Unmasking the Metropolis: A Satirical Gaze at New York's Artistic Landscape
The Unfolding Narrative: A Dinner Party and Lingering Resentments
Zoe Dubno's initial literary endeavor, \"Happiness and Love,\" commences amidst a social gathering in Downtown Manhattan. The atmosphere is thick with expectation as a collection of youthful artistic personalities anticipates the arrival of a celebrated actress. The protagonist, we learn, has found herself among former companions she deliberately distanced herself from five years prior. Her return to the city for a friend's memorial service within the same group reignites past grievances and animosities. As she observes their displays of feigned humility and subtle competitive maneuvers, she retreats to a corner sofa, wine in hand, and her scathing internal commentary unfolds over the book's 224 pages, spanning various timelines. This narrative approach draws inspiration from Thomas Bernhard's 1984 social satire, \"Woodcutters,\" transplanting the haughty Viennese bourgeoisie into New York's burgeoning arts scene, delivering a critique that is both cutting and remarkably amusing.
The Stir it Caused: Familiarity, Fashion, and Unlikable Characters
Partly due to its candid portrayal, \"Happiness and Love\" has already sparked considerable discussion. A sense of recognition will resonate with anyone familiar with a similar artistic environment and its inherent affectations. Dubno, a native of the Upper West Side and an Oberlin College alumna, is intimately acquainted with this world, though she adamantly states the novel is not based on any specific individuals or events. (As a journalist covering culture, fashion, and lifestyle, Dubno has contributed to publications such as the New York Times, The Guardian, and Vogue.) She recounts, laughing, \"Many have inquired if I attended such a dinner party. Absolutely not! That gathering is a nightmare. I would never be invited, for I am too outspoken.\"
The book also, at various points, delves into the realm of fashion. This is evident not only in sharp critiques, like the description of a friend's \"ludicrous black Margiela mourning attire\" at a funeral, or the satirical depiction of a middle-aged Marxist fashion editor who temporarily mentors the narrator, but also in its examination of artists' and filmmakers' readiness to accept financial support from the fashion industry while simultaneously disparaging it. Dubno's clear understanding of this world, combined with her own elegant personal style (seen in photographs for this piece wearing Grey's, a New York label admired by fans of The Row and Lemaire), lends authenticity. The book's deeper concern lies with the broader implications that fashion often addresses, even if its arrogant characters would never concede: the delicate interplay of conformity and individualism in self-presentation, for example, or how the digital age has homogenized the cultural landscape, transforming every artist, intellectual, and historical reference into a commodity for personal branding. Coupled with Dubno's opulent and highly engaging prose—presented as a continuous, unrelenting paragraph with frequent italics to convey disdain for a world she cannot escape—it marks one of the year's most captivating literary debuts.
The Genesis of \"Happiness and Love\": From Inspiration to Creation
Dubno engaged in a dialogue with Vogue, discussing the intense reactions to her work, the strategic use of humor in her writing, and her intention to diverge from the distinctive style of \"Happiness and Love\" in her subsequent project.
Reflecting on the novel's origins, Dubno explained her desire to explore this particular world but lacked a clear method. Reading \"Woodcutters\" provided the blueprint: \"This is how one can encapsulate all these thoughts and viewpoints, while still delivering a compelling narrative rich with emotional depth.\" She had encountered \"Woodcutters\" years prior but recognized its potential as a model when she committed to writing her own book.
The catalyst for her writing came from John Keene, her MFA thesis advisor. Tasked with producing a substantial piece within six months, Dubno initially doubted her ability to complete a novel. Keene encouraged her to consider what kind of novel she could realistically write in that timeframe. Their conversations, often filled with candid observations, led to a playful challenge: to write her own \"Woodcutters.\" This encouragement from a respected figure, coupled with a desire to impress (or at least not waste his time), became a powerful motivator. While the novel took approximately a year to complete, missing the thesis deadline, the continuous engagement and weekly deadlines instilled a valuable discipline.
The Writing Process: Frenzy, Focus, and Navigating Plot
The intense pace and relentless nature of the book might suggest a frantic, continuous writing process. Dubno confirms that approximately the first three-quarters of the novel flowed rapidly, taking about four to five months. However, the conclusion, particularly the arrival of the actress, proved more challenging. \"Parking the car,\" as she described it, required more time to define the character's purpose and impact. While \"Woodcutters\" offered a structural model for characters and setting, its lack of a strong plot necessitated a different approach. Dubno had to craft a character whose arrival would fundamentally alter the evening's dynamics by delivering profound truths relevant to that specific environment. This process of identifying those truths and the book's core message ultimately extended the writing period for the latter section.
The Enigmatic Narrator: A Universal Mirror
The entire narrative unfolds within the protagonist's consciousness, yet paradoxically, she remains somewhat elusive, a deliberate choice by the author. Dubno aimed for the narrator to be a relatable figure, allowing any reader to metaphorically step into her shoes. Initially, she considered making the narrator's gender ambiguous but opted against it for narrative ease, noting that some of the narrator's issues with the other characters are distinctly feminine. Reading \"Woodcutters,\" Dubno, as a woman, deeply connected with its themes, even momentarily forgetting the narrator was an elderly man, highlighting the universal resonance of being exploited by others. This deliberate ambiguity served a specific purpose in her work.
