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.
People labeled “smart” at a young age don’t deal well with being wrong. Life grows stagnant.
ASPEN, Colo.—At whatever agesmart people develop the idea that they are smart, they also tend to develop vulnerability around relinquishing that label. So the difference between telling a kid “You did a great job” and “You are smart” isn’t subtle. That is, at least, according to one growing movement in education and parenting that advocates for retirement of “the S word.”
The idea is that when we praise kids for being smart, those kids think: Oh good, I'm smart. And then later, when those kids mess up, which they will, they think: Oh no, I'm not smart after all. People will think I’m not smart after all. And that’s the worst. That’s a risk to avoid, they learn.“Smart” kids stand to become especially averse to making mistakes, which are critical to learning and succeeding.
The social network learns more about its users than they might realize.
Facebook, you may have noticed, turned into a rainbow-drenched spectacle following the Supreme Court’s decision Friday that same-sex marriage is a Constitutional right.
By overlaying their profile photos with a rainbow filter, Facebook users began celebrating in a way we haven't seen since March 2013, when 3 million peoplechanged their profile images to a red equals sign—the logo of the Human Rights Campaign—as a way to support marriage equality. This time, Facebook provided a simple way to turn profile photos rainbow-colored. More than 1 million people changed their profile in the first few hours, according to the Facebook spokesperson William Nevius, and the number continues to grow.
“This is probably a Facebook experiment!” joked the MIT network scientist Cesar Hidalgo on Facebook yesterday. “This is one Facebook study I want to be included in!” wrote Stacy Blasiola, a communications Ph.D. candidate at the University of Illinois, when she changed her profile.
The question is at the center of the Greek crisis.
In 1961, the economist Robert Mundell published a paper laying out, per the title, “A Theory of Optimum Currency Areas.” In it, he inquired about the appropriate geographic extent of a shared unit of money. Was it the world? A country? Part of a country? A border-spanning region of, say, the western parts of the United States and Canada, with a separate currency circulating in the eastern parts of the two countries?
“It might seem at first that the question is purely academic,” he wrote, “since it hardly seems within the realm of political feasibility that national currencies would ever be abandoned in favor of any other arrangement.” But it was worth considering anyway, in part because “certain parts of the world are undergoing processes of economic integration and disintegration,” and an idea of what an “optimum currency area” would look like could help “clarify the meaning of these experiments.”
The Islamic State is no mere collection of psychopaths. It is a religious group with carefully considered beliefs, among them that it is a key agent of the coming apocalypse. Here’s what that means for its strategy—and for how to stop it.
What is the Islamic State?
Where did it come from, and what are its intentions? The simplicity of these questions can be deceiving, and few Western leaders seem to know the answers. In December, The New York Times published confidential comments by Major General Michael K. Nagata, the Special Operations commander for the United States in the Middle East, admitting that he had hardly begun figuring out the Islamic State’s appeal. “We have not defeated the idea,” he said. “We do not even understand the idea.” In the past year, President Obama has referred to the Islamic State, variously, as “not Islamic” and as al-Qaeda’s “jayvee team,” statements that reflected confusion about the group, and may have contributed to significant strategic errors.
The second episode of the new season was a slow burner with a dramatic twist.
Let’s start at the beginning, with Frank in bed with his wife, Jordan, discussing water stains on the ceiling and childhood entombments. I don’t know about you guys, but I found this whole bit slack and familiar. Maybe there was a two-minute scene in there, but five? Maybe a more charismatic actor could have pulled off that lengthy monologue. But Vince Vaughn is no Robert Shaw, and his childhood basement is no U.S.S. Indianapolis.
As sunny and smiley as gyms’ front-desk employees can be, they’re covering up a secret that keeps the industry going: Once you’ve signed up for a membership, they don’t want you to come in very often.
In fact, gyms are set up to entice the type of customer who will prepay for months or years and then rarely show up. In order to make money, private clubs need to bring in about 10 times as many members as their weight and cardio rooms can accommodate at any given time. This fact ends up shaping the way gyms are designed as physical spaces. In order to attract the type of people who will buy a membership but probably never work out with any regularity, designers give gyms sleek, hotel-like lobbies where membership paperwork is handled. Meanwhile, the intimidating equipment is kept in the back, out of sight—along with the sometimes intimidating brutes who grunt while using them.
