Books

At first McEwan unspools the action languidly, adopting the viewpoint of several different characters as they move through the sultry summer day and toward the fateful, moonless night. There’s fussing about the dinner, the concoction of what sounds like the most disgusting cocktail ever devised, lost socks, a broken vase and, behind all this, large, ominous emotions shifting their way to the surface. The most violent acts of the day happen offstage, so to speak, but the most enduringly destructive one is a lie Briony tells, a lie that will ruin two lives and overshadow her own for decades.

Lying is, after all, what “Atonement” is about as much as it is about guilt, penitence or, for that matter, art. Briony, who, we are told, will grow up to become a celebrated novelist, is consumed with the creation of stories, and that is partly what compels her to swear allegiance to her terrible lie. But she has also grown up swimming in falsehood. There’s the class status of her family, for example: their stately home is a practically brand-new vulgarity filled with “mostly junk” (including a portrait of “an aristocratic family … thin-lipped and pale as ghouls” whose identity no one knows, hung to “lend an impression of solidity” to the household), all of it paid for by a grandfather “who grew up over an ironmonger’s shop and made the family fortune with a series of patents on padlocks, bolts, latches and hasps.” Then there’s her parents’ marriage, organized around a polite refusal to acknowledge Emily’s husband’s infidelity.

Of the lies people tell themselves to make life more palatable, however, some are more dangerous than others. Briony’s coming of age involves a hard lesson in the difference. The one incident of unvarnished honesty in the first half of “Atonement,” an accident, leads to a moment of galvanic connection, the realization of love. The rest of the book, however, follows both Robbie Turner and Briony as, five years later, they make long, grueling sojourns among brute realities that refuse to be ameliorated by attractive stories.

He joins the ragged retreat of British troops to Dunkirk in 1940; she, saturated with guilt, becomes a nurse in a London hospital, tending the wounded. The truths they collide with are rooted in the incontrovertible vulnerability of the body, the irrevocable nature of certain harms. He is haunted by the image of a child’s severed leg, the remnant of a bomb blast, wedged in the fork of a tree. She is witness to how “every secret of the body was rendered up — bone risen through flesh, sacrilegious glimpses of an intestine or an optic nerve. From this new and intimate perspective she learned that a person is, among all else, a material thing, easily torn, not easily mended.”

In the closing pages of “Atonement,” in the voice of the aged Briony, McEwan contemplates her (and by implication every novelist’s) “offences against veracity” — and he delivers a wicked twist. Briony asks herself “How can a novelist achieve atonement when, with her absolute power of deciding outcomes, she is also God?” The question about atonement goes back to the root of the word: it means to be “at one,” and sometimes refers to the sacrifice by which Jesus united man and God. A human being who becomes God in the act of creating fiction, though, is only all-powerful within that fictional world. Briony knows she will be forced yet again to see that what is torn in the flesh can’t be mended by stories. The belief that it can may just be one of the more pleasant lies we tell ourselves.

Our next pick: An innocent, sensual woman falls into the hands of a killer

“The Lifespan of a Fact” by John D’Agata and Jim Fingal documents the epic fact checking of “What Happens There,” an essay D’Agata wrote about a teenager who committed suicide by jumping from the observation deck of a Las Vegas hotel. Their exchanges merit publication in part because D’Agata is the leading light of a literary movement (largely confined to MFA programs in creative nonfiction) advancing the “lyric essay,” a form that combines elements of poetry with the prose essay. D’Agata has been militant in asserting his liberty as an artist to alter, invent or ignore facts in writing his essays, as well as critical of the eruptions of outrage that greet the increasingly commonplace discovery that some celebrated memoirist has embellished or fabricated parts of his or her work.

If this face-off between a meticulous establisher of truth and a bold champion of poetic license strikes you as a bit contrived, then I say: well spotted! A provocative excerpt from the book appeared in Harper’s last week, featuring each man performing his role to the hilt. Fingal pettifogs obsessively over whether there are 31 or 34 strip clubs in Las Vegas and D’Agata makes the absurdly highhanded pronouncement that “the rhythm of ‘thirty-four’ works better in that sentence than the rhythm of ‘thirty-one,’ so I changed it.” Several of D’Agata’s most dickish replies have been cherry-picked for inclusion.

This excerpt is not a fair representation of the book, but then the book itself is a travesty of the fact-checking process. The impression has been given that Fingal is a paid fact checker for Harper’s, the magazine that originally commissioned D’Agata’s essay. Actually, he was an intern for the Believer magazine, a literary journal that picked up the piece after Harper’s declined to publish it and that encourages its interns to volunteer for ambitious projects and pursue them independently. When Fingal tells D’Agata, early on, “It’s the job I was assigned to do, so I have to do it,” he is — ironically enough — not being strictly accurate.