Bridging the Specific and the Universal: A Timeless Social Dynamic
The novel meticulously portrays a very specific social stratum, yet it also possesses a timeless quality, suggesting that such exclusive artistic communities have always existed. Dubno acknowledges that she did not deliberately calculate this balance but rather wrote from the authentic experiences of her characters and their world. She recounts numerous inquiries about whether she had attended such a dinner party, to which she humorously replies, \"No, of course not! That dinner party is a nightmare. I would never be invited to that because I'm too opinionated.\" Unlike her more reserved narrator, Dubno asserts she would speak her mind, unable to feign cordiality with such individuals. She has heard from various readers, spanning different locations and age groups, who recognize the social dynamics depicted, whether in Milan, Berlin, or through their grandparents' experiences in the 1970s. This underscores the transcending nature of such social interactions beyond specific details.
The Humor in Unlikability: Challenging Reader Expectations
Virtually every character in the book is depicted as either toxic, flawed, or simply irritating. This often leads to a common online critique, particularly on platforms like Goodreads, where readers express difficulty finishing books due to unlikable characters. Dubno, upon hearing this, humorously asks if such comments appear on her own Goodreads. When questioned about her perspective on this sentiment, she responds, \"People are quite peculiar. Perhaps they should watch 'Bridgerton.' Though I do enjoy 'Bridgerton.' Honestly, they should examine the literary canon. People can be so tiresome. Read 'Anna Karenina'—she's a chaotic figure!\" This suggests a playful dismissal of the \"likability\" criterion, aligning with her appreciation for complex, even challenging, characters in literature.
Genre Bending and the Power of Humor: A Secret Weapon
The novel is undeniably amusing. When asked about its genre, particularly if it could be classified as a comic novel, Dubno expresses her fondness for works that blend high and low cultural elements, often provoking a diverse range of reactions. She values avant-garde, sophisticated literary fiction, citing Thomas Bernhard's work as an example. However, she believes such books are more accessible than perceived, often being unfairly deemed difficult or requiring a high level of education, placing them on a perceived \"Mount Olympus.\" Dubno found Bernhard's work profoundly humorous, which was her initial draw to it. She wasn't consciously categorizing her own book's genre, but notes that the narrative itself addresses genre, particularly how individuals censor themselves to avoid appearing unsophisticated.
The Visceral Impact: Resonating with Shared Experiences
Returning to a previous point, Dubno acknowledges that a common reaction from friends and colleagues who have read the book is a visceral recognition, often expressed as, \"Oh God, I've been to that dinner party. I've been around those people.\" While she didn't necessarily anticipate such a strong response, she had hoped for it. For her, the most rewarding aspect of reading fiction is encountering a text that, regardless of the author's identity or historical context, resonates deeply, making one feel: \"Oh my God, these are my thoughts. I never knew that anybody but me felt that way.\" It's akin to a connection transcending time and space, a sensation she hopes her book provides, despite its contemporary setting. Thus, hearing about the profound impact on readers is gratifying.
Exploring Loneliness in the Modern Age: Transactional Relationships and Self-Worth
Dubno attributes the common thread of loneliness among her characters to the contemporary preoccupation with digital platforms and individual \"attention fiefdoms.\" She describes this as a profoundly solitary pursuit, constantly gauging one's own and one's work's reception. This self-awareness, she admits, is a relatively new experience, marked by questions like, \"Is my little book getting attention?\" She likens this to operating as a \"one-person corporation,\" which fosters deep isolation. Furthermore, her characters suffer from loneliness because they lack trust, entangled in transactional relationships where genuine interest in their intrinsic worth is overshadowed by focus on their possessions, achievements, or wealth. They struggle to separate these external validations from the possibility of inherent value.
Fashion as a Narrative Device: Intentional Choices and Social Signaling
Fashion plays a surprisingly significant role in the novel. Dubno was very deliberate in her choices regarding what characters wore and the messages their attire conveyed. She enjoys how fashion is depicted in fiction, referencing Simone de Beauvoir's \"The Mandarins,\" where a character resembling Elsa Schiaparelli's clothing is meticulously described, including the careful selection of outfits for significant encounters. In the art and culture spheres, people are fascinated by clothing, yet often pretend otherwise, prioritizing an intellectual image. However, fashion is an integral part of self-presentation, a central theme in her characters' lives. Therefore, she intentionally made fashion a prominent element in her book.
Unexpected Resonance: The Enduring Appeal of \"Happiness and Love\"
Dubno has encountered unexpected responses during her book tour and from readers' reactions. She was particularly surprised by the book's resonance with older demographics. Her grandfather had always maintained that the book was being mismarketed, arguing its themes transcended the art world and held universal appeal. This has been a pleasant revelation, as she has met numerous women in their 70s who expressed a deep connection to the story. Another cherished moment was meeting the artist behind the book's captivating cover painting. She found joy in discussing the artwork and witnessing the artist's excitement at seeing her creation displayed in bookstores, a facet of the publishing process that authors often overlook.
The Evolution of Style: Embracing Change While Retaining Distinctiveness
\"Happiness and Love\" is distinguished by its unique style and tone. Dubno has begun contemplating her next literary endeavor and whether it will adopt a more traditional or conventional approach. She confirms her next project will be quite different. While she has started working on something, she is hesitant to disclose details, unsure if she will fully commit to the current concept. She enjoys the Bernhardian single-paragraph writing style but believes her upcoming work is better suited for a classic novelistic structure. When asked about abandoning her signature italics, she admits her attachment: \"I adore italics. I'm addicted to them.\" She constantly uses them in her non-fiction and journalistic writing, often engaging in good-natured disputes with editors who question their necessity. She playfully attributes this to Bernhard's influence, noting the historical lineage of literary inspirations. Despite the shift in overall style, she firmly states, \"I'm not letting go of the italics.\"