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In Reif Larsen’s first novel The Selected Works of T.S. Spivet, the eponymous Spivet faults a chemistry teacher for falling short of his profession’s duty. Petty and competitive, he has failed, in Spivet’s words, to “distribute wonder.” Like so many in that novel, the formulation lodged itself in my memory, stowed away for future theft. It occurs to me now, however, that the phrase is best repeated to describe Larsen himself, whose extraordinary second novel, I Am Radar, an epic about genocide, performance art, and puppetry, has just been published.
Larsen, as game and thoughtful an interviewee as he is novelist, agreed to talk with me about Radar and my own forthcoming debut, The Poser, a novel about a man born with the compulsion and ability to imitate anyone he meets.
Jacob Rubin: I Am Radar spans radically divergent places, many of which, though not all, are undergoing or on the verge of genocide. There is Cambodia of the ’70s, Congo in 2010, the Bosnian War, Norway of the ’70s, and (perhaps most horrific) New Jersey in 2010. From the outset, did you know these places would make up the book? Were there other settings you considered? At what point in the process, did you know that the performance art group Kirkenesferda would be the novel’s linchpin?
Reif Larsen: During the first three years I was writing Radar I had no idea where this book was going. I originally started in what is now part three, then quickly realized I had to go both back in time but also laterally in space and story. The book really felt like it had this willful mind of its own, which I know is a schizophrenic thing to say because there was no one making this all up but me, but at times I really felt like I was riding this bucking bronco and just trying to hang for dear life. And the book was like: “We’re going to Cambodia, motherfucker.” And I was like…“Okay, fine whatever, you say. Just don’t kill me.” Obviously the cheerful through line of genocide limited some of the places I could potentially set the book in. Also, all of these places I’d had some kind of prior interest in or history with. (My roommate during grad school was writing a book about Cambodia. My friend had been going to the Congo for years making movies.) So the book just started gobbling these places up like a hungry monster. And in the end, I did get to visit all of them too, which was slightly uncanny, particularly when I’d written a scene in a place I’d never been to and then actually went to that place. I was constantly racked by a kind of fictional déjà vu.
Kirkenesferda came about organically. I knew from the beginning that I wanted to establish this group that was there but not there. A kind of ghost — formed by a literature around it, by images and references and anecdotes, and this weird, Borgesian book of all books that obsessively documented the history of the group but which itself cannot be found. There is a line from the novel: “After a while the reader cannot help but wonder how anyone could be so committed to something if it were not, at least in some sense, true. Devotion, at its core, must be a kind of truth.” So I wanted to press this notion of “devotion as confirmation” to its inevitable breaking point.
JR: Let me ask you about curiosity, which seems paramount in your work. In The Selected Works of T. S. Spivet, we have Spivet’s joyful, compulsive mapmaking. In Radar, it’s reflected both in the performance group’s mission and in the novel’s radical inclusiveness. I’m thinking, in particular, of the brilliant elucidations of real world phenomena, such as talking drums, quantum mechanics, telegraphy, puppetry, radiography, Morse code, among much else. What is your research process like? I realize the answer here is probably “both,” but which comes first — do you have the inkling that you’ll want to write about a certain place (ie. Cambodia in the ’70s) and then study it, or do you come to experience a place (Norway, for instance) and then feel the itch to set something there?
RL: As you suspected, there’s often a crazy interrelationship between my research and writing. Something will get stuck in my craw years before I ever write a word of the book — in this case it was a micro puppet show I witnessed down a dark staircase in Prague — and it will remain stuck, and I’ll keep coming back to it and usually this is a good sign I’m going to have to digest it via fiction somehow. Usually it’s not a one-to-one correspondence and not at all clear how that little morsel of observation will manifest itself on the page. Often the original reference will become quite veiled. I’ve been accused of writing “anti-autobiographical” fiction.
