I’m re-reading (as much of) Infinite Jest as I can this weekend, as I’m teaching it (for the first time – I’ve before done The Pale King in graduate seminars) on Wednesday. Made it up to page 318 yesterday, no mean feat, and want to do the same sort of numbers if possible today. Ah, the joys of the end of term. I spent the entirety of last weekend reading Midnight’s Children.
One thing I’m on the look out for this time through Infinite Jest are early signs of the themes of The Pale King. How about this one, on bureaucratic heros. It comes from an essay that Hal Incandenza writes for his Entertainment History class:
Chief Steve McGarrett of ‘Hawaii Five-0′ and Captain Frank Furillo of ‘Hill Street Blues’ are useful for seeing how our North American idea of the hero changed from the B.S. 1970s era of ‘Hawaii Five-0′ to the B.S. 1980s era of ‘Hill Street Blues.’
Chief Steve McGarrett is a classically modern hero of action. He acts out. It is what he does. The camera is always on him. He is hardly ever offscreen. He has just one case per week. The audience knows what the case is and also knows, by the end of Act One, who is guilty. Because the audience knows the truth before Steve McGarrett does, there is no mystery, there is only Steve McGarrett. The drama of ‘Hawaii Five-0′ is watching the hero in action, watching Steve McGarrett stalk and strut, homing in on the truth. Homing in is the essence of what the classic hero of modern action does.
Steve McGarrett is not weighed down by administrative State-Políce-Chief chores, or by females, or friends, or emotions, or any sorts of conflicting demands on his attention. His field of action is bare of diverting clutter. Thus Chief Steve McGarrett single-mindedly acts to refashion a truth the audience already knows into an object of law, justice, modern heroism.
In contrast, Captain Frank Furillo is what used to be designated a ‘post’-modern hero. Viz., a hero whose virtues are suited to a more complex and corporate American era. I.e., a hero of reaction. Captain Frank Furillo does not investigate cases or single- mindedly home in. He commands a precinct. He is a bureaucrat, and his heroism is bureaucratic, with a genius for navigating cluttered fields. In each broadcast episode of ‘Hill Street Blues,’ Captain Frank Furillo is beset by petty distractions on all sides from the very beginning of Act One. Not one but eleven complex cases, each with suspects and snitches and investigating officers and angry community leaders and victims’ families all clamoring for redress. Hundreds of tasks to delegate, egos to massage, promises to make, promises from last week to keep. Two or three cops’ domestic troubles. Payroll vouchers. Duty logs. Corruption to be tempted by and agonized over. A Police Chief who’s a political parody, a hyperactive son, an ex-wife who haunts the frosted-glass cubicle that serves as Frank Furillo’s office (whereas Steve McGarrett’s B.S. 1970s office more closely resembled the libraries of landed gentry, hushed behind two heavy doors and wainscot-ted in thick, tropical oak), plus a coldly attractive Public Defendress who wants to talk about did this suspect get Mirandized in Spanish and can Frank stop coming too soon he came too soon again last night maybe he should get into some kind of stress counselling. Plus all the weekly moral dilemmas and double binds his even-handed bureaucratic heroism gets Captain Frank Furillo into.
Captain Frank Furillo of ‘Hill Street Blues’ is a ‘post’-modern hero, a virtuoso of triage and compromise and administration. Frank Furillo retains his sanity, composure, and superior grooming in the face of a barrage of distracting, unheroic demands that would have left Chief Steve McGarrett slumped, unkempt, and chewing his knuckle in administrative confusion.
I sometimes wonder whether we’re not all getting Knausgaard wrong. It’s not the non-impersonality of it that matters, perhaps. It’s the essayism. The fact that he feels free to slip from narrative into essayistic prose more or less at will. Many of the parts that we tend to remember most vividly are from the essayistic portions. Or, to put it another way, imagine what the texts would be like if they left the essayistic material out – if they were straight “memoir.”
