Alec Nevala-Lee

Thoughts on art, creativity, and the writing life.

The myth of the public novelist

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Novelists, by nature, are neurotic types, and never more so than when they’re justifying the pursuit to which they’ve devoted their lives. Looking around at the issues that beset us—social and racial inequality, poverty, terrorism, institutionalized sexism, and much more, all arrayed like a tapestry of woe beneath the gloomy specter of climate change—it’s easy to regard writing novels as an activity of spectacular uselessness. When we do try to rationalize it, we have a few stock answers at our disposal. The art of fiction, we say, is largely the art of empathy, or of training ourselves and our readers to take an interest in the lives of others, and even if the novel has rarely, if ever, changed the course of history, it encourages a habit of thinking outside ourselves that teaches us how to walk in another person’s shoes. (In theory, anyway. But you could also argue that it provides the illusion of empathy, a way of exercising or discharging our emotions that lets us off the hook when it comes to putting those impulses to work in the real world.) And it also turns us into skeptical, even agonistic generalists, capable of grasping complex systems of cause and effect, even if in practice we spend most of our time tackling excruciatingly specific problems of narrative, which often feels like constructing a cathedral out of toothpicks.

Deep down, though, I suspect that a lot of novelists nurture a secret hope. One day, we’ll break through with a major novel or work of nonfiction that will establish us in the sphere of public intellectuals. Glossy magazines and talk shows will solicit our opinions, whatever they are, and our voices will be heard on a range of subjects simply because everything we say is deemed to be interesting. Writing a decent novel, which is undeniably one of the most challenging projects a human being can undertake, is assumed to qualify us to think about other subjects. (Literary novelists, like chess players, have a way of seeing themselves as more intellectually fit than others, as Charles Colton said of mathematicians: “He will be in argument what the ancient Romans were in the field: to them the day of battle was a day of comparative recreation because they were ever accustomed to exercise with arms much heavier than they fought.”) And it can’t be an accident that so many of our most versatile intellectuals—Norman Mailer, Edmund Wilson, Susan Sontag, Jean-Paul Sartre—either started in the novel or devoted a fair amount of attention to it. Thinking hard about reality and about problems of fiction feels like the same skill set directed into two different streams, and an accomplished writer should be able to switch effortlessly between one and the other.

Edmund Wilson

A glance at recent rankings of public intellectuals suggests that this ambition, to put it mildly, is misplaced. The most widely distributed list of this kind, published annually by Foreign Policy, includes just a handful of novelists or imaginative writers: Salman Rushdie, Mario Vargas Llosa, the late Chinua Achebe, J.M. Coetzee, Gao Xingjian, and maybe Michael Ignatieff, an author better known these days as the former leader of the Liberal Party of Canada. The most recent Prospect Magazine list adds a few more names to the pile: Hilary Mantel, Michel Houellebecq, Marilynne Robinson, and Arundhati Roy, who appears to be returning to fiction after a lengthy sojourn in more political fields. For the most part, though, these lists are composed largely of academics, scientists, economists, and businessmen. You could attribute this partially to the decline of the novel as the central art form of our culture: these days, if an entertainer wanders into a position of punditry, he’s likely to look more like Russell Brand. But there’s also a real sense in which a good novelist might be less equipped than average to deal with the complicated problems of public life. Writing is so solitary, so focused on points of craft that have no application anywhere else, that it turns a serious novelist into a machine who can speak credibly on issues of fiction alone—and maybe not even then. And an ability with words only makes it easier to be convincingly wrong.

Yet the illusion persists. And it’s a useful one, at least to the extent that it allows intelligent people to stick with writing when they might have found a more acceptable outlet for their ambitions. I wouldn’t want to live in a world in which writing novels wasn’t seen as a worthwhile pursuit for raw talent. If I’m honest, though, I also find that part of the reason I’m so annoyed with Jonathan Franzen’s attempt to inject himself into the climate change debate is that he’s one of the few authors who actually got the platform that every writer wants. There isn’t a novelist alive who doesn’t secretly wish that The New Yorker would give him space to speak out on whatever he perceives to be the central issue of our time. And Franzen squandered his chance on an argument that even his editors must have known was insupportable. Yet I have a hunch that most novelists would have responded in the same way. Along with being inherently neurotic, writers are often misguided, even perverse, in their social and political stances: they spend so much time willing themselves into the minds of others that they turn into creatures who aren’t like anyone else. Franzen is part of a proud tradition, stretching back through Mailer and Sontag and beyond, of novelists backing themselves into weird, indefensible positions. Writers aren’t reasonable; if they were, they wouldn’t try to be writers. And it’s good to keep this in mind whenever a writer—including this one—tries to give you advice.

Written by nevalalee

April 8, 2015 at 9:38 am

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