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.
We're all going to die and we all know it. This can be both a burden and a blessing.
In the heart of every parent lives the tightly coiled nightmare that his child will die. It might spring at logical times—when a toddler runs into the street, say—or it might sneak up in quieter moments. The fear is a helpful evolutionary motivation for parents to protect their children, but it's haunting nonetheless.
The ancient Stoic philosopher Epictetus advised parents to indulge that fear. “What harm is it, just when you are kissing your little child, to say: Tomorrow you will die?”he wrote in his Discourses.
Some might say Epictetus was an asshole. William Irvine thinks he was on to something.
“The Stoics had the insight that the prospect of death can actually make our lives much happier than they would otherwise be,” he says. “You’re supposed to allow yourself to have a flickering thought that someday you’re going to die, and someday the people you love are going to die. I’ve tried it, and it’s incredibly powerful. Well, I am a 21st-century practicing Stoic.”
People look to Amy Schumer and her fellow jokers not just to make fun of the world, but to make sense of it. And maybe even to help fix it.
This week, in a much-anticipated sketch on her Comedy Central show, Amy Schumer staged a trial of Bill Cosby in “the court of public opinion.” Schumer—her character, at any rate—played the role of the defense. “Let’s remind ourselves what’s at stake here,” she argued to the jury. “If convicted, the next time you put on a rerun of The Cosby Show you may wince a little. Might feel a little pang. And none of us deserve that. We don’t deserve to feel that pang.”
Her conclusion? “We deserve to dance like no one’s watching, and watch like no one’s raping.”
Ooof. This is the kind of thing that gets Inside Amy Schumer referred to as “the most feminist show on television,” and her act in general called, in a phrase that reveals as much about her craft as about Schumer herself, “comedy with a message.” But while Schumer’s work is operating at the vanguard of popular comedy, it’s also in line with the work being done by her fellow performers: jokes that tend to treat humor not just as an end in itself, but as a vehicle for making a point. Watch like no one’s raping.
Some spoiler-y speculation on the final three episodes
With only three episodes left to go, Game of Thrones looks as though it once again has a lot of ground to cover before wrapping up a season. And so, for the curious and impatient among you, I’ll do my best to offer some quasi-informed speculation about what we might reasonably expect in these final weeks.
Note: I haven’t seen any of the remaining episodes, but I have read the books. The first five items below are spoiler-y, but the predictions in them do not derive from the George R. R. Martin novels. Rather, they’re guesswork based on what’s already happened on the show and on tidbits scattered across the web: a behind-the-scenes photo here, a close-read of a trailer there. (They could all, of course, turn out to be completely wrong.) The last four items, however, are based at least in part on events that take place in A Feast for Crows and A Dance with Dragons, so non-book-readers may want to skip them. And obviously anyone, book-reader or not, who’d prefer to go into these final episodes without preconceptions—who doesn’t want to know at least some of what will (probably) happen—should stop reading now.
The former speaker of the House is charged with lying to federal agents and evading financial reporting requirements, reportedly while attempting to conceal past sexual misconduct.
Updated on May 29, 2015, at 4:05 p.m.
Former House Speaker Dennis Hastert has been indicted on charges of lying to FBI agents and evading federal financial-reporting requirements, reportedly while paying a man to cover up past sexual misconduct.
Hastert, an Illinois Republican, was speaker from 1999 to 2007. BuzzFeed’s John Stanton notes that there were several high-profile congressional scandals in those years. Illinois is also a notorious hotbed for political corruption, as Roland Burris, Rod Blagojevich, George Ryan, and Jesse Jackson Jr. can attest.
But Hastert’s indictment seems to involve a darker story than political corruption. In or about 2010, according to the indictment, Hastert—a former high-school teacher and coach—met with an unnamed individual from Yorkville, Hastert’s hometown. They “discussed past misconduct by defendant against Individual A that had occurred years earlier.” In effect, Hastert fell victim to blackmail, the indictment alleges: He “agreed to provide Individual A $3.5 million in order to compensate for and conceal his prior misconduct against Individual A.” (Since leaving the House, Hastert has become a highly paid lobbyist.)
Can a political system be democratically legitimate without being democratic?