But the second question, then, is what the difference is between this “essayism” that I’m describing and “old fashioned” nineteenth-century narration, the sort that we find in Dickens and Eliot for example. If this were the case, then we’ve just slid backwards, back past the innovations of Flaubert and his progeny, into a space of the wisdom-imparting storyteller, and into a realm where the narrative characters simply play out a morality tale as a backdrop to the droning play-by-play of the authorial announcer.
I’ve just, however, come across an interesting reframing of the issue in Milan Kundera’s 1983 interview with the Paris Review. In the course of discussing the polyphonic nature of Hermann Broch’s writing, the interview asks about an “essay” that is inserted into Broch’s The Sleepwalker.
You have doubts about the way it is incorporated into the novel. Broch relinquishes none of his scientific language, he expresses his views in a straightforward way without hiding behind one of his characters—the way Mann or Musil would do. Isn’t that Broch’s real contribution, his new challenge?
That is true, and he was well aware of his own courage. But there is also a risk: his essay can be read and understood as the ideological key to the novel, as its “Truth,” and that could transform the rest of the novel into a mere illustration of a thought. Then the novel’s equilibrium is upset; the truth of the essay becomes too heavy and the novel’s subtle architecture is in danger of collapsing. A novel that had no intention of expounding a philosophical thesis (Broch loathed that type of novel!) may wind up being read in exactly that way. How does one incorporate an essay into the novel? It is important to have one basic fact in mind: the very essence of reflection changes the minute it is included in the body of a novel. Outside of the novel, one is in the realm of assertions: everyone’s philosopher, politician, concierge—is sure of what he says. The novel, however, is a territory where one does not make assertions; it is a territory of play and of hypotheses. Reflection within the novel is hypothetical by its very essence.
This might be a place to start for an answer about the specific difference of Knausgaard’s writing – and the sort of writing that I am most interested in reading now. Essayistic, in parts, to be sure. But essayistic in a sense that the essay itself turns “fictional” – isn’t the “ideological key” of the novel but rather an utterance on the same level of “truth” as the narration in which it is submerged.
An interesting parallel, perhaps. This is from Elaine Blair’s review of Rachel Cusk’s Outline in The New Yorker:
The novel is mesmerizing; it marks a sharp break from the conventional style of Cusk’s previous work. The characters in her earlier novels presumably share some of her biography—they age as she does, study or teach literature, raise children, tend to the chores of daily life in London or in provincial towns. But they remain smoothly sealed in their fictional worlds. “Outline” feels different, its world porous and continuous with ours, though not for the reasons we might expect. Cusk has not named her narrator Rachel. She does not put a fine point on the verifiability of the novel’s events. Though the narrator is a writer, the novel does not tell the story of how it came to be written. It is not an expansive account of a life but a short account of two days that the narrator spends teaching a writing seminar in Athens. Indeed, “Outline” proposes an unexpected solution to the weariness with fiction which Anne calls “summing up”: Cusk has her characters literally sum things up, making them speak about past events rather than showing those events as they unfold. To paraphrase Anne, why manipulate characters into situations dramatizing jealousy when they can tell us about their jealousy?
And this is from Jeffrey J. Williams’s piece in the Chronicle of Higher Education called “The New Modesty in Literary Criticism”:
The change has crystallized around “surface reading.” The term comes from Sharon Marcus, a professor of English and comparative literature at Columbia University, and Stephen M. Best, an associate professor of English at the University of California at Berkeley. Marcus broached it in her 2007 book Between Women: Friendship, Desire, and Marriage in Victorian England (Princeton University Press), and elaborated on it in the introduction she wrote with Best to a 2009 special issue of the journal Representations on “The Way We Read Now.” (They had been colleagues at Berkeley in the late 1990s and early 2000s.) Surface reading, they suggest, characterizes the work of a rising generation.
