The Men in My Life

Overview

Vivian Gornick, one of our finest critics, tackled the theme of love and marriage in her last collection of essays, The End of the Novel of Love, a National Book Critics Circle Award finalist. In this new collection, she turns her attention to another large theme in literature: the struggle for the semblance of inner freedom. Great literature, she believes, is not the record of the achievement, but of the effort.Gornick, who emerged as a major writer during the second-wave feminist movement, came to realize that ...

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The Men in My Life

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Overview

Vivian Gornick, one of our finest critics, tackled the theme of love and marriage in her last collection of essays, The End of the Novel of Love, a National Book Critics Circle Award finalist. In this new collection, she turns her attention to another large theme in literature: the struggle for the semblance of inner freedom. Great literature, she believes, is not the record of the achievement, but of the effort.Gornick, who emerged as a major writer during the second-wave feminist movement, came to realize that "ideology alone could not purge one of the pathological self-doubt that seemed every woman's bitter birthright." Or, as Anton Chekhov put it so memorably: "Others made me a slave, but I must squeeze the slave out of myself, drop by drop." Perhaps surprisingly, Gornick found particular inspiration for this challenge in the work of male writers—talented, but locked in perpetual rage, self-doubt, or social exile. From these men—who had infinitely more permission to do and be than women had ever known—she learned what it really meant to wrestle with demons. In the essays collected here, she explores the work of V. S. Naipaul, James Baldwin, George Gissing, Randall Jarrell, H. G.

Wells, Loren Eiseley, Allen Ginsberg, Hayden Carruth, Saul Bellow, and Philip Roth.

Throughout the book, Gornick is at her best: interpreting the intimate interrelationship of emotional damage, social history, and great literature.

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Editorial Reviews

From the Publisher
Praise for The End of the Novel of Love"[Gornick] is fearless....

Reading her essays, one is reassured that the conversation between life and literature is mutually sustaining as well as mutually corrective." —Elizabeth Frank, New York Times Book Review

"Reading [Gornick] is a thrilling, invigorating, challenging experience."—Barbara Fisher, Boston Sunday Globe

"Vivian Gornick's prose is so penetrating that reading it can be almost painful.... [This book] stands out as a model of luminous clarity." —Susie Linfield, Los Angeles Times

Praise for The Solitude of the Self "I love writers who treat thinking as a dynamic process.

Ms. Gornick does—here and in all her books. Imagine a photographer of the psyche.

She studies her subject from all angles. Whether in close-up or on a landscape crowded with political and religious movements, she explores the public and private selves.... What a potent book this is!" —Margo Jefferson, New York Times

"Gornick is a vigorous and sophisticated thinker.... [ The Men in My Life] illustrates how magnificent the literary yield of human frailty can be.... [An] excellent collection." Anne Garner Library Journal

"Gornick remains one of the more intelligent, independent-minded readers writing criticism today, one who insists on making a connection between how we read and how we live.... The essays in this collection, in their conviction about the relevance of literature in this hypertext age and their attentiveness to the irritant of all-too-human despair that yields the pearl of lasting art, will provide enjoyment and illumination for fans old and new." Daphne Merkin Bookforum

"Gornick, a reader of immense sympathy and insight, is not out to expose and chasten the unseemly underbellies of the men in her life, but rather, as she says in the preface to this short, elegant book, 'to think more inclusively about the emotional imprisonment of mind and spirit to which all human beings are heir.'" Village Voice

"... [the book] for the man who loves women." Playboy

"Vivian Gornick makes you want to read. In her new collection of essays,The Men in My Life, authors, all great literary men, come alive on the page like great characters, bleeding, raging and most of all trying (but almost always failing) to love." Judith Lewis Los Angeles Times Book Review

"Whether she is writing about a friendship that has gone wrong or the work of James Baldwin, Gornick brings a rare honesty, appropriate anger, striking precision and great tenderness to her subject." New Statesman

The Barnes & Noble Review
Criticism, wrote Oscar Wilde, is "a mode of autobiography.... It is the spectator, and not life, that art really mirrors." Vivian Gornick might well have taken this as an epigraph for The Men in My Life, a collection of eight short essays on (male) writers whose work has won the critic's passionate attention. The act of reflecting on works of literature turns into a kind of introspection-by-proxy. Not that the essays turn into narratives about herself. Gornick has published memoirs, but not here. She looks at the novels of George Gissing, or H. G. Wells's Experiment in Autobiography, or Randall Jarrell's role as poetry critic, and finds them elaborating themes that resonate with her concerns with "the intimate relation between literature, emotional damage, and social history." The odd phrase in that sequence being, of course, "emotional damage" -- which in the fabric of her preoccupations is woven in very tightly with the matter of how men and women treat one another. She admires the verbal brio of Saul Bellow and Philip Roth but cannot escape the problem of their misogyny; it raises the question of how much of their brilliance is driven by the need to protect themselves from the dangers to the ego involved in seeing women as human beings. Gornick belongs to the generation of American feminists that was willing to pose things in terms just so stark as that. All of the essays are short. They strike the bedrock of insight (in the best cases, anyway; a couple never really do) then call it a day. But there soon emerges a pattern, a critical mosaic, that proves rich and complex enough to reward a second reading. --Scott McLemee
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Product Details

  • ISBN-13: 9780262073035
  • Publisher: MIT Press
  • Publication date: 9/30/2008
  • Series: Boston Review Books
  • Pages: 216
  • Sales rank: 1,449,510
  • Product dimensions: 4.60 (w) x 7.00 (h) x 0.80 (d)

Meet the Author

Vivian Gornick is the author of many books, including Fierce Attachments: A Memoir, The Romance of American Communism, The End of the Novel of Love, The Situation and the Story, and, most recently, The Solitude of the Self: Thinking about Elizabeth Cady Stanton.

