Bill Roorbach readin’ and lovin’ Wild up in Maine. Despite its bestsellerdom, or because of it, some hate the book and its author.
Another nonfiction issue: judging a book by its author?
I know of nothing more difficult than knowing who you are, and having the courage to share the reasons for the catastrophe of your character with the world.—William Gass
As my previous three posts indicate, I admire Cheryl Strayed’s bestselling memoir Wild: From Lost to Found on the Pacific Crest Trail. I devoured it as a reader and also loved how I could raid her techniques for my own memoir. So I was surprised to read some reactions to Bill Roorbach’s laudatory review of Wild on Bill and Dave’s Cocktail Hour.
Margaret Benbow, a poet, wrote:
. . . Why do I feel that I understand her, and what she’s about, better than you? Because I’m a woman. I intensely enjoy her writing. No question that she has the chops. The problem comes with your faith in her “honesty”. I see most of her unbuttoned, hairy, sweaty sexual recollections as calculating. They get the reader’s attention, right? She glories in her own screw-ups, rubs her (and our) face in them time and again. She SETS UP screw-ups on the trail. Who in her right mind would prepare so inadequately for such a demanding physical crucible as the Pacific Trail? Why has she chosen brand new unbroken-in too-small boots? She endlessly whines about the poor rags of her feet–whose tattered condition was absolutely inevitable, given her contempt for the most basic preparation. She has mailed packages to herself with food and money at halting-places on the trial. They are often missed, inadequate.
Strayed has a kink in herself which demands constant life crises…and for readers to see them, deplore them, be excited by them, root for her to overcome them. She’s extremely good at being an exhibitionistic screw-up performance artist. In general, I like and admire her book. But I don’t like that calculating glimmer in the back of her eye.
Hmmm. Well. I found surprising and interesting this peevish reaction and Bill’s irritated reply and her rejoinder and another reader’s also weighing in coolly toward Strayed. Personally I had no problems with Strayed’s sensuous but rather mild depiction of a sexual incident on the trail. And I felt her preparation, a mix of intense focus and amateurish oversight, totally believable (and she only screwed up once mailing stuff to herself).
Something deeper was at work in my acceptance. I admired her courage for taking a 1,100 mile hike alone—and for her entire under-employed young artist journey. When I was young I always wanted to do something like her backpacking adventure, which she undertook, I think, in her role as a young writer as much as she did for its healing properties. Instead, I worked. My equivalent post-college adventure was traveling to New York for the first time and taking classes at a famous method-acting school; I’d never been outside the south or in a big city, and New York scared me—it scared a lot of people in the late 1970s, so much crime and hostility on the street. I remember reading The World According to Garp on July 4, 1978, sprawled beneath an air conditioner—it was 104 degrees outside—in my sublet at 113th Street and Broadway.
Cheryl Strayed: don’t worry, be happy?
At the age Strayed lit out for the trail, twenty-six and turning twenty-seven, I’d worked for several newspapers and had just accepted a Kiplinger fellowship to Ohio State, where I spent a year reading history, philosophy, religion, and literature. Then I went back to newspapers, married, settled down, had kids. I also wrote short stories, but about the time I wrote one that had promise, I got busy (or something) and quit, not returning to creative or deeply personal writing for several years. So I was awed by Strayed’s belief in herself or in her writing dream, which she had very little to show for coming off the trail as thirty loomed ahead.
But I did have to overcome my own doubts about Strayed, I realized. For me, it was her blaming her self-destructive meltdown—her affairs and drug use and divorce that led her to the trail—on the depth of her derangement after her mother’s death. Gradually I accepted her explanation of being derailed by grief, not because I’ve ever shared it to that extent but because of other life experiences I brought to Wild.
Strayed, the middle of three children, was six when her mother divorced her abusive father; she carries scarring memories of seeing her mother hurt, punched or dragged down a sidewalk by her hair, and of being threatened herself with her daddy’s knuckle sandwiches. Strayed and her sister grew up as not very close siblings, and her sister puzzles Strayed by staying away when their mother lies dying. Maybe she just couldn’t take the pain of it. But this woman, a couple years older than Strayed, by definition took the first blow, so to speak, from their father and his dysfunctional household—the first born takes the first blow and gets the first benefit from parents—and she surely suffered more than Strayed. Maybe she had more bitterness toward their submissive mother or just more distance. Maybe she was angry at Strayed, so tough and questing, for displacing her in the sibling hierarchy. Perhaps for all of that.
In any case Strayed ascended over her more damaged sister (in my reckoning) as leader of the sibling pack and glommed onto their mother so fiercely as a child and young adult—which she depicts—that I don’t see how her older sister could have had anything but a secondary relationship, in comparison, with the woman. That wouldn’t have affected their brother, baby to all in the family dynamic. But it would have, as we said in the South, cheesed her big sister’s grits.
Am I what Bill Roorbach accuses Margaret Benbow above of being, an armchair psychologist?
But aren’t we all?
I hope I don’t explain everything in life, as a middle child myself, in terms of birth order. But my own experience of its significance is why I despised Vladimir Nabokov’s self-portrait in Speak, Memory, reviewed here. And my reaction was in part a perverse rebellion against the literary establishment and canon—more middle child stuff?—for endlessly praising his memoir. Briefly, Nabokov admits to cruelly dominating his younger brother as they grew up and then judges him a hapless fool for sticking around Germany too long and getting killed by the Nazis. Guess which one of the brothers I identified with?
Regardless of the validity of my or Margaret Benbow’s visceral reactions to authors, isn’t this yet another nonfiction issue? Judging a book by its author? I’m always ashamed when I do, feeling it’s an invalid way to assess a work of literature, and at the same time secretly convinced of the truth of my perception. To me Nabokov was a cold fish and a cruel human being, whose art—or at least whose nonfiction—should be suspect. (Some milder critics merely find Speak, Memory boring since, following his aesthetic star, Nabokov wrote about his toy soldiers and butterfly collection rather than his assassinated father and his aristocratic family’s traumatic exile from Russia.)
And yet I give Nabokov a pass in his fictional worlds and works. We all do, pretty much. Relatively few blame him for Humbert Humbert in Lolita. No, quite the contrary. We praise an author of fiction for using bits of himself—his socially unacceptable feelings, his misdeeds, his psychic warps—to animate various characters. There seems to be two reasons why some fiction writers cannot countenance memoir: such a waste of good material; and using oneself overtly, in such an unguarded way, only invites others’ disdain.
An acquaintance, a scholar and editor, who read a chapter of my memoir praised my courage. I’m not sure what he meant, unless it’s the exposure of my family’s particular trauma and that general risk of backlash that memoir writers face. My twentysomething son said the problem with my memoir is that it doesn’t show how strange I am. On the one hand, such a classic kid’s response to his parent. On the other, he had a point. Am I protecting myself too much, fearing rejection? I upped the strangeness quotient. But one should construct a persona that serves the particular book, no? Reveal one’s weirdness artfully, not all at once?
But regardless of what you do, brace yourself, Effie. Because some people are going to think—and say—terrible things about you and your modest attempt to offer to the world a gift.