Understanding Dave Eggers

Timothy W. Galow

• Publisher: University of South Carolina Press
• Year: 2014
• Print ISBN: 9781611174274
• eBook ISBN: 9781611174281
• Topic: Literature
• Subtopic: North American Literary Criticism
• Index: Literature

Understanding Dave Eggers surveys the work of one of the most celebrated American authors of the twenty-first century and is the first book-length study incorporating Eggers's novels, short-story collections, and film scripts. With a style aimed at students and general readers alike, Timothy W. Galow offers a textual analysis that uniquely combines Eggers's early autobiographical works and the subject of celebrity as well as his later texts that deal with humanitarian issues.

Galow devotes a chapter to each of Eggers's major works, from his first book, the Pulitzer Prize-nominated memoir, A Heartbreaking Work of Staggering Genius, though his recent novel, A Hologram for the King, a National Book Award finalist about an aging American businessman chasing success in Saudi Arabia. Other chapters cover You Shall Know Our Velocity, What Is the What, and Zeitoun.

Each chapter studies the major themes and styles of the featured work while also placing it in the context of Eggers's oeuvre. In this way Galow examines each text in its own right, but he also offers us a larger guide to all of Egger's work. Providing important historical background for understanding Eggers's literary work, Galow examines how Eggers's texts are deeply invested in both his own public persona and the changing cultural conditions in the United States over the past twenty years.

Galow's careful analysis is conveyed in clear language that engages issues important to contemporary critics without being pedantic or jargon laden. As a result Understanding Dave Eggers can serve as a useful introduction to the author's work or a valuable resource for the devoted reader.

CHAPTER 1

Understanding Dave Eggers

Dave Eggers rose to national prominence in 2000 with the publication of his first book, A Heartbreaking Work of Staggering Genius. The work, which the Times of London subsequently cited as one of the fifteen best books of the decade, quickly became a best seller and inspired a range of conversations about the author, postmodernism, and the state of literature in the twenty-first century.¹ Over the next decade, Eggers’s works consistently climbed the best-seller lists and garnered nominations for both the National Book Critics Circle Award and the National Book Award. For his literary and extraliterary endeavors, he has also received honors as various as the Heinz Award for outstanding contributions to the Arts and Humanities (which comes with a $250,000 cash prize), the Dayton Literary Peace Prize, and the National Book Foundation’s Literarian Award.

The film industry has helped to expand Eggers’s renown, particularly in recent years. The film rights for Eggers’s first two books were sold in 2002 and 2007, respectively, but the first film bearing his moniker did not appear until he wrote an original screenplay with his wife, Vendela Vida. Away We Go, a comedy about a couple looking for the ideal place to raise their first child, appeared in the summer of 2009, just a few months before Eggers’s adaptation of Maurice Sendak’s Where the Wild Things Are was released. More recently, Eggers’s stories have been adapted for Gus Van Sant (Promised Land, 2012) and Jonathan Demme (Zeitoun, currently scheduled for a 2014 release).

Despite or perhaps in part because of Eggers’s growing cultural prominence, his work has generated widely divergent responses in popular and critical circles. For some, Eggers’s experimental bent and progressive activities make him a literary icon, a figure rightfully included in The Outlaw Bible of American Literature. A group of critics at the Utne Reader, to give just one example, named Eggers one of “50 Visionaries Who Are Changing the World.”² Others see him as an ardent self-promoter whose public persona is a calculated façade. From this perspective, Eggers’s string of awards and nominations is less a sign of some unique talent than it is a product of his popularity or, in a more extreme form of the argument, the literary establishment’s insularity. The Underground Literary Alliance, a group of writers and critics who claim to be committed to exposing corruption in the publishing industry, had a brief (though periodically revisited) exchange with the author early in his career.³

Debates about Eggers’s “true” commitments have only been exacerbated by his literary texts, which often interrogate the boundaries between fiction, memoir, and biography. Debates around his third major work, What Is the What (2006), have been particularly heated. In the book, Eggers retells the story of Valentino Achak Deng, a refugee from the Sudanese civil war that raged throughout the 1980s and early 1990s. The story, which emerged out of discussions between Deng and Eggers, is told in the first person. The work, however, is not just a mediated autobiography. Eggers freely admits inventing characters and events in the book, and he claims to have significantly altered the chronology for narrative effect. Some critics have found the postmodern underpinnings of the book a powerful way to convey horrors that might otherwise be incommunicable. The author Gary Krist has called the book “extraordinary” and claims that the unusual form yields “a document that—unlike so many ‘real’ autobiographies—exudes authenticity.” It is worth noting that even in this positive review, Krist couches his praise in terms of Eggers’s supposedly enormous ego: “the secret of the book’s credibility lies in its author’s success at excising his own oversized personality from the narrative.”⁴

Many others have disagreed. Perhaps the most vociferous attack on What Is the What has come from the cultural critic Lee Seigel, who claims that the book’s “innocent expropriation of another man’s identity is a post-colonial arrogance.”⁵ To back up this charge, he says, “the eerie, slightly sickening quality about What Is the What is that Deng’s personhood has been displaced by someone else’s style and sensibility—by someone else’s story. Deng survived his would-be killers in the Sudan, only to have his identity erased here.”⁶

