Monday, 6 June 2011
There's something bittersweet about delving into a favourite author's early work. It's pretty exciting to see how an author has grown over the years; what talents they always had, what weaknesses they have or haven't lost, which aspects were seeded long before they were developed.
But on the other, more emotive and less rational, hand; what tainted greatness, how boringly humanising, how utterly demythologising. I mean, it's really comfortable to believe that greatness is something separate, inherent and unchanging; that it is emergent, changable and the outcome of (shudder) work is far more awkward.
The Mysteries of Pittsburgh is a great example of this bubble-bursting, but an even better example of the growth of an author. For all it's weaknesses, it is still undeniably from the same hand as The Yiddish Policemen's Union and Kavalier & Clay (although I know there's people who don't agree with that).
Thematically Pittsburgh is completely on-canon. It's almost a mission statement for the rest of his ouvre to date, complete with a nod to the world of genre in its hidden mafia background. The weaknesses mentioned are not thematic, they're in the prose and structure.
Much of it is overwritten, and the cleverness is pushed too far forward. The structure feels somehow naive, complete with unsatisfying but overly-ended ending. 'But he was only 23 when he wrote it!', some might say. And while that is fantastically impressive, it's not an excuse.
A lot of the novel's strength, its perfect render of the intensity of youth, are due to Chabon's age when writing it; if he gets the praise for age-related pros, he can take the criticism for age-related cons. 23 is not an excuse.
My favourite thing about this novel is what's wrong with it. Unsatisfying structure and unwieldly prose? This is Chabon! Those are among his greatest strengths, in recent works. And greatness as the outcome of (shudder) work is not so bad after all.