Huge thanks to BLCKDGRD for sending me Anne Boyer’s aphoristic, poetic memoir-essay The Undying. I guess he read that I went to my bookstore to buy it a few weeks ago and came home not empty handed but nevertheless Undyingless. I wanted to read Boyer’s book after reading her essay collection (“essay” isn’t really the right word, but) A Handbook of Disappointed Fate this summer—-also sent to me by generous Mr. BLCKDGRD
I’m about 100 pages away from finishing The Undying, a book that doesn’t so much chronicle Boyer’s 2014 diagnoses and treatment of breast cancer as it explores and explodes what cancer—a “twentieth-century disease” that we still treat with “twentieth-century” methods, in Boyer’s words—means and is and does in our neoliberal late-capitalist early twenty-first century. Boyer writes,
To become a cancer patient is to become a system-containing object inside another system that only partially allows the recognition of the rest of the systems in which one is a node and also almost wholly obscures the heaviest system of the arrangement of the world as it is, which hangs around, too, in the object that contains a system (by which I mean “me”) as part of the problem in the first place, requiring our latent unhealth just as it profits from our active one.
Later, again addressing that “latent unhealth” which is part and parcel of the system, Boyer declares: “I would rather write nothing at all than propagandize the world as is.” This is a wonderfully angry book.
This is a wonderfully angry, discursive, recursive book: literary biography, literary criticism, art history, art criticism, Foucault, John Donne, Susan Sontag, Lucretius, Virginia Woolf; a howl at the hoaxers, frauds, self-helperists and their pinkwashed platitudes. And lots of pain, expressed with sentiment that bears no trace of sentimentality.
Boyer’s aphoristic style is engrossing. Her paragraphs and one-liners bear a ludic stamp seemingly at odds with her subject matter. The work of the writing, the heavy burden of smithing those sentences is all but elided—instead we get the clarity of a focused mind drawing together seemingly-disparate threads into a cohesive and compelling memoir that transcends the personal without necessarily meaning to.
Showing is a betrayal of the real, which you can never quite know with your eyes in the first place, and if you are trying to survive for the purpose of literature, showing and not telling is reason enough to endure the disabling processes required for staying alive.
Everything here feels and reads True.