The Public Burning

Rating:
Summary: Fantastic
Review: A brilliant, savage and unrelenting look at what the US is today. Not as subtle as Gaddis, more powerful than Pynchon, a fabulous and terrifying novel which would have made Swift and Joyce proud.

Rating:
Summary: No more than a sideshow attraction
Review: Every now and then I finish a book and ask, "Now why did this author write that?" I'm not talking about trash reading. We know what that's for; entertainment. No, when I ask "Why?" after finishing a book, it's generally a longer work with artistic ambitions and evidently an important point to make. I just can't tell what that point might be.

Take "The Public Burning". The author, Robert Coover, is widely considered to be one of the leading lights of American experimental fiction. The novel is a semi-fictionalized narrative of the days preceding the execution of Ethel and Julius Rosenberg, here as in real life convicted of treason for selling atomic secrets to the Russians. It's a good read, but what's the value in telling a true story in such an odd way? The true story is dramatic enough as is. Coover never quite answers that, and it weakens his book.

Feel free to skip this part if you know the historical facts:

Back in the 1950s, the Soviet Union exploded a nuclear bomb. Many assumed that the Soviets must have stolen nuclear information from the U.S. through a network of spies, and the FBI picked the Rosenbergs as the guilty parties. They were convicted and sentenced to death, and despite a last-minute stay of execution by Supreme Court Justice William O. Douglas, they went to the electric chair on June 19, 1953.

In his novel, Coover recasts the Rosenberg execution as a piece of political theater, deliberately staged by the Eisenhower administration to boost American morale, and therefore set to take place as the novel opens not at the Sing Sing death house, but in the middle of Times Square. Uncle Sam, here a real person, is a sort of superhero, possessed of remarkable powers in his neverending battle against the Phantom, his appropriately shady Communist counterpart. And perhaps most bizarrely, while half the chapters have the usual third-person narrator telling the story in a kind of hyper-inflated circus language, the other chapters are narrated by none other than Vice President Richard Nixon.

Before we get to Tricky Dick, however, let's consider the carnival-barker narration of the other chapters. It's filled with comic-book jargon, interjections on the order of "Good Heavens!" and various other cheesy rhetorical devices. Uncle Sam himself speaks like a snake-oil salesman, tossing in many a "Whoopee-ti-yi-yo!" and things like that as the execution approaches.

Evidently, this book seeks to present the United States as a nation of con men and suckers, but in the midst of all the tinsel and ballyhoo (directed by Cecil B. DeMille, with sets by Walt Disney), it seems like a lot of fun. Coover shows a nice balance between the exhilaration of rah-rah Americanism and the horror of the rot under the surface. It's all part of the same long, strange trip, and you can't have one without the other.

With a similar schizophrenia, in his sections of this book, Nixon has a sort of poetry in his soul and genuine sense of mission, both of them about as banal as you please. That sounds like a contradiction in terms, I know, but what else can you say about a character who comes right out and says that he loves his wife primarily because she belongs to him? Who can't decide between serving his country and serving himself, and often conflates the two? And who spends half his time parsing every one of Uncle Sam's most moronic clichés like it was the entrails of some sacrificial chicken?

If this description reminds you of your favorite national politican, Republican or Democrat, I assure you that's not a coincidence. Nixon himself once said, in real life, that John Kennedy was what people wanted to be, and he himself what they actually were. In any case, his fictionalized counterpart here is doubtless what we're afraid we are. He is Vice President of the United States, for God's sake, and he's still a loser. He sweats and stinks through the pages in desperate need of a shave or a toilet, he strains to justify himself and his past in the middle of a national crisis, he can't even relax while playing golf. And needless to say, the more he struggles for victory, the more clownish he becomes. By the time the book is over, a jammed Times Square has had an eyeful of Dick Nixon with his pants around his ankles, and there are worse humiliations in store for him.

Okay, so far we've got an examination of the American split personality from two very different and complementary points of view, filtered through an actual historical event and featuring historical figures. I was intrigued. So why did I feel so let down when I reached the last page?

I think it's because, when you get right down to cases, nothing really happens in "The Public Burning". Ethel and Julius Rosenberg die, Uncle Sam taps Nixon as a future president, and things go back to the way they were before. For all the flash and dazzle, the comic book zip, the world of this book and the world we live in are pretty much alike. Which isn't a bad thing, but the flourish made me anticipate something more, some explosive scream at the end. Instead, "The Public Burning" reads like Coover simply observed these events through a literary kaleidoscope and wrote down what he saw. That makes for good painting sometimes, but not necessarily good novels; "The Public Burning" is an amusing experiment, but so what?

