{"id":7820,"date":"2020-08-06T15:47:59","date_gmt":"2020-08-06T19:47:59","guid":{"rendered":"https:\/\/dooneyscafe.com\/?p=7820"},"modified":"2021-10-24T15:12:24","modified_gmt":"2021-10-24T19:12:24","slug":"a-moment-with-dostoyevsky-james-wood-and-an-obscure-hungarian-writer","status":"publish","type":"post","link":"https:\/\/dooneyscafe.com\/a-moment-with-dostoyevsky-james-wood-and-an-obscure-hungarian-writer\/","title":{"rendered":"A moment With Dostoyevsky, James Wood, and an obscure Hungarian Writer"},"content":{"rendered":"

A few weeks ago while I was reading the June 1, 2020 issue of the New Yorker, I came across a James Wood review of a book of essays by an obscure Hungarian writer named Laszlo F. Foldenyi. The book had an arresting title: Dostoyevsky Reads Hegel in Siberia and Bursts Into Tears, <\/em>and James Wood is of course James Wood, the critic and New Yorker staff writer, not James Woods, the Hollywood actor with the, ah, I think this is precise, longest schlong in the movie industry.<\/p>\n

\"\"

\u00a0<\/p><\/div>\n

\"\"What got my attention wasn\u2019t that Foldenyi\u2019s name has a raft of linguistic markers my word processing program can\u2019t reproduce or that Hungarian writers are currently suspect because their country\u2019s nuttily Trumpist government, or because I began to wonder about the length of James Wood-the-critic\u2019s pecker, or whether James Woods-the-actor\u2019s device was famed for simply its length or if it was notable for its girth and volume as well\u2014or was it girth and volume rather than length?\u00a0 And it wasn\u2019t that I felt surprise that the mention of Hegel didn\u2019t instantly cause me to fall asleep the way it has for most of the last forty years, and it even wasn\u2019t that there was a small possibility that the article might reveal something new about Dostoyevsky\u2019s stay in Siberia, a subject that would normally get my rapt attention for as long as it took.<\/p>\n

It was a chance remark that Wood made, in which he decribed Foldenyi\u2019s premise that Dostoyevsky might weep at reading Hegel as \u201cfaintly farcical, deliberately exaggerated\u2014another of Dostoyevsky\u2019s self-consciously scandalous ‘scenes'”.<\/p>\n

Now, I haven\u2019t much liked the writing of James Wood-the-critic even since I stopped conflating him with James Woods-the-actor, of whom I remain, like most Euro-American males, if not exactly afraid, then at least apprehensive, as in, \u201cWell, he looks fairly normal so how can you tell,\u201d and so on.\u00a0 There’s something about James Wood-the-critic’s writing that reminds me of John Updike despite Wood’s interestingly plebeian British background. Wood, like Updike, seems unnaturally at home in New England, as if he’s always chatting up people in a bookstore just off the campus boundaries of Harvard, driving down back roads in a Volvo wagon to a writing retreat in those special New England hills where it is uppercase Autumn twelve months of the year. Wood-the-critic has a similar cultural self-confidence, too\u2014I mean, the kind that allows him to write a book with title How Fiction Works, <\/em>a subject on which I know damned well that Updike believed himself equally expert.<\/p>\n

But no, this isn\u2019t to do with my slightly embarrassing but impossible-to-expunge envy of people like Wood and Updike, either.\u00a0 It\u2019s about how I disagree with his characterization of Dostoyevsky.<\/p>\n

I read Dostoyevsky while I was a teenager in northern British Columbia, which is a locale with very distinct seasons: very long, cold winters; muddy, miserable springs in which the recurrence of snow, ice and deeper mud are depressingly regular events; short intense summers and then distinctly lowercase autumns so brief that they\u2019re called \u201cfall\u201d and may occur in a single afternoon and never last longer than a week.\u00a0 My youthful climate was, I suppose, much closer to the climate Dostoyevsky experienced in Siberia between 1849 and 1854 before he was sent to only-slightly more benign Semipalatinsk, <\/em>which is somewhere southwest of Siberia but still geographically remote and inhospitable weather-wise enough that Hegel, Updike and James Wood-the-critic couldn\u2019t seriously imagine what it was like. Still, that\u2019s not what got my attention, either, and it\u2019s not why I\u2019m writing this.<\/p>\n

\"\"<\/p>\n

I\u2019m writing this because of an insight I had about Dostoyevsky while I was reading The Devils, <\/em>or as it\u2019s more often called, The Possessed, <\/em>fifty years ago. \u00a0The insight actually arrived not while I was reading but while I was talking to someone about<\/em> reading The Possessed<\/em>, a woman who offered the opinion that she couldn\u2019t get around the way Dostoyevsky wrote dialogue. She said to me that it all felt like scatter to her\u2014or filler, she added, now triumphantly, no doubt remembering that most of Dostoyevsky\u2019s work was written for serialization in magazines and therefore, the more words the better.<\/p>\n

My insight was that Dostoyevsky\u2019s dialogue had nothing to do with scatter or serialization filler. To me, Dostoyevsky\u2019s dialogue sounded like real life. Yes, there was a lot of it, and yes it went all over the place, but no, it didn\u2019t sound scattered or like filler to me.\u00a0 It sounded like the way the people around me talked\u2014not very coherently, often just to make enough noise to drown out the other people yapping around him or her, who were also talking nearly always as incoherently and inarticulately.\u00a0 Or maybe people talked like that because they wanted to get enough words in the air around them that they could, with their educations less extensive and certainly less prestigious than those of James Wood-the-critic or John Updike, make sense of them, understand what they were saying, or maybe just get a vague sense of what might be possible to understand.<\/p>\n