A good deal of contemporary criticism has performed “symptomatic reading,” a term that conveys looking for the hidden meaning of a text, using, for example, Marxian, Freudian, or deconstructive interpretation. Fredric Jameson has been one of its most influential practitioners, codifying the approach in his 1981 Political Unconscious to look for “a latent meaning behind a manifest one.” Surface reading instead focuses on “what is evident, perceptible, apprehensible in texts,” as Best and Marcus put it. Thus the critic is no longer like a detective who doesn’t trust the suspect but more the social scientist who describes the manifest statements of a text.
Between Women shows how this works. Marcus examines female friendships in Victorian society, but rather than exposing the secrets underneath normative family life—as much of queer theory, for example, has done—she shows how women’s relations were openly affectionate and sometimes sexual, but not secret, suppressed, or hidden in a closet. Surprisingly, she writes, the companionship among women provided a model for heterosexual marriage. While Marcus gathers her argument from the surface, she casts a wide scholarly net, drawing from Victorian fiction, fashion, domestic treatises, political debates. Marcus calls her approach “just reading.”
So, on the one hand, a new post-fictional stance, or at least one that abandons the rules of the game that fiction writers have long embraced as conducive to the evocation of meaning or significance, however half-lit or opaque. If fiction has long been invested in the distinction between what characters say (to others, to themselves, to us) and what they do - that is to say, fiction has had a long standing investment in what we call irony - Cusk (and others like her) seem to be advocating the abandonment of half of the ironic equation. He says he is in mourning for his wife, but why does he keep staring at his interlocutor’s breasts? She says she doesn’t have a problem with her parents, but why does she keep darting off to take phone calls from her father?
On the other hand, Williams’s piece on literary criticism likewise evokes scholars and critics giving up on a parallel fundamental move of criticism: the discovery and description of latent meanings that subtend the surface playout of the text. Rather than, like the psychoanalyst who knows that “It’s not about my mother” means no such thing, means the opposite of what it claims, scholars have generally taken an approach grounded in a sense that whatever it is a text thinks it’s up to (or the naive reader believes it’s up to) something else has to be at play. This novel is ostensibly about the relations between men and women, but why are the relations between men so much more pitched, interesting, and troubling than those between the two sexes? The stance described – perhaps a bit roughly – by Williams abandons the ironic relation between surface and depth that criticism of so many schools and guises, both conservative and ‘radical,’ has held as its privileged locus of significance.
Hadn’t before noticed this love letter to her future husband near the start of Zadie Smith’s White Teeth:
[T]he schoolgirls of St Jude’s kept to the tried and tested formula. Though Ryan would never be privy to the conversations of the school’s changing rooms, Clara knew. She knew how the object of her affections was discussed, she kept an ear out, she knew what he amounted to when you got down to it, down amongst the sweat and the training bras and the sharp flick of a wet towel.
‘Ah, Jaysus, you’re not listening. I’m saying, if he was the last man on earth!’
‘I still wouldn’t.’
‘Ah, bollocks, you would!’
‘But listen: the whole bleedin’ world has been hit by the bomb, like in Japan, roight? An’ all the good-lookin’ men, all the rides like your man Nicky Laird, they’re all dead. They’ve all been burnt to a crisp. An’ all that’s left is Ryan Topps and a bunch of cockroaches.’
‘On me life, I’d rather sleep with the cockroaches.’
At one point, quite late in Ben Lerner’s new novel 10:04, the narrator/protagonist has a meeting with one of his graduate poetry students. The conversation soon reveals that the student, Calvin, has become psychologically unhinged.
