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Introduction

Richard Ford as an American Author

A project of cultural identity formation has been at the center of the literature of the United States since the inception of the country itself. Authors from very different backgrounds and traditions have struggled to articulate a coherent answer to the ontological question: what does it mean to be American? For many years, the WASP United States, with its unmarked categories of race, religion, gender, sexuality, and ethnicity, has embodied the default national identity. In the last fifty years, though, the growing importance, autonomy, and self-representation of minority and subordinate groups–reflected by an increasing presence and prestige of Latina/o, African American, Native American, gender, or queer studies in the academia–has destabilized the prevailing vision of Americanness as Christian, white, male, and heterosexual.

The anxiety of national identity as a site of struggle in the United States is perfectly epitomized by a controversy surrounding the election and presidency of Barack Obama: while the people of the United States have elected their first African-American president–and what an astonishing feat for a country where slavery was established (and institutionalized) for several centuries on the basis of racial difference–, conspiracy theorists have impudently claimed that Obama is not a natural-born US citizen. The fact that the legitimate President of the United States has been required to issue a birth certificate because of the color of his skin suggests the need to keep working for the eradication of totalizing and essentialized visions of Americanness that exclude alternative models of US citizenship. The present analysis, which questions how national identity is constructed in the work of a relevant contemporary author, aims to participate in that challenging project.

Since literary creation helps readers understand the workings of cultural identity as a construct, certain contemporary US authors have devoted the best part of their fiction to depicting a series of phenomena that either support or question the propagation of a predominant vision of national personhood. An increasingly multicultural and globalized society, the hegemony of liberal democracy as preferred model of societal organization, or the discourse of a transnational War on Terror inevitably permeate the work of any author interested in the United States, its present and its future, its territory, people, and ideals as potential narrative elements. This book will focus on one of those authors: a US writer whose main novelistic project partakes in the search for Americanness championed by some of the country’s most celebrated literary figures, from Washington Irving to Toni Morrison, with James Fenimore Cooper, Mark Twain, Gertrude Stein, and Philip Roth also featuring. Rather than a writer born in the United States, Richard Ford (Jackson, Mississippi, 1944) can be regarded as an Americanist. He is concerned with the peculiarities of his culture, and in his oeuvre, the history, narratives, rhetoric, myths, or communities of the United States stand out as main thematic interests.

Indeed, Ford defines himself as a patriot (Stevens n.d.), and the US flavor of his work has been referred to–although not explained in detail–by critics and scholars alike (Weitch 2006; Guagliardo 2001b: x). Furthermore, Ford has edited several volumes of fiction of the United States, such as The Best American Short Stories (1990) or The Granta Book of the American Long Story (1998), which suggests an interest in promoting the creative forces of the nation. At the same time, much as he has systematically rejected oversimplifying labels that aimed to describe his fiction in terms of Southern literature, minimalism, or male fiction, he has willingly self-fashioned as an American writer (Walker 2000: 2; McQuade 1990: 76).

Before he earned a reputation within the literature of the United States, Ford’s early production followed the formulae of regional writing–the neo-Southern A Piece of My Heart (1976)–or crime fiction–the hard-boiled The Ultimate Good Luck (1981). In 1983 his “Rock Springs” is included in Bill Buford’s “Dirty Realism” issue of Granta, along with stories by Raymond Carver, Tobias Wolff, and Bobbie Ann Mason, among others. The success of the volume and the inclusion of many of the authors anthologized by Buford in Kim A. Herzinger’s essay “On the New Fiction” (1985), devoted to a trend of minimalism in the United States, meant that Ford’s works were to be recurrently labeled as ‘dirty realist’ or ‘minimalist’ for the sake of critical reductionism. Nevertheless, The Sportswriter (1986)–finalist for the PEN/Faulkner Award for Fiction–, whose style and contents bear little resemblance to his previous works, would become Ford’s groundbreaking novel. Set in Haddam, New Jersey, over the Easter weekend of 1983, The Sportswriter, the first Bascombe novel, was conceived as the story of a decent man. Since his divorce and the death of his elder son, Frank Bascombe has abandoned a promising literary career in order to enjoy the uncomplicated life of the sports journalist. Tragedy looms over Frank’s banal existence as he tries to develop a stronger bond with his girlfriend, Vicki Arcenault, without becoming estranged from his ex-wife and children. In the course of the weekend, the protagonist and narrator will face the suicide of another member of Frank’s refuge from loneliness, Haddam’s Divorced Men’s Club. However, a genuinely optimistic character, Frank refuses to surrender to despair.

