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John Holbo - Editor
Scott Eric Kaufman - Editor
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Past Valve Book Events

cover of the book Theory's Empire

Event Archive

cover of the book The Literary Wittgenstein

Event Archive

cover of the book Graphs, Maps, Trees

Event Archive

cover of the book How Novels Think

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cover of the book The Trouble With Diversity

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cover of the book What's Liberal About the Liberal Arts?

Event Archive

cover of the book The Novel of Purpose

Event Archive

The Valve - Closed For Renovation

Happy Trails to You

What’s an Encyclopedia These Days?

Encyclopedia Britannica to Shut Down Print Operations

Intimate Enemies: What’s Opera, Doc?

Alphonso Lingis talks of various things, cameras and photos among them

Feynmann, John von Neumann, and Mental Models

Support Michael Sporn’s Film about Edgar Allen Poe

Philosophy, Ontics or Toothpaste for the Mind

Nazi Rules for Regulating Funk ‘n Freedom

The Early History of Modern Computing: A Brief Chronology

Computing Encounters Being, an Addendum

On the Origin of Objects (towards a philosophy of computation)

Symposium on Graeber’s Debt

The Nightmare of Digital Film Preservation

Richard Petti on Occupy Wall Street: America HAS a Ruling Class

Bill Benzon on Whatwhatwhatwhatwhatwhatwhat?

Nick J. on The Valve - Closed For Renovation

Bill Benzon on Encyclopedia Britannica to Shut Down Print Operations

Norma on Encyclopedia Britannica to Shut Down Print Operations

Bill Benzon on What’s an Object, Metaphysically Speaking?

john balwit on What’s an Object, Metaphysically Speaking?

William Ray on That Shakespeare Thing

Bill Benzon on That Shakespeare Thing

William Ray on That Shakespeare Thing

JoseAngel on That Shakespeare Thing

Bill Benzon on Objects and Graeber's Debt

Bill Benzon on A Dirty Dozen Sneaking up on the Apocalypse

JoseAngel on A Dirty Dozen Sneaking up on the Apocalypse

JoseAngel on Objects and Graeber's Debt

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Tuesday, January 17, 2006

The Big Picture

Posted by Daniel Green on 01/17/06 at 07:44 PM

Chris Bachelder makes as good a case for Upton Sinclair’s The Jungle as I’ve read in a while:

The Jungle aims to provide an accurate report of the many ways that life in Packingtown crushes people, destroys their power of self-determination, even their humanness. Individual desire, typically the engine of fiction, is eradicated. If Sinclair’s characters seem to lack agency or a certain kind of Rooseveltian pluck, if they seem unresponsive or passionless, well, that’s the point. Readers may long for a tender conversation between Jurgis and Ona as they hold each other on a particularly cold night, but as Sinclair writes, “truly it was hard, in such a life, to keep any sentiment alive.”

Later in his career, Sinclair knew himself well enough as an artist to tell the critic Van Wyck Brooks that “some novelists I know collect their material with a microscope, and I collect mine with a telescope.” E.L. Doctorow once said that contemporary American writers are more technically proficient and far less socially or politically motivated than previous generations of writers (many of whom began as journalists). Readers of contemporary literary fiction have grown accustomed to the novel’s microscopic power to render, often beautifully, the small moments of a character’s life. Conversely, we’ve grown skeptical of the novel’s telescopic function to bring large, distant abstractions into focus. We’re wary of the big picture. And if the accurate depiction or explanation of the world outside our minds is not a part of our conception of Good Literature, we will fail to recognize the power of The Jungle.

The problem with this, however, is that an “accurate depiction” is not the same thing as an “explanation.” A realist writer (Flaubert or James, for example) may indeed render an accurate depiction, either of the world inside or outside our minds, without presuming to offer an explanation--an ideological or conceptual grid onto which we are to project the depicted world. More often than not, through the focus on the concrete rather than the abstract, such writers ultimately convey more of the complexity of human experience than its capacity to be reduced to simple explanations. In effect, the more we know, the less we know. (In this sense, the epistemic skepticism Bachelder speaks of in his essay is a consequence of the novel’s own “artful” techniques of exploring experience rather than the “sustained attacks on objectivity and truth” by contemporary philosophers.)

Sinclair pretty obviously did want to provide an “explanation.” He wanted not merely to portray “the many ways that life in Packingtown crushes people,” but to bring the reader, along with The Jungle‘s protagonist, to an appreciation of socialism as an alternative to the unrestrained capitalism the novel exposes. And, as Baldechar pouts out, Sinclair himself admitted he had failed at this goal: “I aimed at the public’s heart, and by accident I hit it in the stomach.” Still, sickening readers through the power of description is not an insignificant accomplishment. It does show that whatever skills as a writer Sinclair did possess finally overshadowed his more dubious talents as a political theorist.

Although one can acknowledge the “power” of The Jungle and still wonder why it needed to be written as a novel at all (beyond the usual bromides about the way novels offer “identification” and “intimacy"). The accuracy of its depictions could have been achieved just as readily in nonfiction as fiction, their truthfulness perhaps becoming only more consequential as a result. Is “accuracy of depiction” even something that distinguishes fiction as a literary form in the first place?


Comments

Bachelder’s also a fearsome rebounder.

By Jonathan on 01/18/06 at 01:32 AM | Permanent link to this comment

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