Apr 30 2006
So we’re moving again…and then again…and reading all the time…
It’s nice to be mobile and young. My wife and I are switching apartments for three months (well, three-and-a-half), after which we’ll be going to Austin and staying indefinitely. "Indefinitely" does not mean a great deal of time, though it does mean at least three or four years, which is how long my wife will take to finish her degree. I’ll be done in two years with San Marcos and then…we’ll see.
But despite all the moving, I’ve had some time to read. I’ve been reading Dave Eggers’s A Heartbreaking Work of Staggering Genius. It’s right up my alley and gives me my literary style fix that I needed after six (more or less uninterrupted) J.K. Rowling novels.*
I say it’s right up my alley because it’s all about how the first-person narrative works. I have always found the narrator to be the most interesting character in any given book. Descriptions, for example, tell me more about the narrator than the person being described–that is, the traits the narrator picks out as important are indicators of who the narrator really is. Thus, I adore books that play with the narrator function.**
Eggers’s memoirish book has been sitting on my shelf for ages, and I’m glad I finally picked it up. I think the aspect of the book that I find so intriguing is how it is not so much about Eggers but about his attempt to capture what has happened to him*** in some coherent manner. Of course, that’s the definition of meta-fiction, but Eggers is doing something beyond what one might expect in meta-fiction. He’s conscious that he’s conscious that he’s writing a book about the human experience (I’m paraphrasing his words), and I see (so far) a hyper-ambivalent attitude toward art. On the one hand, Eggers beautifully adapts his life and his personality to the written word; on the other hand, he must bend the truth to adapt his life…er…truthfully. And despite his best efforts, the reader is still conscious that Eggers is conscious, etc., so the reader cannot entirely trust the narrative. Very complicated, but very funny and satisfying.
By the way: I know that somewhere between 90 and 97 people subscribe and plenty of people read this little blog. Anyone have any favorite messing-with-the-narrator-function works they’d like to share?
*I’m happy to say that Eggers never uses all-caps.
**A couple of my favorites in this category are Tim O’Brien’s The Lake of the Woods and Neil Gaiman’s Anansi Boys. In the former, the narrator (presumably a journalist) speaks to the reader via occasional, cryptic footnotes that confound rather than clarify the story. The latter is reasonably straight-forward third-person omnipotent, except for a few passages in which it seems that Anansi the trickster god is singing the story to the reader; the effect is marvelous.
***Namely, his parents’ almost simultaneous deaths from cancer and his subsequent guardianship of a brother half his age.
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