“To be without a feeling for art is no disgrace. A person can live in peace without reading [novels] or listening to [music]. But the misomusist does not live in peace. He feels humiliated by the existence of something that is beyond him, and he hates it. There is a popular misomusy… The fascists and Communist regimes made use of it… But there is an intellectual, sophisticated misomusy as well: it takes revenge on art by forcing it to a purpose beyond the aesthetic… The apocalypse of art: the misomusists will themselves take on the making of art; thus will their historic vengeance be done.”

–Milan Kundera, The Art of the Novel


“Misomusist: n. rare A person who hates learning (also, in recent use: art).”    



With Kundera’s strong opinions and talent for rhetoric come a penchant for overstatement, even hyperbole; an inclination that causes him to contradict himself from time to time. This is the problem with broad pronouncements—statements of absolutes, even from a master like Kundera—there is almost always an exception to the rule, whatever the rule. In this instance, Kundera’s work, and its focus on the political, provides the exception.

Kundera’s concept of the novelist as someone who poses questions (rather than answering them) is a notion I return to often, and his idea on the misomusist’s hatred of learning and art seems linked to that, even though it might not initially appear so. When Kundera speaks of misomusy, he’s speaking metaphorically, not issuing a metal-clad prohibition against “any vestige of the political in art,” even though it sounds as though he’s suggesting just that—that if we want to save poor, little Art from the encroaching idiot hordes we’d better stuff it in a covered wagon and get the fuck out of Dodge.

If we peel back Kundera’s hyperbole, he’s speaking of a problem of degrees, the way too much focus on politics, religion, or commerce (as examples) might negatively impact art. Though Kundera almost certainly wouldn’t approve, you might even extend the point to include too much “artistry,” suggesting that if you are too concerned with pursuing beauty as you see it, whether out of some overly idiosyncratic aesthetic or a lack of more visceral narrative elements like plot and story, you could damage your own art, create something unrecognizable to anyone but yourself.

Set deep in literature’s make-up—perhaps essential enough even to qualify as its DNA—are the ideas of knowledge and progress as identifiable, worthy concepts. We read not only for aesthetics and entertainment, but to expand the scope of our worlds. We read to engage with other cultures and people, to live other lives. And, to some extent, what I want from a writer is their unvarnished perspective on the world. If that view is heavily informed by politics (whether they be governmental or those of race or gender), so be it.

Several of the books I’m covering this month could be considered political, though some are certainly more overt in their politics than others. As someone who writes about politics at times, who has his own strong opinions, I’d say the challenge is (as Kundera has suggested elsewhere) to avoid absolute certainty in your fiction, to maintain some level of impartiality, even though as human beings demanding perfect political neutrality of ourselves is a doomed proposition. Ultimately, you must do what makes sense to you, regardless of what the great Milan Kundera or little, old me say. The only test of success is the reader’s response, the impartial (though always partial) answer to the question, “Does it work?”

Please enjoy the trailer for James Boice‘s critically acclaimed new novel, The Good and the Ghastly. Tom Chiarella of Esquire calls it “great…[a book] that speak[s] broadly to what we want from a novel, and more specifically to what we should demand from emergent writers — reformulation, reinvention — something new about the world beyond them…. The conflict between a rising gangster and a vigilante mother who pursues him is open and epic in its curve. The prose, ringingly clear, sometimes maddeningly flat, is always well footed.” Published by Scribner.

I get my belongings from the desk in the discharge office. They give me the ratty clothes I was wearing the day they brought me in, all in plastic bags, one for each garment, even one for my underwear, all of them then placed into another, bigger plastic bag. Then they put me in the bathroom, tell me to get dressed. You gotta be shitting me. I tell the guard who brought me into the bathroom to wait hold on just a sec. While he watches impassively arms crossed I dump the big plastic bag full of little bags onto the tiled bathroom floor. I take each garment out of its nice labeled little bag.

What is your new novel, The Good and the Ghastly, about?

A gangster and a vigilante and the future and the nature of evil. It takes place after the world has been annihilated by nuclear war. But way after. So, like, The Road and all those books you have read and all those movies you have seen about desolate post-apocalyptic wastelands and books about zombie wars or whatever—The Good and the Ghastly takes place like a thousand years after all that. Man has endured, like the poets always said he would. And we have rebuilt civilization. So, still having our human nature, things are basically the same as they are now, in our current time before we have ended civilization.  History is repeating itself. America is Second America. The government and everything else has been entirely privatized and is owned by Visa. And so on.