review

Review: LEAVING THE ATOCHA STATION, by Ben Lerner

My boyfriend, whom I have converted back into being a reader, bought both of Ben Lerner’s books at the Brooklyn Book Fair a few weeks ago. He read them both in a matter of days, and recommended them highly to me.

I was more than happy to take his recommendation, especially as the name Ben Lerner has been circling around the online literary scene for a while. I’d seen his name all over the various sites I frequent and I thought it would be nice indeed to read something contemporary and hip. I was excited, looking forward to it, and expecting to like it.

Ben Lerner can certainly write. Before writing this novel, his first, he’d published several poetry collections according to his bio. Indeed, Leaving the Atocha Station seems to be a fictionalized version of Lerner’s own experience as a Fulbright Scholar in Spain. The book’s main character and narrator, Adam Gordon, is also a poet, is also in Spain on an unnamed research-based fellowship, is also a graduate of a university on Rhode Island (i.e. Brown). Possibly also like Lerner – but here I’m speculating – Adam Gordon thinks he’s basically a fraud.

Adam Gordon is also an incredibly unreliably narrator, which could be interesting in theory, but ends up being profoundly dull. I had sympathy for him, to an extent – he is depressed and medicated for it, his self esteem is buried under the floorboards, he seems to be acting out his life out rather than living it – but I also found him extremely obnoxious. He treads the same ground that so many have gone over before, and is leaving no new footprints in his wake.

From Henry James to Henry Miller to Earnest Hemingway, the insecure white privileged male living abroad has been explored ad nauseam. James was an innovator in his deep exploration of our minds and moods, and Miller, much as I hate him, at least managed to be interestingly offensive in his obsession with douching prostitutes and lecherous men. Hemingway I personally regard as a writer who misunderstood himself and perpetuated his personal myth to the point where he is believed to be more of a misogynist than Miller (c’est impossible!). The thing about Lerner is that he’s none of these, and nor is Adam Gordon. There is a wrap-around kind of logic to his character – Gordon’s fear of being a real poet, a real artist, is curbed by his own belief that he is a fraud, which as a result makes him even more of a real poet, and a modest one at that. The irony underlying every word he utters is mirrored in the prose itself. And while I do live in Manhattan and do enjoy small and trendy coffee shops, I have also grown truly sick of the hipster urge to take irony to its outer limits and beyond.

The indulgent, ironic self-hatred that Gordon is constantly experiencing becomes exhausting and dull. He is both detached from and profoundly inside of himself, and even in his most miserable moments, there is a self-congratulatory tone, as if he’s actually quite enjoying be so tortured and complicated.

Let me stress – it’s not that Lerner isn’t a good writer. He very clearly is. Some of his shortest, simplest sentences convey a vast amount of emotional information:

Without texture, time passed.

Or:

The cities were polluted with light, the world warming.The seas were rising. The seas were closing over future readers.

Ben Lerner is clearly a poet. Maybe he has come to terms with that by now and maybe not. My question, as a reader, is why did he need to transmit his own learning curve in this way? Seeing him lust after or sleep with all the women he knows, smoke weed and drink to excess every night, and not take his own work seriously even while everyone else does – it all gets pretty boring and repetitive. Not to mention a bit infuriating. Adam Gordon gets everything, apparently without trying. Is this the lie we’re supposed to recognize? Is he, in fact, making an immense effort when living in Spain on his fellowship’s funds even while not doing the research he went there to do? Or are his anxiety and depression enough to make his laziness understandable, admirable even?

Most writers will tell you that writing is hard work. Lerner’s return to the whimsy of effortless poesy coupled with obsessive anxiety and self-scrutiny are not particularly fetching, mostly because they’re so clinical and automatic. There is so little feeling in the book – except that of Adam for himself – that it ends up seeming like a grand experiment in narcissistic (and ironic) self-hatred.

Maybe it’s just that I went to college with people like Ben Lerner and that I experience them still, living in New York. Maybe this book hits too close to home in the need for validation that is hiding behind its fake humility. Whatever the reason, the result is the same. To my mind, Lerner’s sentences are beautiful, his prose cleanly rendered, but his impact on me was close to nil.

Five Reasons I Love “Little Women” by Louisa May Alcott

Before I start, I want to give a SPOILER ALERT. If you haven’t yet read the book, then a) you should, and b) you shouldn’t read this post (yet) because it contains many details that are vital to the plot. Read the book, I urge you, and come back!

