Category Archives: Updike in Context

Washington Post reviewer considers Richard Ford’s Frank Bascombe alongside Updike’s Harry Angstrom

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The Washington Post has a paywall, but if you’re a subscriber you might want to read John Williams’ thoughtful extended review of Richard Ford’s newest book, Be Mine: “A Eulogy for everymen: Updike’s Rabbit and Ford’s Frank Bascombe.”

Calling the two fictional characters “quintessentially 20th-century protagonists,” Williams began by establishing a relationship between the two:

“Harry “Rabbit” Angstrom and Frank Bascombe have been mentioned together quite often for two men who don’t have all that much in common. John Updike introduced Angstrom in 1960 in Rabbit, Run, the first book in his vaunted series about a suburban salesman. Richard Ford, who was only 16 in 1960, has just published Be Mine, the fifth book featuring his garrulous, uncannily even-tempered narrator Bascombe, who first appeared in The Sportswriter.

“In 2014, Ford told the New Yorker that the relationship between his books and Updike’s was “complicated,” elaborating: “I have to say, with no reluctance, that if John hadn’t written the Rabbit books I might not have thought (as his contemporary) that three, then four, books about a real-estate salesman in New Jersey could be plausible.” He went on to highly praise Updike but also noted that he had read only one of the four Rabbit novels all the way through.

“Aside from the obvious fact that they are protagonists of multivolume series by popular and acclaimed writers, Rabbit and Frank have been linked throughout the years by what they’ve been taken to represent: Each has been called an ‘everyman’ too many times to count. It’s a word — and a projection — redolent of the 20th century. We’re too culturally atomized now to expect even broadly drawn individuals to reflect our collective life in any meaningful way, and of course those labeled ‘everyman’ have nearly always been White suburban males, whose relevance as cultural avatars (much less weathervanes) has been in steep decline. This all leaves aside the fact that Ford and Updike have both written eloquently to say that these characters are not meant to represent anything but themselves.”

Read the whole article.

Is Henry Bech an act of cultural appropriation?

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Writer Jennifer Anne Moses said she doesn’t think so.

In “Artists, like myself, appropriate culture—and that’s OK,” Moses defended a white poet who came under fire in The Nation for a point-of-view poem from the perspective of a black homeless person.

“I’m white and Jewish. Post-college, I wrote about people who look like me. Then I moved to Baton Rouge, Louisiana, where I volunteered in an AIDS hospice, largely among African-American, underprivileged, full-Gospel Christians. I sat with them, held their hands, and heard their stories. I did this for 10 years, and when I moved back east, I turned their real lives into fiction,” Moses wrote.

“Was I guilty of cultural appropriation? A few people who read the book said I was. But those in the hospice who read my book thanked me. To this day, I’m glad I did what I did, because if I hadn’t written about this one tiny corner of humanity, then nobody would have.

“True, I had little in common with the people who inspired the characters I conjured—other than, you know, we all bleed red.

“Who has the right to write it?

“If artists shied away from using the specifics of cultures other than their own, including oppressed and marginalized ones, the world would not have works such as Sophie’s Choice, Sounder, The Canterbury Tales, Uncle Tom’s Cabin, Othello, Tobacco Road, or Heart of Darkness. So what if George Eliot (Mary Anne Evans) was about as Jewish as George Washington? Had she not been the genius she was and dreamed up the conflicted Jew Daniel Deronda, he, and his book, would simply not exist.

“Yet many smart people are appalled by ‘cultural appropriation,’ comparing it to a kind of ‘stealing.’ If whites (or members of other privileged groups) borrow bits of a minority or oppressed group’s culture, they say, they’re depriving that group of a chance to tell its own stories.

“But is that really true? The fact that Stevie Ray Vaughan (who was white) sang the blues certainly didn’t mean that B.B. King (who was black) couldn’t sing them, too. John Updike (who was a gentile) wrote several books featuring Jewish characters, but that sure didn’t mean that Philip Roth (who was Jewish) couldn’t write about them too.”

Moses is the author of Visiting Hours, Tales from My Closet, Bagels and Grits: A Jew on the Bayou, The Art of Dumpster Diving, The Book of Joshua, and The Man Who Loved His Wife. Read her entire August 22, 2018 ed-op piece in The Daily American.