Ford’s next book will also be given a warm reception. Rock Springs (1987) is a collection of short stories more in keeping with the marginal characters and settings that came to define ‘dirty realism’ as a loosely articulated literary movement. Five years after Wildlife (1990)–a novel of formation reminiscent of the Nick Adams stories–Ford publishes his most acclaimed book hitherto, Independence Day (1995), the follow-up to The Sportswriter. This second Bascombe novel finds Frank living in accordance with the Existence Period, a self-created philosophy of life advocating modest expectations. Now a real estate agent with a new girlfriend, Sally Caldwell, Frank plans to spend the Fourth of July weekend visiting the Basketball and Baseball Halls of Fame with his son, Paul Bascombe. Ford was awarded both the Pulitzer Prize and the PEN/Faulkner Award for this novel, considerably more expansive and less character-focused than The Sportswriter.

The three novellas of Women with Men and the short-story collection A Multitude of Sins are published in 1997 and 2002, respectively, and explore the moral consequences of male-female relationships. In 2006, Ford publishes the novel that closes his Bascombe saga, The Lay of the Land, which depicts the tribulations of Frank as a realtor on the Jersey Shore during Thanksgiving, in the wake of the tumultuous 2000 election. Having substituted the Existence Period for the Permanent Period, a cancer-stricken Frank understands that the most significant part of his existence has already been lived. In the time covered by this novel, the lengthiest of the trilogy, Frank has married Sally–who nonetheless has temporarily abandoned him to start anew with her long-lost husband–and opened his own real estate company with Mike Mahoney, his Tibetan American business associate. Finally, Ford’s last novel to date, Canada (2012), set in border towns up and down the 49^th parallel, offers the childhood memories of a character whose regular existence is tragically altered by a bank robbery committed by his parents.

The basis of Richard Ford’s status within US literature lies on the Bascombe trilogy. The Sportswriter, Independence Day, and The Lay of the Land read as a triptych that encompasses two decades of life in the United States. Interestingly, several features that explain why Ford has been described as a realist, such as verisimilitude or attention to detail in the everyday life of his characters, eventually contribute to the richness of Ford’s production regarding its attention to the social configuration of the contemporary United States. The verbosity of the narrative voice and the unabridged rendition of his often elusive train of thought would prevent the use of the label ‘minimalist’ to describe these three novels, where Ford’s prose is ornamented with long sentences, a gusto for groups of several compound adjectives and an abundance of subordinate clauses.

Along a narrative project spanning more than a thousand pages, readers are confronted with the wishes, objections, likes, and dislikes of a ruminative middle-class American, a suburban womanizer in the tradition of John Cheever, Saul Bellow, or John Updike, but rendered by Ford with remarkable sympathy. From the idiosyncratic perspective held by its articulate narrator and central character, the Bascombe narrative extensively deals with questions of national interest. With the exception of Canada, no other book by Ford equals the length and density of these novels, whose protagonist has become not only Ford’s signature character, but arguably one of the most charismatic recurring presences in contemporary US fiction besides Harry ‘Rabbit’ Angstrom or Nathan Zuckerman. However, neither Frank Bascombe as a representative US everyman nor Ford’s depiction of a national identity has been studied in depth yet. Hence it is worth asking what elements of Ford’s literary world have interested scholars before presenting my contribution to the study of his magnum opus.

Although there are several monographs devoted to different topics of study of Richard Ford’s fiction, none of them focuses on the features that make him a recognizable US author–even though they usually mention its Americanness in passing. The first two comprehensive studies appear in the year 2000, with Ford as a well-established figure of the publishing industry. The general nature of Elinor Ann Walker’s Richard Ford and Huey Guagliardo’s Perspectives on Richard Ford is suggested by their very titles. The former is the first monograph on Ford and includes analyses of his works through Women with Men. The discussion ranges from his style to the use of space and geography in his fiction, with an emphasis on the remnants of a Southern tradition as perceived in his literary world. On the other hand, Guagliardo’s book gathers nine essays and one interview exploring, on the whole, the existential quests of Ford’s heroes. Guagliardo himself edits in 2001 Conversations with Richard Ford, a collection of reviews, articles, and interviews which for the most part either ignore or superficially mention specific cultural elements of his fiction, concentrating instead on Ford’s biographical details, his linguistic concerns, or the depiction of the alienation of human beings in modern societies.

