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.
Lip service to the crucial function of the Fourth Estate is not enough to sustain it.
It’s not that Mark Zuckerberg set out to dismantle the news business when he founded Facebook 13 years ago. Yet news organizations are perhaps the biggest casualty of the world Zuckerberg built.
There’s reason to believe things are going to get worse.
A sprawling new manifesto by Zuckerberg, published to Facebook on Thursday, should set off new alarm bells for journalists, and heighten news organizations’ sense of urgency about how they—and their industry—can survive in a Facebook-dominated world.
Facebook’s existing threat to journalism is well established. It is, at its core, about the flow of the advertising dollars that news organizations once counted on. In this way, Facebook’s role is a continuation of what began in 1995, when Craigslist was founded. Its founder, Craig Newmark, didn’t actively aim to decimate newspapers, but Craigslist still eviscerated a crucial revenue stream for print when people stopped buying newspaper classifieds ads.
When my wife was struck by mysterious, debilitating symptoms, our trip to the ER revealed the sexism inherent in emergency treatment.
Early on a Wednesday morning, I heard an anguished cry—then silence.
I rushed into the bedroom and watched my wife, Rachel, stumble from the bathroom, doubled over, hugging herself in pain.
“Something’s wrong,” she gasped.
This scared me. Rachel’s not the type to sound the alarm over every pinch or twinge. She cut her finger badly once, when we lived in Iowa City, and joked all the way to Mercy Hospital as the rag wrapped around the wound reddened with her blood. Once, hobbled by a training injury in the days before a marathon, she limped across the finish line anyway.
So when I saw Rachel collapse on our bed, her hands grasping and ungrasping like an infant’s, I called the ambulance. I gave the dispatcher our address, then helped my wife to the bathroom to vomit.
The preconditions are present in the U.S. today. Here’s the playbook Donald Trump could use to set the country down a path toward illiberalism.
It’s 2021, and President Donald Trump will shortly be sworn in for his second term. The 45th president has visibly aged over the past four years. He rests heavily on his daughter Ivanka’s arm during his infrequent public appearances.
Fortunately for him, he did not need to campaign hard for reelection. His has been a popular presidency: Big tax cuts, big spending, and big deficits have worked their familiar expansive magic. Wages have grown strongly in the Trump years, especially for men without a college degree, even if rising inflation is beginning to bite into the gains. The president’s supporters credit his restrictive immigration policies and his TrumpWorks infrastructure program.
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Radical longevity may change the way we live—and not necessarily for the better.
“So, you don’t want to die?” I asked Zoltan Istvan, then the Transhumanist candidate for president, as we sat in the lobby of the University of Baltimore one day last fall.
“No,” he said, assuredly. “Never.”
Istvan, an atheist who physically resembles the pure-hearted hero of a Soviet children’s book, explained that his life is awesome. In the future, it will grow awesomer still, and he wants to be the one to decide when it ends. Defying aging was the point of his presidential campaign, the slogan of which could have been “Make Death Optional for Once.” To (literally) drive the point home, he circled the nation in the “Immortality Bus,” a brown bus spray-painted to look like a coffin.
He knew he’d lose, of course, but he wanted his candidacy to promote the cause of transhumanism—the idea that technology will allow humans to break free of their physical and mental limitations. His platform included, in part, declaring aging a disease. He implanted a chip in his hand so he could wave himself through his front door, and he wants to get his kids chipped, too. He’d be surprised, he told me, if soon “we don’t start merging our children with machines.” He’d like to replace his limbs with bionics so he can throw perfectly in water polo. Most of all, he wants to stick around for a couple centuries to see it all happen, perhaps joining a band or becoming a professional surfer, a long white beard trailing in his wake.
On Saturday, the president slipped away from the doubters in Washington to address a Florida crowd filled with loyal supporters.
MELBOURNE, Fla.—After four miserable weeks of being locked up in presidential prison—starved of affection, suffocated by bureaucracy, tormented by the press—Donald Trump made a break for it Saturday.
Touching down just before sunset here in the heart of Trump Country, the president was greeted as he emerged from Air Force One by an adoring crowd of 9,000 super-fans, many of whom had stood in line for hours to see him speak. Trump made no effort at masking his gratitude. “I’m here because I want to be among my friends,” he told them, adding, “I also want to speak to you without the filter of the fake news.”’
