An astrologer emailed me to say she had important news for me concerning events in my immediate future. She could see things that I could not: my personal details had come into her possession and had allowed her to study the planets for their information. She wished me to know that a major transit was due to occur shortly in my sky. This information was causing her great excitement when she considered the changes it might represent. For a small fee she would share it with me and enable me to turn it to my advantage.I was sold. Part of what drew me in is obvious: the audacity of opening with a spam e-mail; the matter-of-fact prose; the simple past tense of the first sentence, refusing as it does to offer any temporal or physical scene-setting beyond "this happened," and thereby throwing us right in the stream of "this is happening."
It was only once I got well into the novel, and flipped back to reread the opening lines, that I realized the deeper attraction: Cusk, through her protagonist, was giving someone else the floor. That the person was lying, that their lie was banal, commercial, mattered not. They were speaking, and Cusk's protagonist was listening.
That, I realized, is why reading Transit is such a thrilling, engulfing experience. It's a novel about listening. Cusk's protagonist, Faye, is a writer who has recently returned to London after a divorce and is juggling a remodeling of her new flat with the responsibilities of divided parenthood. But that's what we get in the interstices. Most of the novel consists of other people telling stories about what's going on in their lives, and telling them with typical solipsism and self-dramatization. They're largely unremarkable stories of contemporary London life, but Cusk imbues them with the interest and drama of a story told you by an old friend.
I'll give you one extended example, which I suspect won't carry a lot of weight outside the context of the book, but will at least let me try out one theory of how Cusk makes them, in toto, so compelling. Here, an acquaintance at a dinner party tells Faye about her childhood and her own experience of parenting:
Her own parents, she said, had been a real love story: they had never wavered in their attention to one another through all the years of their marriage, despite the fact that they were bringing up five children so close in age that in the family photo albums her mother had appeared to be continuously pregnant for several years . They were young parents, she added, and tirelessly energetic: her childhood had been one of camping trips and sailing expeditions and summers in the cabin the had built with their own hands. Her parents never went off on holiday on their own, and treated all family occasions with great ceremony, eating with their children every night around the kitchen table, to the extent that she could not remember a single evening meal when they were absent, which must have meant that they rarely, if ever, went out to dinner together. While Jonathan and I, she added, eat in restaurants nearly every night. She left for work so early and returned to late, she went on, that she almost never aw Ella eat at all, though of course the nanny fed her the correct food, as Jonathan and Birgid had instructed her to. To be perfectly honest, Birgid said, I actually avoid Ella's mealtimes--I find myself things to do in the office instead. Since Ella's birth Jonathan had started to make roast meat and potatoes for lunch on Sunday, as it was a tradition in his family and he thought they should repeat it for Ella's sake.See what I mean? There's not much to it: this is a story of contemporary parenting being told to us by someone it's been told to. But when you pile story on story, when you realize that Faye is actively listening to everyone she meets, each of the stories gains interest, power. And Faye's occasional pressing and stray responses ("It was an interesting thought, that stability might be seen as the product of risk.") remind us that one of the ways we test our apprehension of the world is by listening to, and pushing against, the way that others apprehend and attempt to explain it.
But I don't really like to eat at lunch, she said, and Ella is fussy, so Jonathan ends up eating most of it on his own.
Then there's the quality of judgment. We justly prize empathy in artworks--the "Everyone has his reasons" of The Rules of the Game--admiring the ability of writers like Tolstoy to show us each person, in his error, without damning him for it. It's weak novels that judge.
But we are judging beings. We may fight it, but it's there. And as Faye tells us these stories, even though she utters nary a word of explicit judgment, we realize that she, too, is judging. These people, time and again, are failing in key ways. Life and limitations make it inevitable, and we teach ourselves to acknowledge that, to cut people slack, but the judging faculty never wholly atrophies. What makes Faye's implicit judgment so bracing is, in part, simply that Cusk is acknowledging it. But more than that is the second layer: Faye is judging herself right alongside these people. Her own story barely takes shape in this book, told in asides and responses, but it has its own failures, the biggest involving parenting: her sons appear primarily as troubled voices down a phone line, offering up problems she's too distant and distracted to solve. It's that dual, or maybe even treble, vision that elevates Transit to greatness: we are reading Cusk's account of a woman who has taken up listening, in part, perhaps, to defer thinking about her own life, and who finds herself unable to stop shadowing others' stories with her own, setting their actions alongside hers, judging herself as she's judging them. "How often people betrayed themselves by what they noticed in others," Faye thinks at one point.
That scrim, that remove, that sense that we are in Faye's mind while its foreground is being given over to listening to someone else, makes reading Transit an unusually absorbing experience. Attending closely to another mind even as some part of our own mind is weighing, assessing, judging what we're hearing--in a sense, Transit replicates the reading experience itself.