I finished reading Don DeLillo's
White Noise last weekend. I didn't like it very much; it was essentially the study of a bunch of whiny narcissistic people preoccupied with their own mortality. Even though
postmodern literature shares many of the same viewpoints as
Existentialism, particularly the belief that external reality is subjective and mutable, postmodern literature doesn't usually share Existentialism's preoccupation with death. The Modernists, most notably
William Faulkner, dealt often with death. In Faulkner's most renowned novel,
The Sound and the Fury, one of the main characters, Quentin Compson, commits suicide. Another one of his famous novels,
As I Lay Dying, is about a family's journey to bury their dead wife/mother in her hometown. One of the chapters is narrated by the dead woman. Postmodernists, however, tend to treat everything in life as fairly absurd, and death is no exception. So, if it is discussed as all, it is usually just as another nutty happenstance in the insanity of the world.
Catch-22 by Joseph Heller, which isn't exactly a postmodern novel, but is close to being one, has this somewhat absurd discussion about the possibility of dying in a combat mission:
Clevinger agreed with ex-P.F.C. Wintergreen that it was Yossarian's job to get killed over Bologna and was livid with condemnation when Yossarian confessed that it was he who had moved the bomb line and caused the mission to be canceled.
"Why the hell not?" Yossarian snarled, arguing all the more vehemently because he suspected he was wrong. "Am I supposed to get my ass shot off because the colonel wants to be a general?"
"What about the men on the mainland?" Clevinger demanded with just as much emotion. "Are they supposed to get their asses shot off just because you don't want to go? Those men are entitled to air support!"
"But not necessarily by me. Look, they don't care who knocks out those ammunition dumps. The only reason we're going is because that bastard Cathcart volunteered us."
"Oh I know all that," Clevinger assured him, his gaunt face pale and his agitated eyes swimming in sincerity. "But the fact remains that the ammunition dumps are still standing. You know very well that I don't approve of Colonel Cathcart any more than you do. But it's not for us to determine what targets must be destroyed or who's to destroy them or -"
"Or who gets killed doing it? And why?"
"Yes, even that. We have no right to question -"
"You're insane!"
"- no right to question -"
"Do you really mean that it's not my business how or why I get killed and that it is Colonel Cathcart's? Do you really mean that?"
"Yes, I do," Clevinger insisted, seeming unsure. "There are men entrusted with winning the war who are in a much better position than we are to decide what targets have to be bombed."
"We are talking about two different things," Yossarian answered with exaggerated weariness. "You are talking about the relationship of the Air Corps to the infantry. You are talking about winning the war, and I am talking about winning the war and keeping alive."
"Exactly," Clevinger snapped smugly. "And which do you think is more important?"
"To whom?" Yossarian shot back. "Open your eyes, Clevinger. It doesn't make a damned bit of difference who wins the war to someone who's dead."
Clevinger sat for a moment as though he'd been slapped. "Congratulations!" he exclaimed bitterly... "I can't think of another attitude that could be depended upon to give greater comfort to the enemy."
"The enemy," retorted Yossarian with weighted precision, "is anybody who's going to get you killed, no matter which side he's on, and that includes Colonel Cathcart. And don't you forget that, because the longer you remember it, the longer you might live."
Anyway, I think that while there is a time and place for the discussion of death, even a serious discussion of death, in postmodern literature, I don't want to hear overprivileged middle-aged white guy characters with too much time on their hands who bear an amazing resemblance to the author ramble on and on about how scary impending death is. The one thing I did like about
White Noise was the evacuation scene in the middle of the novel when a toxic cloud of gas descended on the city. It felt very close to reality. It's now exactly a year since
Houstonians fled the city to escape Hurricane Rita. I was living there at the time, and even though I decided to stay in my apartment instead of evacuating, the Houston news covered the evacuation 24 hours a day, so I felt like I was right in the middle of it. The evacuation scene in
White Noise made me feel like I was right back there.... So, after finishing
White Noise, I've decided to tackle
Lord of the Rings next. When the
Lord of the Rings movies were out, I felt like I was the only person in the world who had never read the books. Everyone I talked to about the movies and all of the reviews I read always started out by saying how they remembered as children reading their fathers' dog-eared copies of
Rings. I read Sherlock Holmes books when I was a kid. Maybe I was just a weird kid. Truthfully, I didn't like the movies at all. All of the heroes were so insufferable - Frodo, Sam, Earofcorn, Orlando Bloom, etc. etc. - they were so goody goody and everything they did was so DRAMATIC. Like, if Frodo got a hangnail, he'd be like should I take the path of good to get rid of this hangnail, or will I be tempted by the ring down the path of evil to get rid of this hangnail? Also, if you pay close enough attention, you will find that
Rings is heavily indebted to a type of Romanticism that is very anti-science and anti-progress (one of my favorite
articles ever discusses the philosophy of
Lord of the Rings from this viewpoint). When I say "Romanticism", I'm talking about
Romantic philosophy, not candlelight dinners and heaving bosoms, although the philosphy and the candlelight and the bosoms are not completely unrelated. Here's a quote from the article that describes what I'm talking about:
Obsession with either past or future can almost define a civilization. Worldwide, most cultures believed in some lost golden age when people knew more, mused loftier thoughts and were closer to the gods -- but then fell from grace. Under this dour but recurrent worldview, men and women of a later, coarser era can only look back with envy, hearkening to remnants of ancient wisdom.
Recognize this motif? It drenches every page of "Lord of the Rings." It is the old classic, the eternal verity -- the worst of all human clichés.
Only a few societies ever dared to contradict this dogma of nostalgia. Our own scientific West, with its impudent notion of progress, brashly relocated any "golden age" to the future, something we might work toward, a human construct for our grandchildren to achieve with craft, sweat and good will -- assuming that we manage to prepare them. Implicit is the postulate that our offspring can and should be better than us, a glimmering hope that is nurtured (a bit) by two generations of steadily rising IQ scores.
So, why in the heck would I want to read
Lord of the Rings if this is what I think of it? Well, books are different than movies and philosophies. Even if you don't like the theme of the book, you can enjoy the world and the characters and the whole atmosphere of it. And from what I hear, Tolkien does an amazing job of enmeshing the reader in the world of Middle Earth. Plus, I've got a long plane trip coming up next week (to my brother's wedding in
upstate New York, more on that in a future post) so I need a good, thick book to hypnotize me and take me to another world for the hours and hours that I will be on a plane and waiting in terminals. Hopefully,
Rings will take away the misery of air travel for me.