John Wray: Lowboy

Wray, John, (2010), Lowboy, Picador
ISBN 978-0-312-42933-1

It’s astonishing, really, how far popular fiction steeped in philosophy or theory has come. Modernist and postmodernist fiction, despite the levity and ease that the latter brought to that kind of writing, was still explicitly (and difficultly) theoretic. Writers like Robert Coover or Donald Barthelme have, to this day, written for a certain kind of audience, a select group of readers, not small in numbers but far from representing the mainstream of popular literary fiction. Although there are young writers like the amazing Colson Whitehead, who continue writing these slightly difficult, openly brainy kinds of books, many of our younger writers have managed to create books which are sneakily smart, which tell an engaging tale that works both on a theoretical level as well as on a level concerned with the complexities of ‘normal’ storytelling. Among the writers in this vein are Lorrie Moore, whose so-so most recent novel, A Gate at the Stairs (review forthcoming) is part moving coming of age-tale, part intellectual exercise, obsessed with naming, meaning, and reality and Brian Evenson, who writes harrowing tales of horror, fueled by a fine philosophical mind, fed on a diet of French philosophy. Another writer is the prodigious John Wray. Lowboy, published in 2009, is his third novel, after The Right Hand of Sleep (2001) and Canaan’s Tongue (2005). Wray is a consistently astonishing writer, and Lowboy is an incredibly good book. It’s a lot of things, but first and foremost, it’s a compelling, great read, and a smart one at that. Trust me. Read it.

Like Evenson, Wray manages to write, his literary and philosophical concerns aside, a completely convincing genre novel. This is harder to do than you’d imagine, but Wray pulls it off with aplomb. Lowboy is a mystery novel, employing many tropes and tools of the genre, and it’s an addictively readable mystery at that. From the first to the last page, the reader hurries through the book following the hints Wray has scattered throughout, exploring the dark landscapes below and above NY City. That Lowboy does work like an excellent thriller or mystery is all the more interesting, since Wray has sidelined the detective in his book, more than that: he has given him a bit part, made him second to the narrative and theoretical structure of the book. Without this move, Lowboy wouldn’t be half the great novel that it actually is. In his classic study of postmodern fiction, McHale has pointed to the detective mystery as the genre that best embodies the modernist paradigm. Modernism, according to McHale, is about finding out about the world, the one, real, indivisible world. The literary techniques that are applied to achieve that goal may vary but the goal never changes. There are problematic issues attached to that, especially if we look at fringes and peripheral phenomena. Wray tells his story through his protagonist, and robs the detective of the power to read and explain the world. Things have to be explained to him although the whole story, ultimately, is beyond him, and beyond a simple explanation, actually.

This is important, because Lowboy‘s protagonist Will Heller, nicknamed Lowboy, is an outsider, fringe, part of the periphery: he is mad. No, really, he is a paranoid schizophrenic, and as we enter the book he has just made his escape from the Bellavista Clinic (a thinly veiled reference to Bellevue, I guess) and roams the streets of NY. Or rather: he enters the intricate, labyrinthine underground world of the New York subway system. Even with his perception endangered, he can find his way through NY with ease, and a determination that makes him some kind of Theseus. In fact, this isn’t that odd a reference. Although this Theseus doesn’t need Ariadne’s help, his zeal and resolve are similarly fueled by the wish to save other lives, though in this case, it’s the whole world that Will attempts to save from fiery destruction. In Will’s odd head, the dire global warming warnings have engendered a belief in the imminent destruction of the world by fire that can only be stopped if Will (bear with me) is cooled down, which to achieve he needs to get laid. This may sound like an adventurous story a desperate teenager tries to tell a gullible girl he wants to bed, but Will completely and utterly believes it. In fact, at no point in the whole novel does Wray condescend to his protagonist, he’s utterly serious about Will’s problems and concerns, which is rare.

