Interlude 3: The academic novel.

9 May

(And the crime novel. And my life in academia. In 55 lovely points.)

  1. The academic novel is one of the great, under-appreciated subgenres in American literature.
  2. Academic novels tend to feel insulated from the real world. And yet besieged by heightened real-world problems. Of identity, sexuality. Of how to live a good life without harming others. Plus the white-knuckle terror of ideas.
  3. Bernard Malamud’s The Good Life, John Williams’s Stoner, and Saul Bellow’s Herzog form a sort of trilogy on the subject. White Noise is the epilogue.
  4. Jonathan Lethem’s As She Climbed Across the Table should be added to this list. A post-script, maybe.
  5. John Williams gets my vote for the most under-appreciated great writer. He only wrote four novels, and three of them are pure dynamite.
  6. Edward Anderson, of Thieves Like Us, is gets my second vote.
  7. Thieves Like Us is one of the great crime-caper novels, with two very good film versions. (Nicholas Ray’s They Live By Night and Robert Altman’s Thieves Like Us.)
  8. Academic novels often use the atmosphere of noir. There’s something about universities and tenure and the classroom that lends itself to the mood of crime fiction.
  9. Existentialism?
  10. Noir fiction is not detective fiction. The difference is in the details.
  11. Noir is French existentialism plus American gangsters plus sex.
  12. Detective fiction is crime plus honor plus lawlessness plus fearlessness plus heroism. And usually sex.
  13. Noir is death, dread, damaging sex. The hero rarely makes it out alive.
  14. Detective fiction is hard talk and individual genius. The hero rarely dies.
  15. I like both.
  16. Crime fiction has so many good writers that it’s difficult for new writers to make it their own; they risk parody or imitation. There’s little left. The Long Goodbye and The Maltese Falcon have not been improved on.
  17. Having said that, No Country for Old Men is a fabulous crime novel.
  18. The Last Good Kiss is, too. James Crumley. He rules.
  19. It must be said: Ross McDonald is underrated. Not sure why he seems to be receding, while Hammett and Chandler are secure.
  20. But I have a hard time reading new hard-boiled fiction.
  21. The hardboiled school of writing is often more sentimental, more romantic, more false than just about any other type of writing. The detectives are often creaky old men drinking their way through clues.
  22. “Creaky old men drinking their way through clues.” This could be an analysis of much of detective fiction of the 20th century.
  23. Case in point—my favorite line in Dashiel Hammett’s Red Harvest: “At forty I could get along on gin as a substitute for sleep, but not comfortably.”
  24. I recently finished Nic Pizzolato’s (writer and producer of True Detective) Galveston. It won awards. It sold boatloads. It’s good but not great. See point 21 above.
  25. Southern noir is the weirdest of subgenres. The kudzu, the heat, the spread out towns and cities, the drinking, the scars of slavery—it somehow works. Few shadows. Small towns. Oodles of violence.
  26. I’m struggling with the final touch-up of my latest novella. I can’t quite ratchet things into place. Everything feels right—the characters and the mood and the sentences—but something feels off. Absent. Missing. Letting my subconscious mull.
  27. Ennui: writing a random blog post while thinking about deficiencies in your own work. By the by, here’s the first sentence: “It’s almost midnight and I’m just inside my apartment with enough juice in my veins to power a steam ship across the Atlantic.”
  28. Bruce Duffy’s The World As I Found It is an academic novel.
  29. So is J.M. Coetzee’s Disgrace.
  30. Umberto Eco’s Foucoult’s Pendulum is an academic novel, too. Sort of.
  31. If I could go back in time, I would try to attend the best university in the world. Or study semiotics with David Foster Wallace.
  32. Lucian Carr and William Burroughs and Allen Ginsberg began as academics. They were drawn to transgression, drugs, petty crime, seduced in some sense by Herbert Huncke. Carr eventually murdered David Krammerer. Knifed him and dumped the body into the Hudson.
  33. Keroauc drank himself to death. Sounds like a character out of any number of crime novels.
  34. (I knew another grad student who focused on Keroauc. Only, he didn’t like Keroauc at all. Not at all.)
  35. William Burroughs shot his wife in the head.
  36. De Tocqueville said, almost two hundred years ago, that unlike Europe, America has few suicides but tons of murders.
  37. What is it, in our cultural DNA that loves murder so much?
  38. It’s a reoccurring theme: art equals intelligence plus disgust plus hard work plus crime. And usually sex.
  39. A good description of Roberto Bolano’s work.
  40. I’m getting off point here. Or maybe I’m not. 2666 is both an academic novel and a crime novel.
  41. There’s something quixotic about the life of the scholar. Something brave and wonderful and near-useless.
  42. I once met a ph.d. student focusing on English ballads of the 16th century. This was the entirety of his work. I asked him if he just loved English ballads. “Not really,” he said.
  43. I asked another grad student what her dissertation was about. “Comic book zines,” she said. What about them? I asked. “You know,” she said, “jargon jargon jargon.”
  44. John Barth’s Giles Goat-Boy is an academic novel. (And a key meta-fictional text.)
  45. I wanted to go to graduate school for ancient history. But you have to be able to read German and French and Latin. I didn’t even apply.
  46. Like every other writer, I tried to get a spot in the Iowa Writer’s Workshop. I spent a month reworking three short stories, which I had already worked on for months. At the last minute, I switched one of these with a new story, which was hardly a first draft. I don’t know why I did this; some impulse to self-sabotage. This was years ago.
  47. I didn’t get in.
  48. I applied to my wife’s program, American Studies. I wanted to study gangsters, true crime, film noir and 1930s crime fiction. I titled my application essay, “The killers are us.” I thought I was a shoo-in.
  49. I didn’t get into this, either. (And thank my lucky stars for that.)
  50. Michael Chabon’s Wonder Boys is an academic novel. The movie is fantastic.
  51. I think the magic of the academic novel is the collision of high-minded ideals with randy youth.
  52. There’s something smug about graduate students. Only tempered with a streak of self-pity, and an undercurrent of self-disgust.
  53. A.S. Byatt’s Possession is an academic novel. The movie is . . . not fantastic.
  54. For librarians, it’s the air of perpetual moral high ground. We stand for diversity, democracy, pluralism. We stand against censorship, small-mindedness.
  55. Unless we work for a law firm. Or a corporation.
  56. I eventually earned a Masters in library science, (barely) circumventing many of the tribulations facing humanities grad students.
  57. I’m a library scientist. I can’t think of any good academic novels about that.




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