The tenor of these claims suggests something of the passion that Eggers has inspired in both his fans and his detractors. Debates about Eggers’s personality, his literary politics, and his aesthetics have become so entrenched that even his first avowedly fictional book, You Shall Know Our Velocity! (2002), is often read as a thinly veiled autobiography. The literary scholar Sarah Brouillette reads the novel “as a text about Eggers’ career and his overriding concern with the idea of ‘selling out.’” She concludes that the work “comes to exemplify one peculiar way in which Eggers’ entire career is built circularly on reflections on itself, and the seeming impossibility of escaping such solipsism.”⁷

With all the attention devoted to Eggers and his expanding literary concerns, a work specifically devoted to his texts is overdue. This is not to say that the current work attempts to address Eggers’s books in an ahistorical vacuum. Instead, it focuses on those issues that have proved to be of greatest interest to contemporary readers, reviewers, and critics. Debates surrounding the texts have helped to shape the content of each chapter.

Beyond providing a degree of focus, these discussions are important because particular topics often become entrenched in public discussions. Scholars and critics examining Eggers’s most recent texts, for instance, are often responding as much to previous works or debates about them as they are to the new text. When we place these books in relation to one another rather than, say, to the works of contemporaneous authors, it is possible to understand how such discussions have emerged and evolved.

Close attention to these texts also reveals which elements of Eggers’s work carry over most directly from one text to the next and how Eggers’s treatment of those elements changes over time. It would be possible, for instance, to read the strikingly sparse style of Hologram for the King (2012) as evidence of the author’s ongoing concern with form. While such a broad generalization is certainly true, it neglects to account for the particular form of the text, and it ignores the larger movement in Eggers’s work from the overblown self-awareness of A Heartbreaking Work of Staggering Genius to the pared-down prose of Hologram. Subsequent chapters could stand alone, each treating one particular text at some length, but they have been designed to show trends in Eggers’s writing and to underscore major developments.

The following section surveys Eggers’s professional career and briefly examines some of the nonliterary activities that inform his work, even though there is not enough space to pursue these links in the present volume. Many of Eggers’s shorter texts and his nonliterary works, listed in the bibliography, are also neglected here for lack of space. As cofounder of the independent publishing firm McSweeney’s and editor of several journals devoted to literature and film, Eggers has had his name put on hundreds of different texts and compilations in the past fifteen years. Beyond print, Eggers has dabbled in art, music, and film, producing or coproducing dozens of works. In order to provide a more substantial treatment of his major literary texts, a few of these efforts are treated rather summarily, and some are referred to only tangentially. Many, unfortunately, must be left out altogether.

Dave Eggers was born in Boston, Massachusetts, on March 12, 1970, the son of John K. Eggers (1936–1991) and Heidi McSweeney Eggers (1940–1992). Eggers was the third of four children, including Bill and Beth (three and two years his senior, respectively) and his younger brother, Christopher (thirteen years younger).

Eggers grew up in Lake Forest, Illinois, an affluent suburb of Chicago, and attended the University of Illinois at Champaign-Urbana, where he studied journalism and served as an editor at the Daily Illini (“Illini Union”). During his senior year, his father, an attorney, died unexpectedly from cancer. Several weeks later, Heidi, a schoolteacher, passed away after a struggle with stomach cancer. Suddenly parentless, the children relocated to California, where Beth was enrolled at law school. Over the next few years, Eggers commenced a promising career in publishing that drew on both his artistic talents and his journalism training. With an old friend from Chicago, David Moodie, Eggers took over a free newspaper and began work that developed into the satirical magazine Might, which ran from 1994 to 1997. The magazine gained national attention when it falsely announced the death of Adam Rich, a child star of the popular television show Eight Is Enough. The issue skewered media coverage of celebrity deaths, which Eggers has referred to as “customary . . . lionization, distortion, and exploitation.”⁸ The hoax, which Rich participated in, was quickly debunked, but not before word of his “death” had spread to his friends and acquaintances. The rise and fall of Might, as well as Eggers’s personal struggles in the years after his parents’ deaths, are loosely documented in his first major book, A Heartbreaking Work of Staggering Genius. The book begins with his mother’s death and concludes with Eggers’s decision to leave the San Francisco area shortly after the magazine folds.