The country's inability to pay its debt or reach a deal makes it the largest nation in history to be in arrears to the IMF.
What happens now?
Greece’s missed payment to the IMF is a milestone—it’s both the first time a developed country has missed such a payment, and the first time a Eurozone country has defaulted on its debt. (Or it’s “in arrears”—as Bouree Lam explains below, the IMF isn’t using consistent terminology.)
But that doesn’t mean automatic expulsion from the Eurozone. Yanis Varoufakis, the country’s finance minister, made the case on his blog three years ago that “a defaulted Greece can easily remain in the Eurozone,” and that in fact “Europe’s optimal strategy is to let Greece default.” The Lisbon Treaty, which forms the legal basis of the European Union, actually makes no provision for a member’s expulsion. A 2009 legal analysis by the ECB found that, “while perhaps feasible through indirect means, a Member State’s expulsion from the EU or EMU [the European Monetary Union], would be legally next to impossible.”
The star has been accused of having a “large blind spot” on issues of race—but testing the boundaries of jokes is part of the process of stand-up.
There’s a fine line in comedy between subversive and offensive, and with every meteoric rise from stand-up to film and television stardom these days, there tends to be controversy over whether or not that line has ever been crossed. Amy Schumer, whose Comedy Central sketch show Inside Amy Schumer has been dominating the Internet on a weekly basis since its third season debuted in April, and who stars in the upcoming Judd Apatow comedy Trainwreck, is the latest figure to experience the pitfalls of being under such sharp scrutiny. A recent profile of Schumer in The Guardian by Monica Heisey, although largely positive, criticizes the comedian for having a “shockingly large blind spot” on race—and cites some clunky jokes she’s made about Latinos as examples.
For centuries, experts have predicted that machines would make workers obsolete. That moment may finally be arriving. Could that be a good thing?
1. Youngstown, U.S.A.
The end of work is still just a futuristic concept for most of the United States, but it is something like a moment in history for Youngstown, Ohio, one its residents can cite with precision: September 19, 1977.
For much of the 20th century, Youngstown’s steel mills delivered such great prosperity that the city was a model of the American dream, boasting a median income and a homeownership rate that were among the nation’s highest. But as manufacturing shifted abroad after World War II, Youngstown steel suffered, and on that gray September afternoon in 1977, Youngstown Sheet and Tube announced the shuttering of its Campbell Works mill. Within five years, the city lost 50,000 jobs and $1.3 billion in manufacturing wages. The effect was so severe that a term was coined to describe the fallout: regional depression.
New Jersey Governor Chris Christie was once seen as a frontrunner. As he starts off his campaign now, he’s near the back of the pack.
Did Chris Christie already miss his chance to be president? Back in 2012, the New Jersey governor was wildly popular at home, Republicans were clamoring for him to enter the presidential race, and donors were lined up to write checks.
When he jumped into the race Tuesday, he did so as a beleaguered insurgent. He’s among the last entrants to a crowded field, he has much ground to cover in fundraising, and his political fortunes are in tatters. Just three in 10 New Jerseyans approve of his handling of his job, and Christie’s favorability is deeply underwater among Republican primary voters.
Clearly, it’s been a rough three years for Christie. One might peg the start as Christie’s speech at the 2012 Republican National Convention, panned by party insiders as self-serving; or perhaps it was his embrace of President Obama on an airstrip after Hurricane Sandy. Then there was “Bridgegate,” the controversy over lane closures on the George Washington Bridge. While Christie himself has escaped legal trouble so far, two former top aides have been charged with crimes and a third has pled guilty. The scandal is particularly damaging for Christie, who says he was unaware of the apparently politically punitive closures, since his case for office rests on credibility and competence. While it’s gotten less national attention, Christie’s stateside struggles have a lot to do with the Garden State economy. Atlantic City is shutting down. (Maybe everything that dies someday comes back, but not soon enough for Christie’s campaign.) The state’s debt rating has been cut nine times during the Christie governorship. A judge also ruled that a Christie plan to cut pension payments was illegal.