Anne tyler criticism and essays
She writes detailed background notes on each of her characters, most of which she doesn't use, and she has to like them. Every so often in the plotting stages, she says, "I have come up with a character, looked at him closely and said 'he's out'. I can't stand him for that long. Her "good characters have serious flaws, and quite base motives, but none are evil". She even likes Cody in Dinner at the Homesick Restaurant , whose sibling rivalry leads him to steal the love of his brother Ezra's life. Her favourite is the pathologically forgiving Ezra who makes walk-on appearances in several later novels, she reveals.
Many of her books can be read as studies in the rather unfashionable virtues of gentleness and goodness, the question of "how to live" also addressed in Carol Shields's Unless and Hornby's How to Be Good. In person there's no glint of that little shard of ice, to be found in the most benign of writers. Even on this she has wry insight: "Cody hated the radiant, grave expression that Ezra wore sometimes; it showed that he realised full well how considerate he was being.
The title Dinner at the Homesick Restaurant captures the dichotomy on which her fiction rests: nearly all the characters are homesick in some way — either longing for home, or completely sick of it. This conflict between security, inheritance, love, and their corollaries independence, solitude and freedom, drives many of her narratives: characters are always running away from, or returning to, the marital or childhood home.
Kakutani has argued that for Tyler these represent "the two imperatives in American life ". For some it seems Tyler's work is just too darn "homely" to be a contender for Great American Novel status — adjectives such as "homespun", "heartwarming" and "cosy" pop up alongside the superlatives in reviews — even though books by male contemporaries are meditations on the same theme Franzen's latest bumper family novel isn't called Freedom for nothing , and twice as long.
There's not enough sex for a start. And if she doesn't follow Updike into the bedroom, it sometimes seems she doesn't venture outside the house either. Tyler rivals Austen in her myopic focus; in an oeuvre spanning the whole of postwar American history, only the second world war and the 70s counter-culture get due mention.
Where to Start When Reading Anne Tyler
The passing of time, on a personal scale, is one of her most affecting themes; her observations on human motivations and relationships are so wise and finely nuanced that they make those of most of her peers seem callow and strained. But it's true that some of her novels fall the wrong side of sentimental. One critic in the Chicago Tribune crowned Tyler "our foremost NutraSweet novelist" ; another compared her fiction to Quaker instant oatmeal: "Though the product may be bland, it is nevertheless warm and comforting.
No, she says mildly. I would say piss and vinegar for Roth and for me milk and cookies. I can't deny it. I don't think I'm like one of those little old ladies where everything is so sweet that there's no traction there. I didn't like Patty and I wonder if I could have lived with her for however long it took him to write Freedom. It is probably that I just want to be with nice people, which sounds very milk and cookies, I know. Another criticism levelled against her is that her male characters are not just lacking in piss and vinegar, but testosterone too.
And they are a fairly forlorn bunch. Think of Macon Leary in The Accidental Tourist , reluctant to step out of his front door; Ian Bedloe in Saint Maybe , who spends 20 years atoning for a teenage mistake, renouncing everything from sex to sugar; and poor old Ezra, who spends his life trying to get his family to finish one meal together. Defined by passivity, their lives have drifted along until something, usually tragic, jolts them out of their stupor.
Aaron, with his leg-brace, stutter and bossy sister in The Beginner's Goodbye is no exception. I don't think they are wimps," she says. If you look very closely at anybody you'll find impediments, women and men both. Why does she think her novels have such a strong male following? Growing up in a male-dominated family, "amazing grandfathers, father, brothers and husband", she felt more comfortable with them.
I got to know them well, because I was so interested in them and liked them.
When I'm writing from a man's point of view, particularly if it is first-person, all of a sudden I'm aware of how confined I feel, how I can't use that word because it is emotionally charged, too gushy. I feel I'm walking this narrow path with high walls on either side of me. The first time I realised I was so surprised, I thought, well here we are always worrying about women's liberation, but how about men? Although feminism, like other external forces, seems to have passed Tyler's fictional worlds by, the women conforming to traditional roles, her work is full of strong, believable female characters: the formidable, if not very likeable, Pearl Tull, or well-meaning Maggie in Breathing Lessons.
