Sigrid Nunez, The Friend

Sigrid Nunez, The Friend. Virago paperback, 2019. First published in the US 2018

This is a lovely novel.

I read it in a single day while recuperating from a medical procedure, so didn’t feel up to a demanding read. This is an easy read, but it’s not facile or trite: in fact it’s very profound, and very moving.

Sigrid Nunez The Friend coverThe unnamed narrator closely resembles the author: she’s a writer, university teacher of English and creative writing, and resident of New York City. When a former lover and lifelong friend unexpectedly commits suicide, she inherits his harlequin great Dane. Reluctantly, for she’s a cat person, and dogs aren’t allowed in her apartment building.

The central thread of the narrative is about the grief she and the gentle giant of a dog share for their lost friend. At first the dog is bereft and distant, barely tolerating her. Gradually they find themselves consoling and supporting each other – she’d say they fall in love.

That might not sound too compelling a summary, but believe me, there’s so much more in this novel. The narrator refracts her thoughts and experience through the lens of literature: Virginia Woolf and many other writers on writing, promiscuity (her late friend was a thrice-married womaniser, but charismatic and brilliant, so gets away with most of his dubious philandering), being a flâneur, and life itself. And all of those simultaneously.

Writing, for example, involves ‘self-doubt, shame, self-loathing’, and leads to embarrassment for the author. An epigraph quotes Natalia Ginzburg: ‘You cannot hope to console yourself for your grief by writing.’ This novel perhaps disproves that notion.

She often reflects on JR Ackerley’s My Dog Tulip (on which I posted HERE). She adopts an intimate, conversational voice with the reader, aware early on that we’ll be worrying that ‘something bad happens to the dog’. Of course it does: Danes don’t live long. But she spares us the worst, and ends on an idyllic note, spending a happy time at a Long Island beach house with the elderly, ailing dog.

It’s an unusual form of autofiction. She often reflects, metafictionally, on the nature of her narrative, and of ‘fiction as autobiography, autobiography as fiction.’ And she’s not averse to poking fun at this kind of solipsism. A late chapter shifts dimensions and posits an alternative narrative, closer perhaps to ‘reality’, and upsets the living character on whom she’s based the dead friend and dog owner. He thinks she’s been presumptuous in purloining his story and disguising it slightly as fiction.

Maybe he had it coming.

‘It is curious,’ she suggests on this topic, ‘how the act of writing  leads to confession. Not that it doesn’t also lead to lying your head off.’

I like that demotic element in her style. She can talk like this while citing authors like Proust, Christa Wolf or Rilke. Coetzee’s novel Disgrace features quite largely. She’s skilful and intelligent enough to make it all cohere and entertain.

This literary allusion never became intrusive or ostentatious. She’s a literature professor, after all. Another American woman writer her fragmentary narrative approach reminds me of is Renata Adler – one of the most interesting I’ve read in recent years (my post on Speedboat is HERE.)