Over at The Millions, an essay on reading very long novels, or preferring shorter ones.
And there is, connected with this phenomenon, what I think of as Long Novel Stockholm syndrome. My own first experience of it—or at least my first conscious experience of it—was, again, with The Recognitions. With any novel of that difficulty and length (976 pages in my prestigiously scuffed and battered Penguin edition), the reader’s aggregate experience is bound to be composed of a mixture of frustrations and pleasures. But what I found with Gaddis’s gigantic exploration of fraudulence and creativity was that, though they were greatly outnumbered by the frustrations, the pleasures seemed to register much more firmly. If I were fully honest with myself, I would have had to admit that I was finding the novel gruelingly, unsparingly tedious. But I wasn’t prepared to be fully honest with myself. Because every couple of hundred pages or so, Gaddis would take pity on me and throw me a bone in the form of an engaging, genuinely compelling set piece. Like the wonderful episode in which one of the characters, under the impression that he is being given a gift of $5,000 by his long-lost father whom he has arranged to meet at a hotel, is in fact mistakenly being given a suitcase full of counterfeit cash by a failed confidence man. And then Gaddis would roll up his sleeves again and get back to the real business of boring me insensible with endless pages of direct-dialogue bluster about art, theology and the shallowness of post-war American culture.
I have to admit that I do have a rule against long novels, in the sense that I find myself being unable to undertake one shortly after another. I tend to love the sprawl, the ambition, and the obvious gambles that the author has to take in producing a massive novel, but it often proves too taxing mentally and even physically for me to readily invest in too often.