On having to explain one’s work (or that dumbing down logic)

There is the idea that, as an artist, you should not have to explain your work. If there’s any need to explain, it seems to highlight some idea of there being a flaw in the work. If I attempt to explain my work, which I often feel compelled to do, it is usually out of a sense that the work will be misunderstood. Or it is just as much to alert an unsuspecting reader that this may not be what you expect. And since I think I can assume a number of folks who will feel compelled or curious to read Impossible Lives of Basher Thomas don’t normally read novels to begin with, I feel as if I have to brace myself for the impact of their eventual failure to get it--if there’s anything to “get.”

Thus when I asked Ben Marcus that question (http://robertmdetman.blogspot.com/2014/10/ben-marcus-responds-to-my-question-on.html), it was because I wanted to know if he ever felt a need to explain his work. Do I note a bit of tetchy sarcasm in Mr. Marcus’s response, as if I’m acknowledging what he is all too aware of? A lot of casual readers will probably not understand his work. This will continue as he tries to become a more mainstream author. If you are notoriously difficult, you can get shuffled into that gray zone: the experimental folks don’t think you are that cutting edge, and the realist folks find you too abstruse. David Foster Wallace, who would seem to require a lot of explanation, often gets a pass, and gets picked up probably as fast as he’s eventually put down by those readers in search of something new to read. And I’m not sure his explanations were any easier to understand than the work itself.

Not to say my predicament is anywhere near what Beckett might have faced, but for him, the necessity to not have had to explain seems paramount. His writing is hardly accessible. Then there is the curiosity of those who hear you expound on this (favorite) difficult author. Inevitably they turn to you, seeking explanation; explication. And in such situations I feel the onus of literature’s great, myriad, plainly inexplicable project that, rather than having one easily consumed and digestible nugget, is rather a project for a lifetime’s study. But no one seems to know this, or thinks it, particularly when they find something not conforming to their preconceived, even received, notions of literature. I can’t help you, I often want to say, as if committing my approval of a difficult writer’s work then requires me to become the village explainer.

There have been moments of panic, while editing Impossible Lives, that I might need to dumb things down a bit, or at least go further to make explicit why I have written it the way I have. But this is not to say Impossible Lives is so difficult or esoteric that it won’t be understood. When I’ve accomplished anything worthwhile, it’s often because I realized I’ve not had to please anyone but myself. This seems to me the exact opposite of the impulse that the agents and editors of the mega-conglomorate publishing-opoly would require of me. I would never be happy with my work being turned into, essentially, the equivalent of a ken doll. 

This points to the wonderful freedom of writing short fiction, where that dumbing down by others doesn’t usually apply. I think that the nature of short work gives a creative writer wide latitude because, if any publisher wants to consider it, they can read it in a sitting and grasp the whole of it quite readily. Editors are rarely going to come back to you with a ridiculous list of what you could do to your 500 or 1000 or even 3000 word story so that they will consider it. Rather, they take it or they do not. And when it comes to submitting a story, no explanation is required. No synopsis. No handy comparisons to similar works. Try getting a novel read like that. After submitting a short story, you might get a few editing suggestions, but they’re never on the level of fundamentally rewriting what you’ve already written. You’d never bother, if you are wise, and neither would they. Whereas with a novel, in the dumbing down logic, and with considerations by the marketing machine of a large publishing house, where they are literally banking on you, you would have dozens of lame opinions geared toward marketing. I take this information from the piece in Poets & Writers, “A Day in the Life of a Publishing House” (Vol. 42, Issue 5). Who hasn’t read one of these novels that’s been generated from some humble author’s work and found it to be exactly what it reads like: a mess, a neutered hodgepodge?

In other words, the first thing that happens if your novel has been anointed for publishing by the biggies is a disrespect of your work, which, if you want it to be published, you will accept. I can’t think of anything I’m more fundamentally and violently opposed to.

I will continue to read books put out by the industry heavyweights, only too aware how often the quality is off base. Like many readers, I’m a sucker for the hype. I usually need to read the hyped novel for myself to find out what’s so great about the next big thing. I came to Knausgaard early, purely out of curiosity and before there was any hype; now of course, the speculation runs rampant about this work and its quality. I found it eminently compelling, while I cannot say the same of Donna Tartt’s The Goldfinch. It was merely ok, even passable, but it’s hard not to feel like the hype is usually misplaced for so many name writers (add Murakami and Junot Diaz to the list). Much of what’s hyped in the mainstream feels steeped in a narrow mind-set and for me isn’t, in fact, strange enough.

As an avid reader, you know what you like and maybe even why, so invariably you take a chance on a hyped to death work, because you’ll never know unless you look into it. It’s easier to believe a lot of these established writers aren’t being guided by the editorial teams of their publishing houses, though the same probably can’t be said for the marketing department; you can be sure said author’s next work will be promoted as the “revolution of the novel” or whatever.

At least I can say, Impossible Lives is as pure a vision of its original intent as intended. I should not have to explain myself further.