Jonathan Franzen is the author of four novels—
Freedom,
The Corrections,
The Twenty-Seventh City, and
Strong Motion—and two works of nonfiction,
How to Be Alone and
The Discomfort Zone, all published by Farrar, Straus and Giroux.
From his 2010 interview by Stephen J. Burn at
The Paris Review:
INTERVIEWER
The Corrections is full of references to the brain, but in Freedom the whole language of brain chemistry and brain architecture barely registers.
FRANZEN
Well, you know, new times, new enemies. Freedom was conceived and eventually written in a decade where language was under as concerted an assault as we’ve seen in my lifetime. The propaganda of the Bush administration,
its appropriation of words like freedom for cynical short-term political gain, was a clear and present danger. This was also the decade that brought us YouTube and universal cell-phone ownership and Facebook and Twitter. Which is to say: brought us a whole new world of busyness and distraction. So the defense of the novel moved to different fronts. Let’s take one of those buzzwords, freedom, and try to restore it to its problematic glory. Let’s redouble our efforts to write a book with a narrative strong enough to pull you into a place where you can feel and think in ways that are difficult when you’re distracted and busy and electronically bombarded. The impulse to defend the novel, to defend the turf, is stronger than ever. But the foes change with the times.
INTERVIEWER
Did you conceive Freedom initially as a political novel?
FRANZEN
Yes, I spent several years looking for some interesting way into our national political narrative, some Washingtonian wrinkle that hadn’t been explored to death in other media. But I couldn’t find that wrinkle, and, frankly, I was also never able to get past my immediate partisan anger to the more open-minded place where truthful novels are written. I was making the same mistake I always seem to make initially, trying to...[read on]
--Marshal Zeringue