AI John Updike? The man would be horrified, wouldn’t he?

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Dark web. Deep AI. Sounds sinister, doesn’t it? And one could picture it becoming so in an Updike novel . . . or at least something that leads to unintended consequences. Now you can “chat” with John Updike via Deep AI (artificial intelligence). Fans of Updike know how much he loved words and the physicality of words on the page and books in the hand, and know how much he even resented interviewers and biographers for “mining” his life. Certainly he would find this unsettling, wouldn’t he? Some readers will embrace this; others will not even want to click on this Pandora’s Box. But here it is.

How do you describe Wes Anderson’s characters? By invoking John Updike

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In “The Definitive Ranking of Every Single Wes Anderson Character,” superfans Mark Asch, Charles Bramesco and Jesse Hassenberger took on the gargantuan job of considering how “Anderson collects things and people” and trying to assess the “many traits that make a Wes Anderson character memorable or quintessential to the filmmaker’s project—intellectual curiosity, reckless rambunctiousness, melancholy that clings like a fog, lovable selfishness, epigrammatic wit, sartorial fastidiousness, facial symmetry—” and rank the characters.

“One recurring theme of these blurbs will prove to be family; another will prove to be the lure of the past for Anderson and his characters. Meanwhile, a recurring theme of all the horrible A.I. art generated from a ‘[X] directed by Wes Anderson’ prompt that you may have seen chumming your Twitter feed recently is visual symmetry. In ‘The Guardians,’ a 2001 short story by John Updike, the protagonist, raised by two parents and two grandparents, ‘felt the four adults as sides of a perfect square, with a diagonal from each corner to a central point. He was that point, protected on all sides, loved from every direction.’ We meet many of Anderson’s characters already in mourning, sensing love’s enveloping geometry thrown out of balance, and seeking a return to the symmetry of their once-intact families. Everything is in its right place in every one of Anderson’s shots, but these ghosts [The Dead: Chas’s wife in The Royal Tenenbaums, Auggie’s wife in Asteroid City, Max’s mom in Rushmore, the Whitman patriarch in The Darjeeling Limited; Esteban in The Life Aquatic, everyone, eventually] remind us that this, too, is a temporary state.”

Updike cited in political column

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America is more politically divided than ever, but it seems ironic that John Updike, who had been accused of being not political enough in his writing, recently turned up in a political column.

Writing for the blog PowerLine, Scott Johnson invoked Updike for an ed-op piece titled “Six Theses on Hunter Biden’s Plea Deal.” In a wryly written column, Johnson wrote, “We can see why President Biden is proud of his son. He’s not only the smartest person he knows—he’s smarter than President Biden, anyway—he has unbelievable skating ability. Having declared his knowledge of Hunter’s innocence of wrongdoing for several years now, President Biden can now praise Hunter’s endurance in the face of this great injustice. In the same sense, President Biden is innocent too! Only more so.

“One of John Updike’s stories about his alter ego Henry Bech is titled ‘Bech Third-Worlds It.’ (The story is collected in Bech Is Back.) The United States has been Third-Worlding it for a while now. With the federal indictment of President Trump pending in the documents case, the Hunter Biden case reminds us that our system of justice has devolved into a ritualized Third World farce. It is useful in that sense.”

Ann Beattie speaks to Updike’s descriptive powers

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In a March 2023 interview with V.V. Ganeshananthan and Whitney Terrell, Ann Beattie talked about her new collection of essays, More to Say: Essays and Appreciations, which contains an essat on “John Updike’s Sense of Wonder.” Beattie was the keynote speaker at the 1st Biennial John Updike Society Conference in Reading, Pa., back in 2010, and a version of her talk—and this chapter—was published by The John Updike Review in 2011.

The Lit Hub-hosted interview series noted that in the interview Beattie discussed “her recent LitHub essay about Donald Barthelme’s short story ‘The Balloon’ and the Chinese spy balloon. She also talks about her recently published first collection of essays, More to Say: Essays and Appreciations, in which she writes about the work of authors, photographers, and artists she admires, including Elmore Leonard, Sally Mann, John Loengard, and her own husband, visual artist Lincoln Perry.

“Beattie explains why as a nonfiction writer, she prefers close looking and reading; considers defamiliarization in the hands of Barthelme and Alice Munro; analyzes former visual artist John Updike’s depiction of the natural world; and reflects on developing increased comfort with writing about visual art. She also reads excerpts from both her Lit Hub piece and the essay collection.”

