ERIC BEEN on John Jeremiah Sullivan’s Pulphead
And unlike Didion, whose early nonfiction routinely stripped away façades to expose fraud, Sullivan works in the opposite direction, humanely revealing the complexity within subjects typically seen as neglected, overwrought, or insipid. Wolfe and his contemporaries, rather than illustrating, say, class hardships, chiefly addressed in their reportage newfangled phenomena and fringe subcultures with a mix of literary flair and a detached, ethnological eye.
What’s so fresh about Sullivan’s essayistic temperament, on the other hand, is that he runs his nonfictions through a Southern Gothic filter, emphasizing particularly the tragicomic side of the genre and its often overlooked compassion. Throughout the collection, his subjects — dehumanized outliers and the ineffable cultural artifact — are those with histories that adhere like kudzu weed. If there’s an ethos that frames the work, it’s at once an American sense of the grotesque and William Faulkner’s well-known adage from Requiem for a Nun: “The past is never dead. It’s not even past.” Read more.
Saving the whole of this essay for later, but this beginning I believe in!