Any lingering impression that Fingal is a put-upon toiler in the boiler room of journalism dissolves as he introduces more and more tedious digressions and unfunny wisecracks into an ever-burgeoning pissing match. Many of Fingal’s quibbles — such as asking D’Agata for notes on a guided bus tour he took as a college student in 1994, or insisting that the mountains southeast of Vegas look “brownish” to him, rather than “black” as D’Agata described them — are so over-the-top that the writer’s snappishness becomes understandable.

Fact checking, contrary to vague popular perceptions, is something of an art; not only does each publication have its own policy for substantiating facts, but each checker has his or her own approach. Nevertheless, there are many constants. Fingal’s method is eccentric, to say the least. For example, he tracks down and transcribes the National Institutes of Health’s definition of a drug that one of D’Agata’s quoted sources mentions only in passing, yet he never seems to have contacted any of the sources themselves, either to check their quotes or to verify their titles or biographical details. Much of what he does is unnecessary by even the most rigorous of magazine fact-checking standards (and glossy-magazine fact checking is as rigorous as it gets), and yet he neglects some basic techniques of verification.

D’Agata is no better advocate for his position. He offers the “rhythm” defense more than once, and when Fingal raises legitimate questions about his attempt to present suicide as a universal taboo across cultures and historical periods, he stoops to the retort, “Wow Jim, your penis must be so much bigger than mine.” (Although it must be said that this is a pretty fair characterization of the tenor of their arguments.) It’s not until late in the game that D’Agata engages Fingal in a substantive discussion of what he’s trying to do, best stated as “taking liberties” to make “a better work of art — and thus a better experience for the reader — than I could if I just stuck to the facts.”

The bonehead comments-thread response to this assertion is “There’s a name for that: fiction.” But there are enough confirmed facts in “What Happens There” — real names, people, places and events — that it doesn’t constitute fiction, either. Of course, the whole dispute could be fairly easily defused by labeling D’Agata’s work as a lyric essay and including an editor’s note (for the many readers as yet unfamiliar with the genre) explaining that it contains factual material but is not restricted to factual material. That describes most contemporary poetry, after all. A magazine like Harper’s might decide that it isn’t comfortable publishing prose works of this kind, but no reader could claim to have been misled.

Such a reasonable solution, however, would severely reduce the opportunities to grandstand about how today’s readers don’t “have enough deep experiences with art to know that that is what art is for: to break us open, to make us raw, to destabilize our understanding of ourselves and of our world so that we can experience both anew, with fresh eyes,” and so on. (Why is it that people defending purportedly innovative art always seem to fall back on the most shopworn cliches and the hokiest Romantic-hero narratives to do so?) D’Agata’s rhetoric in this section of “The Lifespan of a Fact” is so overblown in comparison to the substance of his quarrels with Fingal that the effect is comical. The freedom to remove a “clunky” comma from the name of a school or to “streamline” quotes from a newspaper interview seems unlikely to catapult a piece from a pedestrian bit of reporting to a “an enactment of the experience of trying to find meaning.”

Nevertheless, a case can be made for what D’Agata wants to do, and in his defense he maintains throughout “The Lifespan of a Fact” that he doesn’t claim to write “nonfiction” or “journalism,” and has never espoused or promised factual accuracy in his essays. However, he is (in “What Happens There”) writing about the death of a real person, a boy named Levi Presley, and Fingal suggests that the “gravity” of this subject urges greater fidelity to accuracy in each detail. D’Agata replies, “The important thing here is the search for meaning … I am seeking truth here, but not necessarily accuracy.”

Here is the crux of the matter and one in which fact checking plays an overlooked role. When I first read “What Happens Here,” long before I became aware of D’Agata’s provocateur status, I could barely finish it, and abandoned the rest of the book. The authorial voice was insufferable — preening and self-important. Many writers are indeed vain, but the good ones are able to keep this from infecting their work. Vanity has the effect of blinding an artist to the very truths D’Agata intends to pursue.

No genre scourges a writer’s delusions of grandeur and omnipotence more fiercely than nonfiction. The fact checker is its whip. Yes, as Fingal discovers in the final pages of “The Lifespan of a Fact,” even official records can contradict each other and sometimes the truth is impossible to determine. But most of the friction between D’Agata and Fingal in “The Lifespan of a Fact” doesn’t involved disputed facts, only aesthetically inconvenient ones. D’Agata would prefer that his interpretation and depiction of reality not be encumbered by having to accommodate such facts. He thinks his essays are better because he refuses to do so.

What effect does it have on a writer to be constantly confronted with facts that interfere with his or her stories about the world? It can certainly be maddening, as many a writer subjected to the ministrations of an overzealous fact checker can testify. It can mean 30-minute conversations about utterly meaningless quibbles. Fact checkers can also save your ass, a service that may not mean much to someone like D’Agata, who doesn’t care about being accurate, but which I have deeply appreciated every time I’ve benefited from it.

Mostly, however, fact checking — not just the experience of being fact-checked but often the mere expectation of it — makes you pay more attention to the world around you. It compels you to stop insisting on what you want things to be and to come to terms with what they are. It is, above all, a humbling experience, a perpetual process of correction that, far from instilling a false sense of certainty, makes you ever more alert to the myriad ways you can screw things up by falling in love with your own ideas or accepting a conventional truth at face value.