On the other hand, Brian Duffy’s Morality, Identity and Narrative in the Fiction of Richard Ford (2008) is the first monograph that examines the three Bascombe novels. Relying on Ford’s self-fashioning as a moral writer, Duffy attends to the behavior of his protagonists, focusing on the role of narrative in their search for identity. It may be noted, though, that Duffy is the Ford scholar who puts the greatest emphasis on proper cultural elements of the American experience, since he stresses the influence of US-oriented economic policies, consumerism, or political confrontation on the predicament of Ford’s characters. Finally, Josep M. Armengol applies a gender perspective to the work of Ford; Armengol’s study, Richard Ford and the Fiction of Masculinities (2010), accounts for the depiction of manhood in the narrative world of an author at whom accusations of writing male fiction have been occasionally leveled.

Certain elements of Ford’s fiction are rather explicitly connected to a wider US narrative–e.g., Independence Day or Thanksgiving as motifs in the second and third Bascombe novels, respectively–while others may pass unnoticed–e.g., Frank’s allusions to Tocqueville or Emerson in Independence Day. I argue that through those culturally-specific aspects Richard Ford offers an underlying discourse of Americanness that contributes to the cohesion of the Bascombe trilogy. The thematic and stylistic unity of this group of novels justifies an approach that regards them as a coherent novelistic enterprise developed over three decades–incidentally, and given the nature of Frank Bascombe, it is only too convenient that the Everyman’s Library has recently published the three novels in a single volume under the title “The Bascombe Novels” (2009). The study of this trilogy leads to significant conclusions regarding the construction of cultural identities in the United States.

The main narrative project of Richard Ford appears decisively informed by cultural phenomena conducing to a vision of Americanness. The Bascombe novels develop different–and usually competing–models of national identity. Due to Frank’s representation as an everyman, an analysis suggesting the deconstruction of such ideal of standard identity–with its implied racial, gender, sexual, or class features–and questioning its validity as an eternal narrative becomes not only relevant but necessary. I contend, therefore, that a study of the question of a national character in the fiction of Richard Ford results in important considerations regarding the discourses that constitute cultural identities, a concept worth examining: is it an essential feature or a creation aimed at fulfilling the agenda of particular interest groups?

The combination of textual analysis of the three Bascombe novels through close reading of specific passages with the interdisciplinary approaches of American Studies and their attention to diverse fields and cultural practices, provide a wide perspective on how Ford’s fiction is embedded in the project of fashioning a distinctive US individuality. In other words, my analysis exposes why Richard Ford’s narrative–and particularly his most successful group of novels–has been sensed to be genuinely American.

First, I review a number of myths and narratives that have contributed to the constitution of a ‘US personality,’ such as the American Adam, the rugged individualist, or the self-made man, and the principles they entail. In accordance with postmodern and poststructuralist positions, I describe nationality as a category akin to gender, race, or class in that it is both constituted by and recreated through socially-specific performances. Likewise, I address these mythical representations as useful elements in a complex process of rhetorical construction led by hegemonic powers with specific ideological goals camouflaged as the natural development of human societies.

In the Bascombe novels, Richard Ford resorts to those visions of Americanness in order to either mirror or subvert them through the figure of his American everyman, an embodiment of a mainstream citizenry. At the same time, the social world surrounding Frank Bascombe projects alternative national identity discourses that oppose the dominant status of Ford’s narrator. Primarily, I expose cultural identity in the Bascombe novels as a performative act where citizens–consciously or not–participate. At this respect, my analysis draws upon contemporary theories of performativity in the social sciences.

In my reading of the story of Frank Bascombe, I highlight space, rather than time, as the crucial category in the American experience. The concept of space is critical on its own, but also in connection with movement, mobility, and deterritorialization as important elements in the historical and geographical formation of the country. Through the figure of his real estate broker, Richard Ford will put those concepts to work. Moreover, the theories of hyperreality of two relevant twentieth-century philosophers, Jean Baudrillard and Umberto Eco, presented vis-à-vis the society of the United States as depicted in the Bascombe novels, reveal Richard Ford’s understanding of his country as the realization of the hyperreal land of signs and surfaces characteristic of the postmodern episteme.

Richard Ford resorts to the mechanisms of liberal democracy as prevailing model in the Western world and the ensuing tension between the individual and institutionalized power to represent the plight of his central character: a man struggling to keep his autonomy in the face of contending forces. The different effects of a postindustrial capitalist society on Frank Bascombe and a number of secondary characters indicate who benefits or suffers from the workings of (neo)liberalism, a free-market economy, and consumerism. Finally, the discussion of historically-derived societal occurrences explicitly addressed or hinted at in Ford’s fiction–from politics in the United States as a site of ruthless confrontation, to the cultural specificity of narratives of violence or sports as practices with a social function–ascertains that the entire spectrum of elements relevant to the construction of a national identity in the story of Frank Bascombe is studied in detail.