{"id":36235,"date":"2012-07-27T16:00:57","date_gmt":"2012-07-27T20:00:57","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=36235"},"modified":"2012-07-30T11:44:53","modified_gmt":"2012-07-30T15:44:53","slug":"two-versions-one-heti","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2012\/07\/27\/two-versions-one-heti\/","title":{"rendered":"Two Versions, One Heti"},"content":{"rendered":"<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2012\/07\/HETI.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2012\/07\/HETI.jpg\" alt=\"\" title=\"HETI\" width=\"300\" height=\"225\" class=\"alignleft size-full wp-image-36262\" \/><\/a><\/p>\n<p>I recently picked up a copy of Sheila Heti\u2019s <em>How Should a Person Be?<\/em>, out last month from Henry Holt, to find a favorite passage. It appeared at the beginning of the novel\u2019s fifth act, or at least it had in the first copy I had read, a Canadian version published by Anansi in September 2010. But flipping through this new edition from Heti\u2019s American publisher, I couldn\u2019t find it. I felt disoriented and wondered if my memory was failing me, and as I looked more closely at the American version, I saw that much else had changed: passages had been deleted or transposed; new characters appeared; objects changed value and form.<\/p>\n<p>After a few minutes of searching, I found the passage I was looking for. It hadn\u2019t changed much between the first publication and the second, but its new placement left me confused, and surprisingly disappointed. I wanted to find the book exactly as I\u2019d left it, and felt the same as Jonathan Franzen, who recently expressed his misgivings about e-books: \u201cWhen I read a book, I\u2019m handling a specific object in a specific time and place. The fact that when I take the book off the shelf it still says the same thing\u2014that\u2019s reassuring.\u201d Books often feel like restorative, reliable old friends\u2014and although Heti\u2019s book hadn\u2019t forfeited its material qualities, my assurance of its fixity had been shaken.<\/p>\n<p><!--more--><\/p>\n<p>Thumbing through my two editions, I looked to catalogue what else had changed. The transcribed conversations\u2014one of the unique structural elements of the novel, from conversations Sheila had recorded of her friends talking\u2014remained largely intact; ditto the e-mails, often written in numbered lists, with loose punctuation and lowercase <em>I<\/em>\u2019s. But throughout, choppy transitions in the Canadian version\u2014from e-mails to sex scenes to parties to Sheila\u2019s ruminations\u2014had been smoothed into something more fluid; scenes were connected and sequenced, with a discernible beginning, middle, and end. Objects transformed and became more precious: rather than drinking champagne from \u201ctwo coffee cups\u201d to celebrate her best friend Margaux\u2019s birthday, in the first version, they now sipped from Margaux\u2019s \u201cvery best cups.\u201d The cumulative effect was of something more carefully crafted, more rounded and finished. Heti had prettified a raw and occasionally ugly text, and this new version seemed declawed, even buffed to a shine, and had lost of some of the rough edges that seemed so novel when I first read it.<\/p>\n<p>For some writers, a completed book is a discrete, inviolable object. For others, the urge to reread their work with the proverbial red pen is too strong. The prose needs to be trimmed here; a transition snags there. Subsequent iterations can offer a different resolution or style. James Joyce, fashioning his image of the genius-artist, famously reworked <em>Stephen Hero<\/em>, from an overwrought romantic text into a modernist touchstone. Herman Melville, writing about <em>Moby-Dick<\/em>, declared, \u201cFor small erections may be finished by their first architects; grand ones, true ones, ever leave the copestone to posterity. God keep me from ever completing anything. This whole book is but a draught\u2014nay, but the draught of a draught.\u201d I wondered whether Heti, like Joyce and Melville before her, was wont to revise again and again, glorying in the hard work of her craft\u2014if she imagined many and evolving answers to her book\u2019s evocative question, or if she had finally fashioned a suitable copestone to answer it.<\/p>\n<p>I asked her. Between sips of blood-orange soda, Heti explained that, even when <em>How Should a Person Be?<\/em> went to press in Canada, she had a niggling sense it wasn\u2019t finished, but assumed she would always feel that way: that the question of how a person should be could always be revisited, always answered anew. Attempting to answer my question, Heti reflected that the book, after all, is \u201cabout questioning, it\u2019s about not really knowing the answers and it\u2019s probably right for this book to never be done.