Thursday 11 April 2013

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The History of Love was a word-of-mouth hit when it came out in 2005. I bought it following a weekend on Long Island during which everyone raved about this hybrid of a novel – part love story, part mystery, and a hugely affecting exploration of loss. It subsequently became an international bestseller, translated into 25 languages, and last year The New Yorker featured its glamorous author, Nicole Krauss, in their list of the 20 best writers under 40. Krauss’s third novel, Great House, nominated for the National Book Award in the States, is published here this month.
NICOLE KRAUSS, BROOKLYN: Photo by Andrew Testa / Rex Features
The History of Love, Krauss’s second novel (her first, Man Walks Into a Room, was published in 2002) rejects a conventional linear structure in favour of weaving together multiple voices, including lists and book extracts. It is an experimental style, verging on stream of consciousness. Derek, from our book club, calls it “pretentious”, and Alan “mesmerising” – but more of that next week.
Speaking from the Brooklyn home she shares with her husband, the writer Jonathan Safran Foer, and their two young sons, Krauss tells me that she remains “very fond” of the novel and is thrilled at the thought of our book club meeting to discuss it. “I still feel strongly at home there,” she says of the book, which is currently being made into a film by Alfonso CuarĂ³n, the director of Harry Potter and the Prisoner of Azkaban.
Loss, whether through bereavement, the Holocaust, or a broken heart, is the pulse of this emotionally charged novel. A book, “The History of Love”, binds different characters and generations together, and serves as a symbol of the transformative power of literature. From the writing of the novel by Leo Gursky in homage to his teenage love Alma through to the Brooklyn teenager named after its heroine who tracks down her namesake, this book within a book is the catalyst for all manner of revelations.
It is “about how people respond to loss and what happens in the aftermath of that”, says Krauss. “How does one recreate the self?” The answer, she says, is the imagination. It is how her characters reshape their past and their memories. “The History of Love isn’t just about loss,” she says, elaborating further, “but about this opportunity that follows that loss, and this necessary need to act.” It is a creative act that, says Krauss, mirrors the Jewish diaspora and the need for reinvention.
‘I’m very interested in structure, how multiple stories are assembled in different ways; that is what memory does as well,” she says. With each character, we see “the complete restructuring of a reality to create another reality, on which we rest the foundation of our self.”
Karen, from our book club, wants to know if Alma is based on Krauss. They both have gap teeth, for starters, says Karen, and an English mother. Krauss’s reply is characteristically perambulatory.
“I have realised just how important it is to readers to feel that fictional stories are based on reality.” She wishes they wouldn’t. “There’s some resistance to wishing to give ourselves over to the imagination. Why can’t something that is wholly invented and wholly imaginary be as moving, as profound as something which has its seeds in reality?”
I don’t think Karen was suggesting it couldn’t. Anyway, Krauss eventually says it’s Leo who is like her, not Alma. “He absolutely feels like me. He is the quickest, shortest cut I could make to exposing very vulnerable, very vivid parts of myself; things I just couldn’t find a way to talk about in life.”
There is a great musicality to The History of Love and nowhere more so than in the rising and sudden falling of emotion in Leo, who lives in the shadow of longing: for his extant son, a famous writer, who does not know of his existence, and of his son’s mother, Alma. Outwardly jocular, Leo reveals that painful yearning in two words: “And yet.”
Krauss, who speaks in sentences as long as Leo’s, remembers writing one of his marathon sentences, in which “and yet” was one of the clauses along the way. “What if I moved the period [full stop] up to ‘And yet’?” she wondered, thereby hitting on “a phrase that captured his personality, his soul. He wanted to unburden himself, but there was always this clamping down right at the moment of highest emotion.” The phrase drove Anirban from the book club mad; I loved it.
Fiction, says Krauss, surpasses any other art form, affording an “incredibly direct valve of access to the inner life. That powers my desire to write: the sense of how quickly everything on the surface of life can be cut away and you can suddenly be inside the most inner part of the most inner life of a person. What does it feel like there, and what are the regrets and sensations and longings, and what is the music of it?”
And will that music be to the book club’s taste? All will be revealed next week.
* The History of Love is available for £8.99 plus 99p p & p from telegraph.co.uk/bookclub
* Join the debate online at telegraph.co.uk/bookclub

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