By the time he left the Bay Area for the East Coast, Eggers had supplemented his work on Might with projects for Salon.com and SF Weekly, and he quickly found work in New York with Esquire and ESPN. In late 1998, Eggers turned his attention back to publishing and began Timothy McSweeney’s Quarterly Concern. The first issue consisted entirely of stories that had been rejected by other magazines. While this conceit was dropped, McSweeney’s quirky sensibility and imaginative content drew attention to the work of many talented young writers, some of whom had struggled to find an outlet for their writing. In an e-interview conducted shortly after the publication of A Heartbreaking Work of Staggering Genius, a representative from the Harvard Advocate worried that the periodical was no longer “publishing as many unknowns” and asked what steps might be taken to “keep shit real.” The interview has remained in circulation primarily because of Eggers’s scathing retort, which features a brief defense of the journal’s vision and a lengthy rant about the idea of “selling out.”⁹

McSweeney’s established Eggers as a promising new figure in the literary world, but that position was, to put it mildly, confirmed in early 2000 with the publication of A Heartbreaking Work of Staggering Genius. The memoir became an immediate best seller and ran through nine print runs in its first months on the market. Vintage bid nearly $1.5 million for the rights to put out a paperback edition, and New Line Cinema put up nearly $2 million for movie rights.¹⁰ Many critics were also quick with praise, and the work was named a Best Book of the Year by a number of major news outlets, including the New York Times, Time, and the Washington Post. The book was nominated for a Pulitzer Prize the following year, and Eggers received the Metcalfe Award, an annual prize for promising young artists, from the American Academy of Arts and Sciences.

Eggers generated even more publicity by going on a highly unconventional book tour. Many participants described the author’s stops as fun and whimsical. Kim Curtis, a writer for the Associated Press, went to a reading at the City Lights bookstore in San Francisco where the audience wrote haikus about Condoleezza Rice, had their books decorated with glitter, and then took a bus to a bar in the Mission District with Eggers, who bought the crowd drinks.¹¹ The literary scholar Jonathan D’Amore described his own experience at a reading in Chapel Hill, North Carolina, in a very different way. Eggers, he claimed, showed up nearly thirty minutes late and “engaged in a long, transparent, and elaborately put on exchange with a man in the front row, who Eggers repeatedly claimed was David Foster Wallace. He would not read from A Heartbreaking Work of Staggering Genius.” D’Amore, underscoring his own experience, also cited a reading in San Francisco that featured a local fire marshal speaking to the crowd for thirty minutes about fire safety.¹²

Eggers also used his newfound economic and cultural capital to promote McSweeney’s, an outfit that now included the Quarterly Concern, a humorous website, and a publishing imprint. In its early years, McSweeney’s put out books by such notable figures as David Byrne, Jonathan Lethem, Neal Pollack, and Lydia Davis. Eggers also began using the press for hardcover editions of his own books, beginning in 2002 with You Shall Know Our Velocity. (The exclamation point now commonly placed at the end of the title was added for the 2003 Vintage paperback edition.) For his efforts with McSweeney’s and You Shall Know Our Velocity!, the Independent Publisher named Eggers Story-Teller of the Year.

In late 2002, Eggers teamed up with the educator Níneve Clements Calegari to cofound 826 Valencia, a volunteer tutoring center devoted to helping children “explore their creativity and improve their writing skills” (826 National). The name comes from the street address of the center. Local ordinances require that a portion of the space be devoted to retail activities, so the front of the building serves as a pirate supply store, selling peg legs, cutlasses, and lard.¹³ The program has since developed into 826 National, with independently operated sister centers in Boston, Chicago, New York City, Washington, D.C., Seattle, Ann Arbor, and Los Angeles. The whimsical storefront has traveled with the program. The 826 in Boston, for instance, is fronted by the Greater Boston Bigfoot Research Institution, and the center in Brooklyn outfits superheroes. Eggers also drew on the recommendations of students for the first volume of The Best American Nonrequired Reading (2002). The series has continued through the present with introductions provided by people as various as Zadie Smith, Beck, and Guillermo del Toro. Cover art has been contributed by notable figures such as Art Spiegelman, Banksy, and Maurice Sendak.

After the release of You Shall Know Our Velocity! in 2002, Eggers published a number of smaller works in 2003, including a collection of short stories under the pseudonym Lucy Thomas (Jokes Told in Heaven about Babies) and a fake science manual written with Toph under the names Dr. and Mr. Doris Haggis-On-Whey (Giraffes? Giraffes!). More notably, he published a revised and slightly expanded version of You Shall Know Our Velocity! under the title Sacrament and began a new journal, The Believer, under the McSweeney’s umbrella. Originally planned as The Optimist, The Believer asserts in its mission statement that it is devoted to “writers and books [the editors] like” and will “give people and books the benefit of the doubt” (“About the Believer”). Vendela Vida, whom Eggers married in 2003, still serves as an editor for the journal.

In 2004, Eggers started another notable philanthropic venture with Dr. Lola Vollen, a visiting scholar at the University of California at Berkeley with a distinguished record of human rights activism. Eggers and Vollen met while he was teaching at the Graduate School of J...

Table of contents

• Cover
• Half title
• Title
• Copyright
• Dedication
• Contents
• Series Editor’s Preface
• Chapter 1 Understanding Dave Eggers
• Chapter 2 A Heartbreaking Work of Staggering Genius
• Chapter 3 You Shall Know Our Velocity
• Chapter 4 What Is the What
• Chapter 5 Zeitoun
• Chapter 6 Short Stories, Short Short Stories, and Films
• Chapter 7 A Hologram for the King
• Afterword: The Circle
• Notes
• Selected Bibliography
• Index
• About the Author