Our lives are a mess. Reading “The Blazing World” I’m reminded of a performance by the brilliant artist Bobby Baker I once attended. She delivered a monologue about her life that included a scattering of memories, disappointments, happy highlights and concerns about contemporary issues. With each subject she added dry ingredients into a pot collecting them all until it overflowed. She poured it over herself till her clothes, hair and face were completely soiled and a floury cloud floated around her head. She stared around at the audience solemnly proclaiming: “What a mess!” The sight was comical, but through the manner in which she delivered the monologue it was understood that her whole being had tragically unravelled. In a similar way, the life of this novel’s central character Harriet Burden (or Harry as many intimates call her) is a mess. The narrative reflects her state of mind as it is a loose collection of fragments: personal notebooks, statements from family, friends and an art critic as well as gallery show reviews. It is an assemblage which is incomplete, meandering and circuitous. But in its fragmentation it becomes a truer portrait of a person than any straightforward narrative could hope to represent. This account is a more meaningful reflection of the many facets of personality and the multi-layered ways in which a person can be viewed.
Harriet is an artist in her sixties living in New York City who is frustrated with the way female artists don’t get taken as seriously as men. She devises a grand artistic project to expose this prejudice and take revenge by exposing the art world’s sexist nature. Three living male artists are selected by her to present original shows as their own work when really Harriet is the true artist. Only after the third show does she reveal her grand prank through an indirect route by writing an article for an obscure art publication under the pseudonym of a fictional critic. With so much subterfuge going on, people naturally question whether Harriet has made all this up or if she’s created one of the most ingenious artworks of our time. The book begins with a preface from someone attempting to answer this riddle by compiling the various accounts about the late Harriet Burden into a somewhat chronological order. This may all sound exhaustingly convoluted, but it’s actually quite straightforward to follow the story once you get the gist. At it’s heart, “The Blazing World” is really about the more profound question of personality.
It’s as if “The Golden Notebook” were written by Susan Sontag, but of course the writing is totally unique and purely the innovation of Siri Hustvedt. It’s a brilliant assemblage of knowledge full of clever word play, innovative narrative technique, psychological insights and dramatic twists. It’s sparked by a feeling of real anger: about our complacency to accept things as they are when there has been so much hard intellectual work dedicated to progress. It’s a passion which burns on every page. Harriet is a voracious reader and thinker. Therefore, her notebooks are layered with a heady amount of references to great works by psychologists, artists, philosophers, writers, scientists and theologians. I love it when I finish a novel with a long list of books and authors that I want to look up and learn even more from. This novel has given me a list longer than most. But this isn’t a showy intellectual feat by Hustvedt. This knowledge is layered into her central character’s reasoning because it relates to the ontological issues which stir her heart and cause her to create such an elaborate complex deceitful artistic project.
Going even further, accounts from both Harriet’s friends and enemies offer counter arguments to the statements Harriet makes. For instance, the primary question at the centre of this novel asks if art by women is taken less seriously. On one side a psychoanalyst named Rachel said: “With almost no exceptions, art by men is far more expensive than art by women. Dollars tell the story.” Harriet echoes this thought when she says: “Money talks. It tells you about what is valued, what matters. It sure as hell isn’t women.” However, an art critic named Oscar states: “To suggest, even for an instant, that there might be more men than women in art because men are better artists is to risk being tortured by the thought police.” Whereas a bi-racial artist named Phineas muses upon the superficiality of the art in general world concluding that: “It was all names and money, money and names, more money and more names.” Later on Harriet suggests that the question of gender isn’t even her central preoccupation: “it’s more than sex. It’s an experiment, a whole story I am making.” Points of view jostle against each other until a multi-layered portrait of this and other questions are presented and the reader must come to their own conclusions.
The accounts which struck me the most in this novel are Harriet’s own recorded in her various notebooks. One of her preoccupations is her fight against time, against being marginalized forever as a footnote rather than having made a grand statement about life. She states: “I am writing this because I don’t trust time.” Her tireless efforts to create and communicate show how desperately serious she is about the issues she raises. Having spent her life living somewhat quietly as a wife and mother she has reached middle age and is now keenly aware that if she doesn’t make her statement soon time will defeat her. With great precision she observes that: “Time creeps. Time alters. Gravity insists.” The razor-sharp language used cuts right to the heart of what she means and is merciless in its exactitude. Through short dramatic fragments of memory she recollects scenes from her past: her father who didn’t want her, the discovery of her husband’s infidelity, the cruelty of schoolmates who misunderstood her and finally the pernicious betrayal which threatens to dismantle her grand artistic project.