I, for one, am grateful that Buckley, serious or not, has volunteered to be as consistent in his responses to outside stimuli as a pinball machine, a machine designed to teach conservative ideals—5,000 points for the electric chair, 10,-000 for right-to-work laws, 50,000 for more sympathy with the CIA, a cool million for individual excellence and daring, and so on. If we did not have such an intelligent and genial man (as compared with General Goldwater, for instance) to argue in favor of social Darwinism, some of us might be too appalled and confused to listen, to learn for our own good Low uncharitable we had better be.
WILLIAM F. Buckley, Jr., is a friend of mine. Ours is a New York friendship. A New York friendship is a friendship with a person you have met at least once. If you have met a person only once, and you are a New Yorker, you are entitled to say, whenever that person's name comes up in conversation, "Yes —so-and-so is a friend of mine."
I have met Mr. Buckley, or Bill, as his friends call him, maybe thrice, for a grand total of sixty seconds. I am intimidated by his cultural and athletic accomplishments, and by his social rank—but especially by his skills as a debater. I have no idea how to win an argument, or even to hold my own in one.
If I am to say what I believe, I must do so without opposition, or I am mute. I have been on the Irv Kupcinet Show, a talk show originating in Chicago, four times. I have never said a word. I ran into Mr. Kupcinet recently, and he said he would certainly like to have me on again. Why not?
I spoke one time at the Library of Congress, in 1972, or so. A man stood up in the middle of the audience, when I was about halfway through, and he said, "What right have you, as a leader of America's young people, to make those people so cynical and pessimistic?"
I had no good answer, so I left the stage.
Talk about profiles in courage!
THE beliefs I have to defend are so soft and complicated, actually, and, when vivisected, turn into bowls of undifferentiated mush. I am a pacifist, I am an anarchist, I am a planetary citizen, and so on.
But the subject of this chapter is friendship, and, thanks to a routine miracle of this age of computers, I am able to submit an alphabetized list of writers who are or, in the case of the dead, were friends of mine. My wife, Jill Krementz, you see, has over the years photographed hundreds of writers, and has given their names and negative numbers to a computer, in order that she may deliver a picture of any one of them in a twinkling or two.
So I simply go down her list with my index finger, stopping at the name of each person I have met at least once, and, hey presto, my friends are Chinua Achebe, Richard Adams, Renata Adler, Ghingiz Aitmatov, Edward Albee, Nelson Algren, Lisa Alther, Robert Anderson, Maya Angelou, Hannah Arendt, Michael Arlen, John Ashbery, Isaac Asimov, Richard Bach, Russell Baker, James Baldwin, Marvin Barrett, John Earth, Donald Barthelme, Jacques Barzun, Steve Becker, Saul Bellow, Ingrid Benjis, Robert Benton, Tom Berger, Charles Berlitz, Carl Bernstein, Michael Bessie, Ann Birstein, William Blatty, Heinrich Boll, Vance Bourjaily, Ray Bradbury, John Malcolm Brinnin, Jimmy Breslin, Harold Brodkey, C.D.B. Bryan, Art Buchwald, and, yes, William F. Buckley, Jr., William Burroughs, Lynn Caine, Erskine Caldwell, Hortense Calisher, Vincent Canby, Truman Capote, Schuyler Chapin, John Cheever, Marchette Chute, John Ciardi, Eleanor Clark, Ramsey Clark, Author C. Clarke, James Clavell, Arthur Cohen, William Cole, Dr. Alex Comfort, Richard Condon, Evan Connell, Frank Conroy, Malcolm Cowley, Harvey Cox, Robert Creighton, Michael Crichton, Judith Crist, John Crosby, Charlotte Curtis, Gwen Davis, Peter Davison, Peter de Vries, Borden Deal, Midge Decter, Lester Del Rey, Barbaralee Diamonstein, Monica Dickens, James Dickey, Joan Didion, E. L. Doctorow, Betty Dodson, J. P. Donleavy, Jose Donoso, Rosalyn Drexler, John Dunne, Richard Eberhart, Leon Edel, Margareta Ekstrom, Stanley Elkin, Ralph Ellison, Richard Elman, Amos Elon, Gloria Emerson, Hans Magnus Enzensberger, Nora Ephron, Edward Epstein, Jason Epstein, Willard Espy, Fred Exley, Oriana