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Read an Excerpt


THE MEN IN MY LIFE


By Vivian Gornick
THE MIT PRESS
Copyright © 2008

Massachusetts Institute of Technology
All right reserved.



ISBN: 978-0-262-07303-5



Preface In school, the teacher held a composition of mine up to the class when I was eight years old and said, "This little girl is going to be a writer." At home-where Marx, socialism, and the international working class were articles of faith-my mother pressed my upper arm between two fingers and said, "Never forget where you come from." Both events were formative. I grew passionate over writing, and the political-ness of life was never lost on me. In my youth these twin influences made me suffer. I thought them hopelessly oppositional, and was tormented by the suspicion that ultimately I need choose one way of knowing the world over the other. It was literature that spoke most thrillingly to what I was already beginning to call "the human condition," but when social injustice stared me in the face it was easy enough to trade in emotional nuance for doctrinaire simplicity. So one day it was exciting to say to myself, "The only reality is the system"; the next, I'd pick up Anna Karenina, and the sole reality of the system would do a slow dissolve.

I entered college, and somewhere in my junior year something interesting happened: a drama of internal anguish that subsumed all else began to unfold. The words "anxiety" and "depression" entered my vocabulary. Conflicts I had never before paid attention to became alarming. In no time at all an unimagined universe of interiority opened before me, one equipped with its own theory, laws, and language, and constituting a worldview that could account for: everything. This was strong stuff. Under its influence, both literature and politics began to lose their either/or power over me. I didn't stop reading, and I didn't stop signing petitions, but I no longer felt commanded to "choose."

Then, before I knew it, it was 1970, and feminism was standing boldly on the horizon, urging me to take in its wisdom. The unlived lives of women began to seem not simply a drama of the psyche, but a crime of historic intent that could be solved only through a movement for social justice. This was an insight that, to every generation of feminists since the Enlightenment, had come like Revelation; and, like Revelation, it lit up a convert's sky, coloring every feature of the human landscape. The kaleidoscope of life had been shaken and all the familiar pieces now formed a new design, one that illuminated the way we spoke, read, thought, and wrote. Keep looking through that prism, we told ourselves, and we'd have every explanation ever needed. Then, problematically, the design complicated itself once more.

Although the rhetoric continued to run high, soon enough '70s feminists came to realize that while they stood united in political analysis, ideology alone could not purge them of the pathological self-doubt that seemed every woman's bitter birthright. For that, another kind of struggle was required: one for which a man, not a woman, supplied the tag line. As Anton Chekhov so memorably put it, "Others made me a slave but I must squeeze the slave out of myself, drop by drop."

Suddenly, literature, politics, and analysis came together, and I began to think more inclusively about the emotional imprisonment of mind and spirit to which all human beings are heir. In the course of analytic time, it became apparent that-with or without the burden of social justice-the effort required to attain any semblance of inner freedom was extraordinary. Great literature, I then realized, is a record not of the achievement, but of the effort.

With this insight as my guiding light, I began to interpret the lives and work of women and men alike who had spent their years making literature. But it was in the lives of the men, especially, that one could see what it meant to wrestle with the demons. Here they were-talented, often brilliant, with infinitely more permission to do and be than women had ever known-and they were endlessly dragged about by conflicts they could neither give up nor bring under control. I could not but be moved-by the great and the humble alike-to pity and admiration for those who demonstrated repeatedly that to "be and do" is not a given.

V. S. Naipaul has, very nearly, been consumed by the raging self-hatred that powers his work; George Gissing labored under an equally strong self-loathing that made social exile his natural milieu. Randall Jarrell fed a passion for poetry on the fever of a defensive brashness that drove him, ultimately, into suicidal despair. While Loren Eiseley made anthropologic poetry out of an isolating depression of monumental proportions, Allen Ginsberg became a holy fool, and Dubus, Carver, and Ford licked their sentimentalized wounds in story after story. Then, of course, there are Saul Bellow and Phillip Roth, who have each produced brilliance upon brilliance out of an unremitting fury that he was born into a culture that persisted in telling him he had no right to measure up; theirs is a fiction that for forty years has screamed, "Don't tell me I don't run things around here!" Against-or because of, or in spite of, who knows?-such "disability," each and every one of these writers has converted neurotic necessity into literary virtue, and achieved work of lasting value that casts light on the time in which it was conceived.

If, indeed, criticism is autobiography, this book, then, is a collection of essays written in appreciation of the working lives of literary men by a woman whose critical faculties have been shaped by a passion for literature, a hard-won knowledge of inborn anxiety, and a compelled devotion to liberationist politics. It is this last, I think, that is most responsible for the perspective vital to the making of these essays. The re-awakening in my late youth of the centuries-long struggle for women's rights clarified the intimate relation between literature, emotional damage, and social history; made evident to me the organic nature of all that is meant by the word "culture." It is my great hope that the reader will experience the development of this perspective as I have: as an enrichment of the writing and reading experience.

(Continues...)




Excerpted from THE MEN IN MY LIFE by Vivian Gornick Copyright © 2008 by Massachusetts Institute of Technology. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

1 Preface

2 George Gissing: A Neurotic for Our Times 3

3 H. G. Wells: The Beginning of Wisdom 29

4 Loren Eiseley: Excavating the Self 53

5 Randall Jarrell: Reading To Save His Life 71

6 Saul Bellow, Philip Roth, and the End of the Jew as Metaphor 85

7 Allen Ginsberg: America's Holy Fool 131

8 Raymond Carver, Andre Dubus, Richard Ford: Tenderhearted Men 147

9 James Baldwin and V. S. Naipaul: America Made the Difference 173

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