New Orleans
“The Unfinished Novel and Other Stories”
Painters, poets, writers and actors tortured by the weight of talent inhabit Valerie Martin's biting new collection.
The first thing that must be said about the stories in Valerie Martin’s new collection, “The Unfinished Novel,” is that they have endings. They don’t simply stop, on a vaguely evocative note, leaving their readers to ponder just what the author is trying to get at. Martin is such a serenely confident author that she’s not afraid to be obvious, which is not to say that her stories are obvious. The short story is a form that doesn’t allow for the layered complications of the novel, and unless a writer really knows how to make all the components work overtime, it can seem pat. Since most writers don’t know how to do that, they shy away from anything too direct or definite, in the hope that hinting rather than telling will make the results seem deep.
The endings to Martin’s stories are so strong that you aren’t left scratching your head, but the more you think about these short fictions, the more their meanings multiply. In the title story, Maxwell, a novelist of middling success, returns to his native (pre-Katrina) New Orleans for a visit, and runs into Rita, an ex-girlfriend who’s done him wrong. She’s lost her looks, lives in a hovel and tries to get him to persuade a local gallery owner that the pottery shards scattered throughout her reeking apartment are ancient Native American artifacts that she picked up “from the Zuni … I’m the only white woman they trust.” But the real focus of his dread is the novel she was working on back when they were both writing students in Vermont; it was good enough then to have evolved into a better book than anything he’s written — that is, if she’s finished it.
Maxwell comes up with a satisfying solution to the dilemma Rita dumps on him, but the story is also teeming with other elements that blossom under consideration — the neglected feral cats in Rita’s neighborhood vs. Maxwell’s own cherished pet, the swampy confusions of New Orleans vs. Maxwell’s sober life as self-made Yankee, Rita’s lurid, preposterous account of her adventures post-Maxwell. All of these feed into the mystery that plagues Maxwell: Has she ever given him anything of value? His final response to Rita’s provocations works both as a kind of acerbic joke and as an acknowledgment that this is one question he just can’t answer.
Another story, “His Blue Period,” is told by a painter who resents an egomaniacal colleague. He envies not only the other man’s talent and success but also his lover, a beautiful, self-sacrificing former dancer. As the narrator tells it, the misery in the story is the direct result of his rival’s unflappable sense of entitlement and the irritating fact that the man really is a superior painter. But the ending neatly flips the story, suggesting that the narrator’s willingness to accept his own second-rate status has done more damage than anything else.
All of the stories in “The Unfinished Novel” are about artists — painters, poets, novelists, actors — and so the enigma of talent looms large in their lives. How much of it do they have, and what are they willing to sacrifice in order to husband it? What kind of life feeds an artist’s gift, and do they really want to live that life, could they even recognize it if it were offered to them? In “The Open Door,” a poet seems to be staggering under the demands of her volatile lover, a woman who gets her into trouble at work, belittles the poet’s “bitter, hateful poems,” flirts shamelessly and insists that they leave the New England university where the poet has tenure and move to Rome. The ecology of this relationship, like most of those depicted here, is not what it seems; by the end of the story, the lover’s seemingly inconsiderate disruptions are poised to save the poet’s life.
Martin likes irony, of the full-fledged, classical variety. What appears to be the case very seldom is, and what her characters profess to love or hate is often the focus of far more mixed emotions. This comes combined with a steely frankness about people’s motivations, as when Maxwell considers becoming the champion of Rita’s novel, and muses “the public eats that stuff up: the fantasy that artists — unlike, say, businessmen — are driven by warm fellow feeling. In their devotion to the religion of art, they are ever seeking, without self-interest or crude competitiveness, to celebrate genius wherever it can be found. There wouldn’t be any money in it for me … I might get some interviews out of it.”
As a result, Martin’s stories have a considerable bite — not quite as sharp a bite as her Orange Prize-winning novel “Property” (2002), but then few books have the cool, pitiless ferocity of that one. Yet none of these stories comes across as bitter, cold or purely satirical; every character in them feels entirely, if sometimes distressingly, human. What Martin shows us about the way artists behave isn’t pretty, but the quiet artistry evident on every page of “The Unfinished Novel” is nothing less than awe-inspiring.
Laura Miller is a senior writer for Salon. She is the author of "The Magician's Book: A Skeptic's Adventures in Narnia" and has a Web site, magiciansbook.com. More Laura Miller.
Hit on the head
For five years, I was haunted by a violent crime and a broken relationship. Then came a twist I never expected
The author in a red dress in a Second Line processional
through the French Quarter. (Credit: Laurence Kretchmer) When I saw the date of Charlotte’s wedding, I felt like I’d been hit on the head. What were the chances? Of all the days to get married – of all the cities to get married in – my friend had chosen the exact date that I met Nick, in the city that I met Nick.