Fallaci, James T. Farrell, Lawrence Ferlinghetti, Frances Fitzgerald, Joe Flaherty, Janet Planner, Thomas Fleming, Peter Forbath, William Price Fox, Gerald Frank, Michael Frayne, Eliot Fremont-Smith, Betty Friedan, Bruce Jay Friedman, Otto Friedrich, Max Frisch, Erich Fromm, Carlos Fuentes, William Gaddis, Nicholas Gage, Charles Gaines, John Kenneth Galbraith, Mavis Gallant, John Gardner, William Gass, Barbara Gelb, Dan Gerber, Brendan Gill, Penelope Gilliatt, Allen Ginsberg, Nikki Giovanni, Gail Godwin, William Goldman, Na-dine Gordimer, Edward Gorey, Lois Gould, Günter Grass, Francine du Plessix Gray, Adolph Green, Gael Greene, Germaine Greer, Winston Groom, Alex Haley, Daniel Halpern, Pete Hamill, Elizabeth Hardwick, Curtis Harnack, Michael Harper, Jim Harrison, Molly Haskell, John Hawkes, Joseph Heller, Lillian Hellman, Nat Hentoff, John Hersey, Rust Hills, Warren Hinkle, Sandra Hochman, Townsend Hoopes, A. E. Hotchner, Barbara Howar, Jane Howard, William Inge, Clifford Irving, John Irving, Christopher Isherwood, Roman Jakobson, Jill Johnston, James Jones, Erica Jong, Pauline Kael, E. J. Kahn, Garson Kanin, Justin Kaplan, Sue Kaufman, Elia Kazan, Alfred Kazin, Murray Kempton, Galway Kinnell, Judy Klemesrud, John Knowles, Hans Koning, Jerzy Kosinski, Robert Kotlowitz, Joe Kraft, Paul Krassner, Stanley Kunitz, Lewis Lapham, Jack Leggett, Siegfried Lenz, John Leonard, Max Lerner, Doris Lessing, Ira Levin, Meyer Levin, Robert Jay Lifton, Jakov Lind, Loyd Little, Anita Loos, Anthony Lukas, Alison Lurie, Leonard Lyons, Peter Maas, Dwight MacDonald, John D. MacDonald, Ross Macdonald, Archibald MacLeish, Eugene McCarthy, Mary McCarthy, Tom McGuane, Marshall McLuhan, Larry McMurtry, Terrance McNally, John McPhee, James McPherson, Norman Mailer, Bernard Malamud, Marya Mannes, Peter Matthiessen, Armistead Maupin, Rollo May, Margaret Mead, William Meredith, James Merrill, Arthur Miller, Jonathan Miller, Merle Miller, Kate Millett, James Mills, Jessica Mitford, Honor Moore, Elsa Morante, Alberto Moravia, Hans Morgenthau, Willie Morris, Wright Morris, Toni Morrison, Penelope Mortimer, Ray Mungo, Albert Murray, William Murray, V. S. Naipaul, Victor Navasky, Edwin Newman, Leslie Newman, Anais Ni'n, William A. Nolen, Marsha Norman, Edna O'Brien, Joyce Carol Gates, Sidney Offit (best friend!), Iris Owens, Amos Oz, Cynthia Ozick, Grace Paley, Gordon Parks, Jonathan Penner, S. J. Perelman, Eleanor Perry, Frank Perry, Jayne Anne Phillips, George Plimpton, Robert Pisig, Peter Prescott, V. S. Pritchett, Dotson Rader, Ishmael Reed, Rex Reed, Richard Reeves, James Reston, Jr., Adrienne Rich, Jill Robinson, Betty Rollins, Judith Ressner, Philip Roth, Mike Royko, Muriel Rukeyser, John Sack, William Safire, Carl Sagan, Harrison Salisbury, William Saroyan, Andrew Sarris, Nora Sayre, Dick Schaap, Susan Fromberg Schaeffer, Arthur Schlesinger, Jr., Steve Schlesinger, Bud Schulberg, Ellen Schwamm, Barbara Seaman, Erich Segal, Anne Sexton, Ntozake Shange, Harvey Shapiro, Adam Shaw, Irwin Shaw, Wilfrid Sheed, Neil Sheehan, Susan Sheehan, Lynn Sherr, Alix Kates Shulman, Andre Simenov, John Simon, Isaac B. Singer, Hedrick Smith, W. D. Snodgrass, C. P. Snow, Barbara Probst Soloman, Susan Sontag, Terry Southern, Wole Soyinka, Stephen Spender, Benjamin Spock, Jean Stafford, Gloria Steinem, Shane Stevens, I. F. Stone, Irving Stone, Robert Stone, Dorothea Straus, Rose Styron, William Styron, Jacqueline Susann, Gay Talese, James Tate, Peter Taylor, Studs Terkel, Hunter S. Thompson, Lionel Tiger, Hannah Tillich, Alvin Toffler, Lazlo Toth, Michael Tournier, Willard Trask, Calvin Trillin, Diana Trilling, Barbara Tuchman, Kenneth Tynan, Amy Vanderbilt, Gore Vidal, Esther Vilar, Roman Vishniac, Mark Vonnegut, Andrei Voznesensky, Alice Walker, Joseph Wambaugh, Wayne Warga, Robert Penn Warren, Per Wastberg, Peter Weiss, Eudora Welty, Glenway Wescott, Morris West, E. B. White, Theodore White, William Whitworth, Tom Wicker, Elie Wiesel, Richard Wilbur, Paul Wilkes, Joy Williams, Tennessee Williams, Garry Wills, Larry Woiwode, Tom Wolfe, Geoffrey Wolff, Herman Wouk, Christopher Wren, Charles Wright, James Wright, Lois Wyse, and Richard Yates. Would you like an introduction?
