Most level-headed readers know not to judge a book by its cover. However, the adage that springs to mind when confronted with Daniel Galera’s debut novel is not to judge a book by its title. Presumably the original Portuguese title Barba Ensopada de Sangue carries more gravitas or conveys more menace than its English equivalent. Sadly, Blood-Drenched Beard sounds like a 400-page slab of cheap, cheesy melodrama. It might have worked if Galera’s game-plan was artful Tarantino-esque pastiche or full-on surrealist comedy. Instead he plays it straight, producing a candid, trick-free portrait of a young man starting afresh while seeking answers to a decades-old family tragedy in a small Brazilian beach town. Ignore the title and its false promise of heady sensationalism and dive right in. ‘Dive’ being the operative word, for this is a novel the events of which play in and around water and the protagonist of which is a swimming instructor. He remains nameless throughout the book and becomes something of a recluse, but Galera makes a point of recording his every thought and deed to paint a fascinating warts-and-all portrait that renders his character complex and mysterious but also knowable and sympathetic. The novel opens with him paying a visit to his father and being promptly dealt two body-blows. The first is the story of his grandfather’s death -- or, specifically, murder -- in the town of Garopaba in the late '60s. Viewed by the long-suffering residents as a surly, antagonistic old gaucho, he riles them one last time at a dance at the community hall: the lights go out and when they come on again his bloody body lies on the dancefloor with multiple stab-wounds. The crime went investigated, no one was punished for it and the body disappeared. Barely allowing him time to recover from the shock, father goes on to hit son with his second bombshell: ‘I’m going to kill myself tomorrow.’ The reader snared, Galera jump-cuts to Garopaba in the present. His young man is house-hunting, keen to distance himself from family and friends, several of whom call him and leave messages of condolence. He wanders around with his father’s ailing dog -- one he refused to have put down, despite his parent’s last request. It isn’t long before he has settled into an easy rhythm in his new downscaled life by the sea. He makes a friend in Bonobo, a Buddhist able to play ‘geriatric-diaper poker’ for hours on end. He gets a job as a swimming coach in a gym run by a pair called Saucepan and Spatula, starts a running club, and enters into a couple of relationships. Throughout all this, slyly and incrementally, Galera reveals more about his hero’s situation: his girlfriend left him for his brother in São Paulo; he has been growing a beard since his father’s funeral; and, most intriguing of all, he suffers from prosopagnosia, a neurological disorder that prevents him from recognizing faces. ‘I don’t recognize my own face in the mirror,’ he tells one disbeliever. Instead he is forced to concentrate on attitudes, gestures, and voices. This medical condition is an interesting conceit that prompts awkward laughs (people think he is rude, forgetful, or just plain weird) but also inspires pity, particularly when we watch him up against enemies he is unable to identify. Those enemies come out of the woodwork when he starts asking around about his grandfather’s mysterious death. It doesn’t help that he is the spitting image of him -- his beard not a mask but a recognition tag, transforming him in the eyes of the locals into a younger version of a man they hoped was safely dead and buried. Some profess remembering him but, conveniently, no one remembers his death. ‘If no one remembers,’ a policeman tells our hero, ‘then it didn’t happen.’ Blood-Drenched Beard feels like two novels in one. The first half of the book is chiefly devoted to Galera’s character going about his day to day activities of work and play. In the second he remembers why he moved to the beach resort in the first place and intensifies his sleuthing to make sense of this ‘nobody-knows, nobody-saw-it kind of crime.’ Here Galera ups the pace and the tension. His character learns that his grandfather has become a myth: he is a bogeyman, still alive and haunting the town. Rumor has it he is holed up in a cave in the hills. With newly inherited dog in tow, his grandson sets out to track him down. His treacherous, rain-lashed journey is a heart-of-darkness descent into madness, obsession, and painful self-discovery. Galera keeps the reader riveted, guessing all the way as to whether his bowed and near-beaten truth-seeker has bitten off more than he can chew. Galera has published four novels in Brazil to great acclaim, and, in 2013, Granta named him one of the Best Young Brazilian Novelists. In addition, he has translated the work of David Mitchell, Zadie Smith, John Cheever, and David Foster Wallace into Portuguese. None of their shadows loom over Blood-Drenched Beard. Indeed, with