Ali Smith’s The Accidental has a freaking form poem flight thing in the middle of it. No book ever has the right to priss about being cute with the layout of text on page – I hate that. If there were a gimmicky little concrete poem in the middle of the greatest book ever written, I’d detest it. Short sentences, run-ons, overlapping dialogue – fine. I love me some DFW footnotes. But any actual text effects belong on motivational posters or in powerpoint presentations, not in the middle of a novel I am trying to read. I can’t stand gimmicks.
I took a poetry class in college wherein the professor went on and on about the way poems looked on the page, the shape of the thing. What were we, calligraphers? If you have something to say and you’re a painter, show it to me visually. But if you’re a writer, freaking write it! Don’t put a precious little fucking flipbook in the middle of your novel, don’t put one word on each page for a time, don’t make the paragraph look like a cat when you turn the book to the side. How trite and cute can you be? I can’t believe real critics have any patience for this kind of nonsense, but sickeningly, it seems to be increasing every year. What’s next? Music boxes that play when you flip the pages? A small hologram? A scavenger hunt? A free toy in a hollowed-out space in the middle? A plush bunny on the cover with a squeak in its tail? Come the fuck on! If you can’t blow my mind with your prose, you won’t make up for it in doodles. And the hell with you for wasting my time.
And yes, I liked House of Leaves (although I don’t consider it revelatory or anything), but it is the exception that proves the rule. And I realize graphic novels are growing in importance and popularity, and eventually there might be bleedover and to enforce a stern boundary between novel-novels and graphic-novels will be pointlessly rigid and fusty. But I’ll adjust my ideas about that when I see it. Meanwhile, I don’t want to read the free verse horridness painters from a decade back were fond of scrawling across their canvasses in metallic gold paint pens, and likewise, I don’t want a toy or a bauble in text form from a writer.
And lest I be misunderstood, my issue with all this is not its novelty, but its meaninglessness.
Ahem. Even beyond the alienating concrete poem bit of stuff in the middle of The Accidental, I didn’t particularly care for the book. I just felt it tread over a lot of really familiar territory without adding anything much. I didn’t take away any truth or insight into the human condition. But apparently, people loved this book. It was short-listed for the Booker and had mostly good reviews.
I did really enjoy the passages in Astrid’s point of view, the family’s 12-year-old girl. The family is staying in a rental house, and at the beginning of the novel, Astrid spends a lot of time trying not to touch any of the surfaces of the house, or anything in it, because she’s disgusted by the idea of all the people who have used the house before them. She arranges a sheet over the bed before lounging on it, she tears bread from the middle of a loaf rather than use a knife and so forth. I can attest to the accuracy of this portrayal; I spent a ton of time in childhood trying not to touch anything. And actually, I never really grew out of it. Even as I backpacked across Asia, I had my rituals.
I was talking to a friend about this the other day. My friend was saying something about hygienic restaurant conditions, or something to do with food. And I said that I have no squeamishness about food and don’t really stress about the conditions in which it was prepared, because, even though I know that people not washing their hands and then handling food transfers diarrhea around (hence traveler’s tummy), and even though that’s disgusting if you actually think about it…well, really, all that happens is you maybe get a little sick for a day.
I said that I really have more worries in the tactile realm – that I don’t like to touch surfaces.
And then I suddenly realized how freaking crazy that is. I mean, I always knew that my obsession over not touching anything wasn’t rooted in any actual germaphobia, and had no real base at all – that it was rather just a general feeling of squirmy discomfort. It’s just that some things you have to touch are gross, the way you find some foods gross – it’s not that you think they’re dangerous; it’s just that you don’t like them. But I never thought about how nuts it is to put any old thing inside my body, but obsess about things touching the outside of my skin. Not to put too fine a point on it, but apparently, I would rather eat feces than sit in them.
Not that the realization did away with my baseless phobia, but I thought it was worth remarking on.
Jose Saramago’s The Double did not annoy me with any gimmicks, and I did walk away from it with, I felt, greater insight into the human condition. It’s commonly advised that, if you’re not “into” a novel by 100 pages in, you should put it down and start another. I have read quite a few books, however, where I wasn’t sure if I liked it or not until I finished the very last page. Perhaps these are books that don’t so much reflect how I see the world, as explain in a complete and compelling way how the world appears to someone else (the author). So, while I don’t hook into them immediately, by the time I come to the end, I feel satisfied. The Double is one of those books for me. And the same books that I can’t figure out if I like them or not until I finish the last words are generally those about which I cannot articulate what I liked, so I have nothing else to say about this.
