There’s some insightful writing around about Rachel Cusk’s trilogy, including the transcript of an interview with Alexandra Schwartz. On my first reading of the last in the series, Kudos, I drifted off about a third of the way through, but I am glad I returned, this time reading the trilogy end to end over a couple of days. I’ve thought whether to write anything much about my reading of Cusk, but have little that would improve on the pieces linked above.
I’d like to read more Cusk, but cannot imagine she can continue to explore the reticent narrator in the same way. There is a controlling quality that becomes a little claustrophobic, that sense of a person seeing without being seen. What I enjoyed most was the clear tension between Cusk’s need to use some minimal tools of fiction to narrate her story, but preserve the subtlety about the implications of her narrative, at least until the last pages of Kudos.
What also interests me is the phenomenon that has come to be called autofiction. It takes further the self-conscious writing of writers like Marguerite Duras into what Cusk describes as writing as close to herself as possible, a merging of autobiography and fiction, an extreme awareness of the self’s fictional status.
Autofiction changes the role of the reader, requiring a greater imaginative contribution. It is both discomfiting and liberating. I’ve returned to Knausgaard’s writing for that reason, enjoying both Summer and Autumn, and fully intend to read his six part series over the winter. I read Deborah Levy’s Things I Don’t Want to Know and The Cost of Living and am hungry for more. In fact, I’m finder it harder and harder to return to the false notes of character and stylised tensions of plot that are the remnants of the nineteenth century novel. It’s just a phase I’m sure.