But then, just as often, my interests come out of the story itself. I will be writing a sentence and the father brings out a Morse Key and I’ll be like, “Shit. Gotta go learn about telegraphy.” For me, it’s always very important to be open to these kinds of messages (Morse or otherwise). The book will tell you what it’s interested in and then you have to go meet its demands. I was also amazed about the inclusivity of this particular book. The challenge was to cover that much ground and still make it feel like a novel, which I wasn’t really sure I did until the thing was finished, five years later. Still not quite sure, actually.
Along these lines, what was your process for researching Giovanni’s imitations? Part of the brilliance of this conceit is that imitations are the stuff of good fiction — noticing these inexplicable details that are there but not there, “the thread” that is unique to only this character. You are forcing yourself to write to specifics, to write compelling descriptions, but also to mine that vital territory of what separates a description of a person from the person itself. So I could see you writing this book armed with only the research of living on this planet as an observant being, but did you do other work as well?
JR: I did do some research, mainly about clothes in the 1940s and some of the history of Hollywood and of the Red Scare in Hollywood, as echoes of that period make their way into the book. In terms of the impressions themselves, as you suspected, I relied mainly on observation, experience, and caffeine. It was fun, though, to dramatize natural qualities of the writer (gesture obsession, hyper-observation) without Giovanni literally having to be one.
To get back to process for a sec, once you’ve assembled some of the research and let the book lead you to where it wants to go, do you think at all about genre? In the same way the best sci-fi bridges those liminal gaps between existing science and the science of, like, 12 hours from now, I Am Radar pulls at the bounds of what seems currently feasible. Did you think of it as science fiction?
RL: As a storyteller, I get very confused by the notion of genre. Even now, if you put a gun to my head I would be hard-pressed to tell you what it is. If there is a talking robot is it science fiction? If there is a dwarf with an axe and a cappuccino is it fantasy? I mean what even is YA anymore? Smaller words? Less complex emotional situations? No sodomy? Mostly genre is a shortcut for publishers and readers looking to categorize stories. Good writers rarely take shortcuts so genre doesn’t seem to be a very helpful discourse for us. A story is a story is a story.
JR: I want to ask about the theme of the exceptional. Radar, like The Selected Works of TS Spivet, explores precocity and its consequences. Many of the oddballs, eccentrics, and foundlings (some literal) who comprise Kirkenesferda are prodigies of a kind. I guess my question is about precocity and family. The precocity seems to give these collaborators joy and a kind of destiny at the price, often, of emotional orphanhood. How often does genius for these characters represent an expression of who they are, and how often does it represent a flight from home, or, at times, a burden parentally imposed?
RL: I’m not sure how to answer this question entirely — I, like many, am obsessed with the unanswerable questions of nature v. nurture and what is inherited and what is created on our own. It’s probably the most fundamental question of our humanness. But I do think you’ve pinned me to a familiar theme that comes up in my writing, which are these people who are imbalanced in some way — they present a particularly extraordinary skillset in one dimension, but then offer suffer an emotional imbalance because of it. Imbalanced characters are much more interesting to write about and throw up onto the canvas. There’s some purchase there and the imbalance leads to movement across the page. But the precocity that you’re referencing does allow for a sort of celebration of the strange; these characters have access to unusual or profound habits or thought processes that give you an excuse to tunnel deep into a mind or a scene or situation.
The same could be said, I suppose, about Giovanni, yes? He’s a great example of an imbalance in a character — a great skill at mimicry but paired with this interpersonal stuntedness. And I think you trace his growth so well over the course of the book. We really feel like we grow with Giovanni as he accepts, masters, and succumbs to his gifts. We feel his pitfalls and his triumphs. As a writer, how do you pace such growth on the page? How do you make it believable?
JR: Oh, definitely, yes. There’s a Buddhist adage about this, the exact wording of which I’m forgetting now, but it’s something like, the worn pocket leads to enlightenment more readily than the gilded robe (I write horrible fortunes cookies on the side). The idea, I think, is, “your strength is your weakness” because you will almost certainly rely too much on your strength, which creates an imbalance, a problem. This is certainly the case with Giovanni who is, in the end, impaired by his gift.
