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Jul 21, 2009

Zinta rated it:

Read in July, 2009

Many, many years have passed since I read Knut Hamsun’s Hunger. I read it in its Latvian translation, a young writer eager to learn from the masters—and the Danish writer Hamsun was that. It was a novel about nothing, really. No car chases, no maddening mysteries, no ravishing love stories, no epiphanies. It was a simple story of survival—a homeless man coping with hunger—but it has remained with me all these decades later while so many other books I’ve read have faded into oblivion. I...more Many, many years have passed since I read Knut Hamsun’s Hunger. I read it in its Latvian translation, a young writer eager to learn from the masters—and the Danish writer Hamsun was that. It was a novel about nothing, really. No car chases, no maddening mysteries, no ravishing love stories, no epiphanies. It was a simple story of survival—a homeless man coping with hunger—but it has remained with me all these decades later while so many other books I’ve read have faded into oblivion. It was a book touched with greatness.

I recall Hamsun’s Hunger now because in reading the slim novel called The Understory by Pamela Erens, winner of the Ironweed Press Fiction Prize, I sensed the same effect. Yes, the same touch of literary greatness. This, too, was a story about nothing. It is simplicity itself; not even a story, but an “understory.” The story behind the story, you might say, the diving deep into the mind and heart and soul of a man. There is little action, almost all the recording of observation, the gradual coiling and tightening of a spring, and all leading up to a stunning conclusion—that one moment of action—that is the perfection coming together of all that we have read to that point.

As in Hamsun’s masterpiece, we experience truth, as a human being experiences truth that is found in the minutiae of the every day. Life is like this, after all. The earth shattering upheavals and volcanic happenings are remarkable enough, easy to nail down on paper, memorable (or not) without even trying, but genius enters when one can create reality sharper almost than reality itself. Erens follows this haggard, lonely man in his unremarkable every day without missing a detail, and so brings him into the room where we sit, brings us into his room where he lives his solitary life, and lets us taste of it. He is poor, he is alone, he is a child abandoned by his parents through a car accident that took their lives, and so has learned to live in this quiet, unobtrusive way. He lives a life that happens mostly inside his mind. He reads and mulls over what he has read as a gourmet savors every bite of an exquisite meal. Indeed, when he is evicted from his home—an apartment where he has lived for 15 years as something of an imposter of his deceased uncle of similar name on a $500 monthly stipend left to him in a will—he wonders how is it that we do not value the thinkers in our society? Only the doers. Someone has to read all the books? Someone has to think all the thoughts? He is that someone.

Even when something does happen in this man’s days, it moves in a kind of slow motion, giving us time to note all the details of the scene, evoke the emotions one might have living the moment in real time rather than sound bite. We watch the building burn. We watch him resist leaving the ashen shell of his home, living among that ash when all others have moved elsewhere. We see him creep into odd emotions of need and want, not falling in love, but more a kind of cell by cell transforming into a man who wants another man. His presence in the room, just that. We settle into the cramped corners of his brain as he becomes obsessed.

So there it is, all of it, after all, but without the distraction of special effects. There the story of survival, the story of loss, and grief, the love story, too. Distilled into effervescent purity. A moment in the abbey, where he takes refuge for a while, is fully as remarkable as a moment of encountering human need at its most base.

“Night is the worst time. After the long regimentation of the day, the enforced silences, the men want to talk. At first it doesn’t matter what about: TV, movies, travel, jobs. I lie on my side on my mattress as the words pool around me, reciting to myself the botanical classifications for peach, cherry, apple. Magnoliophyta, Magnoliopsida, Rosales, Rosaceae… I smell the smell of other bodies: stale skin, flatulence, cologne. I long to open the windows and let the fresh air sweep the smells away, sweep the bodies away, too. Gradually one man drops out of the conversation, then another. Soon there will be only two men left speaking. And these two—they are not the same two every night—will drop their voices, speak in an intimate murmur. Perhaps they are only gossiping about one of the monks. Perhaps they are complaining about the food. But no, there is a reticence that lets me know that they are trying, clumsily, to reach each other.” (page 27)

He is obsessed with two. Two in connection, twins, kindred souls, brothers, lovers, even as he himself is profoundly one. This solitary man who cannot connect even in a crowd, eventually implodes, and explodes, and the sense of following him through this process is a literary meditation I will long not forget. It is for this kind of fine literature that I hunger all my reading life, and find all too rarely.
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Oct 15, 2007

Kathy rated it:

Reading this slowly. It's so beautifully written.

Just finished. I recommend this book to anyone. Exquisite writing and compelling story. I will eagerly read more by this author.

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