Mental illness is often subject to readings that celebrate the margin as different, using its symptoms as cute or terrifying images, in order to achieve something akin to an ‘atrocity tale': connecting with normal people in the mainstream by using the margin as contrast. Wray doesn’t do that, and much of the power and drive of the book is due to Will’s genuine anguish. Sometimes Wray doesn’t offer explanations, which contributes to the mystery and tension in the novel, and even Lateef Ali, Lowboy‘s detective, is sometimes blindsided by the mentally ill people he pursues. Impressively, the mystery that surrounds Will and those like him in the book, is never really resolved, cleared up. This is not about understanding madness. Indeed, Wray appears to harbor no wish to relate Will’s thoughts and ratio in a way that makes perfect sense to his readers, who do not share Will’s predicament, and so the clinical view is completely absent from the book, although psychiatrists do make an appearance in Lowboy. Yet their explanations create as much fog as they clarify issues, and in a twist in the very last sentence of the book, John Wray makes, unambiguously, clear that Lowboy is a literary work of art, that it does not attempt to speak about people afflicted with Will’s illness. As we know from Foucault, this is a central problem: mental illness is rarely allowed to speak itself, and if it is, its speech is licensed, framed, ‘allowed’. For a writer not afflicted with the illness in question, this can be a kind of trap.

John Wray offers a few solutions. Among these is his refusal to explain Will, to make his readers empathize with him at all costs. Another is the serious, earnest nature of his portrayal of Will’s perception. Although Lowboy creates an exaggerated image of the mind-set of many teenage virgins, and of the hyperbole that teenagers are often prone to display whenever they are feeling particular put-upon and desperate, exaggeration never turns to caricature. Will’s desperation is palpable and real, and his reading of the world is different from mine or yours, but Wray doesn’t linger on the specific issue of the difference, he doesn’t spend much time with Will’s symptoms as symptoms. The seriousness (despite the fact that Lowboy is actually a hilarious book, to be honest) provides an interesting link to another genre that Wray sets his book in, apart from the mystery aspect. It’s a coming-of age tale in a way. Many reviewers have correctly cited J.D. Salinger’s Catcher in the Rye as point of reference. This is appropriate inasmuch as the anger and directness of Salinger’s protagonist, and his disdain for the “phoneys” does have many parallels to Will’s behavior in Lowboy. But Will is like the light, open version of Caulfield. There is no hate, no real disdain in him, he’s wondering, trying to cope, and understand. One of Wray’s remarkable achievements is that he managed to use a difficult character in a way that is not the least exploitative, I think, that makes use of his unique situation without pathologizing him. There are many schizophrenic characters in fiction and many more who are otherwise mentally ill. Will doesn’t resemble them as much as he does the unmarked boys from modern (normative) coming of age novels.

I have, accidentally, been reading a few of those lately, from great works, like Padgett Powell’s Edisto, to dire ones, like Joe Dunthorne’s Submarine, or Sue Townsend’s series of horrible books. The worse the book, the stronger the tendency to use irony and sarcasm, to distance oneself from the story through clever tricks and ruses. Clever puns and a knowing air, these can work when you’re as extraordinarily talented as the young Martin Amis who managed to pull this kind of writing off in The Rachel Papers (read my review here), but there’s a dishonesty, really, to the whole enterprise, and looking at its center you’ll find, more often than not, an unoriginal philistine mind cloaking itself in cleverness. In the bad (but well-praised) books, this is invariably the case. And what’s worse, they are horribly normative in the worst way. Iterating white male narratives, reproducing cute images of repressive myths, these books are really quite damaging to public discourse. The cleverness and irony makes it just less bearable. Caulfield is an exception, because of his directness.

