While American novelists expand their post-modernist styles, stretch and bend pop culture irony, embed high art and music into their language, and deal with the culture wars, the rest of the world’s novelists, including Americans from the various war theatres, are writing about ducking for cover from the heavy American footprint everywhere.
The Sound of […]
While American novelists expand their post-modernist styles, stretch and bend pop culture irony, embed high art and music into their language, and deal with the culture wars, the rest of the world’s novelists, including Americans from the various war theatres, are writing about ducking for cover from the heavy American footprint everywhere.
The Sound of Things Falling, Juan Gabriel Vasquez, is everything a novel should be. It’s primal theme is what life was like in Colombia while America conducted its War on Drugs. It is narrated by an innocent professor/lawyer who meets a guy recently released from prison, a guy who flew a small plane to run pot and cocaine in the 1960s and 1970s. His American wife, who has not seen him in decades, is coming to see him but the commercial plane she is on crashes and everyone dies. Walking home, the professor and his friend are gunned down in the streets of Bogota in the 1990s. The professor survives to tell this story. The back story is all about how his dead friend’s American wife was a young idealist with the Peace Corps and got in over her head with this pilot guy. The professor encounters their daughter much later. Both share hearing the black box tape of when the commercial flight went down. It’s a depressing story, but it is riveting. I don’t know whether it is the translation or the original writing (likely both) but I tried so hard to slow down my reading of this book ( I do that when the writing is superb) and could not.
This novel is solidly structured and woven together with wonderful recurring devices (e.g., airplanes). Can you imagine listening to the last words on a black box tape of the pilot of a plane crashing with your loved one in tow? Yet this horror brings two random people together. The last thirty pages read like that plane falling from the sky, like Vasquez is tightening the g-force between you and his sentences. The narrator, Antonio Yammara, represents all the innocent bystanders and Colombian civilians of the War on Drugs, a collaboration between the Colombian and American governments. Idealism represented by the Peace Corps volunteers is battered, shattered, and buried, but two human beings deeply affected by the events, one shot up who almost dies and the other who loses her mother way before that plane crashes, find each other, at least for a time.
This is the passage that stands out for me: “And you, Senorita Fritts, do you know when you’re going to die? I can tell you. If you give me some time, a pencil, and paper and a margin of error, I can tell you when it’s most likely that you’ll die, and how. Our societies are obsessed with the past. But you Gringos aren’t interested in the past at all, you look forward, you’re only interested in the future. You’ve understood it better than us, better than the Europeans. The future is what we have to focus on. Well, that’s what I do, Senorita Fritts: I earn my living by keeping my eye on the future, I support my family by telling people what’s going to happen. Today, these people are insurers of course, but one fine day there will be other persons interested in this talent, it’s impossible there won’t be. In the United States they understand this better than anyone. That’s why your people are going forward, Senorita Fritts, and that’s why we’re so far behind.”
Lots of people in the US earn their living telling people what’s going to happen – consultants, bankers, regulators, insurers, medical professionals, clergy, data scientists, economists, academics, and probably others I can’t name off the top.
I have read many novels in recent months and years which are translations or in English about other parts of the world, usually places with a heavy American footprint. These include: The Wandering Falcon (Jamil Ahmad) about Afghanistan, The Apartment (Greg Baxter) about an Iraqi War veteran searching for some peace and quiet away from the American footprint, 2666 (Roberto Bolano) about Juarez and the Mexican – American Border drug wars, Back to Back (Julia Franck) about Post- WWII East Germany, The Reluctant Fundamentalist (Mohsin Hamid) about Afghanistan, Shantytown (Cesar Aria) set in Argentina, Tyrant Memory (Horacio Castellanos Moya) about El Salvador, A Map of Home (Randa Jarrar) set in Egypt, Kuwait, Palestine, and Texas, and A Hologram for the King (Dave Eggers) about Saudi Arabia.
