THE SALINGER OF THE SOUTHWEST . . .

I’ve been thinking for a couple of weeks now about W. P. Kinsella’s wonderful baseball novel Shoeless Joe, with its subplot involving protagonist Ray Kinsella persuading notoriously reclusive author J. D. Salinger to accompany him on his whimsical journey to, ultimately, northern Minnesota in search of baseball footnote Archibald “Moonlight” Graham. “Are you kidnapping me?” Salinger asks Ray, who has cornered “Jerry” in the driveway of his secluded home in Windsor, Vermont:

“Oh, please, that’s such an awful word. I’m sorry. I planned things so differently. I wanted to convince you to come with me. I never wanted to have to do this . . .”
00“Then you are.”
00“I just want to take you for a drive. I have tickets for a baseball game. A baseball game,” I say again. . . .
00“And if I don’t?” . . .
00What can I possibly say? I am inarticulate as a teenager at the end of a first date, standing in the glare of the porch light, a father hulking behind the curtains.

In Field of Dreams, the disappointingly diluted movie version of the novel, the Salinger figure is replaced by a character named Terence “Terry” Mann, played by James Earl Jones (who in my estimation is always really just playing James Earl Jones—yawn . . .). Lamely-conceived and lamely executed, this substitution was prompted (or so I understand) by the fear—or the threat—that visually representing the intensely private Salinger on the big screen would result in a lawsuit that verbally representing him in the pages of the novel could not.

So . . . did I have in mind that scene, or scenario, from the novel when I headed off to Santa Fe a few weeks ago, having told various people that my purpose in going there was “to stalk Cormac McCarthy”? Well . . .

Well, McCarthy is in the headlines these days thanks to the release, just yesterday, of the movie adaptation of his relentlessly bleak post-apocalyptic novel The Road. And part of the McCarthy story in newspapers and newsmagazines involves his Salinger-like reclusiveness, his retreating to the outskirts of Santa Fe where he hunkers down—or bunkers down in pre-apocalyptic fashion—far from the madd(en)ing crowd of paparazzi, autograph seekers, and other celebrity hounds. Well, it ain’t necessarily so; in fact, last week The Wall Street Journal published a very engaging interview—or extracts from a conversation—with McCarthy and film director John Hillcoat, conducted in San Antonio, thus giving the lie to McCarthy’s reputed utter reclusiveness. Anyway, I haven’t seen the film yet . . .

. . . but I have seen Cormac McCarthy.

I don’t want to give away too many specific details of my “sighting” him because I don’t want to detract from his right to privacy. I’ll just mention that whenever I travel, one of the ways I get my bearings in a new city or town is by mining the Yellow Pages for a list of used bookstores that becomes my connect-the-dots map of wherever I happen to be. In Sante Fe, I managed to get to only two of the stores on my list. In the first one, I had a great visit with the proprietor, Henry: we chatted about everything under the southwest sun . . . including how, as Henry put it, “Cormac will come in here and sit down and talk about anything and everything . . . except about being an author.” And he added: “And he won’t sign books.”

From that bookstore on North Guadalupe Street, I walked about ten minutes up through The Plaza (the heart of Santa Fe) to East Palace Street. Arriving at the bookshop there just before closing time, I had just begun to browse when I heard a voice talking with the proprietor and his assistant about “the Institute” (that is, the Santa Fe Institute, which I knew McCarthy is associated with). Could it be . . . ? I wondered, though I already knew the answer: I had recently re-watched Cormac McCarthy’s interview on Oprah . . . and the voice was unmistakably his. Just to be sure, I double-checked the physical person standing three feet away from me against the author photo in a copy of The Crossing that I pulled off a shelf . . .

So . . . did I pull a Ray Kinsella and try to kidnap him? I just want to take you for a drive . . .

No. I left him alone, though as soon as he left the shop, I confirmed with Nick and Pat, the proprietor and his assistant, that I had indeed had a close encounter with America’s second-most elusive and reclusive author. I returned to the shop the next day to browse some more and Pat told me “you played it just right”—had I “outed” McCarthy, he explained, I would have created a very awkward moment indeed! He also mentioned that McCarthy is not quite as reclusive as everyone believes: because no one expects to see him, he is actually able to “hide in plain sight” . . .