Here’s the link to the Lit Hub interview.

Updike on Pulitzer Prize-winner Colson Whitehead

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Photo: Colsonwhitehead.com

Ninety-three American writers have won the Pulitzer Prize for Fiction since the award was first given in 1918 to Ernest Poole for the novel His Family. Only four writers have won the prize more than once: Booth Tarkington (The Magnificent Ambersons, Alice Adams), William Faulkner (A Fable, The Reivers), John Updike (Rabbit Is Rich, Rabbit at Rest), and Colson Whitehead (The Underground Railroad, The Nickel Boys).

Erin McCarthy’s reasons for writing about “7 Pulitzer Prize-Winning Novelists” for Mental Floss aren’t divulged—only “here are a few other authors whose books have nabbed the prestigious prize”—but she reminds us of Updike’s response to Whitehead, who was nominated for his first Pulitzer in 2002 and won in 2017 and 2020, after Updike had died.

Updike said that Whitehead’s writing “does what writing should do. It refreshes our sense of the world.” Years later, the Pulitzer jury would echo that in calling The Underground Railroad “a smart melding of realism and allegory that combines the violence of slavery and the drama of escape in a myth that speaks to contemporary America.”

Of Updike, McCarthy wrote, “John Updike, the author of more than 25 novels, won Pulitzers for two books in his series that follows ex-athlete Harry ‘Rabbit’ Angstrom: Rabbit Is Rich (1981) and Rabbit at Rest (1990), the latter of which ends with Rabbit’s death. In 1997, Updike described ending the series as ‘kind of a relief. … It wasn’t as sad for me as perhaps for some of my readers. Writers are cruel. Authors are cruel. We make, and we destroy.’ The character of Rabbit, Updike said, ‘opened me up. As a writer, I could see things through him that I couldn’t see by any other means.'”

Sexting origin can be traced to 1828, and of course Updike noticed

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What kind of person texts photos of their sexual body parts? Don’t pass judgment. The origin of “sexting” goes back at least to 1828 and the story of a “trailblazing miniature portrait artist named Sarah Goodridge and a lawyer named Daniel Webster.” The devil you say?

Goodridge was “smitten with Webster,” wrote Tom Taylor of Far Out Magazine, and “a passion blossomed between and her new favourite subject” as he posed for his portrait. But the artist painted something a little extra and she would “offer the world the first sultry private nude. Obviously, her breasts were far from the first to be cast in watercolour, but they were the first to be painted in a self-portrait fashion and sent off secretly to an admirer—in essence, the exact same as a modern ‘nude’.

“She daubed her bare chest—cast very skillfully in the 3D fashion of optics—and proud pink nipples on a 2.5 x 3.1-inch block of ivory. She then sent this off in a carefully concealed package to Webster who is said to have somehow lifted his desk without the use of his hands when he opened up according to his deputy sitting opposite who was subsequently chaperoned out of the room.”

The piece, now known as Beauty Revealed, is “renowned not only for its place in sultry history but also for its skill and forward-thinking liberation. While the effort may not have won Webster’s hand in marriage, as she may have intended, the pair remained devoted in some way” and the “legacy of her work lives on, as John Updike puts it in the essay ‘The Revealed and the Concealed’: ‘Come to us and we will comfort you, the breasts of her self-portrait seem to say. We are yours for the taking, in all our ivory loveliness, with our tenderly stippled nipples.’ But from less of a male gaze perspective, maybe she was just feeling horny, playful, and frankly, very creative.”

Read the whole article and see the painting.

Updike’s essay “The Revealed and the Concealed” was not included in any of his three collected writings on art—Just Looking (1989), Still Looking (2005), or the posthumously published Always Looking (2012).

Updike’s Couples in the news again?

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The Gothamist recently published a small news-muse item about an establishment in Berlin, Connecticut that was “busted for violating the town’s ordinances on sexually oriented businesses.”

Couple swapping is apparently legal there, but not charging an entry fee for swingers. “Gotta love suburbia,” The Gothamist wrote, adding, “John Updike literally wrote the book on couple swapping: Couples. And The Ice Storm featured key parties and wife-swapping (read the book or watch the film).”