The Discomfort of Reading

The Discomfort of Reading

The Discomfort of Evening, by Marieke Lucas Rijneveld, 2018. (Translated by Michele Hutchison, 2020.)

It’s a big deal to win The International Booker Prize. It’s a much bigger deal, it seems to me, to do so before you’re 30. Still bigger when the book itself defies convention, adds another step on the ladder of literature, makes us think differently about farms, families, children and their inner worlds, abuse, and the ways we try to cope with this.

They poeticize. They poeticize grief and internalize/externalize it through metaphor. But those metaphors touch everything around them, so the grief never really leaves. They aren’t bridges to unrelated abstractions, existing in some Platonic World of Forms. They aren’t bridges of escape. They — the poetry, the metaphors — circle around them like the wind across the farm, carrying with it the smells they love and hate and accept as their only world, good, bad, indifferent. They don’t hide it or spray it all with perfume. They don’t commodify it through platitudes. It’s real, and it’s not. It’s fiction, and it’s not.

Growing up absurd. Growing up, ten, eleven, twelve . . .

The risk for the reader, with a book this linguistically wondrous, is to fall so entirely under the spell of the language, its melancholy beauty, its preternatural wisdom, even its humor, that we forget what the author is trying to say, that what has happened on this farm, in the Netherlands, to a family, to children, can not be obliterated. Because literature doesn’t do that. It can’t really make something not be what it is, and it’s not there to give us comfort, necessarily.

Literature (mostly) says this about its characters: I was here, in this life. This is what happened to me. This is part of who I am and why.

They poeticize, and this is a gift to readers, though not everyone deserves this gift. To be harsh, not everyone does. Ironically, the avoidance of being harsh is one of the underlying rationales for certain kinds of poetry, at least subconsciously, because if a person like the author, who may or may not have experienced what happened in the story, in this fictional world, at least not exactly as portrayed . . . if that person removed the lyricism, the humor, the metaphors, and just told us straight up, “This is what happened to me!” we might not listen, we might just turn away, appalled. We might just insult them, or mock them, or cast doubt on that experience — thus adding more layers to the pain-clothes they already wear. This coat of pain. Or pain-coats they imagine their characters must wear.

For humans capable of true feeling, of true empathy, of walking step by step with others, this is nearly the same thing. For those rare Olympians of the Heart, it is.

 

 

 

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