Okay, here we go, the five reasons why my love for Little Women endures, everlasting:

1. The complexity of the characters. Little Women is often assumed to be a simple book for little girls, a book you should read in middle school and then put aside with the other chapter books. It is so much more than that. I reread it once a year, and every year I discover more facets of and motives for the characters . Let’s take Jo March as a case study. Jo is a tomboy when she is young – not because she shuns her contemporaries’ femininity on the whole, but because she recognizes that men have freedom where women don’t, and it is that freedom that she yearns for. She escapes by reading, writing and playacting, finding in these activities the adventures and capacity for expression she needs. But when her favorite sister, Beth, becomes deathly ill, Jo begins to change, to mature. Though the reader rarely witnesses Jo struggling verbally with her emotions, her actions speak far louder than any words she could utter; Jo nurses Beth with obsessive dedication, but fails to bring her back to health. Some time after Beth’s death, Jo realizes that she cannot reconcile herself to fulfilling her dream of becoming a writer. She can’t make her castle in the air a reality with the guilt of Beth’s passing still weighing on her. Instead, Jo ends up devoting her life to the care of others, opening a school for boys that takes in poor and disadvantaged students as well as wealthy ones. Jo’s progression from teenager to woman is complex, and Louisa May Alcott brilliantly shows – rather than tells – Jo’s struggles.

2. The faith. Though a staunch atheist myself, the brand of religion that Alcott portrays in Little Women has always seemed particularly beautiful to me. The particular Christianity practiced by the March family is welcoming and socially-conscious, more about the doing of good deeds than the preaching of good news. There is a wonderful section in which Amy discusses her desire to have a chapel to pray in, similar to the one Esther, a Catholic servant, has. Mrs. March, though uncomfortable with the idea of a Catholic chapel in her home, is amenable to having her daughter set up a little room in which to pray, meditate and think. When religion is spoken of blatantly, it is to comfort and console one another. I’ve always been envious of the March family’s calm, matter-of-fact, approach to faith; as a reader, it is appealing, comforting, and never discomforting.

3. The realistic portrayal of marriage. Unlike many 19th-century novels Little Women doesn’t end with a marriage. Instead, the second part of the book deals with the sisters’ adult life, including the first years of a new marriage. Meg and John marry after a three-year long engagement. Even though John has spent that time earning money and Meg has tried saving the little wages she made as well, they run into financial difficulties quite soon after they marry – a reality of life that is familiar today as well. Meg and John learn to fight through and for their relationship, how to have disagreements, to argue and make up – they struggle with their pride, youth and different expectations from one another. They discover that maintaining a healthy relationship takes work.

4. The reality of parenting. Alcott  takes the reader into Meg and John’s life as new parents. Mrs. March has been, previously, a beautiful example of a loving and beloved mother, and Mr. March, though absent for the first third of the novel, is only so because he is working as a war chaplain and is clearly much loved by his family as well. However, once Meg and John grow distant from one another because of Meg’s devotion to her children, the reader gets to hear a little about the March’s difficult early years as well, a fact that humanizes their saintly dispositions. Meg and John struggle to make parenting a shared venture, and Meg, especially, learns to overcome certain instincts that are unhealthy, she realizes, for both her and her children. Once again, Alcott doesn’t pretend that parenting is an easy task, but handles the difficulties with empathy and humor simultaneously.

5. The sheer beauty of the writing. The style is simple throughout, but there is not a page that doesn’t give me that warm and comforting feeling of a truly human book. The way the characters talk to one another is always lively and lifelike – Jo and Laurie meeting behind the curtain at the party, Amy solemnly explaining why she wrote a will, Meg and John so awkwardly settling upon their engagement, and on and on and on; there are a thousand examples I’d like to give, but I fear I’d end up simply writing a synopsis of the entire story if I started.

So let me recommend again that if you haven’t read it, do so – and if you have read it, reread it. You might be surprised by what you’ll find in it now that you’ve graduated middle school.

X-Men: First Class [Review]

I watched the first two X-Men films on a television screen in preparation for seeing the third in the theater. I remember choice moments from the series, although if you asked me to organize them, I wouldn’t be able to figure out which bit belonged in which film. I remember, for instance, the talented Sir Ian McKellen as Magneto; I remember lovely Anna Paquin playing some character with a white streak in her hair and not being able to kiss anyone; I remember the fascinating Mystique, her character a silent, blank, dimension-less shadow; I remember Xavier’s infuriating calm and how angry I was that he pronounced his name Exavier instead of Zavier.

The newest addition to the X-Men saga is a prequel that follows the origins of the mutant movement. The film was fun, gripping and action-packed but managed to move through a coherent and interesting plot as well. No small feat for a film based on a comic series that includes so much information that it could never hope to all be transferred to the screen. I enjoyed seeing Xavier’s arrogance as a young man, his high-and-mighty nobility that really stems from a need to be accepted and adored. I found the friendship between him and Magneto to be a beautiful thing, but very much like that of Sebastian and Charles in Brideshead Revisited or else Dumbledore and Grindlewald in Harry Potter and the Deathly Hallows – that is, beautiful, but with a clear lack of balance and sticking-power. It was, I suppose, to good to be true, and so of course they must part. This isn’t a spoiler, mind you, because anyone who’s seen the X-Men series so far will remember that Xavier and Magneto are sworn enemies who speak very nicely to each other and allude to a former friendship.

