the text is not always a quiet patient the reader brings to life. I want to introduce a third party into the equation—the author.
Some writers of fiction design their texts to disturb—not merely with suspenseful plots, provocative themes, interesting characters, or even mayhem. They design their fiction to disturb, rattle, and engage the entire environment of the reading experience.
Withdrawing metaphor and simile is just as important as choosing them. Leading sentences can be written to contain buried information that completes, invades, or manipulates the reading. The unwritten is as significant as the written. And the gaps that are deliberate, and deliberately seductive, when filled by the “right” reader, produce the text in its entirety and attest to its living life.
Think of “Benito Cereno” in this regard, where the author chooses the narrator’s point of view to deliberately manipulate the reading experience.
There are certain assumptions about categories that are regularly employed to arouse this disturbance. I would like to see a book written where the gender of the narrator is unspecified, unmentioned. Gender, like race, carries with it a panoply of certainties—all deployed by the writer to elicit certain responses and, perhaps, to defy others.
Race, as the O’Connor, Coetzee, and Melville examples show, contains and produces more certainties. I have written elsewhere about the metaphorical uses to which racial codes are put—sometimes to clarify, sometimes to solidify assumptions readers may hold. Virginia Woolf with her gaps, Faulkner with his delays both control the reader and lead her to operate within the text. But is it true that the text does not formulate expectations or their modification. Or that such formulation is the province of the reader, enabling the text to be translated and transferred to his own mind?
I admit to this deliberate deployment in almost all of my own books. Overt demands that the reader not just participate in the narrative, but specifically to help write it. Sometimes with a question. Who dies at the end of Song of Solomon and does it matter? Sometimes with a calculated withholding of gender. Who is the opening speaker in Love? Is it a woman or a man who says “Women spread their legs wide open and I hum”? Or in Jazz is it a man or woman who declares “I love this city”? For the not right reader such strategies are annoying, like a withholding of butter from toast. For others it is a gate partially open and begging for entrance.
I am not alone in focusing on race as a non-signifier. John Coetzee has done this rather expertly in Life & Times of Michael K. In that book we make instant assumptions based on the facts that the place is South Africa, the character is a poor laborer and sometimes itinerant; that people tend to shy away from him. But he has a severe harelip that may be the reason for his bad luck. Nowhere in the book is Michael’s race mentioned. As readers we make the assumption or we don’t. What if we read the invisible ink in the book and found it to be otherwise—as the trials of a poor white South African (of which there are legion)?
Clearly, the opening sentence of Paradise is a blatant example of invisible ink. “They shot the white girl first, and took their time with the rest.”
How much will the reader’s imagination be occupied with sorting out who is the white girl? When will the reader believe she has spotted her? When will it be clear that while having that information is vital to the town vigilantes, does it really matter to the reader? If so, whatever the choice made it is the reader I force into helping to write the book; it is the reader whom I summon in invisible ink, destabilizing the text and reorienting the reader.
From “Are you afraid?” the opening sentence of A Mercy, calming the reader, swearing to do no harm, to the penultimate chapter’s “Are you afraid? You should be.”
Writing the reading involves seduction—luring the reader into environments outside the pages. Disqualifying the notion of a stable text for one that is dependent on an active and activated reader who is writing the reading—in invisible ink.
Let me close with some words from a book that I believe is a further example.
“They rose up like men. We saw them. Like men they stood.”
Sources
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