A seminal theme in all of these novels is the implicit or explicit American footprint, whether CIA, Peace Corps, DEA, Pentagon, American consumer, or tech-American corporations; Cold War, War on Drugs, War on Terror, or Global Economic Warfare. It’s easy to say all of these novels are about places America has fucked up in one way or another at one time or another, but it’s more accurate to say they are about how the rest of the world lives in the shadow of a lone superpower.
Mostly, think of a dinosaur bounding your way while you duck for cover. You’ll get the picture.
But I’ve also read some big American novels recently too – Middle C (William Gass), Bleeding Edge (Thomas Pynchon), May We Be Forgiven (A.M.Homes), The Signature of All Things (Elizabeth Gilbert), and Orfeo (Richard Powers), among others. What our “big novel” authors are concerned about and what the rest of the world’s major novelists are concerned about might suggest that the globalization we’ve all heard about and participated in for the past twenty five years (marked in many minds by the fall of the Berlin Wall in 1989) has really been America, often with good intentions but disastrous unintended consequences, making life difficult for ordinary people everywhere. Meanwhile, back in the mother country, our literary world is lathered up about the ironic intersection of pop culture, high art, moneyed society, low-brow professionals, media sensationalism, and corrections to the historical record for maligned segments of the population.
Yet I just heard on the news an hour ago that forty people were shot in Chicago over the weekend. Several weeks ago, it was reported that U.S. veterans are committing suicide at a rate of more than 20 a day. So we have our survival issues. But they aren’t the literary topics du jour.
I suppose if we’re always focused on tomorrow, it’s hard to pay much attention to who was killed over the weekend, or today, or last week.
Anyway, The Sound of Things Falling. It’s worth your time. More truth is revealed in fiction, and this novel reveals truths about how others are coping with our long global shadow overseas. I think we need more that reveal the truths about the chill that shadow has left here at home too.
Ambition is not enough! The author Richard Powers and Orfeo
Ambition in a novel is necessary but not sufficient.
…..
Orfeo is about a older man, once a musician (in college) in love with another musician, who has a penchant for home experiments bent on discovering new connections between music and the scientific world, who then “arouses the suspicions of Homeland Security,” runs away, visits […]
Ambition in a novel is necessary but not sufficient.
…..
Orfeo is about a older man, once a musician (in college) in love with another musician, who has a penchant for home experiments bent on discovering new connections between music and the scientific world, who then “arouses the suspicions of Homeland Security,” runs away, visits loved ones, reminisces about his college love, and disgorges thoughts that will remind you of people who got 800s on their SATs but never learned how to tell a joke with their friends.
This is the third Richard Powers’ novel I’ve read. I doubt there’s a novelist out there who I admire more for the ambition of his fiction. I want to love him. I also want to un-torture his story-telling. In an asymptotic way, I see clearly where he wants to go. But in the end he seems to sacrifice story for lofty concept.
I am especially disheartened that I could not finish Orfeo because he weaves music into his prose. I love this! I try to do this with my writing. And damn him, he selects works that are high on my list of all-time faves, like Messiaen’s Quartet for the End of Time. Mind you, he doesn’t just refer to these works, or have characters listen to them or talk about them. They are stitched into the text as if you are following the score in parallel with reading the story.
Powers’ doesn’t stop with music. He integrates scientific, engineering, environmental, medical, literature, and just about every other academic discipline into this prose too. If I pulled a passage out to illustrate, I’d have to type ten pages.
Instead, here’s Powers’ on pot:
“Pot was a private aha. All the glories were sealed in the locked room of the smoker’s brain, and turned to a joke when he sobered. Els [main character] was after something more solid, a priori, shared–durable wonder raining down on whole roomfuls of listeners.”
I spent many late nights stoned in my dorm room in college, having edge-of-the-universe conversations with friends. The difference must be that Powers’ went back to his dorm room and recorded all of his. I just crashed.
