and manifestos. A promise for literature? Really? Here and now, in this day and age? And a messianic promise at that? No, not a chance: just a brute hope that the literature of circling the drain — Spurious, Remainder, The Canal — can show literature itself how to circle the drain in style.

There’s more to be said on this, of course, and with a little luck I’ll find a chance to say it before the year expires. For now, though, the Lars Iyer interview and manifesto await.