The flaws in China’s political system are obvious. The government doesn’t even make a pretense of holding national elections and punishes those who openly call for multiparty rule. The press is heavily censored and the Internet is blocked. Top leaders are unconstrained by the rule of law. Even more worrisome, repression has been ramped up since Xi Jinping took power in 2012, suggesting that the regime is increasingly worried about its legitimacy.
Some China experts—most recently David Shambaugh of George Washington University—interpret these ominous signs as evidence that the Chinese political system is on the verge of collapse. But such an outcome is highly unlikely in the near future. The Communist Party is firmly in power, its top leader is popular, and no political alternative currently claims widespread support. And what would happen if the Party’s power did indeed crumble? The most likely result, in my view, would be rule by a populist strongman backed by elements of the country’s security and military forces. The new ruler might seek to buttress his legitimacy by launching military adventures abroad. President Xi would look tame by comparison.
A challenge based on four words of the law amounts to little more than politics dressed up as a legal argument.
The Supreme Court is about to decide another blockbuster case arising under the Affordable Care Act (ACA). The specific issue is whether federal-tax subsidies are available to people who purchase health insurance from exchanges operated by the federal government or instead whether such subsidies are available only from exchanges established by the states. A decision in favor of the plaintiffs in King v. Burwell would most likely cripple the ACA in over thirty states and deprive millions of people of health insurance.
That the Supreme Court even agreed to hear the case is the result of an improbable conjunction of events. Two committed opponents of the ACA seized upon four words of the law out of almost 1000 pages, and through their persistent and energetic work, created a powerful soundbite that appealed to die-hard opponents of the ACA. They then took that sound bite and dressed it up in highly technical arguments about statutory interpretation that might well change how healthcare is paid for in the United States. But the soundbite is inaccurate, and the technical window dressing shouldn’t obscure the fact that the argument is based on a faulty reading of the text of the entire law as well as a misleading account of how and why the law was passed. At bottom, King v. Burwell is a political challenge to the ACA dressed up in legal garb.
An activist has made it so in France. Could he take his campaign global?
In 2010, U.S. supermarkets and grocery stores threw out 43 billion pounds, or $46.7 billion worth, of food, according to the U.S. Department of Agriculture (USDA). But if Arash Derambarsh had his way, that number would be zero. His goals are ambitious, but then again the municipal councilor from Courbevoie, France did manage to get a law passed in France last week that would accomplish just that.
The law bans supermarkets in France from discarding or destroying unsold food. According to Salon’s Lindsay Abrams, the law mandates that all unsold but edible food should be donated to charities for immediate distribution to the poor. Food that is unsafe to eat is to be donated to farms for agricultural purposes. Supermarkets that exceed a certain square footage are required to sign contacts with charities by July 2016; penalties for failing to do so include fines of up to roughly $81,600 or two years in prison. The legislation is one of the world’s first attempts to address the twin problems of food waste and hunger in this manner.
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 danger of uploading one’s consciousness to a computer without a suicide switch
Imagine a supercomputer so advanced that it could hold the contents of a human brain. The Google engineer Ray Kurzweil famously believes that this will be possible by 2045. Organized technologists are seeking to transfer human personalities to non-biological carriers, “extending life, including to the point of immortality.” My gut says that they’ll never get there. But say I’m wrong. Were it possible, would you upload the contents of your brain to a computer before death, extending your conscious moments on this earth indefinitely? Or would you die as your ancestors did, passing into nothingness or an unknown beyond human comprehension?
The promise of a radically extended lifespan, or even immortality, would tempt many. But it seems to me that they’d be risking something very much like hell on earth.
Caves and tunnels have always been part of human life.
Caves and tunnels have always been part of human life. We've grown more adept at shaping these underground shelters and passages over the millennia, and today we dig for hundreds of reasons. We excavate to find both literal and cultural treasures, digging mines and unearthing archaeological discoveries. We use caverns for stable storage, for entertainment, and for an effective shelter from natural and man-made disasters. And as the planet's surface becomes ever more crowded, and national borders are closed, tunnels provide pathways for our vehicles and for smugglers of every kind. Collected below are more recent subterranean scenes from around the world.