About a third of the way through the book, Powers’ takes a detour and dwells on this favorite work of mine, Quartet for the End of Time. This is what probably kept me plugging away through the second third, after which I quit. I mean, how many times are writers told, “show, don’t tell?” Between pages 106-121, Powers’ gives us a history lesson on the circumstances surrounding Messiaen’s composing this work in a gulag in France. Okay, he seemingly gets away with it because Els is delivering a lecture to his students. But still. It’s a great story, a heartbreaking story, but in this context, pretty dry stuff, and I suspect it only “moves the story along” if you know and love Messiaen’s work, or you can run down the hall and have a eureka moment with a music humanities professor.
Powers’ is in that league with Pynchon, William Gass, William Gaddis, David Foster Wallace, John Barth, and I suppose, Faulkner, Joyce, and others, who are praised for their ambition and scope and audacious intentions, usually by people who make a living off of teaching such novels to students, reminding us how complex but important they are, and making the rest of us feel like Charlie Brown when he is asked by Lucy and Linus what he sees in the clouds. “I thought I saw a horsey and a duckie,” he says, after Linus woos and waxes philosophically.
I wrote the word asymptotically earlier, because one, I love this word, but two, it perfectly describes Powers’ in relation to some of the others in this league. An asymptote is the limit of a curve that is plateauing. Over the course of the x- or y-axis on a graph, the curve approaches the asymptote but never reaches it as the variable goes to infinity. It’s like seeing the goal posts or home plate but never getting there. I guess the fact that I use a word like asymptote tells you I feel a kindred spirit to Powers. Maybe that’s part of my issue. Envy. But I digress. The difference with Powers, say, and the others in his league, is that I see where he is going. I know where the goal posts are when I read his stuff. I don’t lose my bearings because I have context in the three-dimensional plane (unlike Faulkner, early Pynchon, Gass, etc, where I generally have no ideas what’s really going on.). BUT, I am too frustrated, exhausted, and annoyed. I want to punish him by not finishing. I know I shouldn’t but I do. I wish the guy would focus on little
Don’t get me wrong, I love complex stories, ambition, and a literary challenge. But if a horsey and duckie aren’t in there somewhere, I have to wonder whether the intention is to leave a lasting impression in the halls of academia (and The New Yorker) or an enriching (even if challenging) experience with your audience.
As a postscript, several people have told me that The Goldbug Variations is his best novel. I will probably give that one a go if I live long enough. Because I really do want to love this guy.
You’ve heard the phrase “ghost town.” A town that was there and isn’t today. What about a “ghost city?” When a once-vibrant urban area goes to ground, you can hope for rebirth or say bye bye.
…………………….
First, I wish this essay to be a testament to how a random occurrence can lead to greater […]
You’ve heard the phrase “ghost town.” A town that was there and isn’t today. What about a “ghost city?” When a once-vibrant urban area goes to ground, you can hope for rebirth or say bye bye.
…………………….
First, I wish this essay to be a testament to how a random occurrence can lead to greater insight, inspiration, and ideas for the future.
In the process of cleaning house a few weeks ago, a rather large house filled mostly with books, I came across East St. Louis – Made in USA: The Rise and Fall of an Industrial River Town. This was surprising because there aren’t many books in this house I am not familiar with, even if I have not read them.
I’ve spent the better part of my career writing about industrial America from the inside out. As a youth, I worked a summer job once in Chattanooga, TN, loading and unloading tires from boxcars and rail cars into and out of temporary warehouses created from abandoned industrial structures. On my lunch breaks or waiting to be picked up, I’d rummage around the old machinery, occasionally the files and paperwork left behind, and the neighborhoods these manufacturing facilities inhabited. Before that, I remember being “volunteered” by my mother to work one of the first Earth Days in 1970 in, to be euphemistic, one of the less fortunate city neighborhoods, far far away, frankly, from the comfortable suburb my family lived in. We worked abandoned light industrial areas and inhabited residential areas.
Industrial America fascinates me.
