The line between fact and fiction sometimes blurs in unusual ways, something acclaimed author Nicole Krauss discovered when working on her much-anticipated third novel, Great House.
Krauss‚Äô own workstation wound up performing double duty as both the platform and the unwitting muse for the new novel about a seemingly disparate group of characters linked by a mysterious desk.
‚ÄúWhat ultimately became the first half of the first chapter of Great House was initially published as ‚ÄėFrom the Desk of Daniel Varsky‚Äô in the 2008 volume of The Best American Short Stories,‚ÄĚ Krauss says by phone from Tel Aviv, Israel, where she has stayed for several months as part of a writers residency program.
It is a novel about the connections between people, which Krauss terms "one of the deepest existential questions there is."¬†
‚ÄúI had to write a blurb to accompany the story about the inspiration [behind it], and I legitimately had no idea what I would say, but I sat down to write in my office. I looked down at my writing desk and it was almost the same as the desk that I had described in the story!‚ÄĚ
Interestingly, the desk in question is not one Krauss selected but one she inherited from the previous owners of her family‚Äôs home in the Park Slope neighborhood of Brooklyn. According to Krauss, the desk in question is ‚Äúso huge and very masculine. It‚Äôs really overburdening, but we‚Äôd have to cut it into pieces to get it out. The previous owners had a painted panel that they had removed with them, so now this desk has a gaping hole that I can‚Äôt fill.‚ÄĚ
For Krauss, this is why the desk that has such an important place in her life also has such prominence in the book. ‚ÄúIt‚Äôs not a book about a desk, obviously,‚ÄĚ she muses. ‚ÄúIt was more about the idea of the desk; it became a symbol, in a way, about what passes from person to person and generation to generation. Its material existence was really beside the point, although I did make it very large with all these drawers. I was really trying to take this very daunting, abstract idea and give it physicality.‚ÄĚ
Great House is perhaps best thought of as a series of vignettes centering on four characters whose lives gradually intersect as the novel progresses. Initially the most striking link between these people is a large and imposing desk, which each has owned at some point. This remarkable piece of furniture is the source of both agony and inspiration for each character, acting as an embodiment of sublimated disappointments and desires. Shuttling across time and space, the lives of writers, parents and lovers are gradually revealed, their superficial layers slowly stripped away, until all that remains are the cores upon which identity is based.
While the desk may have offered Krauss a tangible symbol during the early stages of the writing process, there was something even stronger motivating her. In recent interviews, her husband, novelist Jonathan Safran Foer, admitted that much of the impetus for his first work of nonfiction, Eating Animals, came from the birth of his first child and the quandary he faced regarding what to feed his son. For Krauss, becoming a parent also clearly had an important impact.
‚ÄúI started Great House about a year after having my first child,‚ÄĚ she says. ‚ÄúI started to think about what parents pass on to their children genetically, but also the transference that goes beyond that, such as personality and fears. I was connected to my son through the umbilical cord and so much was going into him whether I liked it or not, and it made me think about myself as a child and what things my son would inherit from me. As I continued to write the book, the phrase ‚Äėthe burden of inheritance‚Äô began to haunt me.‚ÄĚ
Krauss is very clear, however, that just as Great House is a novel composed of many characters, it is also one of many ideas. It is a novel about the connections between people, something Krauss has explored in her two earlier novels, and something that she claims is ‚Äúone of the deepest existential questions there is.‚ÄĚ But it is also a novel that more deeply explores Krauss‚Äô own Jewish roots. ‚ÄúI was raised Jewish,‚ÄĚ she says, ‚Äúbut what interests me most is not faith, which I‚Äôve never had, but the tradition of argument, dissent, dissatisfaction and questioning that is so central to Judaism. Perhaps the best word to use is ‚Äėdoubt.‚Äô In Great House, almost every character in the book grapples with uncertainty, whether it‚Äôs existential, or moral, or has to do with the limits of how fully known we can ever be to one another, how often we must live unknown and unknowing.‚ÄĚ
About one thing there is no doubt: There‚Äôs a lot riding on this new novel. Krauss‚Äô deeply moving and intensely personal 2005 novel, The History of Love, captivated readers worldwide and was a bona fide publishing phenomenon. The news that her follow-up would be published this month was accompanied by rumblings of excitement in the literary world. Adding to the hubbub was Krauss‚Äô recent inclusion on the New Yorker‚Äôs 20 Under 40 list, which highlights young authors worth watching.