WHAT stories I must have to tell in Indianapolis about all these celebrities! Not really. Most writers are not quickwitted when they talk. Novelists in particular, as I have said before, drag themselves around in society like gut-shot bears. The good ones do.
Some people say that my friend Gore Vidal, who once suggested in an interview that I was the worst writer i
n the United States, is witty. I myself think he wants an awful lot of credit for wearing a three-piece suit.
AFTER meeting all these people, I have only a single shapely anecdote to tell. It took place at the University of Iowa in Iowa City, where I taught in the famed Writers' Workshop in 1965 and 1966. My most famous colleagues were the novelists Vance Bourjaily, Nelson Algren, and Richard Yates, and the Chilean Jose Donoso, and the poets George Starbuck, James Tate, Marvin Bell, Donald Justice—and the poet-founder of the Workshop, of course, who is Paul Engle. Among those students of ours who would really amount to something as writers by and by, incidentally, were Jane Barnes and John Casey and Bruce Dobler and Andre Dubus and Gail Godwin and John Irving and Jonathan Penner.
So Algren and Donoso and I were new arrivals, and we went together to the first autumn meeting of the English department, against whose treasury our paychecks were drawn. We thought we should be there. Nobody had told us that lecturers in the Writers' Workshop traditionally ignored all such bureaucratic, sesquipedalian sniveling and obfuscation.
So Algren and Donoso and I were going down a staircase afterward. Algren had come late, and so had sat separate from Donoso and me. He and Donoso had never met before, so I introduced them on the staircase, explaining to Algren that Donoso was from Chile, but a graduate of Princeton University.
Algren shook Donoso's hand, but said nothing to him until we reached the bottom. He at last thought of something to say to a Chilean novelist: "It must be nice," he said, "to come from a country that long and narrow."
ARE many novelists schizophrenic—at least marginally so? Do they hallucinate, seeing and hearing things that healthy people cannot sense? Do they turn disordered perceptions into gold in the literary marketplace? If writers are usefully crazy, what is the medical name for their disease? Or, if writers themselves aren't lunatics, perhaps a lot of their ancestors were.
The psychiatric department of the University of Iowa's hospital, it turns out, has wondered some about these questions, which have their roots in folklore. It has taken advantage of the large numbers of reputable writers who come to Iowa City, usually down on their luck, to teach at the Writers' Workshop. So they have questioned us about our mental health and about that of our ancestors and siblings, too.
It is apparent to them, I am told, that we are not hallucinators, nor are many of us descended from those who saw or heard things which weren't really there. Overwhelmingly, we are depressed, and are descended from those who, psychologically speaking, spent more time than anyone in his or her right mind would want to spend in gloom.
I would add that novelists are not only unusually depressed, by and large, but have, on the average, about the same IQs as the cosmetics consultants at Bloomingdale's department store. Our power is patience. We have discovered that writing allows even a stupid person to seem halfway intelligent, if only that person will write the same thought over and over again, improving it just a little bit each time. It is a lot like inflating a blimp with a bicycle pump. Anybody can do it. All it takes is time.
I heard a Frenchman in a Madison Avenue bookstore say in English the other day that nobody in America had produced a book in forty years or more. I knew what he meant. He was talking about planetary literary treasures on the order of Moby Dick or Huckleberry Finn or Leaves of Grass or Walden, say. I had to agree with him. No book from this country during my lifetime (1922-?) has been in scale with Ulysses or Remembrance of Things Past or The Tin Drum or One Hundred Years of Solitude or A Day in the Life of Ivan Denisovitch.
Still, now that I contemplate all the Americans on my list of friends, I wish the Frenchman were here so that I could say to him frostily: "You are quite right, mon-sewer, we have not produced a book. All we poor Americans could do was produce a literature."
AND here is how I spoke well of my friend Joseph Heller's contributions to that literature in The New York Times Book Review of Sunday, October 6, 1974:
The company that made a movie out of Joseph Heller's first novel, Catch-22, had to assemble what became the 11th or 12th largest bomber force on the planet at the time. If somebody wants to make a movie out of his second novel, Something Happened, he can get most of his props at Bloomingdale's—a few beds, a few desks, some tables and chairs.
