Elaine Blair on America’s great male novelists (or as she says, “narcissists”) and the losers they write about.
But there’s a reason that the characters must be losers on other, non-sexual fronts as well—professional, financial, social. The authors are saturating the novel in the hero’s sense of humiliation—a humiliation that, we learn, precedes any actual romantic experience. The hero finds himself wanting, and getting turned down by a girl is confirmation of what he’s always suspected. He is, in fact, pretty deft at anticipating any possible criticism of himself; he usually tries to get there first, with a piercingly funny joke at his own expense. Where he fails to understand his own folly, the author is quick to signal to us over the hero’s head; the poor fellow’s monologue gets a shade more florid, a shade more defensive, and we know we are witnessing a moment of self-deceptive bluster. Between the rueful self-knowledge of the hero and the ironizing impulse of the author, no vanity goes unpunctured.