{"id":59668,"date":"2019-06-19T17:54:38","date_gmt":"2019-06-19T16:54:38","guid":{"rendered":"http:\/\/centmagazine.co.uk\/?p=59668"},"modified":"2019-06-23T11:59:26","modified_gmt":"2019-06-23T10:59:26","slug":"webbed-spinning-a-family-saga","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=59668","title":{"rendered":"Webbed; Spinning a Family Saga"},"content":{"rendered":"

In the last third of Harper Lee\u2019s To Kill a Mockingbird<\/em>, Jem Finch quotes one of his father\u2019s morals to his aunt, saying that \u201cYou can choose your friends but you sho’ can’t choose your family, an’ they’re still kin to you no matter whether you acknowledge ’em or not, and it makes you look right silly when you don’t.\u201d Fiction writers have long avoided this embarrassment. Many of the greatest works of literature ever written not only acknowledge family, they often allow it to entirely drive a narrative.<\/p>\n

The theme\u2019s popularity has given it its own genre: \u201cfamily saga\u201d. Books categorised as such chronicle the lives and doings of either one or multiple families, usually over a long period of time. It\u2019s the catalyst for some of the most celebrated American novels of all time \u2013 William Faulkner\u2019s The Sound and the Fury<\/em> (1929) follows the Compson family over thirty years, John Steinbeck\u2019s The Grapes of Wrath <\/em>(1939) details the lives of three generations of the Joad family against the backdrop of the Great Depression\u2026 more recently, Jonathan Franzen\u2019s The Corrections <\/em>(2001) revolved around the troubles of a Midwestern couple and their three adult children, from the mid-twentieth century to the turn of the millennium.<\/p>\n

As for English novels: E.M. Forster\u2019s Howards End <\/em>(1910) observes the lives of three families at the beginning of the twentieth century (the Wilcoxes, the Schlegels, the Basts); and Zadie Smith\u2019s White Teeth <\/em>(2000) tells a multi-generational story spanning fifty-five years, from the perspective of lifelong friends Samad Iqbal and Archie Jones.<\/p>\n

\"'Howards<\/a>Cover of the first edition of\u00a0Howards End<\/em>, published in October 1910<\/p>\n

The sheer scope of family sagas means that any alignment with historical event is inevitable. Steinbeck\u2019s East of Eden <\/em>(1952), for example, details the lives of the Trask and Hamilton families in response to the changing American landscape at the end of World War I, but also uses flashbacks to go back as far as the Civil War. Elizabeth Gaskell\u2019s North and South <\/em>(1854) writes the Industrial Revolution from the perspective of the working poor in a fictional North England town. Charles Dickens\u2019 A Tale of Two Cities<\/em>, first serialised in 1859, sets its family saga in London and France before and during the French Revolution.<\/p>\n

Classic Russian literature is also characterised by this connection. Take Leo Tolstoy\u2019s Anna Karenina <\/em>(1877): an epic mosaic in eight parts, dealing with Russia\u2019s social transformation as a result of the liberal reforms initiated by Emperor Alexander II; or Fyodor Dostoyevsky\u2019s The Brothers Karamazov<\/em> (1879), a philosophical novel set during the same century, equally preoccupied by the relationship between Russian politics and the family stories born out of widespread social impact. The experience reading these is as transportive as opening a Steinbeck or Dickens title. We\u2019re taken to the precise setting and historical moment being written, instructed to move around in there alongside the characters we\u2019re reading.<\/p>\n

\"'Anna<\/a>Anna Karenina\u00a0<\/em>was serialised from 1873-1877, but first published in book form in 1878<\/p>\n

A novel not so often in the conversation is David Foster Wallace\u2019s Infinite Jest <\/em>(1996). Since publication, the book has surpassed a million sales worldwide and frequently places in \u201cgreatest novels of the twentieth century\u201d lists. Family is the story\u2019s absolute pivot, giving the narrative its background and determining its trajectory over Wallace\u2019s thousand odd pages. Yet for two decades, it\u2019s rarely been considered a family saga.<\/p>\n

\"David<\/a>David Foster Wallace, giving a reading in 2006<\/p>\n

It contains as much scope as Faulkner or Franzen and covers as many generations as Steinbeck or Smith. The novel\u2019s chronology is non-linear, spanning nine years and constantly shifting between these. Hal Incandenza is our protagonist; we join him as he, his two brothers and mother struggle to hold together in the wake of the father\u2019s death. Arguably its most powerful moment is when, in flashback, we witness a conversation between Hal\u2019s father and his <\/em>father. Our takeaway is that the father\u2019s absence is hereditary: James Incandenza\u2019s father was as uninterested in him as Hal feels James was.<\/p>\n

Unlike some of the other novels mentioned, Infinite Jest <\/em>is a cautionary tale. It presents a broken family, spins a disconnected web: of absence over presence, silence over communication, gestating problems over ones that are dealt with. Like families themselves, family sagas don\u2019t come without themes of difficulty and hardship, which is a necessity. It ensures that the books we read are real \u2013 after all, why we open that first page, how we become attached, and what makes us turn to the second.<\/p>\n

 <\/p>\n

 <\/p>\n

Image credits:
\nHowards End\u00a0<\/em>\u2013 HI
\nAnna Karenina\u00a0\u2013 Wesalius
\n<\/span><\/em>(both Wikimedia Commons)<\/p>\n","protected":false},"excerpt":{"rendered":"

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