The rally was widely trumpeted in the press as a return to the campaign trail, and it’s easy to see why. The event had all the trappings of Trump-style electioneering—he deployed the same slogans, recycled the same stump-speech rhetoric, and walked out on stage to the same soundtrack. What’s more, the White House made clear earlier this week that the rally was being funded not by the federal government but by his campaign, making this perhaps the earliest launch to a reelection bid in history.
The Scandinavian country is an education superpower because it values equality more than excellence.
The Scandinavian country is an education superpower because it values equality more than excellence.
Everyone agrees the United States needs to improve its education system
dramatically, but how? One of the hottest trends in education reform lately
is looking at the stunning success of the West's reigning education
Trouble is, when it comes to the lessons that Finnish schools have to offer,
most of the discussion seems to be missing the point.
The small Nordic country of Finland used to be known -- if it was known for
anything at all -- as the home of Nokia, the mobile phone giant. But lately
Finland has been attracting attention on global surveys of quality of
life -- Newsweek ranked it number one last year -- and Finland's national
education system has been receiving particular praise, because in recent
years Finnish students have been turning in some of the highest test scores
in the world.
Humans have been living and working with horses for more than 5,000 years, since the first domesticated equines had their teeth worn down by primitive bridles in northern Kazakhstan. Hands could not have built modern civilization without the help of hooves—to haul ploughs, pull carriages, march soldiers into battle, and carry messages of love and war across hundreds of otherwise-insurmountable miles.
An unlikely pairing of wily predator and one-ton prey, humans and horses have managed to successfully communicate across the species barrier because we share a language: emotion. Experienced riders and trainers can learn to read the subtle moods of individual horses according to wisdom passed down from one horseman to the next, but also from years of trial-and-error. I suffered many bruised toes and nipped fingers before I could detect a curious swivel of the ears, irritated flick of the tail, or concerned crinkle above a long-lashed eye.
Even within a university as famously offbeat as the Massachusetts Institute of Technology, Random Hall has a reputation for being a little quirky. According to campus legend, the students who first lived there in 1968 wanted to call the dorm “Random House” until the publishing house with that same name sent them a letter to object. The individual floors have names, too. One is called Destiny, a result of its cash-strapped inhabitants selling the naming rights on eBay; the winning bid was $36 from a man who wanted to name it after his daughter.
In 2005, another plan started to take shape in the corridors of Random Hall. James Harvey was nearing the completion of his mathematics degree and needed a project for his final semester. While searching for a topic, he became interested in lotteries.
During the late 19th century, blacks and whites in the South lived closer together than they do today.
CHARLOTTE, N.C.—Growing up here in the 1940s and 1950s, Sevone Rhynes experienced segregation every day. He couldn’t visit the public library near his house, but instead had to travel to the “colored” library in the historically black area of Brooklyn, a neighborhood that used to be in the center of Charlotte. He attended a school for black children, where he received second-hand books, and where the school day was half the length of that of white schools, because the black school had too many children and not enough funds. Sixty years later, he says, Charlotte is still a segregated city. “People who are white want as little to do with black people as they can get away with,” he told me.
This is, unfortunately, not a surprising account of North Carolina, or of the South more generally. The South of the 1950s was the land of fire hoses aimed at black people who dared protest Jim Crow laws. Today, schools in the South are almost as segregated as they were when Sevone Rhymes was a child. Southern cities including Charlotte are facing racial tensions over the shootings of black men by white policemen, which, in Charlotte’s case, led to massive protests and riots.
Narcissism, disagreeableness, grandiosity—a psychologist investigates how Trump’s extraordinary personality might shape his possible presidency.
In 2006, Donald Trump made plans to purchase the Menie Estate, near Aberdeen, Scotland, aiming to convert the dunes and grassland into a luxury golf resort. He and the estate’s owner, Tom Griffin, sat down to discuss the transaction at the Cock & Bull restaurant. Griffin recalls that Trump was a hard-nosed negotiator, reluctant to give in on even the tiniest details. But, as Michael D’Antonio writes in his recent biography of Trump, Never Enough, Griffin’s most vivid recollection of the evening pertains to the theatrics. It was as if the golden-haired guest sitting across the table were an actor playing a part on the London stage.
“It was Donald Trump playing Donald Trump,” Griffin observed. There was something unreal about it.