the exception of several pages containing digressional Wallace-esque footnotes, Galera’s novel feels largely and refreshingly devoid of any Anglo-American creative influence. Instead, Albert Camus rears his head when we are told that ‘the feeling of emptiness he yearns for is dormant inside him’, or when our ‘existentialist-materialist swimmer’ weighs up free will versus determinism (proving into the bargain he is no 'thick athlete'). There are also hints of Georges Simenon’s romans durs, his ‘hard’ non-Maigret psychological novels that fuse together raw emotions, moral conundrums, and bleak depictions of humanity. And, closer to home, every now and again Roberto Bolaño’s presence is felt, most noticeably in the scenes that radiate a queasy disquiet: an interview with a retired police chief in a Mafia-run nightclub; the discovery of a murdered, mutilated 16-year-old girl; the desolation of a sleepy seaside town in winter. Galera excels at turning his purported coastal paradise -- ‘the perfect place to be happy’ -- into tawdry backwater. Out of season, dead penguins litter the sand: ‘No one touches them, not even the vultures.’ Incessant rain leads to flooding. ‘The light from the lampposts gives an oily yellow hue to the carpet of water moss that covers almost the entire surface of the polluted lagoon. A cloud of mosquitoes hovers over a small rotting warehouse. Huge dogs start to emerge from the vegetation on an empty lot, and he hooks his finger under Beta’s collar as a precaution.’ Holding his dog back from bigger ones is a shrewd move. Less rational and downright menacing is when he reaches out to the attractive Dália and ‘plunges his fingers into her hair, at the nape of her neck, forcefully working them into her taut hair, feeling the roughness of her roots and the resistance of her scalp. He holds her head by her hair in front of his.’ A grim foreboding permeates the novel that, towards the end, is worked into a palpable threat of violence. We approach Galera’s denouement -- more a showdown -- and wait for the moment his character’s long, unruly beard finally becomes blood-drenched. Apart from that silly title, Galera also falters with occasional hackneyed phrasing (‘Tears snake down her cheeks again like rain on a window’). And what should be subtle foreshadowing is, once or twice, clumsy signposting. We are frequently reminded of his character’s previous ironman challenges and his expertise and endurance both through the water and under it, and so it comes as no surprise to witness him flung into danger and even less of a surprise to see him utilizing his physical capabilities to extricate himself from it. Fortunately, these blemishes are few and are easily offset by the novel’s many strengths. Galera’s slow-burning first half fleshes out character and quest and comes larded with long drawn-out set-pieces that on the surface seem to go nowhere but on close analysis are freighted with compacted drama: an encounter at the village fair with a man who had a run-in with the character’s grandfather; a whale-watching excursion on which he becomes captivated by fellow loner Jasmim. That second part wrenches us away from sun, maté on the beach, and gently swaying pitanga trees and throws up its harsh, grainy flipside. Galera’s character comes to realize that ‘There are two possible places for a person. Family is one. The other is the whole world. Sometimes it isn’t easy to figure out which one we are in.’ Despite its omnipresence, Galera doesn’t go in for lavish descriptions of the sea. At one point ‘the ocean flaunts its infinitude,’ which smacks of Herman Melville in miniature -- say, ‘the new dusky moors of ocean’ in Benito Cereno. Elsewhere, though, Galera’s non-littoral imagery can be striking. His young man’s father has a bulbous nose, ‘shiny and pockmarked like tangerine peel.’ During a car ride, ‘Figures such as cows or cyclists come to life in a flash and go back to being specters in almost the same instant.’ Cold nights, we are told, ‘torture the summer with a slow death’. Blood-Drenched Beard has at its center a fascinatingly headstrong character, one who swims perfectly but flounders on land, who strives for connection with his grandfather while cutting himself off from family -- and one we root for despite not knowing his name. If Galera’s other three novels are this potent and absorbing, and if his able-bodied translator Alison Entrekin can be persuaded to return to the helm, then readers are in for a treat.
