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Sunday, August 24, 2014

'The Marriage Plot' by Jeffrey Eugenides

Boychik Lit Book Reviews - No. 2 - KRLA 870 AM Los Angeles


Radio Script


The Marriage Plot by Jeffrey Eugenides poses the question: “Does a love story that ends in marriage have any relevance today?” Time was, back in Jane Austen’s nineteenth-century Britain, whether the heroine snagged the man of her dreams made all the difference. He would be handsome, tender, and – best of all – rich. Doesn’t sound too P. C. does it? But that’s essentially the plot of chick-lit novels like Sex and the City.
In a man’s take on the subject, The Marriage Plot hinges on a love triangle first joined on a college campus. There’s a shy man who wants to help starving children, a neurotic woman who has a big heart, and a brilliant biochemist who has serious mental problems.
Ultimately, this is a novel about perception, what we make of reality as it is happening to us, and our inability to make meaning of events in time to control their outcome. Things happen or they don't. Things work out or they don't. They mostly don't, and we move on.
Bad news for self-help gurus who are helping you make plans. Way to make God laugh.
For Boychik Lit, I’m Gerald Everett Jones. Read my hilarious new novel Mr.Ballpoint, and follow my rants at www.boychiklit.com.

Full Review (cross-posted on Goodreads.com)


Masterful on many levels. At first I wasn't drawn to any of the three characters in the love triangle - Madeleine, Leonard, and Mitchell. Each seemed deeply flawed, and they are. Except you read along and find that Eugenides thinks we all are, just as deeply in our unique ways, and are none the lesser for it. That's the way people are, and the way life goes. We stumble through it, thinking we are somehow in control, and it's what happens nevertheless while we are furiously busy making other plans, or simply fretting about making up our minds.

This is a literary novel, in the best sense, and I was surprised to read some critics cramming it into the diminutive genre "campus novel." That would be like classifying Pride and Prejudice as a rom com, which is not as irrelevant as it sounds. The marriage plot, you see, is the genre form of which that work is representative. Eugenides wants to know whether the marriage plot is dead as a meaningful literary form, now that marriage seems hardly worthy as the ultimate goal of youthful aspirations.

Then there's the theme of semiotics. I studied with Roland Barthes (yes, I'm that old) and back then I don't think the term semiotics even existed. At least, I don't recall his ever having used it. But he talked incessantly about structuralism, that a novel is a long sentence spoken by its author, a literary construct waiting to be parsed. Understand, I didn't get any of this from him back then, just from what others, including Susan Sontag, have written about him since. His lesson plan was built around Balzac's short story "Sarrasine," which is the engrossing tale of a man obsessed by an opera star who turns out to be both a castralto and the "kept woman" of a powerful priest. But why Barthes chose that story for his criticism totally escaped me at the time, and I can only surmise now what his intentions were.

But back to Eugenides. The characters meet in a semiotics class at Brown, and the author gives a lot of detail about the subject and its impact on their personal thoughts. Semiotics claims, for example, that humans would not experience love as we have come to understand it unless we had read about it (or seen movies about it) first. There's a similar concept in Stendhal's The Red and the Black, in which the narrator comments that peasants in the French countryside cope with life less well than the sophisticated citizens of Paris, who have all read novels that give them models for how to act in society.

Ultimately, this is a novel about perception, what we make of reality as it is happening to us, and our inability to make meaning of events in time to control their outcome. Things happen or they don't. Things work out or they don't. They mostly don't, and we move on.

Perhaps significantly, the character in this book who understands himself best is the one whose grasp on reality is most tenuous, because he has to work at staying sane. In his acknowledgements, Eugenides credits several experts and sources for genetic research (another theme), but he thanks no one for his extensive detailing of bipolar disorder and its treatment. So naturally I wonder how he came by this information, and at what personal cost. (An astute Goodreads commentator observed that Eugenides was a close personal friend of David Foster Wallace, a brilliant novelist who suffered from bipolar disorder and committed suicide.)

Saturday, August 16, 2014

'Forever Panting' by Peter De Vries

Boychik Lit Book Reviews - No. 1 - KRLA 870 AM Los Angeles

I coined the term boychik lit after the Yiddish word for a young man with more chutzpah than brains. It’s a counterpoint to chick lit - humorous novels like Bridget Jones’s Diary and Sex and the City – about young women on the make. Boychik lit is about young men on the make, but also popular with mature men who want to remember being young and on the make, as well as women of any age who apparently find the foolishness of all men funny.

Classic as boychik lit – which I recommend for a short read and a good laugh – is the 1973 novel Forever Panting by that master, Peter De Vries. It’s about an out of work actor who divorces his wife and marries his mother-in-law, putting real spin on the old adage, “Careful what you ask for.”

And here it is. Not easy to find. Some public libraries will have it. Some banned it long ago, and perhaps no one there remembers why.



Forever Panting, one of my all-time faves, was first published in 1973. The godfather of boychik lit, De Vries is hopelessly politically incorrect these days. For example, his Slouching Towards Kalamazoo is about a high-school boy who runs away with his comely teacher. You simply cannot go there now, so have life and lawsuits imitated art in the years since.

Raised in a Christian fundamentalist Dutch Reformed family in Chicago, De Vries held notions of humor that typically involved religious hypocrisy and suburban adultery. His Mackerel Plaza is about a widower minister whose late wife was so saintly and highly regarded, he fears her reputation might get in the way of his plans to marry the church secretary.

For extra credit: Who is writing such stuff now?