Doctorow's 'Hit' Is a Miss
Last Updated August 12, 2024.
Rereading Ragtime, I find that most of the initial impact has been blunted: Literary shocks are subject to the law of diminishing returns. I find, too, a certain vacuity of literary display. What once seemed verbally startling is now revealed as mostly tinsel. But that Doctorow was superior to most of his American fellow-novelists in his concentration on fiction as form, not as a vehicle for special or ethnic preaching, is made very clear. A rereading of Welcome to Hard Times and The Book of Daniel has confirmed Doctorow's special status. Loon Lake exhibits a new formal direction. It is a difficult book and I don't think it is a successful one. But it is a very honorable attempt at expanding the resources of the genre. (p. 66)
I am happy to learn that Loon Lake is already a popular book…. Happy because, whatever the faults of the work (nearly always the admirable faults of the overreacher), serious students of the novel must recognize here a bracing technical liberation, and such a recognition is being forced upon a readership probably happier with Princess Daisy. The bulk of our popular fiction is the work of either cynics or simpletons. The serious novelist's problem is to be uncompromising and yet to find an audience. Doctorow has found an audience and nothing could be less of a fictional compromise than Loon Lake. Like most writers who consider the craft to be primarily an exploration of the nature of human consciousness, he is brought up against such damnable problems as the validity of memory, the truthfulness of the senses, and, more than anything, the ghastly dilemmas of style. And, behind the epistemological agonies, there rests that basic obligation of all but the French antinovelists—to invent living personages and a convincing spacetime continuum to hold them. Doctorow's characters—Joe, Penfield, Clara, even the grotesque Fat Lady of the carney—are alive, unrefracted by the often wayward medium. That Loon Lake breaks new technical ground and yet possesses so many of the traditional virtues of fiction must be accounted its peculiar distinction. (p. 67)
Anthony Burgess, "Doctorow's 'Hit' Is a Miss," in Saturday Review (copyright © 1980 by Saturday Review; all rights reserved; reprinted by permission), Vol. 7, No. 13, September, 1980, pp. 66-7.
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