“Well, you said once that we shouldn’t worry about our literary careers, should worry about being underwater.” I must have been joking around in class— half joking. “And in any new civilization you need those who have a sense of usable history and can reconstruct at least the basic concepts from science. Also there is the literalization of all literature because the sky is falling, if you know what I mean— that’s no longer just a phrase. A lot of people can’t handle it, how everything becomes hieroglyphic. I lost my girlfriend over that. Body without organs, for instance. I can swallow but there is a cost to swallowing in the sense that I don’t have the same kind of throat. That’s a metaphor but it has real effects, which is what she couldn’t understand. What’s tricky is you want to test it, take poison or whatever to show how you can absorb it, but you don’t know in that instance if it will be symbolic or spider out.”
The college did not have good psychiatric services. He was twenty- six; no one could force him to get help or even legally contact his parents, whoever they were.
“Nobody thinks we’ve been told the truth about Fukushima. Think about the milk you’re buying from a bodega, the hot particles there, I mean in addition to the hormones and what those do. There are rabbits being born there with three ears. The seas are poisoned. Look at this”— here he pulled his hair back, maybe to indicate his widow’s peak; I wasn’t sure— “that wasn’t there when I lived in Colorado. And I know that some of the bone mass in my jaw has thinned, can feel that when it clicks, but I can’t afford insurance. And now there is this storm, but who selects its name? You have a committee of like five guys in a situation room generating the names before they form. The World Meteorological Organization’s Regional Association IV Hurricane Committee— I looked it up. And ever since I looked it up I can’t get service on my phone. Every call is just dropped.”
“I agree it’s a crazy time,” I said. “But I think in times like these we have to try to stay connected to people. And we have to try to make our own days, despite all the chaos. We have to focus on feeling comfortable in our own skin, and we need to be open to getting help with that.” I was desperately trying to channel my parents.
It’s a fairly convincing portrait of a graduate student, hopped up on Deleuze and Guattari and god knows what else, who has lost his bearings – and in particular, has lost his grasp on the relationship between personal events and global events. Calvin’s paranoia takes a particular shape: he is reading the matters of his own life as if they are directly related to their historical context, the apocalyptically-tinged context of our times. His difficulty swallowing has something to do with a failure of meaning that in turn has something to do with ‘being underwater’ – metaphorically as a cash-strapped student or literally given the climate change atmospherics of this work that runs from one New York City hurricane to another. Other illnesses have to do with radiation poisoning, with Fukushima, with international presumably-capitalist conspiracies. Hypochondria connects up with a political persecution complex; bad phone service becomes a symptom of living at the end of history.
Calvin more or less disappears from the novel after his cameo appearance; the narrator tries to check up on him a couple of times and later wonders if he should use some of his book advance to bankroll a run of therapy for him. 10:04 isn’t the sort of lock-plotted novel that forces readers to question a fleeting appearance or digressive encounter – there’s enough wandering and intermittency that Calvin’s scene doesn’t seem too discrepant in the general scheme of things.
But still, I think there’s something to be read in Calvin’s quick appearance in and subsequent removal from the novel. In a sense, isn’t Calvin’s psychopathology very similar to that of the novel as a form – and in a sense, of Ben Lerner’s two novels in particular. In his first, Leaving the Atocha Station, we follow the inconclusive experiences of a young poet-cum-pothead as he messes with girls and doesn’t do his fellowship work, all leading up to… the terrorist bombing of the main train station in Madrid, an event totally out of proportion and sync with the foreground pseudo-plot. In 10:04, the same sort of situation obtains: framed by the two hurricanes that struck New York City in recent years, the novel itself traces out relatively banal plotlines drawn from the everyday life of literary Brooklyn. Will the narrator impregnate his friend? And what will become of his incipient romance with another woman as he tries to? Will the physiological deformity discovered in the early pages become symptomatic? What will he write his novel about?
While both Leaving the Atocha Station and 10:04 are carefully self-aware about the non-correlation between the banal foreground action and the cataclysmic backdrops, the simple fact of the juxatpositoning of the two elements in each case still begs a question about the relation between plot and context. Of course, this is what novels do – what they have always done. A doctor and his wife have a hard time in the rural France of the Second Empire. A woman is planning a party in London in the wake of the First World War. Two men wander Dublin as the world lurches toward the war and the empire toward its dissolution. Foreground and background, character and setting, everyday life and the workings of history – the novel as a form forces us to consider the relations between these elements.