I suspect most couples don’t know the exact date of their first encounter. But then most couples probably don’t have a police report.
It took me a few days to decide to contact Nick. I’d been wrestling with that urge for five years now. My inbox was a shame trail of gushy letters typed after midnight, impulsive notes dashed off in the afternoon. All of them had cutesy subject lines, like the titles of Raymond Carver stories, but they should have been labeled the same thing: “Do you love me again? Have you changed your mind yet?”
Continue Reading CloseSarah Hepola is an editor at Salon. More Sarah Hepola.
The homeless: Pawns in the war on OWS?
A death at Occupy NOLA leaves protesters questioning the motives behind the city's closure of a nearby tent city
A homeless man sets up a tent at Occupy Seattle on Oct. 5, 2011 (Credit: AP/Ted S. Warren) Beneath the veneer of New Orleans’ vibrant culture lies a history of tragedy. From the yellow fever outbreaks of the 19th century, the many catastrophic storms that have visited the city, the violence of the Civil War and Reconstruction, to the vast social dysfunction of contemporary New Orleans, this is a city that has known adversity throughout. It is sadly fitting, then, that Occupy NOLA is one of the few occupations to have witnessed a death at the encampment. Last week, 53-year-old Ronald Dean Howell, known as “Curly” or “Old School” to friends, was found dead in his tent. The coroner’s chief investigator, John Gagliano, stated that the cause of death was “complications from alcohol abuse.” According to other occupiers, the man was homeless, and likely relocated from another tent city at Calliope Street and the Pontchartrain Expressway, which was closed by authorities on Oct. 27.
Continue Reading CloseMatt Reichel is a writer currently living in New Orleans. Respond to him at: mereichel@gmail.com. More Matthew Reichel.
What’s the dirtiest city in America?
It's not New York, Philadelphia or L.A. ...
42nd street, New York City In its June 2011 issue, Travel + Leisure magazine has ranked America’s ten dirtiest cities. Where does your hometown — or favorite tourist destination — fall?
Here’s the list:
- New Orleans
- Philadelphia
- Los Angeles
- Memphis
- New York
- Baltimore
- Las Vegas
- Miami
- Atlanta
- Houston
The ranking is not exactly scientific — it’s based on input from the magazine’s readers, who fill out an annual “favorite cities” survey — but the results hold up fairly well next to the conclusions of other studies. T+L explains:
Continue Reading CloseEmma Mustich is a Salon contributor. Follow her on Twitter: @emustich. More Emma Mustich.
Evacuations in Cajun country after spillway opens
Louisiana reeling from historic flooding
Water diverted from the Mississippi River spills through a bay in the Morganza Spillway in Morganza, La., Saturday, May 14, 2011. Water from the inflated Mississippi River gushed through a floodgate Saturday for the first time in nearly four decades and headed toward thousands of homes and farmland in the Cajun countryside, threatening to slowly submerge the land under water up to 25 feet deep. (AP Photo/Patrick Semansky) (Credit: AP) Renee Ledoux cried when the National Guard and sheriff’s deputies showed up at her front door and warned her she needed to get out to avoid water gushing from the Mississippi River after a floodgate was opened for the first time in four decades.
But by the 5 p.m. deadline Sunday, the 44-year-old Ledoux and her boyfriend Billy Hanchett decided to ride it out one more night on air mattresses inside the empty home in Krotz Springs. They have a camper they plan to stay in on a friend’s property outside the flood zone.
Continue Reading CloseAs water creeps closer, residents warned: Get out
Louisianans flee from floodwater released by the opening of the Morganza Spillway yesterday
A member of the Louisiana National Guard stands guard as water diverted from the Mississippi River through a bay in the Morganza Spillway begins to fill a pasture in Morganza, La., Saturday, May 14, 2011. Opening the Morganza spillway diverts water away from Baton Rouge and New Orleans, and the numerous oil refineries and chemical plants along the lower reaches of the Mississippi. (AP Photo/Patrick Semansky) (Credit: AP) Deputies warned people Sunday to get out as Mississippi River water gushing from a floodgate for the first time in four decades crept ever closer to communities in Louisiana Cajun country, slowly filling a river basin like a giant bathtub.
Most residents heeded the warnings and headed for higher ground, even in places where there hasn’t been so much as a trickle, hopeful that the flooding engineered to protect New Orleans and Baton Rouge would be merciful to their way of life.
Days ago, many of the towns known for their Cajun culture and drawling dialect fluttered with activity as people filled sandbags and cleared out belongings. By Sunday, some areas were virtually empty as the water from the Mississippi River, swollen by snowmelt and heavy rains, slowly rolled across the Atchafalaya River basin. The floodwaters could reach depths of 20 feet in the coming weeks.
Continue Reading ClosePage 1 of 27 in New Orleans