In terms of tracing growth, I think that’s really a matter of rhythm, of merciless rereading, of seeing when certain moments feel like they should come, and then engineering things as best you can to have that moment come maybe slightly before it’s expected. Like a lot of white people, I love rap music, and I’ve noticed really skilled rappers often complete the run of breath just slightly before the downbeat. Jay Z does this a lot. If he hit the beat exactly, it would feel late somehow. I became a bit obsessive about trying to do that with paragraphs and scenes.
What about getting started, inspiration? You’ve said that Susan Sontag’s decision to stage Waiting for Godot in Sarajevo in 1992 was a seed for Radar. How did that seed begin to flower? Were there others?
RL: This is an example of one of those things that got stuck in my craw before a word ever hit the page. I had read an article Sontag wrote about her time putting on Waiting for Godot in Sarajevo during the war and it struck me as so absurd, almost offensive, in its audacity: to believe that this city under literal siege, where crossing every intersection became a life or death situation because of the snipers, where there was no running water, where people were saving a single onion so that it would last for weeks — why would you go to this place and believe that putting on Godot could possibly be a good idea? But Sontag did and her actors risked their lives to be in the show and the theatre was in terrible shape and people came and after the war they named a street after her. But that knife edge between the sublime and the offensive was something I wanted to explore: the human necessity to put on this existential farce while real horrors were knocking on the door. It gets at the deepest questions of why we feel this strong, totally inexplicable will to create art. We will turn our lives upside down just so we can create art. And these are very personal questions for me because not a day goes by that I do not have some kind of deep doubt about why I’m spending my life writing silly books when there are people in real need out there. And yet I continue to write.
But while we are on this topic: let me ask you…what were the seeds for The Poser? What’s been your own experience acting or on the stage? Often first novels are famous for the writer throwing everything into it (is Radar actually a first novel?) but what I admired about your book was how controlled it felt. The boundaries of the world and the story were delineated in this very self-assured way. Did you spend a lot of time editing down the book?
JR: That Sontag story is fascinating, and Radar explores that dialectic of futility/essentiality so well. I do have some history with performance. I was a rapper in a college hip-hop group in the early-2000s and have done stand-up comedy, so I think a lot about the stage and performance. Years ago I used to entertain at kids’ parties as a juggler, which is my humblebrag way of saying I was a sex symbol. I think I like the disguise the stage demands and the way that disguise allows for the truth. The whole mask thing. It’s a very simple paradox, really, but is somehow, for me, inexhaustible.
I’m glad it felt controlled, thank you. Earlier iterations were less so. This is sort of The Poser 3.0. As I worked through each incarnation of the book, I felt myself becoming more ruthless. I was like Walter White by the end of it. I cut hundreds of pages from the book. A whole section about Giovanni’s childhood. Cut. The asperity of cutting becomes its own sort of decadence. My editor had to stay my hand from cutting more. I wanted to get rid of everything remotely extraneous. The faux America in which the book takes place seemed to require a radical sparseness or the kind of heightening that sparseness ensures. Roberto Calasso has a nice bit about Franz Kafka, how in Kafka a “cabinet” is, like, the only cabinet in the world. It is the platonic Cabinet. In cutting things down, I wanted the nouns in the book to feel like that: the sole furnishings of a concrete abstraction.
This makes me wonder about a certain tradition of literature and its influence on you. Radar is inflected throughout by a Nabokovian sense of play. Elsewhere you’ve written about Orhan Pamuk. How important is a sense of the meta-textual and gamesmanship for you in writing and reading? Would you describe Vladimir Nabokov and Pamuk as influences on Radar? Were there novels you frequently reread or revisited while working on Radar?
RL: I feel like our generation of writers has been washed by the rains of postmodernism and come out the other side cleaner and a little wiser, but largely our own selves still. We can admire and applaud Roland Barthes and Donald Barthelme and Robert Coover, but I get this sense from our peers that we’re maybe ultimately not that interested in turning the camera on the whole game and have that be it. In of itself this maneuver is not that interesting and feels like it’s been done before: “Yes! It’s a farce! Fiction is a mirage!” etc. Now that we’ve gotten this out of our system, I think we have permission to almost go back to telling stories. Because it turns out telling good stories — even if you’re propping them up on all kinds of canned maneuvers of realism — is, and will always be, really very hard.
