Lepore’s piece complicates my feelings about “Joe Gould’s Secret.” In the Introduction to his superb 1992 collection Up in the Old Hotel, Mitchell says, “Joe Gould’s Secret is factual.” Can it still be considered as such? I’m not sure.
Thursday, July 30, 2015
July 27, 2015 Issue
Jill Lepore’s brilliant "Joe Gould's Teeth," in this week’s
issue, has the potential to be every bit as classic as the piece it takes off from
– Joseph Mitchell’s great “Joe Gould’s Secret” (The New Yorker, September 19 & 26, 1964). It’s a gentle
undermining of the accuracy of Mitchell’s conclusion that Gould’s The Oral History of Our Time didn’t
exist. It begins wonderfully:
For a long time, Joe Gould thought he was going blind. This
was before he lost his teeth, and years before he lost the history of the world
he’d been writing in hundreds of dime-store composition notebooks, their black
covers mottled like the pelt of a speckled goat, their white pages lined with
thin blue veins.
That “their black covers mottled like the pelt of a speckled
goat, their white pages lined with thin blue veins” is marvelously fine. “Joe
Gould’s Teeth” brims with inspired writing. Of the sheaves of Gould’s letters that
Lepore keeps finding in libraries and archives, she says,
I pictured it like this: I’d dip those letters in a bath of
glue and water—the black ink would begin to bleed—and I’d paste them over an
armature I’d built out of seagull feathers and rolled-up old New Yorkers.
I called my papier-mâché “White Man (Variation).”
Even though Lepore shows that Mitchell was wrong about the
non-existence of Gould’s Oral History, she doesn’t judge “Joe Gould’s Secret” a
failure. She says,
“Joe Gould’s Secret” is a defense of invention. Mitchell
took something that wasn’t beautiful, the sorry fate of a broken man, and made
it beautiful—a fable about art. “Joe Gould’s Secret” is the best story many
people have ever read. Its truth is, in a Keatsian sense, its beauty; its
beauty, truth.
Lepore’s piece complicates my feelings about “Joe Gould’s Secret.” In the Introduction to his superb 1992 collection Up in the Old Hotel, Mitchell says, “Joe Gould’s Secret is factual.” Can it still be considered as such? I’m not sure.
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