From two recent novels, a story emerges about the future for the Anglophone novel. Both are the result of long journeys. Netherland, by Joseph O’Neill, took seven years to write; Remainder, by Tom McCarthy, took seven years to find a mainstream publisher. The two novels are antipodal—indeed one is the strong refusal of the other. The violence of the rejection Remainder represents to a novel like Netherland is, in part, a function of our ailing literary culture. All novels attempt to cut neural routes through the brain, to convince us that down this road the true future of the novel lies. In healthy times, we cut multiple roads, allowing for the possibility of a Jean Genet as surely as a Graham Greene.
These aren’t particularly healthy times. A breed of lyrical Realism has had the freedom of the highway for some time now, with most other exits blocked. For Netherland, our receptive pathways are so solidly established that to read this novel is to feel a powerful, somewhat dispiriting sense of recognition. It seems perfectly done—in a sense that’s the problem. It’s so precisely the image of what we have been taught to value in fiction that it throws that image into a kind of existential crisis, as the photograph gifts a nervous breakdown to the painted portrait.
Netherland is nominally the tale of Hans van den Broek, a Dutch stock analyst, transplanted from London to downtown New York with his wife and young son. When the towers fall, the family relocates to the Chelsea Hotel; soon after, a trial separation occurs. Wife and son depart once more for London, leaving Hans stranded in a world turned immaterial, phantasmagoric: “Life itself had become disembodied. My family, the spine of my days, had crumbled. I was lost in invertebrate time.” Every other weekend he visits his family, hoping “that flying high into the atmosphere, over boundless massifs of vapor or small clouds dispersed like the droppings of Pegasus on an unseen platform of air, might also lift me above my personal haze”—the first of many baroque descriptions of clouds, light, and water.
On alternate weekends, he plays cricket on Staten Island, the sole white man in a cricket club that includes Chuck Ramkissoon, a Trinidadian wiseacre, whose outsize dreams of building a cricket stadium in the city represent a Gatsbyesque commitment to the American Dream/human possibility/narrative with which Hans himself is struggling to keep faith. The stage is set, then, for a “meditation” on identities both personal and national, immigrant relations, terror, anxiety, the attack of futility on the human consciousness and the defense against same: meaning. In other words, it’s the post–September 11 novel we hoped for. (Were there calls, in 1915, for the Lusitania novel? In 1985, was the Bhopal novel keenly anticipated?) It’s as if, by an act of collective prayer, we have willed it into existence.
But Netherland is only superficially about September 11 or immigrants or cricket as a symbol of good citizenship. It certainly…
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