In short, this book would have made a truly fascinating short piece, and even as is it's a lot of fun to read for the language alone. Really good full-length novels, on the other hand, leave what Anthony Burgess called some kind of residue in the mind. "The Public Burning" just slides right through. Bring on the next one.

Benshlomo says, 500-odd pages ought to weigh more than this.

Rating:
Summary: Unfinished
Review: Perhaps it's unfair of me to rate this book, since I didn't make it to the end. It was disappointing, since I've liked others of Coover's books. This one is written in a stream of consciousness style reminiscent of James Joyce/"Ulysses" (which I liked a lot). Similarly, it also is incredibly literate and erudite, lots of language play which still somehow was mostly just hard and not fun the way language should and can be. I could appreciate the humor intellectually, but it wasn't really funny. The subject matter is a cynical take on a dark subject, the Rosenberg executions. I can certainly understand why it's release was so contoversial. It might help to know more about the period but as someone who came of political age (later) during the Watergate years I know little about Nixon as VP and many of the social references were los on me.

Rating:
Summary: Unfinished
Review: Perhaps it's unfair of me to rate this book, since I didn't make it to the end. It was disappointing, since I've liked others of Coover's books. This one is written in a stream of consciousness style reminiscent of James Joyce/"Ulysses" (which I liked a lot). Similarly, it also is incredibly literate and erudite, lots of language play which still somehow was mostly just hard and not fun the way language should and can be. I could appreciate the humor intellectually, but it wasn't really funny. The subject matter is a cynical take on a dark subject, the Rosenberg executions. I can certainly understand why it's release was so contoversial. It might help to know more about the period but as someone who came of political age (later) during the Watergate years I know little about Nixon as VP and many of the social references were los on me.

Rating:
Summary: Fantastic
Review: This is one of the most stylistically impressive novels of the post-war era. It's almost an encyclopedia of American popular culture during the first half of the century, plus it's pretty damn funny. I say this while also stating that I find its politics disgusting and pathetically old hat in their leftism. It is also brutally unfair to Richard Nixon and personally very offensive to my religious beliefs. So dear reader, you be the judge.

Rating:
Summary: A cruel, yet sympathetic, view of Richard Nixon
Review: When The Public Burning was first published in 1977, Richard Nixon was the ultimate political pariah. His public perception, shaped by Watergate and his resignation, was reinforced by Woodward and Bernstein's fictionalized The Final Days, a brutal account of Nixon's disintegrating psyche. Nixon's own memoir RN was perhaps his worst book, self-pitying, incredibly defensive, too weak-willed to be called defiant.

In this context, Coover's treatment of Nixon in this novel is not as cruel as it may appear. Coover gives Nixon a literary soul, self-doubt, knowledge of his private and public sins and an odd desire to be one with the artists and rebels of the world. True, Coover's Nixon bares his bottom in public, becomes the boy-toy of Uncle Sam and is caught pleasuring himself in a most embarrassing moment ... but Coover's over-the-top cruelty to Nixon has a purpose.

Nixon, the man "born in the house my father built" had to make horrific compromises to attain power, then faced the most public humiliation once attaining it. The burden of American power, personified by Uncle Sam, demands more than any humble human can bear. No wonder he finally walked away.

In the wake of the Clinton impeachment, Coover's work has more resonance than ever. Americans ask the impossible of our public figures ... and then we glory in their failings. Coover brilliantly uses cruelty to reveal the sadism in the heart of our body politic.

Rating:
Summary: A cruel, yet sympathetic, view of Richard Nixon
Review: When The Public Burning was first published in 1977, Richard Nixon was the ultimate political pariah. His public perception, shaped by Watergate and his resignation, was reinforced by Woodward and Bernstein's fictionalized The Final Days, a brutal account of Nixon's disintegrating psyche. Nixon's own memoir RN was perhaps his worst book, self-pitying, incredibly defensive, too weak-willed to be called defiant.

In this context, Coover's treatment of Nixon in this novel is not as cruel as it may appear. Coover gives Nixon a literary soul, self-doubt, knowledge of his private and public sins and an odd desire to be one with the artists and rebels of the world. True, Coover's Nixon bares his bottom in public, becomes the boy-toy of Uncle Sam and is caught pleasuring himself in a most embarrassing moment ... but Coover's over-the-top cruelty to Nixon has a purpose.

Nixon, the man "born in the house my father built" had to make horrific compromises to attain power, then faced the most public humiliation once attaining it. The burden of American power, personified by Uncle Sam, demands more than any humble human can bear. No wonder he finally walked away.

In the wake of the Clinton impeachment, Coover's work has more resonance than ever. Americans ask the impossible of our public figures ... and then we glory in their failings. Coover brilliantly uses cruelty to reveal the sadism in the heart of our body politic.