1. From October of 2008 to May of this year, America’s Greatest Self-Published Novelist was a guy from New Jersey named Sergio De La Pava. Clearly, this was a title that begged certain questions -- sort of like being America’s Best Left-Handed Barber, or America’s Funniest Nun. Nor was De La Pava’s claim to it undisputed; in terms of sales velocity, Amanda Hocking and E.L. James would have blown him out of the ring, and C.D. Payne (Youth in Revolt) and Hilary Thayer Hamann (Anthropology of an American Girl) had racked up strong reviews well before Hollywood and Random House (respectively) came calling. But what Hocking and James were selling was fantasy of one kind or another, and even Payne and Hamman kept one foot in the junior division. The main event -- at least as De La Pava saw it -- was several weight classes up, where Dostoevsky and Melville and Woolf had battled penury and anonymity and madness to make literature that might endure. And with the great Helen DeWitt in transit from Talk Miramax to New Directions and Evan Dara’s Aurora Publishers falling into a gray area, De La Pava’s first novel, A Naked Singularity, was left more or less in a category by itself: a 690-page XLibris paperback that could withstand comparison with the classics. I first heard about the book in the summer of 2009, in an email from one Susanna De La Pava, of Amante Press. She’d read something I’d written about Joseph McElroy’s Women and Men; if I liked “both underdogs and meganovels,” she suggested, I might want to check out A Naked Singularity: “a debut work of literary fiction that combines fascinating and complex themes of morality, crime and theoretical physics.” The pitch was unusually thoughtful, but its failure to mention the book’s author seemed odd, and Amante Press wasn’t ringing any bells. When a web search for “naked singularity amante” turned up a coincidence between the author’s last name and my correspondent’s, I thought, A-ha! A vanity project! Did I want to “add it to [my] reading pile?” No offense, but Jesus, no! If this sounds discriminatory, the fact of the matter is that every reader is. Our reading lives, like our lives more generally, are short. With any luck, I’ve got enough time left between now and whenever I die to read or reread a couple thousand books, and only rough indicators to help me sort through the millions of contenders. I may be breaking a critical taboo here, but the colophon on the spine is one of those indicators. The involvement of a commercial publisher in no way guarantees that a given book isn’t atrocious; I’d be safer just sticking with...well, with Melville and Dostoevsky and Woolf. Over time, though, a given imprint amasses a kind of batting average based on its degree of overlap with one’s tastes. (My Benito Cereno and Mrs. Dalloway might be your The Hunger Games and A Game of Thrones, but that’s an exercise of taste, too -- one the folks at Scholastic and Bantam are happy to facilitate.) More importantly, the layers of editorial oversight at these imprints help to filter out hundreds of thousands of manuscripts that aren’t likely to overlap with much of anyone’s taste. To open my reading queue to pay-to-publish outfits like iUniverse or Trafford Publishing -- to be forced to consider (and here I’m just plucking titles at random from a recent iUniverse/Trafford Publishing ad in The New York Review of Books) Cheryl’s Kidnapping and Her Odyssey, or Breath of Life: The Life of a Volunteer Firefighter, or Letters to the Editor That Were Never Published (And Some Other Stuff) -- that way lies madness. Then again, to cling to a prejudice against mounting evidence is its own kind of madness. Some time after Susanna De La Pava’s email had disappeared into the bottom of my inbox, I came across a review of A Naked Singularity by Scott Bryan Wilson at The Quarterly Conversation. “It's very good -- one of the best and most original novels of the decade,” was the leading claim. This in turn sent me back to a piece by Steve Donoghue at Open Letters Monthly, which I vaguely remembered Ms. (Mrs.?) De La Pava linking to in her email. “A masterpiece,” Donoghue declared. These raves got my attention, because The Quarterly Conversation and Open Letters Monthly are venues I’ve written for, and that cover the kind of books I tend to like. It’s worth noting that both (like The Millions), started out themselves as, essentially, self-publishing projects; maybe this is what freed them to devote resources of time and attention to A Naked Singularity back when when Publishers Weekly and Slate wouldn’t. Over the years, by exercising a consistent degree of quality control, each had amassed credibility with its audience, and this is exactly what the business models of Xlibris and iUniverse prevents them from doing; neither has an incentive to say “No” to bad writing. To, in other words, discriminate. So anyway, I exhumed Ms. De La Pava’s email and asked her, with apologies, to please send over a copy of A Naked Singularity. It was time to apply the first-paragraph test. Here's what I found: --noise background, Hmm. Maybe it was time to apply the second paragraph test. My getting out or what?! Okay. Paragraph three. Here goes: Eleven hours and Thirty-Three minutes since meridian said the clock perched high atop a ledge on the wall and positioned to look down on us all meaning we were well into hour seven of this particular battle between Good and