And yet, sadly, there was much to complain of. Mystique’s character was annoyingly vague – fine, she appeared in Xavier’s kitchen one day, they became staunch friends… and? Where did she come from? What makes her trust him? Why does it take her so many years to realize that she has feelings for him? And those feelings, once displayed, disappear so quickly that I wonder if they were even there at all! She’s very confusing, which isn’t helped by the fact that the actress seemed, to me, to be having a tough time stringing more than a couple of words together at a time. The script, too, failed me towards the end, when I began to predict every line the characters uttered because they were a string of clichés that explained, very quickly, several facts that are supposed to make the audience go “ooooh!”

Finally, I remained unconvinced that the film was taking place in the early sixties. Everyone’s clothes seemed exactly like those we wear now. Maybe the X-Men all have another mutation that allows them to predict the fashion sense of the future? Maybe I’ll find the scene explaining that one in the deleted scenes on the DVD.

Book Review: “The House of Mirth” by Edith Wharton

Hard as it is to picture New York City’s 5th Avenue lined with houses, it is much more difficult to really grasp the way American high-class society functioned a mere century ago. When I read Jane Austen’s female characters’ trials and tribulations, I remember that she and they are some two hundred years removed from my world of tank-tops, flip-flops, cougars and boy-toys. The names of pastoral English counties and villages, if they still exist, echo in my ears as from long in the past.

Wharton’s Lily Bart, however, inhabits a world that includes Central Park, 59th Street, Madison Avenue and Long Island. These familiar names resonated within me as I read of Mr. Trenor’s crude flirtation with and near-rape of poor Lily, and reminded me that a hundred years is not so very long. It chills me to think that the same streets I walked just a couple of weeks ago used to be inhabited by a society that excluded women like Lily Bart if they were whispered about and tainted by the slanderous tongues of their so-called ‘friends.’

Lily is not an innocent by any mean, but to be fair, she is painfully honest with herself. She’s manipulative, shallow, wasteful and sometimes tactless, and knows herself to be ornamental rather than useful. But she’s the heroine of this beautiful book, and despite her many shortcomings – or maybe because of them – I loved her from the first chapter. Her fall from grace is described gradually, through a series of events that are seen by her social-circle as indicative of her ‘fastness.’ In truth, she’s not fast at all – she’s rather picky, and though she intends to marry someone rich enough to support her gambling habit as well as her wardrobe, she never manages to follow through on these base instincts.

Wharton’s language is subtle, but any reader attuned to the nature of witty word play that floods novels of a certain era will be able to pick up on the truth behind the niceties: the couple having marital difficulties are clearly cheating on each other, Mr. Trenor is asking for physical and not monetary repayment of Lily’s debt, Gerty Farish represents what Lily might have been under different circumstances. So much of this is between the lines, however, that a reader trying to ignore the hints will lose a lot of what is being conveyed.

Perhaps the most interesting feature of the book is the way Lily’s change of outlook affected my own opinions. The odious Mr. Rosedale and the gossiping Mrs. Fisher became my favorite characters by the closing chapter – their knack of speaking the blunt truth rather than beating around the bush was refreshing in Lily’s world of careful conversation and venomous whispers. Wharton’s ability to change a reader’s mind is to be admired.

I highly recommend The House of Mirth, although I daresay you won’t find much to laugh at in its pages.

20 Hours In America

To anyone who hasn’t seen this episode of The West Wing – you must. It is incredible. I shall now explain my claim in detail. Consider this practice for writing a review. Sort of.

First of all, any episode of any TV show that starts with repeatedly saying the words “soy bean fields” simply because they’re funny is a good episode. Second, any episode of any TV show featuring a song by Tori Amos also has to be pretty damn swell. Thirdly, a couple of quite attractive men being smart on screen about real issues has to be a plus.

But apart from those O-so-obvious reasons, this episode deals with issues that are still relevant today. The stupidity of certain political candidates, the fall of the dollar and the things that a stock market collapse brings about, human nature at its pettiest and at its kindest.

Although this episode is filled with hilarious quotes and language games – something The West Wing is always full of, due to its incredible writers – this is still my favorite quote, just because it’s so true and so relevant:

It should be hard. I like that it's
hard. Putting your daughter
through college, that's-that's a man's job. A man's accomplishment. But it
should be a little easier.
Just a little easier. 'Cause in that difference is... everything.