If Americans know anything about East St. Louis, they know (1) the flat tire scene in the first Vacation movie, starring Chevy Chase and (2) that it is one of those cities adjacent to one of those much better off cities. I moved my family from Bucks County, PA, to St. Louis in 1997. East St. Louis, directly across the Mississippi River, was known for three things – crime, strip clubs, and decaying industrial sites. I was familiar with these kinds of cities. There are edge cities, prosperous suburban metropolitan cities adjacent to or near the cities everyone knows. Then there are fall off the edge of the cliff cities, decaying cities adjacent to the cities we know, usually (but not always) in the next state over.
When I lived in New York City, I got pretty familiar with Newark. I worked in a refinery in Elizabeth, NJ, adjacent to Newark. Back then (1970s and 1980s), lots of cities in NJ served in the role of fall off the edge of the cliff – Newark, Bayonne, Elizabeth, Jersey City, and others. To the north were the prosperous edge cities like Stamford, CT, and those in Westchester County, NY. When I lived in Bucks County, PA, commuting distance to both New York and Philadelphia, I got familiar with Camden. In my frequent travels to Chicago and environs, I became somewhat familiar with Gary, IN. Later I spent a lot of time in San Francisco and got to know Oakland.
East St. Louis: The Rise and Fall of an Industrial River Town, by Dr. Andrew J. Theising, a professor at Southern Illinois University – Edwardsville, IL, explained to me why East St. Louis is the way it is. It exemplifies the power, in this case destructive, of initial conditions: The city was conceived to cater exclusively to its industrial interests and once those industrial interests decayed to nothingness, the city’s purpose, it’s reason for being, went with it. It has, for all intents and purposes, gone to ground. There is very little left. What institutions and “businesses” remain, or have emerged in recent years, are, according to Theising, public and non-profit and therefore not paying taxes.
Theising’s treatise, eminently readable, is based on scholarly research. The photographic history alone is worth the read. Even in 1918, the city was determined by census statistics to be the second-poorest in the country. Mind you, this was a mere fourteen years after St. Louis, across the river, hosted the World’s Fair when it was America’s fourth largest city. Although simplifications are dangerous, you could say that St. Louis’ money went west (Clayton, MO, is the prosperous edge city for the metro area) and St. Louis’ industrial dumping grounds went east. The government of East St. Louis catered to those industrial interests, at the great expense of its residents.
I was so captivated by Theising’s book that I told him so in an email and he graciously offered to give me a tour (he runs a place called the Institute for Urban Research). I had driven around the city before but it had been about ten years. Yes, I had even visited the strip clubs every so often with an out of town business client on generous expense account.
But I wasn’t prepared for what Dr. Theising showed me.
Fact is, the city has, indeed, gone to ground. So little of it is left. There is a main drag and I was surprised to learn that, while the storefronts were boarded up and there was little activity early on a Friday afternoon, on weekend evenings, you’d be hard pressed to find parking. As portrayed in Vacation, the city is something like 97% African American. In this day and age, that in itself is kind of mind-blowing.
Here are just a few anecdotes illustrating what happens when a city has gone to ground. We toured a new neighborhood. The homes were less than ten years old. In the parlance of the urban planners, it is an “infill” neighborhood. I can’t recall whether it was described as a law or a neighborhood ordinance, but the residents are not allowed to congregate in the front of their homes. Can you imagine? Okay, most outdoor grilling takes place in the back yard, but a law that prevents you from hanging with your family in front, waving to the neighbors walking by? That’s because so many killings take place in these areas from people shooting from cars as they drive by. Yet over ten years, this neighborhood has apparently sustained itself as a quality place to live.
East St. Louis has six police officers. Dr. Theising told me the number of 911 calls the city gets per day and I forget the number but I do remember doing the math in my head and it came out to approximately one every five minutes. The city only has about 27,000 residents. When I asked the obvious question, how do six officers respond to a situation every five minutes, Dr. Theising’s expression answered the question simply: They don’t. They can’t. I think the suburban town I grew up in had 200o residents and at least six police officers.
We drove through an intersection well to the east of downtown and Theising pointed out the two grocery stores across the street from each other. Of course, the irony is that the rest of the city is a food desert. You could probably guess that the two stores are competing to see which one goes belly-up first. But here’s the kicker: One of the stores actually pays for a car service to pick up and return customers. Now, I do know that most grocery stores operate on the thinnest of margins. It’s impossible to imagine how a store remains solvent adding car service fare to its expenses.