Evil, and oh yeah, that was Good taking a terrific beating with the poultry-shaped ref looking intently at its eyes and asking if it wanted to continue. We were what passed for Good there: the three of us an anyone we stood beside when we rose to speak for the mute in that decaying room (100 Centre Street’s AR-3); and in that place, at that moment, Evil had us surrounded. There were things here that excited me, from that plucked chicken of a referee to the Sunday-matinee rhythms of the closing lines. I also thought I detected, however, a dose of self-indulgence. (Why not just, "It was 11:33?"). I read on, through a digression on the Miranda Rights, and then 40 pages of dialogue between night-court defendants and their lawyers. Both were good, as these things went -- edifying, amusing, and reasonably taut -- but I still couldn’t figure it out: aside from demonstrating how smart the author was, where was this going? And here’s the second place where the imprimatur of a commercial press, and all that goes with it, might have made a difference. Had there been some larger cultural pressure assuring me my patience would be rewarded, I would have kept going. As it was, I abandoned the book on my nightstand. It would likely still be lying there, had I not gotten wind last fall that A Naked Singularity was about to be reissued by the University of Chicago Press. At this point, the story around this novel seemed too interesting for me not to give the story inside it another try. Or, to put it another way, the constellation of extraliterary signals was shining brightly enough to propel me past those first 40 pages, and then another increasingly engaging 100. I devoured what remained in the week between Christmas and New Year’s, 2011. And it's a funny thing about those extraliterary signals -- superficial, prejudicial, suspect, but also a natural part of the reading experience. Up to a certain point, they're unavoidable, but beyond that, the accumulated effect of sentences and paragraphs starts to outweigh them. In this case, I won’t say that certain caprices of De La Pava's prose (not to mention all those missing commas), faded into invisibility. On the whole, though, a good big novel lives or dies at a level far removed from considerations of teachable “craft” -- the level Henry James and Michel Houellebecq gesture toward when they speak, in different contexts, of “intensity.” (i.e., as James' preface to The Ambassadors puts it, “The grace to which the enlightened story-teller will at any time, for his interest, sacrifice if need be all other graces.") And at that level, A Naked Singularity is, if not a masterpiece, then certainly a roaring success. To call it Crime & Punishment as reimagined by the Coen Brothers would be accurate, but reductive. Better just to call it the most imaginative and exciting and funky and galactically ambitious first novel to come down the pike in I don't know how long. And if a book this good was consigned to XLibris, it meant one (or more) of three things. 1) Literary trade publishing was more gravely ill than I’d imagined; 2) My judgment was way off-base (always a possibility), or 3) There was some piece of this story I was still missing. The simplest way to find out was to go and talk to the author in person. I emailed Susanna, who presumably talked to Sergio -- unless she was Sergio? -- and by the end of January he and I had a date to meet at the most nouveau of nouveau Brooklyn’s coffeehouses. 2. This latter may have been a perversity on my part. On the jacket of the handsome new trade paperback of A Naked Singularity, the author bio reads, in its entirety, “Sergio De La Pava is a writer who does not live in Brooklyn.” In fact, as of January, most of the details of De La Pava’s personal life -- age, occupation, place of residence, education -- remained shrouded in near-Pynchonian occlusion. A Google Images search yielded exactly two results: one a blurry black-and-white mugshot from the comically low-fi website anakedsingularity.com, the other a sawed-in-half portrait posted alongside an interview in the fantastic Mexican literary journal Hermanocerdo. They might have been two different people; the only common features seemed to be curly hair and an intensity of gaze. As I rode to meet De La Pava, I wondered: what if the reason it had taken him so long to sell his book had to do with the author himself? What if De La Pava never wanted to be published commercially? Or what if he’d sold his book in 2007, but then refused to be edited? What if he’d emailed his manuscript in Zapf Dingbats font? Or forgotten to attach the attachment? Or what if -- I speculated, as the man across from me on the subway struck up a conversation with voices only he could hear -- De La Pava was certifiably crazy? When I finally reached our rendezvous point, though, I found Sergio De La Pava as sane as any serious writer can be said to be: a small man in glasses and an off-the-rack suit, waiting