July 24, 2014--Groves of Academe

I came to Francine Prose late in life. I have been aware of her but mainly through her essays and book reviews. After hearing her at the recent PEN conference in New York, I thought it was time to take a look at her novels.

From her other writing, I was anticipating that they might be a bit thick and too politically correct for my taste, but the two I've read thus far are anything but. I am only sad I did not begin reading her sooner, but it is exciting to know that there are about a dozen novels altogether and thus I have many months of pleasurable reading awaiting.

Her A Changed Man is about identity and the possibility of self-transformation, even if one has been a neo-Nazi; while Blue Angel is an acerbic satire set on a backwater New England campus where the frustrations of long-term faculty and the self-involvment of their students erupt into a full-scale witch hunt to root out and punish political incorrectness.

While gobbling up Blue Angel I wondered why so many significant authors have set one of more of their novels on college campuses and why most of them are wicked satires, often descending into sarcasm.

The ones I remember from years ago are Mary McCarthy's Groves of Academe and John William's Stoner. Later, I enjoyed Bernard Malamud's New Life, Philip Roth's Human Stain, and Alison Lurie's The War Between the Tates, also Richard Russo's Straight Man and, among the initiators of the genre, Randall Jarrell's 1954 Pictures from an Institution. Biting jeremiads all.

Most of these authors, and many of the dozens of others who have set novels on campuses (David Lodge, Donna Tartt, Jane Smiley), have taught literature and creative writing and, it would seem, for the most part, had miserable experiences among, what to them must have seemed, insecure, petty hypocritical colleagues. Often in settings where male professors pray on the erotic vulnerability of worshipful, cum vindictive, coeds, usually finding themselves hauled before campus vigilante committees seeking to stamp out all signs of transgressive and sexist (and even, often, by distinction, sexual) behavior.

The typical protagonist is a middle-age tenured professor well aware of his declining powers--physical and creative, saddled with debt, culturally isolated, stuck in an unfulfilling marriage, and almost always estranged from his children, children who nearly always include a 20-something daughter just about the age of the students he seduces or allows to seduce him. These obsessive relationships are often presented in parallax perspective--first from the Humbert-Humbert side or, in other cases, Blue Angel among them, with the relationship also viewed by the Lolita-like seductress.

In virtually all the novels, the transgressor has a hard, life-altering fall that is both deserved and, to the transgressor, welcomed since, no matter the public disgrace--often because of it--it is liberating. He shakes off or abandons the comforts that have defined and confined him and this allows him to remake his life, no matter how mean it may seem. In some instances the meaner the better as there is a strong element of expiation required, a fierce price to pay for this liberation.

Again, thinking about why so many meaningful novels are set on college campuses, beyond the obvious--from experiences with which novelists are intimately familiar--they are metaphor-rich environments in which youth and age coexist and clash, where decline is starkly measurable, where things are widely sexualized, where cultural collisions play out naturally and often viscously, and where human nature across its full range is on full flagrant display.

Thus these places are perfect venues to find things to satirize and titilate. All of which writers are incapable of resisting.