And she is one of very few contemporary novelists unafraid to place mothers — and even grandmothers — at the heart of her books. For a writer "the post-marriage stages are so much more interesting. Year after year, grating along together, adjusting to each other's foibles and flaws. Despite the determined sunniness of her novels her only clearly unhappy ending, in Celestial Navigations , was unplanned , every so often the melancholy refrain in the background can be heard with plangency.
It is there that he meets his wife, Delia, and raises his family.
Sam finds contentment in his decisions and does fulfill his dreams of success, but he does so on his own. He rebelled against his controlling parents because he had aspirations of his own; he had dreams that did not coincide with his parents, yet he did not let that hold him back. The end result is a life with no regrets and full of much happiness. Another character that feels restrained by his parents is Donny, who appears in the short story Teenage Wasteland. Donny feels restricted by his parents when it comes to his scholastic work. He often feels that they come down on him too hard and expect too much from him.
When he is referred to a tutor due to poor grades he receives in school, the response seems to be a positive one. The tutor, Cal, provides a relatively restriction-free environment that appears to be like a club, but in due course does not benefit Donny in the least Wasteland Even while with Cal, Donny struggles with school until ultimately he is expelled.
Anne Tyler as Novelist | University of Iowa Press
A confrontation occurs with his parents, which results in his departure from home. Donny is never heard from again, and it can be presumed that he attains the life of freedom that he longed for. While running away from ones problems is not ever the best thing to do, for Donny it was his only option.
Since he found no happiness from within his family nor from anything else in his town, he sought escape in order to attain a better life on his own. Yet another instance of a characters escape from a family situation is seen within Your Place Is Empty.
Anne Tyler: the human face of America
Hassan Ardaui finds that living with his family in his native country of Iran is too consistent as well as conventional. He abandons his family along with his traditional Islamic beliefs that entail his remaining at home and raising his family alongside his mother and father, just as they had done before him. Hassan chooses instead to follow his own aspirations. He immigrates to America where he pursues a career as a doctor in a very prestigious hospital.
Hassan, upon arriving in America, meets and falls in love with Elizabeth. They marry and move into the suburbs where they begin raising. Kakutani described Saint Maybe in a similar manner: "Moving back and forth among the points of view of various characters, Ms.
Tyler traces two decades in the lives of the Bedloes, showing us the large and small events that shape family members' lives and the almost imperceptible ways in which feelings of familial love and obligation mutate over the years. The real heroes to me in my books are first the ones who manage to endure. Tyler is not without her critics. The most common criticism is that her works are "sentimental," "sweet," and "charming and cosy.
In a recent interview, Tyler responded to such criticisms:"For one thing I think it is sort of true. I would say piss and vinegar for [Philip] Roth and for me milk and cookies. I can't deny it…. Tyler's earlier characters tended to be situated within a thick matrix of finely nuanced familial relationships that helped define both their dreams and their limitations; the people in this novel, in contrast, seem much more like lone wolves, pulled this way and that by the author's puppet strings…. Tyler's famous ability to limn the daily minutiae of life also feels weary and formulaic this time around….
As for the little details Ms. Tyler sprinkles over her story…they, too, have a paint-by-numbers touch. They add up to a patchwork novel that feels hokey, mechanical. Tyler has also been criticized for her male characters' "Sad Sack" nature and their "lack of testosterone. I don't think they are wimps. People are always saying we understand you write about quirky characters, and I think, isn't everybody quirky?
If you look very closely at anybody you'll find impediments, women and men both. Over the last couple of decades, Tyler has been quite forthcoming about her work habits—both in written articles and in interviews. She is very disciplined and consistent about her work schedule and environment. She starts work in the early morning and generally works until 2 pm.
Since she moved to the Roland Park neighborhood of Baltimore, she has used a small, orderly corner room in her house, where the only distractions are the sounds of "children playing outside and birds.
She begins her writing by reviewing her previous days' work and then by sitting and staring off into space for a time. She describes this phase of writing as an "extension of daydreaming," and it focuses on her characters. Over the years Tyler has kept files of note cards in which ideas and observations have been recorded. Characters, descriptions, and scenes often emerge from these notes.
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Tyler's advice to beginning writers: "They should run out and buy the works of Erving Goffman , the sociologist who studied the meaning of gesture in personal interactions. I have cause to think about Erving Goffman nearly every day of my life, every time I see people do something unconscious that reveals more than they'll ever know about their interiors.
Aren't human beings intriguing? I could go on writing about them forever.