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.
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.
As the public’s fear and loathing surge, the frontrunner’s durable candidacy has taken a dark turn.
MYRTLE BEACH, South Carolina—All politicians, if they are any good at their craft, know the truth about human nature.
Donald Trump is very good, and he knows it better than most.
Trump stands alone on a long platform, surrounded by a rapturous throng. Below and behind him—sitting on bleachers and standing on the floor—they fill this city’s cavernous, yellow-beige convention center by the thousands. As Trump will shortly point out, there are a lot of other Republican presidential candidates, but none of them get crowds anything like this.
Trump raises an orange-pink hand like a waiter holding a tray. “They are not coming in from Syria,” he says. “We’re sending them back!” The crowd surges, whistles, cheers. “So many bad things are happening—they have sections of Paris where the police are afraid to go,” he continues. “Look at Belgium, the whole place is closed down! We can’t let it happen here, folks.”
Why the ingrained expectation that women should desire to become parents is unhealthy
In 2008, Nebraska decriminalized child abandonment. The move was part of a "safe haven" law designed to address increased rates of infanticide in the state. Like other safe-haven laws, parents in Nebraska who felt unprepared to care for their babies could drop them off in a designated location without fear of arrest and prosecution. But legislators made a major logistical error: They failed to implement an age limitation for dropped-off children.
Within just weeks of the law passing, parents started dropping off their kids. But here's the rub: None of them were infants. A couple of months in, 36 children had been left in state hospitals and police stations. Twenty-two of the children were over 13 years old. A 51-year-old grandmother dropped off a 12-year-old boy. One father dropped off his entire family -- nine children from ages one to 17. Others drove from neighboring states to drop off their children once they heard that they could abandon them without repercussion.
The Nebraska state government, realizing the tremendous mistake it had made, held a special session of the legislature to rewrite the law in order to add an age limitation. Governor Dave Heineman said the change would "put the focus back on the original intent of these laws, which is saving newborn babies and exempting a parent from prosecution for child abandonment. It should also prevent those outside the state from bringing their children to Nebraska in an attempt to secure services."
A Chicago cop now faces murder charges—but will anyone hold his colleagues, his superiors, and elected officials accountable for their failures?
Thanks to clear video evidence, Chicago police officer Jason Van Dyke was charged this week with first-degree murder for shooting 17-year-old Laquan McDonald. Nevertheless, thousands of people took to the city’s streets on Friday in protest. And that is as it should be.
The needlessness of the killing is clear and unambiguous:
Yet that dash-cam footage was suppressed for more than a year by authorities citing an investigation. “There was no mystery, no dead-end leads to pursue, no ambiguity about who fired the shots,” Eric Zorn wrote in The Chicago Tribune. “Who was pursuing justice and the truth? What were they doing? Who were they talking to? With whom were they meeting? What were they trying to figure out for 400 days?”
It was widely seen as a counter-argument to claims that poor people are "to blame" for bad decisions and a rebuke to policies that withhold money from the poorest families unless they behave in a certain way. After all, if being poor leads to bad decision-making (as opposed to the other way around), then giving cash should alleviate the cognitive burdens of poverty, all on its own.
Sometimes, science doesn't stick without a proper anecdote, and "Why I Make Terrible Decisions," a comment published on Gawker's Kinja platform by a person in poverty, is a devastating illustration of the Science study. I've bolded what I found the most moving, insightful portions, but it's a moving and insightful testimony all the way through.
Better-informed consumers are ditching the bowls of sugar that were once a triumph of 20th-century marketing.
Last year, General Mills launched a new product aimed at health-conscious customers: Cheerios Protein, a version of its popular cereal made with whole-grain oats and lentils. Early reviews were favorable. The cereal, Huffington Post reported, tasted mostly like regular Cheerios, although “it seemed like they were sweetened and flavored a little more aggressively.” Meanwhile, ads boasted that the cereal would offer “long-lasting energy” as opposed to a sugar crash.
But earlier this month, the Center for Science in the Public Interest sued General Mills, saying that there’s very little extra protein in Cheerios Protein compared to the original brand and an awful lot more sugar—17 times as much, in fact. So why would General Mills try to market a product as containing protein when it’s really a box fill of carbs and refined sugar?
In the name of emotional well-being, college students are increasingly demanding protection from words and ideas they don’t like. Here’s why that’s disastrous for education—and mental health.