That said, I remain interested in the mechanics of how we do what we do, almost like a boy picking apart an insect to see how all the parts connect. And, in this particular book, I was interested in not just postmodernism for postmodernism sake, but I was shooting for a kind of “quantum fiction,” based on the science of quantum mechanics, whereby you purposefully leave things in a state of indeterminacy — you don’t fundamentally address whether a character is alive or dead. And the trick is to do this so that it has an emotional impact, and isn’t just a game. All maneuvers of these sort I believe have to be working on a pathological level — they can’t just hit the reader in the brain, they have to hit them in the heart. And this is where a lot of postmodernists for me fell short.
I read many books doing research for Radar and quite a few novels. I have to be careful reading fiction while writing fiction because I find there’s a lot of spillover. I’m too exposed. I start copying whomever I’m reading in the moment. But this book took so long to write that I couldn’t avoid fiction altogether and there were a number of books that lent me great wisdom in the process. Many of them are listed in the bibliography, but some important ones were: Joseph Conrad’s Heart of Darkness, Mikhail Bulgakov’s The Master and Margarita, V.S. Naipaul’s A Bend in the River, Thomas Pynchon’s The Crying of Lot 49, Graham Green’s The Quiet American, Danilo Kis’s Garden, Ashes, Miroslav Krleža’s The Return of Philip Latinowicz, and Willem Frederik Hermans’s Beyond Sleep.
What about you? Were their books that you turned to while writing The Poser? And what’s your relationship to other people’s fiction when you’re deep into writing your own?
JR: I’ve been meaning to read Garden, Ashes for years. This reminds me to do it. I am sort of a picky reader when I’m writing. Often I read the same passages from favorite books over and over until I’ve sucked all the word fuel out of them. Some specific works, though, did help as I was writing. Remainder by Tom McCarthy, when I was doing a later pass, helped me with some alienated descriptions of human gesture and attitude. I read some Steven Millhauser, too, who is so good at creating mysterious, seductive landscapes immanent with danger. I think I was also influenced by Robertson Davies’s The Deptford Trilogy, which has sort of lightly magical properties and a crisp, evocative prose style I liked. Otherwise, I often return to Thomas Bernhard, Barry Hannah, and Denis Johnson, and sometimes the poetry of Dave Berman and Emily Dickinson.
RL: So now that you’ve written your first book, what advice would you give to writers who are attempting to do the same?
JR: More and more, I think, solutions to writing problems are found away from the desk. Attention to an obstacle, I think, is like sunshine to a succulent: the more you marshal your energies against it, the more the obstacle tends to grow. Whereas if you go take a nap or throw a javelin or something, the obstacle might very well shimmer and disappear. Mind you, this is advice I almost never take myself, but when I do, it always seems to help.
It is easy to get discouraged, and there is no wonder why. There is much about writing that is unhealthy in a very real and clinical sense. Sitting, as we all now know, kills billions of people. The time spent away from regular company, required for the practice, can’t be good for serotonin or dopamine levels, not to mention vitamin D. Staring at the screen, even from the perch of an ergonomic chair, is terrible for your eyes, wrists, back, and shoulders. Of course, any real labor is a million times worse. It’s just, anyone privileged enough to think of writing a novel could likely entertain any number of careers that would provide at least decent remuneration, status, and some recognition, even the rare, implausible shot at improving the world. So, if despite this very real discomfort and uncertainty, you feel better writing than not — well, then you damn better keep writing.
And you? Any tips on approaching a second novel? Asking for a friend…
RL: Hmmm. The second novel is where things get tricky. All I can say is that it was much more difficult than the first. You become more aware of all the things you aren’t capable of doing. Also, maybe this will change with future books, but I wasn’t really sure how to apply my experience of the first book to the second. I had to learn how to write the ecosystem and logic of the new book and almost had to start from square one again. But I would say: don’t shy away from it. Take the more difficult path because who knows when you will ever write another?
