You Don't Love This Man, DeWeese

You Don’t Love This Man

Dan DeWeese

2011

USA

“Among the million images of my daughter that had passed through my eyes, why were these the ones that lingered? Asleep during a toddler nap, aloft above the playground, laughing at the table: each was of Miranda alone, I noticed. Or alone, save for the presence of the mind recording the moments, of course. Save for me. “

Why do things happen the way they happen? Is life merely a series of meaningless coincidences? Do our actions or non-actions play any kind of role in the outcome? Do some people have control while others stand by, waiting and stewing? These are some of the questions raised by Dan DeWeese’s novel, You Don’t Love This Man. Another question might be who is “this man,” anyway? On the surface the title seems to refer to Grant, the protagonist’s one-time friend and future son-in-law, but it’s possible that it also refers to the main character himself. As a quiet, mild-mannered bank manager, Paul does not make a particularly exciting hero, after all. In fact the author himself refers to the character, in the afterward, as a “sidelined” person. It makes sense: Paul is in many ways only coincidentally and peripherally involved in the plot itself, but this book is not about the plot. It is about the mind at work observing the plot as it unfolds. These seemingly trivial, yet weighty, observations of the main character – a spider building a web outside his office window over the course of several days, the disappearance of his co-worker’s freckles when she wears makeup, and his recognition that he does not want them to disappear – were some of my favorite parts of the book.  

In my MA degree I studied “British Modernist” literature with particular care, and it seems to me that DeWeese’s novel has several of the elements that I attribute to work in this genre. You Don’t Love This Man is modernist in the sense that it interrogates one man’s thoughts and actions over the course of a single day (two of the most famous modernist works, Woolf’s Mrs. Dalloway and Joyce’s Ulysses, also fit this profile), which just so happens to be the wedding day of his only daughter. Though the action of the novel takes place in the present tense, the past haunts it at every corner. Paul has taken the day of his daughter’s wedding off from work, but ends up being called in when his branch gets robbed. Paul realizes that the man in the robbery photos is the same one who robbed him twenty-five years ago, an event which was instrumental in solidifying his relationship with the woman who would be the mother of his only child, as well as the man who would be his friend until he started dating his daughter. The investigation of the robbery, as well as a missing bride, provide the author plenty of opportunity for explanatory flashbacks, all of which seem to propel the book forward towards some kind of grand conclusion.

             

It is this aspect of pacing, I think, that makes the novel seem different to me: it’s slow and steady, yet seems to build towards a crescendo which, most likely purposefully, never arrives. I won’t give the ending away (part of the book’s beauty is this feeling of moving towards something big) except to say that DeWeese does not provide easy answers, or concede to readers’ desires for all the threads to tie up (with one exception). What emerges is a pattern. Life has one, DeWeese seems to say, but its particularities may or may not mean anything. This idea reminds me of what I took to be Somerset Maugham’s message in Of Human Bondage, another modernist text. The notion of life as “a Persian rug,” passed on to Philip by a drunken painter he reveres as a kind of sage, seems to fit DeWeese’s book quite well. The novel is “modernist” in this sense, then, too: life may not contain a meaning, but it is full of beauty and worthy of our curiosity. For Paul, that seems to be enough. After all, what choice do we have but to live?  

To Kill a Mockingbird, Lee

To Kill a Mockingbird

Harper Lee

1960

USA

“All the little man on the witness stand had that made him any better than his nearest neighbor was, that if scrubbed with lye soap in very hot water, his skin was white.”

I have to tell you something that might upset you: Until now, I had never read To Kill a Mockingbird. 

 Don’t stop reading! I know you might find my confession shocking, appalling even. Many do (though not so much as the news that, until very recently, I had also never seen Star Wars). But please, don’t hold it against me. As I often tell people, “I was never made to read a book in high school” - a true, if not altogether fair, statement.

            Now I have read the famous book thanks to my friend, Turner (find his excellent blog about being an “adjunct” librarian at deweysnotdead.blogspot.com) who bought it for me on one of our recent jaunts to a local organic – I mean independent – bookstore. (I said the Bay area had superior indie bookstores and Turner is attempting to prove me wrong, with lots of fun, if little success). So, for the past couple weeks I’ve been falling asleep with a chapter or two of Scout, Atticus, and Jem Finch’s adventures in Maycomb County.  Now that I’ve read the book I’m no longer surprised that it was not an assigned text in my hometown. It uses the “N word” a lot, for one thing. For another, I think most folks in my town would probably not appreciate the insinuation from the author that the Finches, due primarily to Atticus’s education, are better than the average, everyday Joe. I mean, they don’t even go to church.

            My take on the book, at least the one I feel most interested in pursuing right now, is that it is about class, much more so than race. Of course it is. “The thing about it is, our kind of folks don’t like the Cunninghams, the Cunninghams don’t like the Ewells, and the Ewells hate and despise the colored folks” (229). The problem is not just racial prejudice, it’s prejudice in general – How can her teacher hate Hitler for killing Jews when she herself despises the black people in her own town? Scout wants to know. This is a complex question without a simple answer or a happy ending for (most – the altruistic Finches, of course, being the exception) white people – not the kind of thing I was taught to think about in high school. In fact, many of Scout’s observations about education might well be applied to my own, and while her experience is presented with humor rather than overt criticism, it is by no means held up as a shining beacon of truth and tolerance. “Why [the teacher] frowned when a child recited from The Grit Paper I never knew, but in some way it was associated with liking fiddling, eating syrupy biscuits for lunch, being a holy-roller, singing Sweetly Sings the Donkey and pronouncing it dunkey, all of which the state paid teachers to discourage” (247) – an indictment of small-town social/moral indoctrination if I ever heard one.

            The problem with the book, for me, is that Atticus is too perfect. I found myself admiring him, as the author clearly wants me to, but grudgingly. He’s too calm, too heroic. He’s the Jesus figure of the novel, a secular Jesus for the bleeding heart liberals on the coasts (is what some people I know might have said). Scout is too smart, her eyes too keen. What child understands and notices as much about the paradoxes of humanity as Scout does? Even the mysterious shut-in, Boo Radley, is unrealistically selfless and caring. (Boy, I sure do sound cynical, don’t I?) In fact, everyone in the book is pretty damn wholesome, despite the author’s frequent protestations to the contrary. Everybody, that is, except Bob Ewell; the villain of the novel ultimately gets his just desserts by “falling on his knife” and dying (Did Boo kill him? Or was it really Jem? Am I supposed to know?), a reasonably satisfying ending, I suppose, and certainly one with a clear moral message: prejudices kill not only the victims, but the perpetrators, too.           

I enjoyed the novel, and getting to know the characters in it. I think it is a good book that raises important and interesting questions in a charming and unexpected way. These are all excellent accomplishments. But I can’t help thinking that I would have appreciated it more had I read it when I was younger, less informed, and more hopeful.

            Please don’t stop reading if by this post I’ve cut a tiny hole in one of your favorite literary memories. Instead, tell me why I’m wrong and what I’m missing here. Thanks for reading. :)