Life is a whole lot smaller and cheaper in this second book. It has shrunk to the size of a grave, almost.
Mark Twain is said to have felt that his existence was all pretty much downhill from his adventures as a Mississippi riverboat pilot. Mr. Heller's two novels, when considered in sequence, might be taken as a similar statement about an entire white, middle-class generation of American males, my generation, Mr. Heller's generation, Herman Wouk's generation, Norman Mailer's generation, Irwin Shaw's generation, Vance Bourjaily's generation, James Jones's generation, and on and on—that for them everything has been downhill since World War II, as absurd and bloody as it often was.
Both books are full of excellent jokes, but neither one is funny. Taken together they tell a tale of pain and disappointments experienced by mediocre men of good will.
Mr. Heller is a first-rate humorist who cripples his own jokes intentionally—with the unhappiness of the characters who perceive them. He also insists on dealing with only the most hackneyed themes. After a thousand World War II airplane novels had been published and pulped, he gave us yet another one, which was gradually acknowledged as a sanely crazy masterpiece.
Now he offers us the thousand and first version of The Hucksters or The Man in the Gray Flannel Suit.
There is a nattily dressed, sourly witty middle-management executive named Robert Slocum, he tells us, who lives in a nice house in Connecticut with a wife, a daughter, and two sons. Slocum works in Manhattan in the communications racket. He is restless. He mourns the missed opportunities of his youth. He is itchy for raises and promotions, even though he despises his company and the jobs he does. He commits unsatisfying adulteries now and then at sales conferences in resort areas, during long lunch hours, or while pretending to work late at the office.
He is exhausted.
He dreads old age.
Mr. Heller's rewriting of this written-to-death situation took him 12 years. It-comes out as a monologue by Slocum. Nobody else gets to talk, except as reported by Slocum. And Slocum's sentences are so alike in shape and texture from the beginning to the end of the book, that I imagined a man who was making an enormous statue out of sheet metal. He was shaping it with millions of identical taps from a ball-peen hammer.
Each dent was a fact, a depressingly ordinary fact.
"My wife is a good person, really, or used to be," says Slocum near the beginning, "and sometimes I'm sorry for her. She drinks during the day and flirts, or tries to, at parties we go to in the evening, although she doesn't know how."
"I have given my daughter a car of her own," he says near the end. "Her spirits seem to be picking up."
Slocum does his deadly best to persuade us, with his tap-tap-tapping of facts, that he is compelled to be as unhappy as he is, not because of enemies or flaws in his own character, but because of the facts.
What have these tedious facts done to him? They have required that he respond to them, since he is a man of good will. And responding and responding and responding to them has left him petrified with boredom and drained of any capacity for joyfulness, now that he is deep into middle age.
Only one fact among the millions is clearly horrible. Only one distinguishes Slocum's bad luck from that of his neighbors. His youngest child is an incurable imbecile.
Slocum is heartless about the child. "I no longer think of Derek as one of my children," he says. "Or even as mine. I try not to think of him at all. This is becoming easier, even at home when he is nearby with the rest of us, making noise with some red cradle toy or making unintelligible sounds as he endeavors to speak. By now I don't even know his name. The children don't care for him either."
Mr. Heller might have here, or at least somewhere in his book, used conventional
, Chekhovian techniques for making us love a sometimes wicked man. He might have said that Slocum was drunk or tired after a bad day at the office when he spoke so heartlessly, or that he whispered his heartless-ness only to himself or to a stranger he would never see again. But Slocum is invariably sober and deliberate during his monologue, and does not seem to give a damn who hears what he says. Judging from his selection of unromantic episodes and attitudes it is his wish that we dislike him. And we gratify that wish.
Is this book any good? Yes. It is splendidly put together and hypnotic to read. It is as clear and hard-edged as a cut diamond. Mr. Heller's concentration and patience are so evident on every page that one can only say that Something Happened is at all points precisely what he hoped it would be.
The book may be marketed under false pretenses, which is all right with me. I have already seen British sales promotion materials which suggest that we have been ravenous for a new Heller book because we want to laugh some more. This is as good a way as any to get people to read one of the unhappiest books ever written.
Something Happened is so astonishingly pessimistic, in fact, that it can be called a daring experiment. Depictions of utter hopelessness in literature have been acceptable up to now only in small doses, in short-story form, as in Franz Kafka's "The Metamorphosis," Shirley Jackson's "The Lottery," or John D. MacDonald's "The Hangover," to name a treasured few. As far as I know, though, Joseph Heller is the first major American writer to deal with unrelieved misery at novel length. Even more rashly, he leaves his chief character, Slocum, essentially unchanged at the end.
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