It is the rare author who can acknowledge such fervent accolades from both critics and readers alike, but not allow the hype to infect her work. When asked if she worries about whether her new novel will live up to the hopes many have pinned on it, she answers candidly. ‚ÄúI‚Äôm aware my books ask a lot from my readers, and I love the dedication of those readers who stay with [my books] and come through the other side,‚ÄĚ she replies. ‚ÄúUltimately, I write from a mindset where I have to please myself first. I feel that I wrote a better book here [than The History of Love√É¬Ę√Ę¬ā¬¨√Ö¬†], and I think I‚Äôm becoming a better writer.‚ÄĚ
But what of those folks at the New Yorker for whom 40 is the cutoff for a young author to make an impression? At 36, Krau[Fri Aug 1 06:13:31 2014] enhancedContent.pl: Wide character in print at E:\websites\aquabrowser\IMCPL\app\site\enhancedContent.pl line 249. ss‚Äô time on the venerable list is limited, but she‚Äôs not too worried about inspiration running dry; if there‚Äôs such a thing as a pragmatic poet, Krauss is it. ‚ÄúLife is a progression of questions,‚ÄĚ she says. ‚ÄúEach question evolves and expands, and as your life changes, the questions do too. The work of a writer is not necessarily answering the questions, but exploring. . . . In my mind, when I‚Äôm past 40, I always expect and hope that I will continue to write books and get closer to the book I am meant to write. One always hopes one‚Äôs getting a little closer.‚ÄĚ
If Great House is any indication, Krauss must be very close indeed. Surely if there is one book each author is meant to write, then there might also be one book each reader is meant to read. For plenty of Krauss‚Äô fans out there, Great House just might be that book.
¬†Copyright 2010 BookPage Reviews.
A many-drawered writing desk resonates powerfully but for different reasons with the various characters in this novel about loss and retrieval from Krauss (The History of Love, 2005, etc.).
This brain-stretching novel travels back and forth across years and continents. In 1972 New York, a young novelist named Nadia spends one magical evening with a Chilean poet, Daniel, who then returns to Chile. Daniel leaves in her care a desk he claims belonged to√É¬ā√ā¬†Federico Garc√É¬É√ā¬≠a Lorca. Shortly afterward, he dies at the hands of Pinochet's secret police. In 1999 a young woman named Leah announces to Nadia that she is Daniel's daughter and wants his desk returned. The reclusive Nadia lets Leah, who resembles Daniel, ship the desk to her home in Jerusalem but is emotionally devastated afterward‚ÄĒthe desk represents her writing life. Her sense of herself as a woman and a writer deeply shaken, she decides to visit Jerusalem. Meanwhile in Jerusalem, a retired lawyer yearns to connect to his son Dovik, who has left his own legal career in England to move in with his father after his mother's funeral. Barely speaking, Dovik remains a frustrating mystery to his father. Back in 1970 in London, an Oxford professor finds his jealousy pricked when his wife Lotte, a writer and Holocaust survivor, gives her writing desk to the young poet Daniel, an admirer of her work. Only later, learning that Lotte gave up a baby for adoption before she married, does he realize that Daniel became a surrogate for her lost son. In 1998 in London, Leah is living with her brother when she goes to New York in search of the desk. While the disparate characters do not necessarily interact, their choices affect one another over the course of decades.
Brainy and often lyrically expressive, but also elusive and sometimes infuriatingly coy; Krauss is an acquired taste.Copyright Kirkus 2010 Kirkus/BPI Communications.All rights reserved.
In this latest from Krauss (The History of Love), a huge old desk with many drawers becomes the symbol of love and loss for a host of characters from different countries and time periods. There is the New York woman who has written all her novels at the desk, which she was keeping for a Chilean poet who has since disappeared. Then there are the poet's daughter, who comes back years later to claim the desk; the antiques dealer who tracks down meaningful items from people's pasts; the brother and sister who live isolated in a Jerusalem home filled with other people's furniture; the elderly couple in England who live with the desk and a horrible secret; and the dictatorial father who desperately tries to understand his creative son. VERDICT While each character's story is engrossing, the connection among them is at times impossible to follow. Still, Krauss deals with heavyweight themes--the Holocaust, the different ways people cope with suffering, the special cruelty of fathers, the costs of creativity--with meditative, insightful prose that makes for an intense and memorable reading experience. [See Prepub Alert, LJ 5/15/10.]--Joy Humphrey, Pepperdine Univ. Law Lib., Malibu, CA[Page 69]. Copyright 2010 Reed Business Information.
This stunning work showcases Krauss's consistent talent. The novel consists of four stories divided among eight chapters, all touching on themes of loss and recovery, and anchored to a massive writing desk that resurfaces among numerous households, much to the bewilderment and existential tension of those in its orbit, among them a lonely American novelist clinging to the memory of a poet who has mysteriously vanished in Chile, an old man in Israel facing the imminent death of his wife of 51 years, and an esteemed antiques dealer tracking down the things stolen from his father by the Nazis. Much like in Krauss's The History of Love, the sharply etched characters seem at first arbitrarily linked across time and space, but Krauss pulls together the disparate elements, settings, characters, and fragile connective tissue to form a formidable and haunting mosaic of loss and profound sorrow. (Oct.)[Page ]. Copyright 2010 Reed Business Information.