Lerner, as I’ve said, is very self-aware about these issues – the text never forces the conjunctions, even seems ironically knowing about the forced nature of such line of thought that could read, for instance, the reproductive decision-making dilemmas of gentrifiers as somehow tantamount to the the specter of climate change. But that doesn’t prevent Lerner from bringing this minor character, this trouble graduate student, on stage as a sort of scapegoat – loaded with the sins or at least symptoms of the novel in which he is contained, or perhaps even the novel as a form in general – only to shuffle him off again almost immediately. Lerner’s conjunction of the personal and the macro-political belongs on the bookshelf, while Calvin’s belongs in a mental institution, or so the novel implicitly tells us.
After the exchange that I quoted above, Calvin reacts wildly in response to the narrator’s suggestion that he might seek some psychological help.
“Okay, wow. Wow. You want to pathologize me, too. I guess that’s your job. You represent the institution. The institution speaks through you. But let me ask you something”— I sized Calvin up physically; he was taller than I was, nearly as tall as the protester, but thin, almost lanky; I involuntarily visualized punching him in the throat if he attacked me— “can you look at me and say you think this,” and here he swept the air with his arm in a way that made “this” indicate something very large, “is going to continue? You deny there’s poison coming at us from a million points? Do you want to tell me these storms aren’t man- made, even if they’re now out of the government’s control? You don’t think the FBI is fucking with our phones? The language is just becoming marks, drawings of words, not words— you should know that as well as anybody. Or are you on drugs? Are you letting them regulate you?” He stood up so suddenly I flinched, then felt bad for flinching. “Sorry for wasting your time,” he said, maybe holding back tears, and stormed out of my office, forgetting his legal pad.
In a sense, isn’t the ‘institution’ speaking through the narrator and the story that he tells us as much that of the ‘literary novel’ as a form as any that Calvin might be thinking of. A regulatory message, a message that keeps an ‘appropriate’ perspective on things – one that gets on with vivid interest in the conventional workings of conventional lives, even if as it solemnly acknowledges that the shit may in fact be about to hit the fan. I generally think Lerner’s a smart enough novelist to sidestep this ethically and politically perilous position. But then again, the reactions of some of his readers provide evidence more in line with Calvin’s response. For instance, at the end of her gushing review in the Los Angeles Review of Books, Maggie Nelson writes that upon reading Lerner’s new novel,
Far from despair, I felt flooded with the sense that everything mattered, from meticulous descriptions of individual works of art to kissing the forehead of a passed-out intern to analyzing our political language to documenting the sensual details of our daily lives to bagging dried mangoes to the creation of the book I was holding in my hand to my deciding to spend some time writing a review of it.
In other words, despite the apocalyptic overlay, 10:04 more than anything else gave Nelson a revivified vision of her own demographically-appropriate and seemingly already-quite-comfortable daily life.
While reading Sven Lütticken’s new piece in the New Left Review, I was led to click through to a piece by McKenzie Wark called “#Celerity: A Critique of the Manifesto for an Accelerationist Politics.” While I don’t want to go directly into the “accelerationism” issue here – those of you who’ve been reading me for awhile have a sense of where I stand on the matter – I would like to flag up one paragraph that speaks (despite itself?) to the big problem that I have with what we might call neo-Situationist thinking.