So did I really go to Sante Fe to stalk Cormac McCarthy? Of course not. I went there to scout out possible relocation destinations for the Witness Protection Program, should I ever be (un)lucky enough, on my travels, to bump into fugitive South Boston gangster Whitey Bulger, high on the roster of America’s Most Wanted. I used to see him out walking around Castle Island when I lived in Southie years ago. I think I’d recognize him anywhere . . . though I doubt that I’d find him in a used bookstore . . .

POST-APOCALYPSE . . . NOW; and/or, ABOUT A BOY

A few weeks ago I found myself reading Cormac McCarthy’s novel The Road. This book was all the rage when it first came out in 2006, and no doubt it will be all the rage again when the movie version hits the big screen in a few months. I wasn’t sure that I would get to it this summer . . . but it sort of fell off the bookshelf into my lap, so I gave it a go.

It is a bleak novel, that’s for sure: a depiction of a post-apocalyptic world (presumably after a nuclear holocaust) sparsely populated by survivors who can be categorized unequivocally as either “good guys” (the minute minority) or “bad guys.” As its title hints, the book is a quest narrative, and it traces the route—mostly uncharted—taken through the utter wasteland of human destruction and self-destruction by a dying father and his young son in search of some vestige of human decency. Written with a minimalist precision suited to the barren landscape—physical as well as psychological/spiritual (the “quest” can be interpreted both literally and metaphorically)—the novel is equal measures relentless and riveting: McCarthy offers the reader no respite from the mere remnant of civilization that his father and son find themselves wandering through.

Obviously, one of the challenges McCarthy confronted in writing this novel involved how to ground the narrative in a world both familiar and strange. Resisting any temptation to insert obvious post-apocalyptic landmarks, such as the buried Statue of Liberty at the end of the movie Planet of the Apes, McCarthy relies instead on inscribing a landscape of such remarkable consistency (in two senses of the word) that the reader who buys into it does so completely. I think this is a perfect example of what John Gardner meant when he described, in The Art of Fiction, the “dream” that a successful novel creates in the reader’s mind:

We may observe . . . that if the effect of the dream is to be powerful, the dream must probably be vivid and continuous—vivid because if we are not quite clear about what it is that we’re dreaming, who and where the characters are, what it is that they’re doing or trying to do and why, our emotions and judgments must be confused, dissipated or blocked; and continuous because a repeatedly interrupted flow of action must necessarily have less force than an action directly carried through from its beginning to its conclusion.

But if the result is clearly a cautionary tale—a frightening projection of the post-apocalyptic world that human agency could very imaginably produce—there is another dimension of the novel that I found emotionally charged in a different way. As McCarthy acknowledges in a televised interview with Oprah Winfrey in 2007, this novel of a dying father’s desperate love for a son who will soon have to place his trust in what seems to be merely vestigial human goodness reflects and refracts the 73-year-old author’s own anxiety about the future that his own young son, John Francis McCarthy—to whom The Road is dedicated—will inherit. “Is this a love story to your son?” Oprah asks. “I suppose it is,” McCarthy understates in response. His answer typifying the overall dynamic of the interview—the author’s reticence being far from an antidote to Oprah’s over-simplistic line of questioning—the poignancy of the fact that the novel is, in effect, “about a boy” pervades the entire narrative.

Yet, notwithstanding that essential dimension of The Road, the novel that I chose to serve as an antidote to its unrelenting bleakness was just coincidentally Nick Hornby’s fine comic novel titled . . . About a Boy. I’ve read three other novels by Hornby—How to Be Good, High Fidelity, and A Long Way Down—and enjoyed each of them immensely. I would have read About a Boy long ago (it was first published in 1998) except that by the time I fully tuned in to Hornby, the only copies I could find in bookstores had actor Hugh Grant on the cover—and I despise Hugh Grant! Funny, then, that as I was reading the novel over the past few days (I found a used copy with an older cover), I realized that at some point I must have sat through the film adaptation that Grant stars in (my wife and daughters love him and we probably even own the DVD of the film) . . . and so the character of Will was indelibly imprinted in my mind’s eye in the image of Grant. I could say Ouch! but I have to admit that he may have been perfectly cast. . . . One way or the other, About a Boy proved to be an altogether entertaining read—just the sort of “father and son” narrative that I needed to awaken me from Cormac McCarthy’s nightmarish “dream.”