This subjective mode of thinking, this habit of taking the personal measure of large and seemingly impersonal forces, is the source of many of the intellectual and dramatic conflicts, and many of the ironies, in Franzen’s fiction and non-fiction alike. One of the distinctive features of Franzen’s excursions into cultural criticism in books such as How to be Alone (2002) and The Kraus Project (2013) is the extent to which his experiences, feelings and self-reflections are presented as intrinsic to his understanding of broad cultural questions.
And it is hard to think of any other writer who has approached these issues in such personal terms. There are few writers who have been as earnest and forthright in lamenting the fate of the novel in a technological age, few who have been as explicit in defining their art in opposition to all that is shallow and inane about contemporary culture. Yet I doubt anyone could read through his non-fiction and not come away with the overriding impression that he takes both his vocation as a novelist and his own critical opinions very seriously indeed. Apparently he had a dreadful time losing his virginity, which he attributes to an extraordinary run of bad luck.įranzen adopts an ironic view of his younger self in The Discomfort Zone, as he does in a number of other essays. Peanuts comics, stuffed toy collection, amateur science, straight A’s, spelling bees, Christian Fellowship, birdwatching, J. His collection of autobiographical essays The Discomfort Zone (2006) revealed, to the surprise of no one, that the young Franzen was an appalling nerd. There is, however, one observation that can be made about him that will perhaps invite universal assent: he is not cool. I think it is fair to say that Jonathan Franzen has become, for a variety of reasons, someone who divides opinion.
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