Product Description

Baker muses on the creative process via his obsession with John Updike.

Product Details

• Amazon Sales Rank: #157915 in Books
• Published on: 1992-02-04
• Released on: 1992-02-04
• Original language: English
• Number of items: 1
• Binding: Paperback
• 192 pages

Amazon.com Review
Nicholson Baker is most famous for Vox, the phone-sex novel Monica Lewinsky gave President Clinton, but the vastly superior U and I contains Baker's own dirty little secret: an obsession with John Updike. Not since Salieri in Peter Shaffer's Amadeus has one man's genius so publicly tormented another. Baker's ambition is a naked thing shivering with sensitivity, like a snail bereft of its shell. Yet his book about himself thinking about Updike is as hilariously self-knowing as it is excruciatingly sincere. And Baker is not mad (not quite). He does have a few things in common with his idol: fiction precociously published in The New Yorker, psoriasis, insomnia, a keen eye for everyday minutiae, and a mischievously felicitous prose style. He is, however, funnier. Hunting for Updike at The Atlantic's 125th anniversary party, he gets brutally snubbed by Miss Manners--U and I is a fine comedy of literary manners--and cheers up when Tim O'Brien chats with him. But when O'Brien mentions that he golfs with Updike, Baker is hurt:

It didn't matter that I hadn't written a book that had won a National Book Award, hadn't written a book of any kind, and didn't know how to golf: still, I felt strongly that Updike should have asked me and not Tim O'Brien.

He justifies this reaction with a remarkably intricate series of associations between his life and Updike's, starting with the major impact a golf joke in an Updike essay once had on him. When Baker reads in the paper that his local cops offer to X-ray kids' candy for razors, he plausibly imagines the droll "Talk of the Town" piece Updike might have spun from the item, glumly noting that Updike's piece would have been better. He even teasingly confesses that U and I constitutes "a little trick-or-treating of my own on Updike's big white front porch." By the time he actually meets his hero (at Rochester's Xerox Auditorium!) in 1981, Baker has transformed him into a character in a Baker story. Quite a trick--and a treat.

In his elegy for Yeats, Auden wrote that a great poet's words are modified in the guts of the living, but Baker proves what really happens: at best we misremember and mangle, shamelessly remaking the master in our own image. --Tim Appelo

From Publishers Weekly
Baker ponders novelist John Updike in this alternately self-deprecating and self-aggrandizing essay.
Copyright 1992 Reed Business Information, Inc.

From Library Journal
In this extended essay on the anxiety of influence, Baker ( The Mezzanine , LJ 11/1/88; Room Temperature , LJ 3/15/90, one of LJ' s "Best Books of 1990") explores his intellectual and emotional debt to John Updike. His obsession with Updike most closely resembles Frederick Exley's Edmund Wilson fixation in Pages from a Cold Island ( LJ 5/15/75), a parallel that occurs to Baker himself and troubles him briefly. Baker's essay, however, is more narrowly focused, more concerned with wordsmithing and literary craft. It is a highly subjective, even self-indulgent work that reveals little about Updike but overmuch about Baker. Nevertheless, the writing is clever and some of the ideas presented are engaging. The audience will be limited, most likely, to those with professional literary interests.
- William Gargan, Brooklyn Coll. Lib., CUNY
Copyright 1991 Reed Business Information, Inc.

Customer Reviews

I'm so glad I wasn't there
Nicholson Baker's semi-demented account of his Updike fascination begins from perhaps the slimmest premise a writer ever attempted to build a book upon. He admits that he hasn't even read most, or even half of Updike's work all the way through, and yet he can't help measuring his achievement against Updike's. Which, when you look at the imposing bulk of Updike's work against the handful of slender volumes that is Baker's, seems fair enough, at least if you think quantity is a virtue.

Yet Baker writes so well, not just about the nuances of his quasi-Oedipal relation to Updike, but about Stuff Generally, that we keep reading. When he says that a particularly sarky remark of Samuel Johnson's "merited a shout and a thigh slap", the economy of that phrases reassures us about his own talent; likewise his description of a hamburger as "substantial, tiered, sweet and meaty" makes you want to go out and chow down straight away. This is not only about Updike - although it's very good on Updike - but chiefly about Baker, and his own determination to wring poetry out of the everyday.

Perhaps Baker's real direction, if the manic momentum of "U and I" is anything to go by, is more towards the torrential worry of a Thomas Bernhard than the Olympian repose of an Updike. I only began to read Updike years after I'd read this book, and I find him a bit of a let-down. But Baker has gone on to do some entertaining things with sex, some excellent essays and a kid's book. He has demons far more volatile than Updike's; I think he should let them roam a little more freely.

The influence of anxiety.
Imagine a late-night chat session around a few beers, in which a good friend who happens to be a writer starts to tell you about his obsession with John Updike; but the story is a little too weird to take seriously (your friend starts off telling you that he has only read a small percentage of Updike's work) and a little too funny to be true (your friend's mother gleefully introduces him to Updike at a book signing); so you, entertained, listen to the whole story in a state of somewhat suspended disbelief. The story turns out to be brutally honest, of course, because the friend turns out to be Nicholson Baker, before his name became synonymous with anxious, detailed fiction. The inflated relationship to Updike, sustained hilariously in his mind like a zeppelin, turns out to be based on a couple of fan-meets-idol encounters, since the story is about Baker as a young, unestablished writer; but this doesn't mean that Baker and Updike aren't (or weren't) linked together by some fundamental literary bond. This book is Baker's attempt to examine the roots of that bond, and the results are delectable, side-splitting, and painfully embarrassing. Drink a few beers while reading.

Anxiety of Influence
Baker has a gift for writing very funny pieces about subjects that are usually dry and serious. Nominally about John Updike, U and I is mostly concerned with how young writers are influenced by the "tradition" of past writers. He's anxious, for instance, about "The Anxiety of Influence." Has Harold Bloom covered the same ground already? Baker doesn't know, because he hasn't read Bloom, and now refuses to do so, for fear that the book will "take me over, remove the urgency I feel about what I'm recording here." His vague ideas of Bloom's argument have come second hand. "Book reviews, not books, being the principal engines of change in the history of thought." That doesn't stop him wildly speculating about what Bloom would say, and then sheepishly confessing to some of the books that have directly influenced his own work in progress, such as Exly's A Fan's Notes and Barnes' Flaubert's Parrot.

John Updike, in an interview that appeared in Salon, praised the book himself. "It has done me a favor, that book, because it's a book like few others. It's an act of homage, isn't it? He's a good writer, and he brings to that book all of his curious precision, that strange Bakeresque precision."