by Warren Adler @WarrenAdler
Think of the horror of being
on the receiving end of such reviews after perhaps years of composition and effort.
What must this do to the authors aspirations,
vanity, self-worth, and, in a practical sense, sales, career hopes and, of
course, legacy? The serious novelist believes in their gut that their work is
deserving of acceptance and hopefully adulation, commendation, prizes and
awards, perhaps immortality and, of course, sales.
I read it in his obituary in the New York Times, of all places.
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Confronting your bad reviews - great American novelist @WarrenAdler offers perspective (Click to Tweet)
Every serious novelist worth
their salt believes in their soul that they have written a brilliant novel or
multiple novels in which the reader will find compelling characters engaged in
deeply imagined stories that profoundly illustrate the human condition.
What every novelist,
traditionally or self-published, yearns for is for others to be moved by their
work, to be praised, acclaimed, recognized and celebrated for what they truly
believe is their masterful artistic performance.
Of course, they might deny
such a characterization and offer the explanation that it is the only the work itself
that matters to the true artist. And while such a conviction does have the ring
of truth, human vanity and the power of the ego is too deeply embedded in the
psyche to be denied.
With that thought in mind,
how does a novelist whose work is presented to the scrutiny of allegedly
influential reviewers react to those who trash their book?
I am reminded of the raw
horror of such disdain by the experience of the novelist Theodore Weesner who
died recently and whose first novel The
Car Thief, a coming of age story, was excerpted and acclaimed by The New Yorker, Esquire and The Atlantic Monthly and cited by reviewers as
brilliant and original. It was published in 1972.
He enjoyed years of prestige
and received decent reviews for his other novels and years of teaching at
various prestigious universities. Admittedly, he did not achieve the continued
adulation and respect he had wished for, often acknowledged, after his brief
spurt of literary celebrity, as a fine but largely unsung novelist.
But it was the letter he
wrote to The New York Times book review
after a tepid review of his novel The
True Detective that illustrates the real agony of the disappointed artist
and a cautionary tale of the dangers of putting too much faith in the opinion
of others.
The Times Book Review, in
its inimitable arrogance published Mr.Weesner’s letter, which I will quote in full:
“The book in question is one I worked on for more than five years and it came alive and does work—it is
relevant and it is compelling...and the responses I’ve received from others
have been genuine, extravagant, even passionate. Yet you chose to give it a
short inconspicuously placed and—I just cannot deal with this—your reviewer did
not even understand what he read. I repeat—your reviewer did not even
understand what he read. And he printed it. You break my heart. You owe me much
more than an apology.”
In essence, Mr. Weesner spoke
for most novelists. It is the agonizing cry of all artists who present
themselves naked and alone to a most indifferent and dismissive public.
There is a lesson here for
all of us novelists who pursue our writing endeavors. Firstly, understand that
all novelists had their share of bruises.
Here are some examples from
an age where books were pervasive and did not have the technological
abstractions they do today:
The Saturday Review, London
cited Charles Dickens this way. “We do
not believe in the permanence of his reputation.”
Le Figaro’s reviewer said of
Gustave Flaubert, author of the immortal Madame Bovary, “Monsieur is not a
writer.”
The eminent critic Clifton
Fadiman in one of his reviews of William Faulkner’s novel called it. “The final blowup of what was once a
remarkable, if minor talent.
The literary goddess Virginia
Woolf wrote of James Joyce, “I finished
Ulysses and think it is a misfire.”
The Southern Quarterly
declared that Herman Melville’s Moby Dick is “sad stuff, dull and dreary
and ridiculous.”
And a legendary German
critic cited Thomas Mann’s Buddenbrooks
as a “worthless story of worthless people
in worthless chatter.”
And this one by one of the
great British literary critics about George Orwell “1984 is a failure.
I cannot fail to mention the
opinion of the works of two of America’s greatest literary icons. The editor of Bookman said this about Mark
Twain. “A hundred years from now it is
very likely that of Twain’s works: “The Jumping Frog alone will be remembered.” And a London critic said of
Walt Whitman “Walt Whitman is as
unacquainted with art as a hog is with mathematics.”
I cite here a few examples
gleaned from The Experts Speak by
Christopher Cerf and Victor Navasky.
The lesson to be learned by
anyone who chooses any artistic endeavor in today’s world where criticism is
ubiquitous and mostly indiscriminate: It
is a great achievement just to be noticed.
Everybody has opinions.
Consensus has become a major miracle. Technology has given everyone a voice. No
one can predict the future. Bad reviews, bad opinions, insults, verbal abuse,
diminishment, jealousy, frustration, along with effusive praise come with the
territory. In today’s environment celebrate you’re being noticed and, whatever
is said about you and your work, be sure
your name is spelled right.
Besides, good reviews are
not necessarily a harbinger of future success. In our contemporary world
everything passes at warp speed. Here today, forgotten in a wink. I’ll go with
the folks who say that investing passion and creative energy into the work is
everything. The real trick is to just keep at it. Do your best and stop
complaining.
Mr. Weesner had his say.
Good for him.
TWEETABLES
Confronting your bad reviews - great American novelist @WarrenAdler offers perspective (Click to Tweet)
No matter how much an author writes from the heart, the story may fail to touch some readers' souls. If a book is well crafted and the characters suitably developed, then an author cannot be faulted for failing to meet any given reader's expectations. Every time a reader understands what I tried to convey in a book, I'm deeply grateful. Although it might hurt for a moment, I don't pine over readers who don't connect with my stories. After all, everyone is different...
ReplyDeleteIt depends on how many you get that say you can't write. I'd probably shrug one off, thinking he was a tasteless clod (kidding--sort of), but if many people agree with the tasteless clod, I probably would take notice.
ReplyDeleteI agree with Linda with one correction. "No matter how much an author writes from the heart, the story WILL fail to touch some reader's souls."
ReplyDeleteThere's no way to please everyone except by doing nothing; and even that disappoints some people.
I have a list of things that I won't worry about when it comes to writing. Things I know people will say about my novels, but things that I've decided are important enough to me to be done (or not done) no matter what people say.
Being aware of those things, making a conscious choice and preparing for the negative reviews is probably one of the most important skills a writer can learn.