37 pages • 1 hour read
Jean Hanff KorelitzA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Two and a half years later, Jake is working at the Adlon Center for the Creative Arts. The narrator recaps how Jake arrived at this point. Shortly after the 2013 summer course where Jake met Evan, Ripley laid off its instructors, and only rehired some for lower-paid online teaching gigs. To supplement his small new income, Jake had to find work outside of academia, so he became a freelance editor. This combination of jobs still didn’t cover the expenses of living in New York City, so Jake also got yet another job as program coordinator at Adlon, an upstate New York artist colony in a converted hotel.
At the Aldon Center for Creative Arts, Jake meets with an unhappy, rude, and disrespectful Californian who reminds him of Evan. Jake contrasts himself with Evan. Jake’s hard work doing all the things a writer should do did not lead to success. Jake is ashamed of being a failed writer despite attending a prestigious MFA program (again alluding to, but not naming, the University of Iowa) and getting acclaim for his first novel.
Jake searches for Evan online and eventually finds Evan’s obituary: Evan died shortly after the Ripley workshop. Because Jake has few ethical ideals and spiritual leanings, the only belief that he holds is that a writer has a responsibility to tell a story. The story holds the power, and the writing must obey inspiration. In other words, Jake believes having an idea means you must share it—if you don’t, the idea will leave you and go to some other writer.
Jake contrasts the inspiration for his first novel with the lack of inspiration for his second publication: a collection of short stories. A spark of inspiration has not come to Jake for two years, and he worries there will be no future sparks. He does believe that all art is in conversation with other art, which to him means adaptation and borrowing are fair game. At this point, Jake decides to rework Evan’s original plot, making Evan’s inspiring, almost magical idea into a new novel.
Part 2 contemplates the ethics of plagiarism, placing on the continuum of art conversation: art that responds to someone else’s work, art that borrows from earlier art, and art that builds on someone else’s ideas seems to only be a stone’s throw from outright theft. Jake’s desperation allows him to convince himself that the only thing that matters is sharing an idea with an audience; Jake’s believes “being a writer meant another allegiance, to something of even higher value. Which was the story itself” (61). Jake elevates story, treating it as a transcendent, otherworldly thing that must be obeyed. Jake also confesses to looking up to writers who steal. He loves the old chestnut,
Good writers borrow, great writers steal [...] That ubiquitous phrase was attributed to T. S. Eliot (which didn’t mean Eliot hadn’t, himself, stolen it!) but Eliot had been talking, perhaps less than seriously, about the theft of actual language—phrases and sentences and paragraphs—not of a story, itself (64).
Jake’s moral compass is adrift after the humiliation of bad reviews, rejections, his position at a low-ranked college like Ripley, online gigs, and now having to serve other would-be writers at a retreat. Twisting the knife further, the success of Jake’s first novel is the reason for Jake’s new servile job, as his new boss says, “I like the idea of a successful writer greeting the guests when they arrive. Gives them something real to aspire to” (49). Jake’s identity as a writer is now simply local color, while he mostly manages the guests’ non-writing issues, like the lunch menu.
Two years prior, Jake felt his position as a teacher was useless: “He was a deck attendant on the Titanic, moving the chairs around with fifteen ungifted prose writers while somehow persuading them that additional work would help them improve” (56-57). However, helping other people improve their sentences was at least writing-adjacent. Now, Jake feels robbed of what he worked so hard for—success as a novelist—and humiliated to have to essentially work in customer service with a master’s degree.
By Jean Hanff Korelitz
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