Report by Engram Wilkinson:
Audience members filed into McAlister Auditorium Monday night–most clutching copies of The Corrections or Freedom–eager for Tulane University’s sixth reading in its Great Writer Series. Franzen joins the league of Toni Morrison, Salmon Rushdie, Joan Didion, Carlos Fuentes and Michael Ondaatje as a reader in the series, sponsored by the Department of English’s Creative Writing Fund.
Tulane Professor Zach Lazar introduced Franzen with praise for his recently published novel, Freedom. “Franzen has established himself as leading a new wave of psychological realism, rich with the nuances of individual experiences,” Lazar said. Channeling Walt Whitman, Lazar concluded: “In Freedom, Franzen is no stander above men and women, or apart from them,” beautifully articulating what he called the “sheer energy” Franzen uses to produce such kinetic fiction.
As if reading from Lazar’s introduction, Franzen himself “kinetically”leapt from a stage curtain, skipping–or perhaps hopping–over a wire on his path to the podium. Before reading from a chapter in Freedom titled “Mountaintop Removal,” Franzen described the auditorium as “frighteningly vast.” The audience chuckled, and, despite the space’s size, never broke focus with the novelist as he began reading. Franzen’s voice–and the inflections employed for his character Richard Katz–was more than capable of filling the auditorium’s vastness, and got several genuine laugh-out-loud moments from audience members. In a description of a teenager named Zachary (no relation to Professor Lazar, as discussed in during the post-reading interview), Franzen comically and piercingly writes:
“Rather than thwarting his father’s vicarious rock ambitions by pursuing entomology or interesting himself in financial derivatives, Zachary dutifully aped Jimi Hendrix. Somewhere there had been a failure of imagination.”
Professor Lazar conducted an interview with Franzen on-stage after the reading, which Franzen prefaced by describing what he called a “post-reading remorse.” The two novelists talked about the difficulty of writing about sex and sex scenes in fiction–“There’s only so many things people can do to one another,” Franzen observed–commenting that, like the trust required between reader and writer, good sex relies on trust between two parties. “You can’t be safely ironic,” Franzen stated later in the interview. “I’m committed to closure,” he said, echoing his earlier assertion, “I love structuring novels. I’d be so happy if I could just structure them every day without, you know, writing them.”
In the evening’s final fifteen minutes, audience members were allowed to ask Franzen questions. The first question about Twitter has attracted media attention in Slate and The Guardian but, along with his prompted response to social media, Franzen discussed various topics, including: German literature; readership for contemporary American fiction; the state of American literature (“there’s been something goofy about American literature since Modernism,” he said); the task of adequately developing characters in his own work; his growing-up in the Midwest; Enid, from The Corrections; and the challenges of adapting The Corrections into a screenplay. “We’ve got to make writing friendly,” he concluded. “You’ve got to dare to try to be moving.”
Jonathan Franzen is the author of several books of fiction and nonfiction, including: The Twenty-Seventh City; Strong Motion; How to Be Alone; The Discomfort Zone; The Corrections, winner of the National Book Award; and, Freedom selected in December as one of the New York Times Ten Best Books of 2010.