To me, this seems far more likely to break a person open and destabilize his understanding of himself and the world than hopping on D’Agata’s magic carpet ride of Art. The pity is that more nonwriters aren’t subjected to fact checking. It may not be fun, but it’s good for you.

“Behind the Beautiful Forevers” is the result of intensive, immersive observation over the course of four years in the life of a Mumbai shantytown called Annawadi. Boo’s technique is as exhaustive as it is self-effacing. She conducts countless hours of interviews with her key “characters,” interviews that, to judge by the results, can be as searching as therapy sessions. She backs these up with documentary research and shoe leather reporting. To establish what actually happened during a crucial event — the self-immolation of a one-legged woman following a dispute with one of the book’s central families — she interviewed 168 people, many of them more than once. She never mentions herself.

It’s tempting to compare the resulting narrative, seamless and intimate, to a novel, but since the reading public appears to be allergic to fiction about people like the Annawadians — poor, foreign and dark-skinned — that would hardly do it justice. This is a scrupulously true story, and therefore comes to us with an added luster of authenticity. But unlike most reporting on the poor, foreign and dark-skinned, “Behind the Beautiful Forevers” mightily resists the urge to treat any of the half-dozen principle characters as examples of their class. The whole point of the book, as Boo states in an interview with her editor included as an afterword, “is to portray these individuals in their complexity — allow them not to be Representative Poor Persons.”

Who are they? Most of them are members of two families, each led by an indefatigable but flawed matriarch saddled with a weak spouse. The Husains are Muslims, migrants from northern India, who have built some modest security for themselves in the trash-picking trade, largely through the sharp eyes and diligence of the oldest son, Abdul. The other clan is Hindu and led by the formidable Asha, a ruthless fixer who aims to make herself the “slumlord” of Annawadi via her connection to the Hindu nationalist political party, Shiv Sena (a sort of Hindu Tea Party). Supporting characters include the bright and curious Sunil, a boy of indeterminate age, who sells his scavengings to Abdul.

Abdul is the quintessential head-down striver, while his brother Mirchi — in whose education the family has sunk a lot of its resources — dreams of “wearing a starched uniform and reporting to work at a luxury hotel” like the ones attached to the nearby international airport. For her part, Asha has raised a beautiful daughter, Manju, who promises to be the first female college graduate from Annawadi, though she’s too tender-hearted for her mother’s tastes and dreads being married off, as planned, to a boy from Asha’s home village. Still, Manju’s lucky compared to her spirited best friend, Meena, whose Dalit (untouchable) family beats her every time she presumes to question their orders or plans for her.

The Husains’ fate takes a turn for the worse when they decide to spend some of their new disposable income on a tile floor for their shack. (The “Beautiful Forevers” of the book’s title refers to a repeating ad for similar tiles, posted on the wall that screens off the slum from the airport road.) Their neighbor — the one-legged, man-crazy and quarrelsome Fatima — virulently objects to the noise, and the ensuing dispute ends with Fatima setting herself on fire after promising to “put you in a trap.” In the hospital, she accuses the Husains: first of burning her, and then of compelling her to burn herself. The case plunges the family into the nightmare world of Indian law enforcement and jurisprudence.

The charge is ridiculous, but this system, which for several years consumes much of the family’s time and nearly all of its money, is less a method of controlling crime and enacting justice than a vast bribe factory for the officials within it. Corruption and cronyism run and shape the world of Annawadi, from the thugs who extort protection money from rag pickers like Sunil to the nun who takes expired food donated to her orphanage and resells it to street merchants. In one of the book’s most eloquent ironies, Manju has to give up teaching the makeshift English classes she’s been offering to the local children because she’s too busy helping her mother administer an entirely fictional network of kindergartens funded by a Western nonprofit.

Boo mostly refrains from generalizing commentary; that’s part of what allows “Behind the Beautiful Forevers” to hug its subjects as closely as their monsoon-drenched hand-me-downs. But when she does choose to pull back a bit, it’s to comment on how magical thinking and conspiracy theory flourish in a world this arbitrary and unjust, a place that so glaringly lacks “a link between effort and result.” A string of deaths in Annawadi are attributed to a curse prosecuted by Fatima’s ghost, and above all, “powerless individuals blamed other powerless individuals for what they lacked … Poor people didn’t unite; they competed ferociously with one another for spoils.”

You can see why some of the people Boo writes about give up, but what’s more striking are the ones who don’t. Abdul in particular makes for an arresting figure, a man struggling to work out the pattern of a virtuous life in an immoral world. Little Sunil cases the city outside Annawadi with an eye to unexploited opportunities. Manju joins a civil defense network so she can study the manners of its middle-class members. By the time “Behind the Beautiful Forevers” winds to a close, it seems almost unbearable not to know whether any of them will succeed. We can’t. What happens next can’t be told because it’s still happening, right now.