I\u2019d spent most of my life listening to people who didn\u2019t make any sense when they spoke. To me, that seemed to be the way of the world. And because I was young and not very confident\u2014possibly because I was reading writers like John Updike who wrote as if it was always Autumn and everyone around him knew exactly who they were and who the others around them were, and why it was natural that everyone had a Volvo instead of a muddy pickup truck and spent endless amounts of time either driving to retreats in the always Autumny woods, or actually inside the retreats where the red and yellow leaves were falling outside the windows in ways that complimented the deep confident thoughts of the people inside the retreats, thoughts which seemed to issue from their large, culturally-confident brains in orderly, calm trains, whereas any thought entering my Northern B.C. brain felt so alive and chaotically surprising it felt as if it was going to electrocute me.<\/p>\n

And so, at 6:30 AM of a sunny July morning in downtown Toronto where I now live, remembering that Dostoyevsky wrote dialogue the way the people around him spoke and thought and not as an exaggerating instrument of \u201cself-consciously scandalous \u2018scenes\u2019 \u201d, I was able to reaffirm my solidarity with the vast diaspora that James Wood-the-critic and John Updike knew and know nothing about, the landscapes and climate and social polity of places like Siberia and Northern British Columbia and probably 95 percent of the rest of the world, and which I shared with Dostoyevsky.<\/p>\n

Moments later, because I am now old enough to be confident about both what I know and don\u2019t know, I ordered both Laszlo F. Foldenyi\u2019s Dostoyevsky Reads Hegel in Siberia and Bursts Into Tears, <\/em>and How Fiction Works<\/em>, by James Wood-the-critic.<\/p>\n","protected":false},"excerpt":{"rendered":"

Brian Fawcett recalls something he discovers about how Dostoyevsky wrote dialogue that leads him to take a swing at James Wood, (the critic, not the actor)<\/p>\n","protected":false},"author":65,"featured_media":7857,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[17,19],"tags":[1447,1444,1445,115,1446,1448],"ppma_author":[1530],"jetpack_publicize_connections":[],"acf":[],"yoast_head":"\nA moment With Dostoyevsky, James Wood, and an obscure Hungarian Writer - dooneyscafe.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dooneyscafe.com\/a-moment-with-dostoyevsky-james-wood-and-an-obscure-hungarian-writer\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A moment With Dostoyevsky, James Wood, and an obscure Hungarian Writer - dooneyscafe.com\" \/>\n<meta property=\"og:description\" content=\"Brian Fawcett recalls something he discovers about how Dostoyevsky wrote dialogue that leads him to take a swing at James Wood, (the critic, not the actor)\" \/>\n<meta property=\"og:url\" content=\"https:\/\/dooneyscafe.com\/a-moment-with-dostoyevsky-james-wood-and-an-obscure-hungarian-writer\/\" \/>\n<meta property=\"og:site_name\" content=\"dooneyscafe.com\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/pages\/Dooneyscafecom\/182466621768663\" \/>\n<meta property=\"article:published_time\" content=\"2020-08-06T19:47:59+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-10-24T19:12:24+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/dooneyscafe.com\/wp-content\/uploads\/2020\/08\/Laszlo-F.-Foldenyi.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"800\" \/>\n\t<meta property=\"og:image:height\" content=\"500\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Brian Fawcett\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@DooneysCafe\" \/>\n<meta name=\"twitter:site\" content=\"@DooneysCafe\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Brian Fawcett\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/dooneyscafe.com\/a-moment-with-dostoyevsky-james-wood-and-an-obscure-hungarian-writer\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/dooneyscafe.com\/a-moment-with-dostoyevsky-james-wood-and-an-obscure-hungarian-writer\/\"},\"author\":{\"name\":\"Brian Fawcett\",\"@id\":\"https:\/\/dooneyscafe.com\/#\/schema\/person\/207dbbfd8b62d4871d8fb60d66343e00\"},\"headline\":\"A moment With Dostoyevsky, James Wood, and an obscure Hungarian Writer\",\"datePublished\":\"2020-08-06T19:47:59+00:00\",\"dateModified\":\"2021-10-24T19:12:24+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/dooneyscafe.com\/a-moment-with-dostoyevsky-james-wood-and-an-obscure-hungarian-writer\/\"},\"wordCount\":1199,\"publisher\":{\"@id\":\"https:\/\/dooneyscafe.com\/#organization\"},\"image\":{\"@id\":\"https:\/\/dooneyscafe.com\/a-moment-with-dostoyevsky-james-wood-and-an-obscure-hungarian-writer\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/dooneyscafe.com\/wp-content\/uploads\/2020\/08\/Laszlo-F.-Foldenyi.jpg\",\"keywords\":[\"\\\"Dostoyevsky reads Hegel in Siberia and Bursts Into Tears\\\"\",\"Fyodor Dostoyevsky\",\"James Wood\",\"John Updike\",\"Laszlo F. 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He's the author of many books, including \"Cambodia: A book for people who find television too slow\" (1986), \"Gender Wars\" (1994), \"Virtual Clearcut, or The Way Things Are in My Hometown\" (2003), \"Local Matters: A Defence of Dooney's Cafe and other Non-Globalized People, Places, and Ideas\" (2003) and \"Human Happiness\" (2011). 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