A conversation with author Dan Josefson about the evolution of his debut novel and its ringing endorsement from David Foster Wallace
That's Not a Feeling is the debut novel of Brooklyn-based writer Dan Josefson. It tells the story of Benjamin, a formerly suicidal student at a boarding school for troubled youths. The facility is a satirical microcosm of our larger society, and the title refers to the seven emotions that are permitted there. (Any feeling not on the list is rejected as nonexistent.) The novel has earned starred reviews from Booklist and Library Journal, and they're certainly well deserved. That's Not a Feeling is a sharp, sophisticated read, and with one book to his name Josefson has already proven himself to be a master of form. None other than David Foster Wallace described the book as a "funny, mordant, and deeply intelligent debut."
The following interview took place by phone, where Josefson described his education, his narrative style, the ten-year path to publication, and that remarkable blurb on the front of his book.
You received your MFA from the University of Nevada. How did the program shape your approach to fiction?
The program in Las Vegas was pretty new when I started out there, which was exciting because it was somewhat unformed. And because it was fluid, I could make my way through it the way that I wanted to. One of the reasons I was excited about going out there is that I'd grown up on the east coast and gone to college in Massachusetts. I wanted to live somewhere out west and Vegas was really fascinating. It was growing fast and I got to see how the city works without getting my sleeve caught in the machine.
The professors out there were great. One of the fun things that worked out for me was that, in addition to the fiction professors I liked a lot -- Doug Unger, Richard Wiley -- in the art department Dave Hickey was teaching and was very cool about letting me sit in on his classes. My focus on art history and criticism affected the way I think about fiction; it's gives me a slightly different perspective than I might have had if I were an English major with a straight workshop-type program (though I've done quite a few of those too).
What was your workshop experience like?
The best compliment that I ever received (to an early version of one of the chapters for this book) is from a reader who said he forgot he was reading it for a workshop. That's nice to hear, but it also says something about how, ideally, what you're getting from workshops are just the honest reactions of good readers to what you've done. It's not so much about "I think you should do this differently." Rather, it's about the straightforward reactions. And one of the great things I took away from the workshop experience was the ability to determine the kind of things to keep and the kind of stuff to leave, which is really important. The value of an MFA generally is in working around people who are -- I'm talking about the professors -- spending their lives writing, and getting a sense of what it takes to do that and what role writing takes in their lives and how they go about making a career of that. That's important to think about if you're considering sticking with it long-term.
Describe your path as a writer.
There really isn't an arc that you can plot -- I don't have any collected juvenilia to look back on or anything. Writing has always been important to me, though I feel like I've taken a roundabout way to getting into it. In college, I majored in religion and philosophy, but that's also when I started getting more serious about writing. As an undergrad, I had the opportunity to study with some really amazing authors -- Jim Shepard and Louise Glück.
I don't know that writing was ever a decision, exactly; I don't really have the experience of steadily, gradually improving. For me it was I just wrote badly and badly and badly and then a switch kind of flipped and I figured out what I was doing and found something that felt right to me, something I was happy with and something that I could continue with at some point. I didn't go straight into an MFA program; I was casting around trying to find a couch that would let me do a bunch of writing, and that was a lot tougher than I anticipated it would be. I started teaching for a while at a boarding school, and that got under my skin and felt like an intriguing place to write about. There were all sorts of interesting contradictions and things going on, and that ended up being the basis for this novel.
How long did this book take to write?
Five or six years from starting it to getting it to a point when I could start sending it out. But it was such a long time that I was trying to sell it -- four years -- during that time I was also doing some revisions and changes. Occasionally some significant ones. So I don't know quite how to count it, but basically the focused stuff was five or six years.
What is the story behind that remarkable blurb from David Foster Wallace?
I'd been trying to sell the book for a while and didn't have any luck. Every little thing helps, so I thought I'd go back to some friends and see if I could get some blurbs and try again. Tom Bissell and Jim Shepard were both very generous and had read the book and given it blurbs. Tom was friends with Dave Wallace and asked him if he'd take a look. Incredibly, generously, not knowing me at all, he read the book and liked it. It was such a huge thing -- I am such a fan of David Foster Wallace's work.
What writers would you say influenced the book? There certainly seems to be some DFW influence there, with a bit of Sean Ferrell and Paul Murray, perhaps.
I've heard those comparisons and they're certainly very flattering. The stuff that I read most tends not to be contemporary American literature, thought I do read a fair amount of that too. Some of the influences I can see are people like Thomas Bernhard and W.G. Sebald. A lot of what I read is European stuff in translation -- for whatever reason, that's the subset of works that I feel most at home with. There are American writers I love, and I can see some of those influences in terms of pacing and humor and tone in this book. But I think that's a difficult question because those are things you're not consciously trying to mimic.
That's Not A Feeling has an interesting narrator in Benjamin, and a fascinating narrative style.
When I came up with the odd narrative technique of shifting between Howling Orchard stories and Benjamin's first person accounts, part of it was trying to see if I could get away with having the benefit of both perspectives working, but part of it was also the idea of a narrator who's self-effacing to a point that he forgets that he's present. The first couple of chapters that happens a little more. The effect was disruptive to some readers, but it was something that I was interested in playing with.