patiently by the counter. About the only thing I recognized from his photographs were the corkscrew curls, now longer and slightly disarranged, as if he’d rushed over from somewhere important. As it turned out, he had. He was coming, he told me, from his job as a public defender in Manhattan. His wife (Susanna!) also works a public defender. Later, they would both return home to New Jersey, where they lead an unexceptional suburban existence with their kids. As for the biographical cloak-and-dagger, the third-party emails, etc., De La Pava suggested several explanations. One was an old-fashioned sense that biography is irrelevant to the work of art -- that the artist is, as a character in William Gaddis' The Recognitions famously says, “just the human shambles that follows it around.” But a more practical consideration is that De La Pava's dayjob brings him into regular contact with criminals. "My life is probably different than the lives a lot of readers of novels are familiar with," he said. People in his line of work tend to be tight-lipped about their personal lives and daily routines, because otherwise "someone might put a bullet in someone's head.” This was, it turned out, a typically De La Pavan way of attacking a question. For someone so reticent with the public, he talks abundantly and well, his thoughts tending to organize themselves into fluid, almost lawyerly paragraphs of narrative and argument, with these little hard-boiled explosions at the climax. This is also, not incidentally, one way of describing the voice of Casi, the hypercaffeinated first-person protagonist of A Naked Singularity. As the interview went on, I came to see the riven idiom of both author and hero -- on the one hand, leisurely abstraction; on the other, urgent volubility -- as matters not just of style, but also of psyche. Like Casi, De La Pava grew up in New Jersey, the child of Colombian immigrants. The basic happiness of his upbringing -- home-cooked empanadas and "school clothes warmed on the radiator” -- suffuses the scenes of immigrant life that recur throughout A Naked Singularity and help humanize our hero. But it also seems to have been, like most childhoods, one shaped by conflict. On the most obvious level, there was the jostle of languages -- his parents’ native Spanish, the English of which De La Pava is something of a connoisseur. (At one point in our conversation, he would spend five minutes critiquing Gregory Rabassa's translation of One Hundred Years of Solitude). Then, too, there was the drama of the dreamy child in the striving household. From an early age, De La Pava was attracted to the logical harmonies of various intellectual systems -- theology, physics, classical music, math. "My earliest memories are of philosophical problems," he told me, utterly in earnest. Reading the great philosophers was like "being welcomed into a community of like-minded individuals." Later, at Rutgers, he would pursue philosophy more seriously, specializing in modal realism -- the study of the coexistence of multiple possible worlds. But as a teenager, De La Pava was also into heavy metal. And his was a boxing household, where watching the fights was a sacrosanct activity. "Boxing, that's my fucking religion," he says. His adult life has in some sense been an effort to synthesize these hot and cool impulses -- the adversarial and the communal, the sweetness and the science, Yngwie Malmsteen and Rene Descartes. One socially acceptable outlet for both aggression and ratiocination was a law career. And although one of the first things a reader notices in A Naked Singularity is its anger at the Kafkanly facacta state of the criminal justice system, De La Pava remains in love with his chosen profession. In the abstract, "the law is so strikingly beautiful and logical," he says, as opposed to "the faulty process of human beings...I feel annoyed for some reason when the criminal justice system fucks up, because I feel a great attachment to it." Still, De La Pava always thought of himself first and foremost as a writer. "I find myself constantly making up little stories in my head," he said at one point, nodding across the coffeehouse. "Like if this woman making the phone call fell down right now, what would happen?" Until then, he had been addressing me heads-up, as if I were a jury he was attempting to sway. As our talk turned to writing and literature, though, he began to look down and inward, a boxer tucking into a crouch. "I'm not that well-read," was the first thing he said on the subject of influence. When I suggested that his conspicuous engagement with two broad novelistic traditions -- the philosophical novel and the novel of erudition -- seemed to contradict him, he amended the claim: He's not that well-read in contemporary fiction. "I have old-fashioned taste.” Reviews of A Naked Singularity have tended to name-check the white male postmodernists who are its immediate forerunners – Gaddis, Pynchon, David