If you wanted to develop some constructive ventures in East St. Louis, apparently you’d be hard-pressed to even figure out who owns the land. Many residents have had the land passed to them from relatives but never had the records officially revised at City Hall.
Towns surrounding East St. Louis are often incorporated as separate cities essentially owned by the companies who operate the industrial facilities, or once did. Thus, there is no hope of annexing or incorporating adjacent areas.
Truckers which just charged residents of St. Louis like me so much per ton to transport our bulk waste to a landfill or a recycling center routinely dump their cargo in some abandoned lot across the river. You know an urban dystopia has emerged when it is a good thing you see tires sticking up from the ground or a sidewalk. Why, you ask? Because that means someone had the decency to mark where a sewer lid had been stolen so no hapless soul descends to their doom into a sewer line from which the likelihood that someone would hear you scream is next to zero.
But here is the Disney Matterhorn of the tour. Dr. Theising took us to an overlook sandwiched between a functioning agricultural industrial facility and an expansive abandoned property along the river banks. It’s an urban park (Malcolm W. Martin Memorial Park) with an amphitheater cut into the ground and a lookout point so handicap friendly that the poor bastard who pushes the wheelchair up the five inclined stair-stepped walkways probably needs an iron lung when he/she reaches the top. One of those bronze sculptures of a famous person (I guess it’s Malcolm Martin), so real you’re happy it isn’t dark out, greets you. You gaze across the river. Damned if you aren’t equidistant from the ends of the Gateway to the West, the St. Louis Arch. I mean, this lookout point bisects the arch perfectly. It’s almost as if the designers were poking their figurative thumb in the eye of the “prosperous” city across the way. The experience was even richer knowing that, at the top of the Arch, visitors were looking down at us.
I’m looking at you…looking at me. You’re looking at a ghost city. I’m looking at your majestic skyline, unobstructed views, a photographer’s paradise, free parking!
I brought a friend with me for the tour whose knowledge of the arcane of St. Louis (he’s the kind of guy who stops and makes you read historical highway markers) is second to none. I at least consider myself an educated and informed citizen of the region I live in. Neither of us had even heard of this “park” though it was completed in 2009. Yet a family who drove up with Ohio plates somehow knew about it (and evidently were not familiar with the scene from Vacation).
Yet, for all the desolation, the gone to ground appearance, I couldn’t shirk the feeling of hope. East St. Louis was a clean slate, on the surface anyway. I began to envision a 50-year development plan that learned from the lessons of the original “initial conditions.” I remember a movie, an awful movie, and I think Chevy Chase was in this one, too, with John Candy, where one of them looks out across the wilderness from the deck of some country home, and says, “I see condos…I see shopping malls.” Well, I saw a completely different energy infrastructure, one based on renewable and clean distributed small scale electric power and microgrids, a bicycling community, urban farms, a small scale farm to market where residents walked to the “farmer’s market.” I saw an urban area that rid itself of its “initial conditions.” Converting the rails to trails. Deploying the Internet as the “highway system.” I saw a place where someone like my daughter, soon to graduate with a degree in environmental studies (urban planning, social justice and lots of other things thrown in), and others like her, could start from scratch and begin to build a model community for the twenty second century.
But that was after I stopped reflecting on the geometry, the irony, accompanied by my friend and an expert on East St. Louis, and the silent perennial sentinel, the bronze statue, , all four of us standing (well, for accuracy’s sake, the statue guy is sitting) virtually under the majestic Arch, in homage to the city which no longer ranks in the top fifty by population in the United States.
If America ever had the guts to embrace central planning again, East St. Louis would be a pretty fine place to start. Maybe the city across the way learns a thing or two as well, because maybe it’s on the same path (not that anyone would want to admit that ). Because the alternative, corporate and industrial control, resulted in this ghost of a city.
Thank you, Dr. Theising.
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