In terms of his character or voice or background, I was trying to get at how desperate he was to get this all down and by writing it kind of forget about it. And ultimately it's up to other people how much it works or how much it comes across. But I mentioned before how a lot of my ways of thinking about writing come from my ways of thinking about art. One of my favorite pieces of advice comes from Jasper Johns on how to make a painting. He said something to the effect of: Take an object, do something to it, and do something else to it. And doing "something else" can be tricky, but that was sort of the way I was thinking about the narrative technique.
There are literary antecedents to it -- Melville, Nick Carraway in Gatsby. What made it really click for me, oddly, was James Salter's A Sport and a Pastime, which was a book that I'd read multiple times. In my memory it was all in third person, so I was shocked to see in my fourth or fifth read that there's a first person narrator. The confusion -- and the shock of that confusion -- felt really interesting to me. It opened up my way of thinking and writing about this stuff.
What are you working on now?
I'm working on a novel that I'd put aside while I was editing this novel. So going back, it's a strange thing -- it's a lot more of a mess than I remember it. But it's good to get back into it.
A professor of cognitive science argues that the world is nothing like the one we experience through our senses.
As we go about our daily lives, we tend to assume that our perceptions—sights, sounds, textures, tastes—are an accurate portrayal of the real world. Sure, when we stop and think about it—or when we find ourselves fooled by a perceptual illusion—we realize with a jolt that what we perceive is never the world directly, but rather our brain’s best guess at what that world is like, a kind of internal simulation of an external reality. Still, we bank on the fact that our simulation is a reasonably decent one. If it wasn’t, wouldn’t evolution have weeded us out by now? The true reality might be forever beyond our reach, but surely our senses give us at least an inkling of what it’s really like.
President-elect Donald Trump has committed a sharp breach of protocol—one that underscores just how weird some important protocols are.
Updated on December 2 at 7:49 p.m.
It’s hardly remembered now, having been overshadowed a few months later on September 11, but the George W. Bush administration’s first foreign-policy crisis came in the South China Sea. On April 1, 2001, a U.S. Navy surveillance plane collided with a Chinese jet near Hainan Island. The pilot of the Chinese jet was killed, and the American plane was forced to land and its crew was held hostage for 11 days, until a diplomatic agreement was worked out. Sino-American relations remained tense for some time.
Unlike Bush, Donald Trump didn’t need to wait to be inaugurated to set off a crisis in the relationship. He managed that on Friday, with a phone call to the president of Taiwan, Tsai Ing-wen. It’s a sharp breach with protocol, but it’s also just the sort that underscores how weird and incomprehensible some important protocols are.
A hotly contested, supposedly ancient manuscript suggests Christ was married. But believing its origin story—a real-life Da Vinci Code, involving a Harvard professor, a onetime Florida pornographer, and an escape from East Germany—requires a big leap of faith.
On a humid afternoon this past November, I pulled off Interstate 75 into a stretch of Florida pine forest tangled with runaway vines. My GPS was homing in on the house of a man I thought might hold the master key to one of the strangest scholarly mysteries in recent decades: a 1,300-year-old scrap of papyrus that bore the phrase “Jesus said to them, My wife.” The fragment, written in the ancient language of Coptic, had set off shock waves when an eminent Harvard historian of early Christianity, Karen L. King, presented it in September 2012 at a conference in Rome.
Never before had an ancient manuscript alluded to Jesus’s being married. The papyrus’s lines were incomplete, but they seemed to describe a dialogue between Jesus and the apostles over whether his “wife”—possibly Mary Magdalene—was “worthy” of discipleship. Its main point, King argued, was that “women who are wives and mothers can be Jesus’s disciples.” She thought the passage likely figured into ancient debates over whether “marriage or celibacy [was] the ideal mode of Christian life” and, ultimately, whether a person could be both sexual and holy.
The Daily Show host was measured, respectful, and challenging in his 26-minute conversation with TheBlaze pundit Tomi Lahren.
Tomi Lahren, the 24-year-old host of Tomi on the conservative cable network TheBlaze, feels like a pundit created by a computer algorithm, someone who primarily exists to say something provocative enough to jump to the top of a Facebook feed. She’s called the Black Lives Matter movement “the new KKK,” partly blamed the 2015 Chattanooga shootings on President Obama’s “Muslim sensitivity,” and declared Colin Kaepernick a “whiny, indulgent, attention-seeking cry-baby.” At a time when such charged political rhetoric feels increasingly like the norm, Lahren stands at one end of a widening gulf—which made her appearance on The Daily Show with Trevor Noah Wednesday night all the more fascinating.
In his first year at The Daily Show, Noah has struggled to distinguish himself in an outrage-driven late-night universe. He has sometimes seemed too flip about the failures of the country’s news media, something his predecessor Jon Stewart made a perennial target. Noah’s 26-minute conversation with Lahren, though, posted in its entirety online, set the kind of tone that Stewart frequently called for throughout his tenure. The segment never turned into a screaming match, but it also avoided platitudes and small-talk. Lahren was unapologetic about her online bombast and leaned into arguments that drew gasps and boos from Noah’s audience, but the host remained steadfastly evenhanded throughout. If Noah was looking for a specific episodethat would help him break out in his crowded field, he may have finally found it.
