Simply put, Michael Chabon is a writer’s writer. When I read his work, there are passages on every page that make me want to stand up and applaud. His gifts are prodigious. Reading popular fiction is like enjoying a snack compared to Michael Chabon’s novels, which are full seven-course meals that leave the reader fully sated.
Born in Washington D.C. in 1963, Chabon burst onto the literary scene with his 1988 “coming of age” novel, The Mysteries of Pittsburgh. It was much more than a coming of age novel. It explored the relationship between a distant, but powerful father and his confused post-college son, in which the father provided everything but love and understanding. It delved into sexual identity and the main character’s confusion about his sexual orientation. The main character skirted the line between the post-graduate world and the murky terrain of low-life criminals. And the prose was typical Chabon—brilliant and compelling.
There followed a five-year period in which Chabon worked on a novel that was never published. Fountain City was planned as the follow-up to his debut novel. It was the story of an architect who dreamed of building the perfect baseball park in Miami. Working under deadline pressure, Chabon eventually abandoned the project, then turned around and finished his second novel, Wonder Boys, in an astonishing seven months.
Wonder Boys, published in 1995, focuses on college professor and doomed author Grady Tripp (played by Michael Douglas in the movie). Tripp is laboring over a weighty manuscript that he cannot seem to get into shape for publication. Meanwhile he is having an affair with the wife of a senior official at the college where he works. And he is mentoring a troubled young student.
Chabon’s third novel, The Amazing Adventures of Kavaler & Clay, saw the author at the peak of his powers. Published in 2000, the novel won the 2001 Pulitzer Prize for literature. The story builds on Chabon’s fascination with comic books as it follows two cousins who meet during the throes of the Depression in the late 1930s, but lose touch during World War II. Comic books provide a backdrop for a dark story in which each man struggles to find his soul in a world that is at once welcoming and hostile.
He next published The Yiddish Policemen’s Union in 2007. This is a fine novel that works both as a hardboiled detective story and as a commentary on geopolitics in the Mideast. Set in a fictional Jewish post-war settlement in Alaska, the novel centers on a down-and-out detective who must solve a complex murder.
Chabon’s literary influences include many noted writers of the 20th Century, including Gabriel Garcia Marquez, Raymond Chandler, John Updike, Philip Roth, and F. Scott Fitzgerald.
His new novel, Telegraph Avenue, can take its place among his best work. Writing in the New York Times, Jennifer Egan (herself a Pulitzer Prize winner), said of Telegraph Avenue, “The novel is equally a tribute to the cinematic style of Quentin Tarrantino, whose films its characters study and discuss, and whose preoccupations pepper its pages: Kung Fu, cinematic allusions and the blaxploitation films of the 1970s; and an interest in the African-American characters and experience.”
It centers on two business partners and dreamers, Archy Stallings and Nat Jaffe, who operate a used record store called Brokeland Records, in a section of Oakland that borders Berkeley, a hodgepodge of cultures and ethnicities and political beliefs. The store is threatened by a megamall development (including a used record store) proposed by a former NFL star named Gibson “G Bad” Goode, sort of a cross between Magic Johnson and Michael Jordan. Meanwhile Archy faces major problems on the home front as his teen-age son whom he hasn’t acknowledged returns from Texas to the surprise of his wife, seven months pregnant. Gwen Shanks has problems of her own as the midwife practice she shares with Nat’s wife, Aviva Roth-Jaffe, faces a lawsuit and possible revocation of hospital privileges from a birth gone wrong. As if that’s not enough, Archy’s wayward dad, blaxploitation film star Luther Stallings, is back in town after a stint in prison and is looking to shake down a prominent Oakland City Councilman who is the key to the development deal.
In one passage, the reader sees Archy at his lowest: “Archy was tired of Nat, and he was tired of Gwen and her pregnancy, with all the unsuspected depths of his insufficiency that it threatened to reveal. He was tired of Brokeland, and of black people, and of white people, and of all their schemes and grudges, their frontings, hustles, and corruptions. Most of all, he was tired of being a holdout, a sole survivor, the last coconut hanging on the last palm tree on the last little atoll in the path of the great wave of late-modern capitalism, waiting to be hammered flat.”
Telegraph Avenue is pure Chabon—robust, scintillating and thoroughly satisfying—but I will review it soon on this blog.