(Note: This blog is the first in which I'm trying out a new format. It ran longer than expected. I'll continue to play with this to figure out what works best.)
For me personally…
I see a lot of similarities here between what Saunders is doing and what my WIP novel does. Which is unfortunate for me, I think, because this isn’t a “comp.” (Comp: A comparative title to give agents and editors and, eventually, readers an idea of what to expect. Next time you read a book blurb, notice how often you see something like, “For fans of The Time Traveller’s Wife with the driving tension of John Grisham’s best work.”)
Saunders and I both have talking ghosts. But lots of books do. My ghosts know they’re dead and want to stay that way. Saunders’s ghosts have mostly decided to forget that they’re dead so they can hang on to some semblance of life and hope. Mine look and act more or less like people, his are more monstrous.
I include interstitial chapters in the POV of the ghosts describing how they died. In Saunders’s book, the ghosts are compelled to repeatedly tell their stories to each other, gathering some new mutation every time they do. (American Gods includes interstitial chapters about the gods coming to America that are much closer to mine, although I’d already written mine when I read that book.)
I also include interstitial chapters with information about the world in various formats—blog posts, academic papers, news articles, etc.—but I wrote them all. I include fake citations as well. Saunders includes interstitial chapters with short citations from real-world primary sources, and he uses these to explore what President Lincoln is thinking.
Although we’re using these techniques in slightly different ways for different purposes, I recognize that my work will be compared to this. And Saunders does these things pretty well. So I worry that people will read my work with the assumption that I was trying to emulate (or was at least inspired by) Lincoln in the Bardo and judge me as failing at that goal.
But of course, that wasn’t my goal. I started this novel almost 10 years ago, and I finished the first draft (in which I nailed down these format choices) well before Lincoln was published. This is one of the really frustrating things about how long this whole process takes, especially when your day job doesn’t support working on your novel all day. What a privilege that would be.
What I didn’t like
Format similarities aside, I really struggled with the way the narrative is structured. Partly, it was difficult to follow, bouncing irregularly between narrators with only their names to differentiate them. The voices are pretty similar, except for the exaggerated ones that aren’t. As the novel progressed and I got more used to this, it became easier to keep up with.
But it is non-traditional, and so partly, I felt frustrated knowing that this only gets published because Saunders is part of the establishment. Publishers (editors, agents, readers) will allow him to take risks because he’s already been established as good, as respected, as intellectual. He no longer has to prove that he’s good. I cannot imagine this as a debut novel. I cannot imagine this as a novel written by a woman. And I cannot imagine this as a novel written by a person of color.
One could make an argument that the female and non-white characters are treated the way they might have been at the time. Fine. The novel opens with—and sticks with as a main narrator—a ghost who has a giant erect penis sticking out in front of him, so large he trips over it. Other ghosts have spectral orgies, one female and three or four males. Black characters and poor whites speak ridiculously. There’s a wet, dripping penis and a woman who was repeatedly raped, and some female ghosts who continue to be raped after death… And just, no. Enough. I’m so sick of this privileged white male description of the world. At least this book didn’t last as long as Ulysses.
Also, I was almost exactly at the halfway point before I figured out what the main conflict of the book was and got a rough idea of how the ghosts “worked.” This is frustrating to me too after hearing from early readers of my work that they needed the rules of my ghost world spelled out more clearly. And everyone knows that if you haven’t hooked your potential agent/editor/publisher/reader in the first two paragraphs (or, you know, ten words) with your main conflict, then they’ll never read on. And yet, there’s some built-in trust in the establishment that allows this work to thrive. Like once an author has made it, needing those things reflects poorly on the reader, not the book.
What I liked
By the time I got to the end—had figured out the plot, themes, techniques, and characters—I could more easily see how well this was put together. Problems above notwithstanding, it is well done. Using real-world citations to fill in President Lincoln’s memories was a clever way to both set the context and get the reader to believe in this world.
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