3.2 It’s a question of whether boredom with the commodity economy will work fast enough, as it spreads from the overdeveloped world to the underdeveloped, to open up a new path before metabolic rifts like the climate crisis forces the planet toward more violent, disorganizing, and frankly fascist ‘solutions’ to its problems. Already in China factory workers are starting to get restless. Beyond that, there’s only so much cheap labor left on the planet to exploit. Meanwhile, in the overdeveloped world, a rather novel regime of value extraction is finding ways to extract value from non-work. Search engines and social networking find ways to extract value from activity regardless of whether it is ‘work’ and without paying for it. It’s a kind of vulture industry, parasitic on frankly successful popular struggles to free vast tracts of information from the commodity form and circulate it freely. But having beaten back the old culture industries with this tactic, the social movement that was free culture finds itself recuperated at a higher level of abstraction by the vulture industries and their ‘gamification’ of every aspect of everyday life. So: any alter-modernity project has to bypass the expansion of the old commodification regimes across the planet, but also these curious new ones, dominant in the overdeveloped world, but tending now to transform information flows everywhere.
The “question” at play in the first sentences is whether “boredom” will spread fast enough from the overdeveloped world to the underdeveloped to best the onset of “metabolic rifts” like climate change. It’s a foolish – and yes, foolishly accelerationist question – and it’s one that provides space for a sloppy slippage in terms in the first few sentences. “Already in China factory workers are starting to get restless.” Boredom has turned into “restlessness,” and restlessness is indeed something like boredom. But of course the factory workers in China aren’t restless because they’ve over-gorged in the fruits of “overdevelopment.” They are “restless” because they are being worked to death to provide the materials of this ostensible “overdevelopment.” (The more you think about it, in the context of this paragraph, “restless” is an absolutely horrifying word to use to describe the existential situation of those generic Chinese factory workers.) Wark’s slight of hand blurs the lines between the one and the other – casting Foxconn workers as in a sense “catching up” with our existential plight as they contemplate throwing themselves down staircases…
The perspectival problems continue in the next sentence – “Beyond that, there’s only so much cheap labor left on the planet to exploit.” Whether or not that’s true – I seriously doubt it – what are we to make of this statement in context? What will happen when the world “runs out” of cheap labour? Presumably there’s a possibility that global capitalism is in fact potentially about to solve the problems of uneven distribution of goods (and with the goods, “boredom.”) If it doesn’t – in the context of this paragraph – it doesn’t really matter anyway. We’ll all be toast.
In general, any argument that structurally equates (and I’m not even sure that’s not too generous a word for what’s afoot here) the exploitative tedium of Chinese factory work with our bored entrapment in the “gamification” of our tweeting or Facebooking is focalised from a perspective that so desperate to project hysterically one’s own (middle class, academic, first world) life-experience as the very model of the global drama of exploitation.
In short, this paragraph (and Wark’s argument as a whole) is grounded in a fantastical resolution of the real problems of worldwide inequality – a resolution necessary so that Wark’s hipster dilemma’s can take center-stage in the drama of global politics. Or to put it another way, whenever anyone founds their political argument on the concept of boredom, I reach not for my gun but for my World Atlas. Boredom may be a worry for “us” (us here in the “overdeveloped” world, even us trapped in the gears of a socio-economic system based on the festina lente temporality of precarity), but it’s not a pressing problem for the world, no matter what the spoiled youths of ’68 had to say about the subject.
One of my brilliant PhD students quoted this passage from Charles Baudelaire’s A Painter of Modern Life in his thesis:
Dandyism appears especially in those periods of transition when democracy has not yet become all-powerful, and when aristocracy is only partially weakened and discredited. In the confusion of such times, a certain number of men, disenchanted and leisured ‘outsiders’, but all of them richly endowed with native energy, may conceive the idea of establishing a new kind of aristocracy.
It’s tempting to rewrite this for our times. It doesn’t require much of a transformation to do this.
Hipsterism appears especially in those periods of transition when democratic meritocracy has not yet completely disappeared, but when a new aristocracy is being born out of what remains of it. In the confusion of such times, a certain number of men, disenchanted and leisured ‘outsiders’, but all of them richly endowed with the inherited and rapidly redoubling spoils of their ancestors, may conceive the idea of establishing a new kind of aristocracy.