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Books – Jonathan Franzen: “You can write about anything”

A pastor tempted by adultery, a wife hiding a secret, the specter of Vietnam… Immerse yourself in the America of the 1970s with “Crossroads”.

Vshis is one of those big novels in which you immediately feel good, a story of family and America, a real hook that is also a stylistic tour de force. New opus by Jonathan Franzen - grand master of family frescoes since Les Corrections (2001) -, Crossroadstakes its title from the association of young,

Christians to which several characters in the book belong. But the word, which means "crossroads", also underlines the choral nature of the story. In 1971, in the suburbs of Chicago, the destinies of Russ Hildebrandt - the reverend animated by the love of God and social justice who secretly covets one of his parishioners -, his wife, Marion, who hides a poignant secret behind an apparent coldness, and their children...

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Jonathan Franzen’s sixth novel, “Crossroads,” is set in 1971, and the title is firmly on the nose: the Hildebrand family is at a crossroads itself, just as the America of that moment seemed poised to come apart. In the course of his career, Franzen has evolved away from an early postmodernist sensibility.

That highlighted “bravura” writing, and “with this book I threw away all the po-mo hijinks and the grand plot elements,” he tells David Remnick. “It’s really only in the course of writing ‘Crossroads’ that I have said to myself, What I am is a novelist of character and psychology. . . . It’s not about formal experimentation and it’s certainly not about changing the world through my social commentary.” Franzen also discusses.

The complex ethics behind writing a character of another race, and takes issue with the belief of some in the academy (and much of the political right) that leftist sensibilities are stifling free expression; he declined to sign the “Harper’s Letter” last year. Despite political polarization, Franzen says, “It’s a much better time to be an American writer than I would have guessed twenty-five years ago.”

AT A VERY EARLY AGE I knew I wanted to be a writer. At six or seven, I wrote stories about dancing hot dogs (paging Dr. Freud ...). For a long time, being a writer meant being a journalist. My parents, both freelance journalists, were anti-models. I saw them as "frustrated writers"; hope deferred maketh the heart sick. They saw themselves the same way. They were always keeping the wolf from the door, if that is the expression, by writing yet another article they didn't want to write. They worshipped "real writers," i.e., writers who wrote books. Thomas Wolfe. Saul Bellow. Joan Didion. Joseph Heller. I wanted to write books.

My mom died during my junior year of college. She read a few of my early short stories (e.g., "A Few Words About A Wall"), which she over-praised. My father died a couple of years ago at ninety-eight. I once asked him what he thought of my writing, and he said, "Too bad you didn't become a pro athlete. You had some physical gifts." I sent him a galley of my book The Thing About Life Is That One Day You'll Be Dead, in which he plays a major role; he sent me back a list of errata.

I was the editor of my junior high and high school papers. In high school I worked at McDonald's. Got fired. I worked at a fabric store. Got fired. My freshman year of college I wrote for the school paper and also worked as a custodian. From the latter position, got fired. Wasn't too good at the physical stuff.

(I've never learned how to whistle, dive, somersault, rope-climb, swing on a swing.) One of my fellow student-custodians asked me if I was so bad on purpose or whether I was really that uncomprehending of the relation between soap and water. I also worked as a proofreader at the Rhode Island Historical Society. I worked as a TA at Iowa. Then I house-sat a lot of houses for people. I got a lot of grants. I made a very small amount of money stretch a long way.

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I first started teaching at a private high school for the children of the rich and semi-famous in LA. The kids at the LA private high school would be, say, the daughter of the comedian Flip Wilson. Or the girlfriend of the son of Elizabeth Montgomery. Chad Lowe. Branches in Santa Monica and Malibu. The kids, needless to say, were not interested in schoolwork. I would sit in front of the class and pretend.

To have answers to their questions about geometry, history, science, etc.: "Who wrote The Scarlet Letter?" Maybe look at the spine of the book; might be a clue there. Where was Google? This was 1985. The entire day would go by like that. During recess and even during class, they would be running to the bathroom to drop acid and I'd be madly working on revisions of my autobiographical novel about a kid who stutters so badly that he worships words.

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