Something Really Bad Is Always Happening to Former Literary ‘It Girl’ Tama Janowitz
The author of ‘Slaves of New York’ dishes on male reviewers, passing fame, and the satire of bad luck
Tama Janowitz picked me up from the bus stop at Cornell on a recent summer afternoon. Her arm was in a sling. Slight and barefoot, in white plastic glasses and with a shock of platinum hair, she gave the impression of a wounded animal: delicate difficulty with movement coupled with stubborn survivalism.
Janowitz was not easy to find, nor was she easily convinced to allow me to interview her in Ithaca, N.Y., where she currently resides. Two years ago, it had fallen to Janowitz to put her mother, poet and Cornell professor Phyllis Janowitz, in a nursing home and to begin the arduous process of clearing out her mother’s house. “She still knows me, and I’m all she’s got,” Janowitz said, explaining why she remains upstate. “I can’t leave now.” Janowitz’s voice is deep and thick, almost a growl.
Like others, I had long wondered what had happened to the author of Slaves of New York, A Certain Age, Peyton Amberg, Area 212, and other classics of this breakout star of the 1980s. Meanwhile, the rest of the Literary Brat Pack continues to be up to the usual antics. Jay McInerney has a book out on wine. Bret Easton Ellis recently wrote the script for The Canyons, a film by Paul Schrader about a porn star, starring Lindsay Lohan and James Deen. (Ellis also spent last fall hyping himself via Twitter as the right person to write the movie adaptation of E.L. James’ best-selling erotic trilogy, Fifty Shades of Grey, only to lose out to British producer Kelly Marcel.) Janowitz, too, has published regularly since Slaves of New York, the collection of short stories about struggling artists that made her an overnight sensation in 1986. But unlike her counterparts who seem to court the gossip column, she doesn’t have a website or a Twitter feed, or lengthy search results on Perez Hilton.
Janowitz, like the other Brat Packers, has written deeply satirical work: hilarious and dark, scathing yet somehow forgiving, and set over three decades in a New York of stark brutality that’s a poor—yet richer—cousin to the Bloombergian present. Despite the fact that each of her novels is immersed in a particular historical moment whose details caress the work, the recurring themes of class and gender inequality, of social power and powerlessness rendered as scathing social satire, are Swiftian in their precision and their continued relevance.
Each of Janowitz’s books is different, with a completely original protagonist, despite her focus on the recurring themes. Slaves of New York is a series of short stories with overlapping characters, most of whom are part of the 1980s art scene, and their efforts to make it or to survive in the city. A Certain Age is a modern retelling of Edith Wharton’s The House of Mirth. In Janowitz’s version, which begins at the Hamptons and ends on the wrong side of Houston Street, a woman’s life begins to devolve after a disastrous society weekend. Peyton Amberg is about a woman who achieves everything a modern, New York woman is supposed to want (a husband) but is left … wanting, in a modern rendering of Madame Bovary.
The books are meticulously plotted, beautifully illustrated satire in which, as the brother of her mother’s best friend once remarked after reading through Janowitz’s nine books, “First, something bad happens. Then, something even worse happens. And then, something even really worse happens, and then the book is over.” Janowitz’s response? “That’s about the nicest thing anybody could ever say! And one week later, this guy was at a play, and he stood up to applaud the play and he had a heart attack and died. And I thought, just after that compliment, he dies. You know?”
A broken arm, now in a sling, was one of a slew of misfortunes that had befallen Janowitz prior to my arrival in Ithaca. In her country exile, Janowitz rides horses regularly, and a horse had recently pressed her against a fence. She had assumed her arm was only bruised and had put off going to the doctor. The pain became unbearable, and she finally made an appointment to see a doctor, only to find out she had broken it in three places. But this wasn’t all. The doctor then failed to treat her properly. He had given her a brace, which had given her a rash, and which failed to protect her from the pain she was experiencing. On top of that, she has eight mini-poodles, which prevents her from traveling. She has a lame horse. Her car’s air-conditioning had given out. She took it to the mechanic. They told her they couldn’t fix it because it was an electrical problem.
“Is this normal for you?” I asked her over the roar of the wind coming through the rolled down windows of her car.
“Life’s not like that for others?” she asked.
From the bus station, she took me back to her mother’s house, where Janowitz has been living with her 17-year-old daughter Willow and her pack of tiny dogs, whose various barking, clamoring, pawing, and wheezing provided a maniacal Greek chorus to our conversation. Willow and her boyfriend Sasha roasted a chicken and vegetables over a fire while Janowitz and I sipped white wine with ice cubes and talked. Janowitz was eager to hear about my life, but eventually I got her to speak about her time spent at Studio 54 with her close friend Andy Warhol (“It was stupid how he died. A horrible mistake. There was a nurse there and everything. But nobody appreciated him by then, they were so mean, calling him a has-been.”), and the two years she spent in Israel as a young teen (“We lived in Herzlia Pituah. I loved it. We would walk on the beach and pick up ancient coins, and the men would walk after my mother and say, ‘Pretty lady! Want fuck?’ ”) and how burdened she was by the endless chore of clearing out 30 years of stuff her mother had accumulated.
Janowitz spoke in spurts. Sometimes her sentences would trail off, sometimes they would be interrupted by barking. She sat birdlike, the cast resting on the tiny dog in her lap, another dog by her thigh and one at her feet. She explained that she had started with fewer, but each time she got a new one, it had made her so happy. Their interactions remind her a lot of humans: “There’s the alpha, the beta, then they’re all the same, down to the one who’s last. If there’s five pieces of food and there’s six dogs, someone’s getting nothing. And in the human world, that would be me,” she sighed. “Even with them. I’d love to be the alpha with my dogs, but I’m obviously not. Demon is. He thinks he has to help me. If I speak harshly to one of the others, he thinks he has to punish them for me. He’ll jump off the bed onto them, rough them up.”
Indeed, Janowitz’s books are full of animal imagery. Of a desperate woman eating ice cream in A Certain Age, Janowitz writes, “she plunged her spoon methodically into the hardened mass, like a miner picking at chunks of coal. She ate blindly, unable to stop herself, no different from a butterfly repetitively plunging its proboscis, or a leopard tearing at a carcass. Such animal bliss! If only life could be lived in this state of pure being.”
Of a man discovering new things in Peyton Amberg, she writes, “He had been out in that heavily charted water that was new only to him, where the sea life swam—shrimps, or foraminifera, tiny crustaceans that shed myriad shells on the ocean floor. Creatures about which no one could say, really, whether their lives were lived more or less intensely than those of human beings.” Imagery and style pervade her works with astounding frequency. “It was his mouth that interested me,” a character observes in Slaves of New York, “as if a kiss had been planted on his face in the womb, and this later grew into a mouth.”
The ‘ancient’ griffin—given by the U.S. to Iranian President Rouhani—probably doesn’t date back to earlier than 1999