Surface Question 2: “Most Influential Author?” (Part 2)

In this series, “Surface Questions,” I will address questions related to my forthcoming memoir about media, SURFACE TENSIONS, which will be released on July 1st. To submit a question, comment or email me at nathanroberts@g.harvard.edu; I will draw the name of one question-submitter, who will  then receive a free copy of the book. 

Surface Question 2: When writing this book was there any one author whose works influenced you the most? Also, what are the odds of a lolcat translation of your book being released?

I suppose I have one more short response to this question. There is another Zadie Smith essay in which she says, regarding novel writing:

“Some writers are the kind of solo violinists who need complete silence to tune their instruments. I want to hear every member of the orchestra – I’ll take a cue from a clarinet, from an oboe, even. My writing desk is covered in open novels. I read lines to swim in a certain sensibility, to strike a particular note, to encourage rigor when I’m too sentimental, to bring verbal ease when I’m syntactically uptight. I think of reading like a balanced diet; if my sentences are baggy, too baroque, I cut back on fatty Foster Wallace, say, and pick up Kafka, as roughage. If I’m disappearing up my own aesthete’s arse, I’ll stop worrying so much about what Nabokov would say, and pick up Dostoyevsky, the patron saint of substance over style; a reminder to us all that good writing is more than elegant sentences. The only rule is quality.”

I’m not quite so methodical. But, while writing Surface Tensions, I subscribed to the swimming-in-sensibility routine. I spent half of my average workday reading, not writing, filling my brain with other people’s words and other people’s thoughts. I read Gary Shteyngart and Leslie Jameson and Emily Nussbaum and Phillip Larkin and Lauren Winner and David Foster Wallace. (I even took a class on Infinite Jest at the very end of my undergrad career just so I could swim in Wallace’s massive, churning, crazy great hot tub of a novel right before writing my own book.) I would occasionally pluck particular elements from a particular writer’s sensibility for a particular purpose: an equally silly and useful dash-made neologism straight outta Wallace over here, a bit of Joan Didion’s sentence structure for a descriptive segment on the California desert over there. But more often than not, I would indiscriminately swim in these great writers’ great prose and let it all soak in and sporadically spurt back out when needed. You can probably find bits and pieces of these writers all over my work, if you search hard enough.

And, of course, the great thing about writing a memoir-meets-essay is that I could quote directly from the articles and essays and books I was reading, thinking about, working through. My summer writing diet is imprinted into the book itself.

So although “Generation Why?” quite clearly made a difference on my way of thinking, there wasn’t really one author that made a bigger influence on my writing than others. I tried to inhale the whole chorus and exhale it through my own sensibility – creating, I hope, something inspired by others and unique in its own right.

 

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