Another exception, and focus of one of the best coming of age novels ever written, is the protagonist of Henry Roth’s magisterial Call It Sleep. Roth’s David Schearl (though he’s quite a bit younger than the usual characters of these books) is bewildered by the world around him, and as he uncovers the world beyond his apartment, he discovers language anew, and the world, and Truth, are revealed to him in a set of complex epiphanies, though his head can’t grasp them. This poetic and religious understanding of his environment, which unfolds in the pages of Roth’s incredible novel, is close to how madness may be described by some. There is dirt, and sex, and intrigue, but Schearl stumbles through all this without having to resort to cheap asides and ironies. Reading Lowboy, Roth’s book was the first I thought about. While the gravitas and the scale of the two novels are very different, they share a concern (also questions of cultural heritage, by the way) about how the world is read by someone who is not part of the in-crowd, whose sexuality may be differently bracketed (With Roth there’s also of course the later books to consider), someone who cannot rely on convention to make sense of it all.

This is crucial. What separates Will from ‘normal’ people is not madness, it’s that his perception of the world is fresh. Philosophers like Nelson Goodman have shown how much even the very act of seeing is translated to us via conventions. Much of Will’s oddness, when he changes into a two-dimensional world, for example, or when signs around him come alive, this is not strictly speaking mental illness. Wray has captured a fragility in narrating the everyday, by using a character at the margins, who is able to see the world the way he does because the normative narrative has pushed him so far aside that he doesn’t even develop double consciousness. Those whom we regard as sick and disabled we shelve, we box them, as/like objects. And still we punish them. So while they do not get to partake of the narrative of power, they suffer its consequences. The ease with which we as a society inflict punishment upon those whom we regard as disabled is astonishing, the forcefulness with which we ensure that the conventional reading of how limbs and minds are supposed to work is the only reading available and deviations are shelved, boxed and punished, is frightening. The cascade of story and images in Lowboy implies a cognizance of this fact, of the enormousness of this kind of oppressive structure.

Will is dangerous to himself and others, this we learn early in the book. Or is he? Lowboy captures eloquently the fine line that separates truth from normative fiction. There is a careful ambiguity to the question of how (and if) Will is as dangerous as Lateef Ali and the others think he is. Although the larger structures of state and society are not explicitly invoked, Wray scatters obvious references throughout. The fact that Lateef Ali was born Rufus Lamarck White (there are five essays begging to be written just about that name and its meanings in relationship to the novel and its contexts, political and cultural) is one such plain, but unforced reference, another is “Skull and Bones”, Will’s nickname for the wardens who pursue him through the underground, which can’t help but recall the Yale society that goes by the same name. Not only that one. Conspiracy theories, not just Sutton’s silly one, are at heart reductive, reactionary celebrations of the status quo, even when they appear to question it (cf. for example Daniel Kulla’s fine book-length essay on the topic), and as such, the nickname and the job of the two wardens in hot pursuit of Will are a perfect fit. Between Ali and the wardens, Will navigates between realistic and cliché representations of reality. The fact that he doesn’t depend upon convention and consensus to understand the world, means that he can move from a realistic world into a symbolic world of representations, where people are proxies for ideas and structures.

There’s more to the novel than that. Personally, I felt a strong connection between this book and Saul Bellow’s slanderous (but brilliant) Humboldt’s Gift, also, the use of semiotics in the book warrants many close inspections. Lowboy manages to take on a difficult kind of protagonist without falling into various traps. This book is not about understanding Will (and those like him), it continues to put off final explanations. It’s an incredibly rich book, and a review as short as this cannot possibly do it justice, but in closing, it’s important to not overstate the ideas, because, incredibly, despite all this, Lowboy is a great, suspenseful, quick read, that works on a direct, engaging level. Wray’s prose is careful, elegant and insanely precise, but also very unobtrusive. It’s hard to imagine anyone not liking this book. By rights it should be a bestseller and the object of university seminars both. This is a moving, great read. Don’t miss out on it.

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5 thoughts on “John Wray: Lowboy

  1. Pingback: Shush: John Wray’s “The Right Hand of Sleep” « shigekuni.

  2. Pingback: John Wray: The Right Hand of Sleep - World Literature Forum

  3. Pingback: “No, my friend! The Enlightenment is not for us.” « shigekuni.

  4. Pingback: John Wray John Wray John Wray « shigekuni.

  5. Pingback: John Wray on Bookbabble « shigekuni.

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