Reading Charles Johnson’s interview for The Art Of Fiction in The Paris Review is making me think more than I have in sometime about the block I have in my current novel project Absent Son. The block is this: the novel is set in Charleston, South Carolina, during Reconstruction and my first draft had not a single major character who was African-American. I found myself fearful of getting the character wrong.
I had this conversation with my brother Cavana Faithwalker and in his wise way he told me to just write the damn character and not worry about right or wrong; let the character be who he—Xavier Brüt, in this case—wants to be.
In the interview, Johnson offers another perspective on my problem:
I think that black literature has reached a point where it is full of exhausted conventions. The slave narrative and slave stories, for example. You’re always going to have the master, evil or benign. You’re going to have the slave who is content, you’re going to have the slave who isn’t content. There are conventions and threadbare tropes that come up again and again and again. And I wonder if that’s a good thing. We have a tendency to exclusively interpret the black experience in terms of victimization—victimization and oppression. And if that’s not in a story about black characters somewhere, or in a story about the black American experience, some readers will be disappointed, and ask, Where’s the oppression? Where’s the discrimination? It’s an expectation that’s drilled into us in terms of narratives about black Americans. I think it’s racial and political kitsch.
My tendency is to acknowledge oppression but to also call forth other profiles of the black experience, because I know that black life, like all life, outstrips our perceptions, that so much of black life still remains—to invoke Ellison here—invisible, unseen. In my fiction, I have stories where you don’t know what the character’s race is. Or it’s about a character who’s black, but he’s Martin Luther King Jr. and still a grad student finishing up his dissertation, like in Dr. King’s Refrigerator (2005). He’s got a new wife, and that’s what the issue in the story is. He’s spending too much time on his work, away from his wife, and so on. You get to the end of the story, after he’s had a Buddhist epiphany about the interconnectedness of all things based on the food in his fridge, and you know within twelve months Rosa Parks is not going to give up her seat on a bus and he’s going to become a “world-historical” figure, partly prepared for that role by his revelation a year earlier. Those are the human moments important to me—he’s figuring out how to be married and how to deal with all the duties heaped upon a young minister. There doesn’t have to be a big conflict, and there doesn’t have to be a big racial conflict. I don’t believe that’s the totality of our experience.
Twenty years or so ago I made a resolution to read the Torah, the five books of Moses, across the course of a year and I chose the Shabbat class taught by Rabbi Roger Klein as the vehicle to carry through the year. I actually went through three cycles and learned a great deal from one of my greatest teachers. Rabbi Klein liked to extend his teaching beyond the strict text and he would introduce the class to words and authors that many were not strictly speaking intimate with.
That was how I was introduced to Rambam—Moses ben Maimon—and his writings and I remember a particular morning when the word epiphany came up. I don’t recall the context but I remember Rabbi Klein repeating a lesson from his father that if you want to make a word your own, you have to use the word correctly 10 times the day you first lean the meaning. That stuck with me, and reading about Johnson’s description of King’s Buddhist epiphany brought all that back because that’s the way they happen. No one ever went looking for an epiphany and found one. They just happen.
Xavier Brüt isn’t a hero or heroic. He’s a man learning—as is my protagonist Cassius Alexander William FitzRoy—to operate in a world he never expected to experience. Unlike Cassius, however, Xavier lived the transition. He has a memory of what happened and that continuity helps him to cope. Understanding that experience—good fiction is the writer’s attempt to understand what they don’t—is my challenge. How do I write about a life I haven’t lived. Cav’s advice to just write the damn character is spot on, as Johnson elaborates.
CARY GOLDSTEIN: Are there proprietary subjects in American literature? Are there topics or perspectives that are off-limits for exploration by someone who hasn’t had that experience himself?
JOHNSON: It’s tricky. The question is, Can you write outside of the cage of your race, class, gender, or cultural position? We’re talking about it in terms of writing, but these are larger questions about America right now, and they’re reflected in what we say about literature. Who has the right to write about, say, a black woman’s experience? It’s very complicated, and I don’t quite know what to say. And as I said, I will write stories in which the race of the character is not important, a reader will not get any designations of that character’s race, because race isn’t important for the story. Or put it this way—we must, as writers, be able to empathize with the racial, class, gender, and cultural other. We must use our best research and imagination, as I try to do in a few stories in my new collection Night Hawks, to write stories about Muslim American soldiers, Japanese Zen abbots, black people, Plato and the Buddha, and stories that have no racial signatures at all.
That’s tough. When are race, class, gender or cultural heritage not important? Are there universal, human experiences that where we as writers can emphasize with that other? That’s very tough. Goldstein continues:
GOLDSTEIN: And yet, if you weren’t black, you wouldn’t have written the novels and stories you did.
JOHNSON: No, I wouldn’t be writing novels about the things I’m writing about. I am not blind to the illusion of race, I am not blind to American history and the history of race. But I’m not bound by these matters either.
Now, could I write about a white character? Yes, I could, and I have. Remember, I’m trained as a philosopher and a journalist—I had to learn how to take on any assignment. The reason you can’t do this sometimes is because you don’t know people. I’ve read that, overwhelmingly, white Americans live in neighborhoods or communities that are all white, so they don’t have much personal contact with black Americans. They don’t know us. They don’t know how we talk. They don’t know where we came from. They don’t know our individual histories. They don’t know our hearts. They have to project ideas on us that may have nothing to do with us whatsoever. [Emphasis mine, JH] This is the agony we’re facing in America right now, so it’s got to show up in our literature.
My task is to honor Johnson’s vision.