A Year in Reading: Dimitry Elias Léger

Five minutes ago, I was in my car on my long drive home from work in Geneva, Switzerland, to the French side of Lake Geneva, and reflecting on my year in reading while listening to a literary podcast. In an interview between two of the best writers of the last 20 years, I heard the older writer, the interviewer, ask the novelist who had just published a new novel the question dreaded by most authors: What are you going to do now? Take a break? Or are you like Anthony Trollope who, legend has it, upon finishing writing a novel, would relax for an hour, and then write the first sentence of his next novel?

Then it hit me: I am so not Trollope. In 2015, I had the best year in my literary life. Actually, no need to front: It was the best year of my life. A novel I’d written lustily and fairly quickly, and then bitterly struggled to find a publisher for, was published to nice reviews from my favorite writers and media. And then the book took a life of its own and found new audiences and fans in communities of readers around the world. During the 11 months of touring 12 cities in six countries in two continents on a budget so small a shoe-string budget would find it insulting, I had lived out a dozen novelist fantasies and experienced some surprises that were so cool and weird they deserve novels of their own, or, prudently, should be taken to the grave.

I could die now, I said one night in bed, saturated with bliss.

No, you can’t, my wife, and mother of my two children, sharply reminded me.

Fair enough.

Yet there was one thing I had no interest in doing: writing. At first the lack of interest was mild, the result of extreme exhaustion, a mere reminder that, yep, I wasn’t 22 anymore. That dysfunction quickly dissipated. I had energy, a story, and the usual vampiric schedule and sleeping patterns to go for it again. The problem was I didn’t know what “it” was. Or what the point of it should be. Second novels are less linear a progression in one’s life than getting a bachelor’s degree after graduating high school or getting a master’s degree after seeing how far a bachelor’s will get you, which is not very far at all.

So for the first time in 45 years, I checked out life outside of a life in letters. I taught myself how to swim. I let my New Yorker subscription lapse. I took a non-teaching job. I worried about Hillary Clinton’s chances. And I enjoyed my children. I mean, really enjoyed them. The stories of their days were not stories to be heard for problems to be anticipated or solved, but for each child’s humor and pleasures. Our routines of meals and tickle-fests and movie-watching and chaperoning to practices and parties and dates (Yeah, dates. They really do grow up too fast.) were no longer duties to be carried out during pauses in between writing the next chapter or paragraph or email to my agent. They were the jazz, the stuff, the boom and the bap, life itself. I became so at ease with the modest pleasures of non-writer life in our bucolic corner of the world that I left town, like, only twice.

And get this: I barely read any books. Oh, I bought them as frequently as usual, and I read them too. But I didn’t read them read them. I didn’t read them as a novelist mining source material or looking for that turn of phrase that blazes my literary id like those third down Eli Manning passes that won the Giants Super Bowls. The books I read weren’t foreplay before an evening of writing, the main reason I’d read thousands of comic books, novels, magazines, and newspapers since childhood. I’m not one of those writers who discovered I would be a writer gradually as teachers, girlfriends, editors, and readers’ praise trickled in. I was a writer since sentience. Or better yet: I was a insatiable reader who had to write because the end of Farewell to Arms and the Death of Phoenix saga and Pulp Fiction were so amazing that I felt duty-bound to have a go at giving a reader a variation of those thrills. The rest of life were the things I did to pass time, to please my elders and neighbors in between curling up with a good book and firing up a fresh page on MS Word. My writing was where I hollered, and howled, at my ancestors.

Curiously, my Year of Not Reading ended not after I read a fantastic feat of literature. (Nice try, Colson.) But after I took the kids up to Paris to see “Color Line: African-American Artists and Segregation,” a retrospective of African-American political art at Quai Branly late in the fall. The show knocked me up with literary possibilities. Of the many disturbing and wondrous pictures, collages, and paintings in the small and pointed showcase of African-American artists’ responses to Trumpism’s historical antecedents since the “end” of slavery in the late-19th century, the painting that slayed me was a colorful canvas, “Rendezvous” by Wilmer A. Jennings. It show a guy casually lighting a cigarette with his back turned to a black preacher firing up the faithful while that preacher’s own back was turned to an advancing cavalry of Ku Klux Klansmen, carrying the flaming cross that signaled their promise of sadism.