{"id":81793,"date":"2015-01-19T13:45:49","date_gmt":"2015-01-19T18:45:49","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=81793"},"modified":"2015-01-20T10:13:22","modified_gmt":"2015-01-20T15:13:22","slug":"a-dissatisfaction-with-life","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/01\/19\/a-dissatisfaction-with-life\/","title":{"rendered":"A Dissatisfaction with Life"},"content":{"rendered":"
\"Highsmith_on_After_Dark\"<\/a>

Patricia Highsmith on After Dark<\/i>, 1988. Photo: Open Media Ltd.<\/p><\/div>\n

\n

You don\u2019t agree with George Bernard Shaw\u2019s idea that the artist is very close to the criminal?<\/em><\/p>\n

I can think of only one slight closeness, and that is that an imaginative writer is very free-wheeling; he has to forget about his own personal morals, especially if he is writing about criminals. He has to feel anything is possible. But I don\u2019t for this reason understand why an artist should have any criminal tendencies. The artist may simply have an ability to understand \u2026 I would much rather be an entertainer than a moralizer, but to call murder not a social problem I think is ridiculous; it certainly is a social problem. The word existentialist has become fuzzy. It\u2019s existentialist if you cut a finger with a kitchen knife\u2014because it has happened. Existentialism is self-indulgent, and they try to gloss over this by calling it a philosophy \u2026 I once wrote in a book of mine about suspense writing, that a criminal, at least for a short period of time is free, free to do anything he wishes. Unfortunately it sounded as if I admired that, which I don\u2019t. If somebody kills somebody, they are breaking the law, or else they are in a fit of temper. While I can\u2019t recommend it, it is an awful truth to say that for a moment they are free, yes. And I wrote that in a moment of impatience, I remember distinctly. I get impatient with a certain hidebound morality. Some of the things one hears in church, and certain so-called laws that nobody practices. Nobody can practice them and it is even sick to try \u2026 Murder, to me, is a mysterious thing. I feel I do not understand it really. I try to imagine it, of course, but I think it is the worst crime. That is why I write so much about it; I am interested in guilt. I think there is nothing worse than murder, and that there is something mysterious about it, but that isn\u2019t to say that it is desirable for any reason. To me, in fact, it is the opposite of freedom, if one has any conscience at all.<\/p>\n<\/blockquote>\n

<\/p>\n

That\u2019s Patricia Highsmith in an illuminating 1981 interview<\/a> with Armchair Detective<\/em>, which found her in an unusually philosophical mode, especially vis-\u00e0-vis the criminal psyche. Highsmith, who was born on this day\u00a0in 1921, is best known as the author of Strangers on a Train\u00a0<\/em>and\u00a0The Talented Mr. Ripley<\/em>. Her novels are, as her biographer Joan Schenkar writes<\/a>, \u201cbrilliantly disorienting narratives of such shimmering negativity … that they are like nothing else in their literary landscape … [they] suck another reader into their bottomless vortex of moral relativities, transferable guilts, and unstable identities.\u201d<\/p>\n

Highsmith had a famously torturous personal life: she lived in isolation, drank to excess, and strained to cope with her feelings for other women. She never married, and none of her affairs lasted long. She had a habit, Schenkar notes, of \u201crepeatedly seducing her lover\u2019s lovers\u2014and those lovers\u2019 lovers as well.<\/p>\n

The playwright Phyllis Nagy put it simply: \u201cShe had a dissatisfaction with life<\/a>.\u201d<\/p>\n

Highsmith\u2019s fascination with criminality connects to a whole subterranean network of misanthropy: in her notebooks<\/a>, she described life in the mid-twentieth century as \u201ca catalog of various subterfuges and camouflages, sedatives and intoxicants \u2026 [a] sense of chaos and decadence [pervades] my age. The greatest achievements in my age in writing will be made by students of chaos. Lines fly off in every direction, and where they cross is no point of sanity or security.\u201d But those notebooks were also her only venue for a kind of longing:<\/p>\n

\n

Persistently, I have the vision of a house in the country with the blond wife whom I love, with the children whom I adore, on the land and with the trees I adore. I know this will never be, yet will be partially that tantalizing measure (of a man) leads me on. My God and my beloved, it can never be! And yet I love, in flesh and bone and clothes in love, as all mankind.<\/p>\n<\/blockquote>\n

Online, interviews and recordings of Highsmith are sadly hard to come by\u2014I could only dredge up this 1987 radio piece<\/a>, strictly for devotees. Her interlocutor speaks as if he\u2019s spent decades imprisoned in his studio with a low-grade fever. \u201cI don\u2019t think I\u2019ve been to a party for two years,\u201d he says at one point, marveling at the active social lives of her characters. And, elsewhere: \u201cI\u2019m told they don\u2019t publish hardcover books in France \u2026 Isn\u2019t that shocking<\/em>?\u201d<\/p>\n

Highsmith, for her part, does not seem shocked.<\/p>\n

Dan Piepenbring is the web editor of <\/em>The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"

You don\u2019t agree with George Bernard Shaw\u2019s idea that the artist is very close to the criminal? I can think of only one slight closeness, and that is that an imaginative writer is very free-wheeling; he has to forget about his own personal morals, especially if he is writing about criminals. He has to feel […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[7583,7002,7511,1132,16659,1826,16660,1825,16657,16658],"class_list":["post-81793","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-crime","tag-genre-fiction","tag-george-bernard-shaw","tag-interviews","tag-joan-schenkar","tag-murder","tag-murderers","tag-patricia-highsmith","tag-strangers-on-a-train","tag-the-talented-mr-ripley"],"acf":[],"yoast_head":"\nPatricia Highsmith on Murder, Murderers, and Morality<\/title>\n<meta name=\"description\" content=\"The author of \u201cStrangers on a Train\u201d and other crime novels refutes the idea that artists are inherently more criminally minded.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2015\/01\/19\/a-dissatisfaction-with-life\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Dissatisfaction with Life by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"January 19, 2015 \u2013 You don\u2019t agree with George Bernard Shaw\u2019s idea that the artist is very close to the criminal? 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