Early Novels
The Twenty-Seventh City, published in 1988, is set in Franzen's hometown, St. Louis, and deals with the city's fall from grace, St. Louis having been the "fourth city" in the 1870s. This sprawling novel was warmly received and established Franzen as an author to watch. In a conversation with novelist Donald Antrim for Bomb Magazine, Franzen described The Twenty-Seventh City as "a conversation with the literary figures of my parents' generation the great sixties and seventies Postmoderns.", adding in a later interview "I was a skinny, scared kid trying to write a big novel. The mask I donned was that of a rhetorically airtight, extremely smart, extremely knowledgeable middle-aged writer."
Strong Motion (1992) focuses on a dysfunctional family, the Hollands, and uses seismic events on the American East Coast as a metaphor for the quakes that occur in family life (as Franzen put it, "I imagined static lives being disrupted from without—literally shaken. I imagined violent scenes that would strip away the veneer and get people shouting angry moral truths at each other."). A 'systems novel', the key 'systems' of Strong Motion according to Franzen are " the systems of science and religion—two violently opposing systems of making sense in the world." The novel was not a critical or financial success at the time of its publication, and Franzen subsequently defended the novel in his 2010 Paris Review interview, remarking "I think they may be overlooking Strong Motion a little bit."
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Famous quotes containing the words early and/or novels:
“Pray be always in motion. Early in the morning go and see things; and the rest of the day go and see people. If you stay but a week at a place, and that an insignificant one, see, however, all that is to be seen there; know as many people, and get into as many houses as ever you can.”
—Philip Dormer Stanhope, 4th Earl Chesterfield (1694–1773)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)