How to Be Alone
Essays
-
- USD 11.99
-
- USD 11.99
Descripción editorial
Passionate, strong-minded nonfiction from the National Book Award-winning author of The Corrections
Jonathan Franzen's The Corrections was the best-loved and most-written-about novel of 2001. Nearly every in-depth review of it discussed what became known as "The Harper's Essay," Franzen's controversial 1996 investigation of the fate of the American novel. This essay is reprinted for the first time in How to be Alone, along with the personal essays and the dead-on reportage that earned Franzen a wide readership before the success of The Corrections. Although his subjects range from the sex-advice industry to the way a supermax prison works, each piece wrestles with familiar themes of Franzen's writing: the erosion of civic life and private dignity and the hidden persistence of loneliness in postmodern, imperial America. Recent pieces include a moving essay on his father's stuggle with Alzheimer's disease (which has already been reprinted around the world) and a rueful account of Franzen's brief tenure as an Oprah Winfrey author.
As a collection, these essays record what Franzen calls "a movement away from an angry and frightened isolation toward an acceptance--even a celebration--of being a reader and a writer." At the same time they show the wry distrust of the claims of technology and psychology, the love-hate relationship with consumerism, and the subversive belief in the tragic shape of the individual life that help make Franzen one of our sharpest, toughest, and most entertaining social critics.
PUBLISHERS WEEKLY
Bestselling and National Book Award winning novelist Franzen (The Corrections) urges readers to say no to drugs, but not the pharmaceutical kind; his opiates are those "technology offers in the form of TV, pop culture, and endless gadgetry," soporifics that "are addictive and in the long run only make society's problems worse." Franzen's just as hard on intellectual conformity on academe's canonization of third-rate but politically correct novels, for example. As a serious artist, he knows that the deck is stacked against him; after all, a great novel is a kind of antiproduct, one that is "inexpensive, infinitely reusable, and, worst of all, unimprovable." The problem, he says, is that instead of being allowed to enjoy our solitary uniqueness we are all being turned into one gigantic corporate-created entity, a point Franzen makes tellingly when he says that while a black lesbian New Yorker and a Southern Baptist Georgian might appear totally different, the truth is that both "watch Letterman every night, both are struggling to find health insurance... both play Lotto, both dream of fifteen minutes of fame, both are taking a serotonin reuptake inhibitor, and both have a guilty crush on Uma Thurman." These canny, well-researched essays (which have appeared in the New Yorker, Harper's and elsewhere) range over a variety of subjects, from the antiquated and bizarrely inefficient Chicago postal system to the bizarrely efficient new privatized federal prisons, but they are united by a single passionate insistence that, in a cookie-cutter world, people who want simply to be themselves should have the right to do so.