\u201d (Later, at her book launch in Brooklyn, when asked to answer, in person, the book\u2019s prompt, she replied, \u201cI wrote a book called <em>How Should a Person Be?<\/em>, not <em>How a Person Should Be<\/em>. It\u2019s a question.\u201d)<\/p>\n<p>This kind of equivocation seemed to square with an author who had written a book by turns aimless, episodic, and confessional. In our conversation, Heti not only ignored the notion of a proper answer, she also admitted her own limitations in ascertaining any sort of answer, either to my question or to the novel\u2019s titular question. In the book, she pointedly exhibits Sheila\u2019s shortcomings\u2014her uncertainty about herself, her delusions of grandeur, her susceptibility to others\u2019 influence\u2014and presents these conflicting tendencies unapologetically, almost boastfully. As she considers how a person should be, Sheila\u2019s concept of a genius ranges from one who ends world hunger to one who is a modest celebrity to the best blow-job giver of her day. Here was no genius revealing pearls of wisdom, but a questioning writer offering something far more provisional and far more honest.<\/p>\n<p>\u201cThe story of twentieth-century male genius is that art is more important than people. I wanted to see if I thought that, too,\u201d Heti told me. Both Heti and Sheila wanted to take their art seriously, but weren\u2019t yet sure how seriously or at what cost. Heti cited Stephen Dedalus\u2019s defensive tools. \u201cThat exile thing, that\u2019s so classic,\u201d she told me, eyes focusing. But unlike Dedalus, that revised portrait of a young artist who declares that he will express himself \u201cusing for my defense the only arms I allow myself to use\u2014silence, exile, and cunning,\u201d both Sheila and Heti, by involving friends in the process, work socially, collaboratively. \u201cWhat does art become if exile is not an option?\u201d<\/p>\n<p>I began to reconsider my disappointment as I understood more why Heti refused to answer the question she so provokingly poses. Perhaps it\u2019s not that her edits aimed repeatedly to find the perfect form for her ideas, as Melville suggested, but that these changes were yet another way that she mirrored the moving parts of her characters, of herself, and of her artistic process. How should a person be?, Heti found, is not a question that concerns just one person but often two or more; it is, in part\u2014and especially for one whose characters draw from real-life friends\u2014a question of how one should treat those we cherish.<\/p>\n<p>And what about the betrayal I felt? Had she abandoned the book as a finished product? What about me, her reader? Heti\u2019s choice\u2014to make the revisions, to let them be public, to have the \u201cmessy\u201d problem, as she put it, of having two versions of the same book\u2014was a display of uncertainty, but also of earnest searching and reconsideration. The two-book problem was another provocation to consider what it meant to make something ugly or sincere or true. I was willing to accept that in place of a reliable object of genius.<\/p>\n<p><em>Anna Altman is a writer, editor, and translator and a member of <\/em>The New Yorker<em>\u2019s editorial staff. Her writing has appeared in <\/em>The New Yorker, Frieze, Art in America, Triple Canopy<em>, and<\/em> Art Asia Pacific<em>, among others.<\/em><\/p>\n<p><p>[tweetbutton]<\/p>\n<p>[facebook_ilike]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>I recently picked up a copy of Sheila Heti\u2019s How Should a Person Be?, out last month from Henry Holt, to find a favorite passage. It appeared at the beginning of the novel\u2019s fifth act, or at least it had in the first copy I had read, a Canadian version published by Anansi in September [&hellip;]<\/p>\n","protected":false},"author":381,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[489],"tags":[1432,4083,6942,947,110,952,2824,145],"class_list":["post-36235","post","type-post","status-publish","format-standard","hentry","category-books-2","tag-canada","tag-herman-melville","tag-how-should-a-person-be","tag-james-joyce","tag-jonathan-franzen","tag-moby-dick","tag-sheila-heti","tag-usa"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Two Versions, One Heti by Anna Altman<\/title>\n<meta name=\"description\" content=\"July 27, 2012 \u2013 I recently picked up a copy of Sheila Heti\u2019s How Should a Person Be?, out last month from Henry Holt, to find a favorite passage. 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