by Derek Neal
In last month’s column, I wrote about the opening pages of Philip Roth’s Nemesis, and how Roth creates the backdrop of 1940’s Newark upon which the events of the novel play out. I’m using the words “backdrop” and “play out” intentionally, as these pages really do function as a sort of stage set that provides the context for the story which follows. This kind of storytelling is, I suppose, somewhat traditional or old fashioned. What it suggests is that the characters are products of their environment, and it’s important to explain the context in which they exist if the characters are to be understood. The setting of the story can also be seen as its own character, such that we must have a grasp of 1940’s Newark to comprehend the protagonist of the story, Bucky Cantor, because his understanding of the world and how he moves through it, his hopes, his dreams, and his fears, have been shaped, or to use a stronger word, created, by the fact of being born and growing up in Newark, New Jersey in the middle of the first half of the 20th century.
This may seem obvious, but in foregrounding the setting of the story, it also goes against the idea that people are unique, ahistorical individuals, which seems to be an increasingly common contemporary assumption. Nemesis makes this point explicit by placing the narrator in the present, or at least in the future in terms of the events of the story, and then having him relate what has taken place in the past. This is an acknowledgement that to attempt to tell a story about a certain time period from within that time period would in some ways be deceitful and anachronistic, running the risk of assuming that people in past times thought about themselves and the world in the same way that we do, or mapping a contemporary morality onto the past. Because it would be nearly impossible to faithfully recreate a past consciousness (although this is what any story about the past attempts to do), the practical solution is to frame the story from the viewpoint of a narrator in the present and admit defeat from the outset. This serves the purpose of recognizing the futility of the attempt while still trying to achieve the goal of fully recreating a different time and place. Read more »