A single dose of magic mushrooms can make people with severe anxiety and depression better for months, according to a landmark pair of new studies.
The doom hung like an anvil over her head. In 2012, a few years after Carol Vincent was diagnosed with non-Hodgkin lymphoma, she was waiting to see whether her cancer would progress enough to require chemotherapy or radiation. The disease had already done a number on her, inflating lymph nodes on her chin, collar bones, and groin. She battled her symptoms while running her own marketing business. To top it all off, she was going through menopause.
“Life is just pointless stress, and then you die,” she thought. “All I’m doing is sitting here waiting for all this shit to happen.”
When one day at an intersection she mulled whether it would be so bad to get hit by a car, she realized her mental health was almost as depleted as her physical state.
They say religious discrimination against Christians is as big a problem as discrimination against other groups.
Many, many Christians believe they are subject to religious discrimination in the United States. A new report from the Public Religion Research Institute and Brookings offers evidence: Almost half of Americans say discrimination against Christians is as big of a problem as discrimination against other groups, including blacks and minorities. Three-quarters of Republicans and Trump supporters said this, and so did nearly eight out of 10 white evangelical Protestants. Of the latter group, six in 10 believe that although America once was a Christian nation, it is no longer—a huge jump from 2012.
Polling data can be split up in a million different ways. It’s possible to sort by ethnicity, age, political party, and more. The benefit of sorting by religion, though, is that it highlights people’s beliefs: the way their ideological and spiritual convictions shape their self-understanding. This survey suggests that race is not enough to explain the sense of loss some white Americans seem to feel about their country, although it’s part of the story; the same is true of age, education level, and political affiliation. People’s beliefs seem to have a distinctive bearing on how they view changes in American culture, politics, and law—and whether they feel threatened. No group is more likely to express this fear than conservative Christians.
Multispectral scanning reveals ancient text on the fabled Antikythera Mechanism, and suggests the machine was a mechanical textbook.
It was, as they say, a dark and stormy night. The passengers on the enormous ship probably didn’t realize they were in danger until the moment their vessel slammed into the cliffs of Antikythera, Greece.
As the ship sank and broke apart, its remnants drifted downward to a seismic terrace some 160 feet below the surface of the Mediterranean Sea. More than 2,000 years would pass before fishermen collecting sponges, in the year 1900, discovered the wreckage by accident. Divers then spent a year at the site, where they recovered hundreds of works of art, jewels, and life-sized marble and bronze statues. But they also discovered something they couldn’t explain: A bizarre clockwork-like piece of technology, in the form of a disintegrating lump of corroded bronze, unlike anything known in the ancient world. It come to be known as the Antikythera Mechanism, and it remains one of the most intriguing objects in the history of technology.
At the time of this writing, the Powerball jackpot is up to $1.5 billion. The cash grand prize is estimated at $930 million.
In a Powerball draw, five white balls are drawn from a drum with 69 balls and one red ball is drawn from a drum with 26 balls. If you match all six numbers, you win the jackpot. If you match only some of the numbers, you win a smaller fixed prize.
At $2 for each ticket, then, it would be possible to buy every possible ticket for $584,402,676. As a journalist, I don’t have that much money sitting around, but either a consortium of a few million Americans or a large and wealthy institution like a bank could conceivably assemble that level of cash.
Hallucinogens may help people break free of destructive thoughts and addiction. Can a “mystical experience” be had legally?
TOWSON, Maryland—Kathleen Conneally had smoked since she was 12, but one day in the spring of 2013, that changed in an instant. Conneally arrived at a lab in Baltimore that looked more like a cozy living room, with a cream-colored couch and paintings of mountains on the walls. She took a pill from a golden goblet and popped it in her mouth. Under the watch of a pair of trained guides, she began to see wild colors, shapes, and ideas. She began, for lack of a better term, to trip.
Conneally was a participant in an addiction study conducted by researchers at Johns Hopkins University, who wanted to determine whether the relentless pull of nicotine could be weakened by another drug: psilocybin—the active compound in magic mushrooms.
The Minnesota progressive’s run for DNC chair demonstrates the pressures for the party as it tries to recover from a disastrous 2016 election.
Deciding who will chair a political party probably isn’t the most effective place to fight for the soul of that party. Did Reince Priebus or any of the people who supported his run for Republican National Committee chair foresee president Trump? But DNC chair is the slot that’s open now, so that’s where Democrat are hashing out their differences.
Almost all of the pressures on and contradictions within the party can be projected onto Keith Ellison, the U.S. representative from Minnesota, who announced his bid for the spot shortly after the disastrous election for Democrats. That follows several years of disastrous cycles for the party—despite President Obama’s two terms, Democrats have been pummeled at the state and national levels—and the party stewardship of Debbie Wasserman Schultz, which is widely viewed as shiftless and failed. With the Democratic field for 2020 diffuse and enigmatic, the chairmanship is one place to fight the battle.