Foster Wallace -- but De La Pava’s reading in the po-mo canon has been unsystematic. The Gaddis book he knows best is A Frolic of His Own, a late work centered around the law. Despite an apparent nod in his novel, he has not read Pynchon's Mason & Dixon. Of Wallace, he will cop only to having read "all the nonfiction." Unusually, for a novelist of his generation, De La Pava came to these writers through their own forerunners: the great 19th-century Russians, especially Dostoevsky, and Moby-Dick. This perhaps accounts for the mile-wide streak of unironic moralism that holds together the book’s formally disparate pieces. He does say, however, that Gravity's Rainbow "turned me on to the possibilities of fiction.” In his teens and early 20s, he produced some fiction that was "pretty terrible" at the level of skill, but ambitious at the level of content. He was determined to avoid the school of autobiographical offspring-of-immigrants writing he calls "Bodega Heights," and to pursue instead those “possibilities.” One way his decision to work as a public defender instead of a corporate lawyer paid off, then, is simply that the hours were shorter. "I used to have a lot of free time to write,” he told me. The other is that it gave him something most young writers hunger for: a subject larger than himself to write about. In this case, it was the system Michelle Alexander has memorably called The New Jim Crow -- a self-perpetuating prison archipelago populated by low-level offenders, disproportionately poor, disproportionately of color. Justice, in all its manifold forms, had been one of Dostoevsky’s great themes, and now it would be De La Pava’s. And that center of gravity began to pull the variegated worlds De La Pava had spent his youth exploring -- vibrantly Spanglished New Jersey suburbs, crappily furnished starter apartments in Brooklyn, airy philosophical castles -- into something "nebulous and dreamlike”: a vision of a novel. 3. "When I write, I almost begin with the end product," De La Pava explained to me, as we started in on our second coffee. Midway through the first cup, he had begun to tug on the ends of those corkscrews of hair, and now he was working them furiously. "It's similar to the way you try a case: you think of the summation first." And what was that summation, with A Naked Singularity? Quickly, almost unthinkingly, he flattened out the rolled New Yorker he'd been carrying and began to doodle something with pen in the margins. He was talking now about the structure of Beethoven's Ninth, but I was distracted by the peculiarly entropic energy of what he was drawing. Or whatever is the opposite of entropic. It was a single line, like an EKG or a lie-detector test, swinging above and below the baseline with swoops that grew smaller and tighter as X approached infinity. Finally, the line ended at an emphatic black dot. A singularity. “I wanted to take all this stuff and put it in in a way that would at first feel chaotic. I was interested in the question: at what point does something become a novel?” This effect of dissonance and resolution is, in fact, exactly what had thrown me about the first 40 pages of A Naked Singularity, without my having a sufficient sample of the book to see it whole. Which means, among other things, that A Naked Singularity managed to stay true to a formal vision that is the inverse of most first novels' (start with something singular; degenerate into randomness as ideas run out). De La Pava's indifference to the prevailing trends of the marketplace helps to account for the number of rejections he would receive from literary agents (88, according to The Chicago Tribune.) But it’s also what’s so alarming about his novel's close brush with obscurity. It suggests that traditional publishing has become woefully backward-looking, trying to shape the novel of tomorrow based on what happened yesterday. Could A Naked Singularity have benefited from a good editor? Of course, but books like this -- singular, urgent, commanding -- are supposed to be what good editors live for. As to the question of when the book’s various gambits cohere into a novel, there's an ironic twist in all this. Right around page 150, De La Pava introduces into his bricolage of Gaddis-y dialogue and Malamudian bildungsroman and potheaded discursus that most commercial of plots, the quest to pull off the perfect caper. It's this set of generic tropes, rendered with a perfection of their own, that starts to pull De La Pava’s other concern toward that convergence point he'd drawn for me. By the halfway mark, A Naked Singularity has become exactly what every publisher is looking for: a very difficult book to put down. 4. “I was 27 when I started, 34 or 35 when I was done,” De La Pava, now 41, told me; “I didn’t know anything.” Only that "This wasn't The Old Man and the Sea." A book he likes, he hastened to add. But with the help of his wife, a voracious reader who keeps abreast of new fiction, he