For the past few years, whenever people ask me the dread question of ‘what are you working on’ I have mumbled something about a novel called The Blue Tent. The truth is, I have been writing TBT, on and off, since 2006, although the process has been interrupted by other projects, including a memoir and a couple of volumes of translation. However, the writing and completion of the novel has always re-emerged as a pressing need, like an addiction, or (I imagine) a particularly demanding affair with a psychotic lover. I had to get the book done. I needed to have completed another novel (note the pseudo-retrospective quality of this thought). I finished the first full draft in September 2012 and have been revising, when time allows, ever since. The Blue Tent became my secret life. My closest friends even knew it by name, but none of them had read a word of it. I became irritable when not working on it, and fractious when I was. At times I would resort to talking the book up: writing it, I told myself, I would discover what kind of a writer I really was: it would even, after a fashion, make me whole.
The Blue Tent started out as a modern fairy tale about the attempt of an individual to understand the weird and incomprehensible events that begin to overtake his life after a tent appears in the field next to his house. But in the end the activity of writing the novel became contiguous with the inability of the protagonist to act within the story; his torpor began to mimic my own. It was a mess.
Yesterday, in the early hours of New Year’s Eve, I was lying awake, as so often occurs, pondering yet again the structural perversions wrought by the unruly novel, and I realised, after an hour and a half of twisting and turning, that I would have to get up and write things down. This is a familiar pattern. At a quarter to five I made tea, and then ascended to my study in the loft.
But this time, rather than work on the novel, I read through the notes I had made on it over the years and realised that the book was fucked. FUBAR. I didn’t love the story any more; the characters didn’t interest me (and even if they interested other people, I was not inclined to keep working with them); the premise was interesting but essentially it was just an idea that could have been developed in any one of a thousand ways. The way that I had chosen to develop the idea had brought me to a dead end, and I was stuck. The feeling in my gut told me, without hesitation: Stop it, just Stop.
Feeling a little dizzy at the ease with which I had reached this decision (such moments come with the force of a revelation, even if, when you think them over afterwards, the thought has actually been on a slow burn for months, or even years) I googled ‘abandoned novels’ and the first article to come up was Why Do Writers Abandon Novels? – by Dan Kois in the New York Times. It begins as follows:
“A book itself threatens to kill its author repeatedly during its composition,” Michael Chabon writes in the margins of his unfinished novel Fountain City — a novel, he adds, that he could feel “erasing me, breaking me down, burying me alive, drowning me, kicking me down the stairs.” And so Chabon fought back: he killed “Fountain City” in 1992. What was to be the follow-up to his first novel, The Mysteries of Pittsburgh, instead was a black mark on his hard drive, five and a half years of work wasted.”
I felt better already. Schadenfreude. I hadn’t wasted that long. Not five and a half years. Not really. I’d written 60,000 words and done numerous drafts, some of them longer, but Chabon had written 1,500 pages, and was probably working on it full time.
Kois’ article surveys a number of writers’ views and experiences of abandoning a novel – or rather, putting it out of its misery. If something is making your life a misery, “erasing” or “burying you alive”, isn’t it merely an instinct for survival to kill it before it gets you?
Stephen King (as so often) had useful advice on the topic: “Look, writing a novel is like paddling from Boston to London in a bathtub,” he said. “Sometimes the damn tub sinks. It’s a wonder that most of them don’t.”
And then of course, while acknowledging that the book is not turning out as you might have wished – feel it sinking, to follow King’s analogy – you start making compromises with yourself. If you have a publisher and agent waiting for you to deliver, the pressure is on. You begin looking for arguments to convince yourself to let the book go, to just finish it, find a vaguely unsatisfactory resolution (one less unsatisfactory than all the others), publish it – if anyone wants it – and be damned.
But this is not an option. It would plague me forever to let a book go out in that state. While, on the other hand, the sense of liberation that has accompanied the killing of my darling is something to be cherished. This ‘failure’ feels, in fact, nothing like failure at all: it feels like being unchained from a madman.
In the meantime I will take Samuel Beckett’s advice, and learn to fail better next time.
I’m glad your ‘failure’ allowed you a so clever thought on the matter. I think it could be very helpful to other writers. More, it helps me to understand why we readers also abandon novels, Thank you, Richard: this year started in a happy way.
Your enthusiasm pleases me Jorge, but wan not unexpected. More much needed time for creative reading and translation. Un abrazo.
Richard, great piece. You must be feeling a little giddy. For some time I’ve thought the question ‘What made you stop writing?’ is potentially more interesting that the usual bland ‘What made you start writing?’ I’ve even thought of doing an anthology of writers writing about not writing. (And blogged about this: http://sonofabook.blogspot.co.uk/2013/05/the-unwritten.html. Bolano writes about this somewhere, instancing Rimbaud and Juan Rulfo.)
Interesting, in the Kois piece, that Updike cannibalised some of the dead material in new stories. Being a thrifty, Puritan-work-ethic kind of guy, I think I’d probably do that. Indeed, have done it. My own first novel, tapped out on a manual typewriter when I was living in a garret – given a garret, given a typewriter and wanting to ‘be a writer’, what else was I to do? – has long since disappeared from the back of whatever drawer I shoved it to the back of, and thank god it has.
Thanks Charles. Will check out your post now. Enrique Vila-Matas writes about writers who don’t write at length in his excellent Bartleby & Co. Cannibalisation is never out of the question . . .