Who doesn’t film his kid experiencing a threshold moment? It was bittersweet, really. Of course it was. Gus pedaling away on his own, newly aware of his autonomy, which contravened everything Nick had taught him by force of grief, the bond between them fortified by the loss of Nick’s wife — Gus’s mom — three years ago in a car accident that was still being litigated today.Complete story available online at Harpers
There were times in this story when I wanted to grab Nick by the shoulders and shake him. I think that’s the point.
I had a lot of trouble with the overall voice, including the narrative perspective. I think it’s supposed to mimic the narration of the videos described in the story – awkward and distant – but I found it rather unpleasant. I don’t insist on “beautiful writing” – in fact, I’m suspicious when I start to think, “Wow, what beautiful writing” because at that point I’m no longer in the story – but I really… well, there’s no other way to say it, I hated the way this was written. I keep thinking of that Cary quote I drag out from time to time, about “Why did you do it so clumsily like that, when you could have done it neatly like this?” and understand there’s a reason it’s written this way. But that’s like saying sardines are supposed to taste like that – fine, but don’t expect me to enjoy them.
I find a minor incident in the opening, and the final climactic scene, to have a lot in common.
“Too tight,” Gus said, and yanked at his chinos. The audience had been told to dress business casual, which had Nick stuffing Gus into last year’s pants and polo, looking at the result and thinking: big picture. He would leave the superlative fashion sense to double-parent families and focus, instead, on celebrating his son with 5 million other Americans.
To phrase the problem as one of fashion, instead of Gus’ discomfort, sums up Nick’s cluelessness. This becomes acute during the final scene when, after viewing Gus’ achingly sad class video, he focuses on making it better by posting it, because all those Likes make him feel better. He’s looking everywhere but where the problem is: Gus is heartbroken, and alone with his sorrow. Nick isn’t a bad guy, or even a bad father; he’s hurting, too, and has substituted a lawsuit for his own mourning.
I seem to be as off-the-wavelength of this story as Nick is off-the-wavelength of his son. Maazel’s Contributor Note indicates she wanted to do something about the plusses and minuses of connections via social media, and I see a lot of praise for the disturbing implications of that. Now, I’ll admit I get pretty defensive when people start putting down the internet, since it’s more or less where I am most comfortable, but I think the Youtube angle is merely an update of, oh, having a baby to save a bad marriage, or moving to a new town after a loss to change the scenery. Or, perhaps more fittingly, a more general application of any writer dealing with any life event by creating words: I simply read it as a father who can’t face his own grief, let alone his son’s.