realized that he needed representation. The first excerpt he sent out excited several literary agents enough that they asked to see more. Almost uniformly, though, the response to the sheer bulk of the complete manuscript was, “You’ve got to be kidding.” De La Pava, having poured seven years of his life into the book, wasn’t ready to see it chopped into something smaller and less risky. “My attitude was, I’ll take my ball and go home.” (Though one doubts he would have stopped writing; a second novel, Personae, less successful but still interesting, was published through XLibris in 2011). Susanna, however, wasn’t ready to give up on A Naked Singularity, and began to lobby him to self-publish it. “I think it cost about $10,000” to print it through XLibris, he says. “We had a book party and everything,” after which they ended up with “all these copies.” Susanna then took on the role of publicist...and proved adept at it as her husband had at the role of novelist. Her strategy was to send out targeted emails to bloggers and critics who had written about Infinite Jest, offering to send them something they might like. Some of them, like me, failed to take her up on it, but after Donoghue’s review, and then Wilson’s, things began to snowball. Soon “we’re selling like 100 books a month. And then we hear from University of Chicago Press.” A publicity director there (who was also The Quarterly Conversation's poetry editor) had become obsessed with the book. A self-published magnum opus was, to say the least, an unusual project for a prestigious academic press. It had to pass muster with the board of faculty members and administrators that signs off on each book published. But, thanks in large measure to statements of support from the novelist Brian Evenson and critics including Steven Moore, the press decided to acquire the rights to the book. From there, it was only a hop, skip, and a jump to the window of my local Barnes & Noble, where I passed it just this week. 5. This can’t have been exactly the path to prominence De La Pava dreamed of. For one thing, I thought I detected an element of rope-a-dope in his protestations of literary innocence. In the course of our two-hour conversation, he capably paraphrased John Gardner's The Art of Fiction, tossed off two allusions to “The Big Six” (a term I had to think about before I got it) and name-checked half a dozen titles from recent Knopf and FSG catalogues. There's also the matter of that New Yorker, rumpled from use. And then there’s the way A Naked Singularity returns again and again to the theme of ambition. It becomes almost a counterpoint to the theme of justice. At first, Casi's desire to do great things pulls him toward justice; later, it's a source of frustration that borders on madness. As with the scenes of family life, the writing here is too personal not to have come from firsthand experience. When Casi says, for example, of a brief he's preparing to file, "I'm determined to create a document so achingly beautiful and effective and important that should I drop dead as the final draft is being printed it would matter not the least," we can hear the novelist standing right behind him, speaking, as it were, over his shoulder. "Achingly beautiful and effective and important:" I imagine that, as he neared completion on his huge manuscript, De La Pava must have had an inkling that he'd achieved at least two of the three. And I imagine he believed, like Casi, that he was still living in a world where that would be enough. The doors of the great publishing houses would fly open, and then the arts pages of the newspapers, and then the doors of homes across America. This is what most writers believe, deep down, as the private dreaminess of the early drafts begins to give way to the public competition for attention, and money, and fame. Yet De La Pava’s more tortuous path has afforded him certain gifts that outrageous good fortune might not have. Chief among these is something both the MFA and the NYC trajectories Chad Harbach sketched in a recent N+1 essay tend subtly to conceal: the knowledge that one is free to write the kinds of books one wants, with the kinds of effects that engage one's own imagination, however rich, complex, and challenging. "That kind of freedom is important to me,” De La Pava told me, as we sat in the heart of Mayor Bloomberg's stop-and-frisk New York, in a neighborhood I could no longer afford to live in, amid the artisinal cheese-plates and the coffee priced by the bean. “I’m very into freedom as a writer.” I asked him what his ambitions were for the next book. “I want to preserve this mode of doing things," he said. "The rest I can’t control.” Then we paid up, and said our goodbyes, and he walked out the door, bound for the wilds of Jersey. Bonus link: "Reasons Not to Self-Publish in 2011-2012: A List" by Edan Lepucki Bonus link: De La Pava boxing piece at Triple Canopy: "A Day's Sail" Image Credit: Genevieve McCarthy