Something strange is happening at America’s colleges and universities. A movement is arising, undirected and driven largely by students, to scrub campuses clean of words, ideas, and subjects that might cause discomfort or give offense. Last December, Jeannie Suk wrote in an online article for The New Yorker about law students asking her fellow professors at Harvard not to teach rape law—or, in one case, even use the word violate (as in “that violates the law”) lest it cause students distress. In February, Laura Kipnis, a professor at Northwestern University, wrote an essay in The Chronicle of Higher Education describing a new campus politics of sexual paranoia—and was then subjected to a long investigation after students who were offended by the article and by a tweet she’d sent filed Title IX complaints against her. In June, a professor protecting himself with a pseudonym wrote an essay for Vox describing how gingerly he now has to teach. “I’m a Liberal Professor, and My Liberal Students Terrify Me,” the headline said. A number of popular comedians, including Chris Rock, have stopped performing on college campuses (see Caitlin Flanagan’s article in this month’s issue). Jerry Seinfeld and Bill Maher have publicly condemned the oversensitivity of college students, saying too many of them can’t take a joke.
Why are so many kids with bright prospects killing themselves in Palo Alto?
The air shrieks, and life stops. First, from far away, comes a high whine like angry insects swarming, and then a trampling, like a herd moving through. The kids on their bikes who pass by the Caltrain crossing are eager to get home from school, but they know the drill. Brake. Wait for the train to pass. Five cars, double-decker, tearing past at 50 miles an hour. Too fast to see the faces of the Silicon Valley commuters on board, only a long silver thing with black teeth. A Caltrain coming into a station slows, invites you in. But a Caltrain at a crossing registers more like an ambulance, warning you fiercely out of its way.
The kids wait until the passing train forces a gust you can feel on your skin. The alarms ring and the red lights flash for a few seconds more, just in case. Then the gate lifts up, signaling that it’s safe to cross. All at once life revives: a rush of bikes, skateboards, helmets, backpacks, basketball shorts, boisterous conversation. “Ew, how old is that gum?” “The quiz is next week, dipshit.” On the road, a minivan makes a left a little too fast—nothing ominous, just a mom late for pickup. The air is again still, like it usually is in spring in Palo Alto. A woodpecker does its work nearby. A bee goes in search of jasmine, stinging no one.
Students at Princeton University are protesting the ways it honors the former president, who once threw a civil-rights leader out of the White House.
The Black Justice League, in protests on Princeton University’s campus, has drawn wider attention to an inconvenient truth about the university’s ultimate star: Woodrow Wilson. The Virginia native was racist, a trait largely overshadowed by his works as Princeton’s president, as New Jersey’s governor, and, most notably, as the 28th president of the United States.
As president, Wilson oversaw unprecedented segregation in federal offices. It’s a shameful side to his legacy that came to a head one fall afternoon in 1914 when he threw the civil-rights leader William Monroe Trotter out of the Oval Office.
Trotter led a delegation of blacks to meet with the president on November 12, 1914 to discuss the surge of segregation in the country. Trotter, today largely forgotten, was a nationally prominent civil-rights leader and newspaper editor. In the early 1900s, he was often mentioned in the same breath as W.E.B. Du Bois and Booker T. Washington. But unlike Washington, Trotter, an 1895 graduate of Harvard, believed in direct protest actions. In fact, Trotter founded his Boston newspaper, The Guardian, as a vehicle to challenge Washington’s more conciliatory approach to civil rights.
3 people died and 9 more were injured after a gunman attacked a facility in Colorado Springs; a suspect is in custody.
Updated at 10:22 p.m.
3 people died, including a University of Colorado police officer, and nine more people were injured after a gunman attacked a Planned Parenthood clinic in Colorado on Friday. Officials noted the number could rise as they secure and process the crime scene, while the Colorado Attorney General’s office tweeted that there was a “tragic loss of life.” Police captured the suspected gunman at 4:52 p.m. local time; his identity remains unknown.
Details about the shooting remain murky. A 911 call placed from the Colorado Springs clinic, located about 70 miles south of Denver, first reported a gunman at about 11:38 a.m. local time. A Colorado Springs Police Department spokesperson told The Gazette, a local newspaper, that police were “actively engaged” with the gunman inside the Planned Parenthood facility.