Lauren Murdock

Mrs. Mann

AP Literature and Composition- Block 2

8 November 2017

Extremely Loud and Incredibly Close: Not quite a classic

There is a endless repository of good reads, books that everyone should at least

read once, but which of these novels belong in the selective literary canon? Timelessness,

universal themes, clear messages, captivating plots-- all are key elements in defining

classic literature-- but must every quality be present in a classic work? Not necessarily.

Rather, a collective consideration of each of these factors is necessary in deeming any

novel worthy of the title, classic. While Jonathan Safran Foers Extremely Loud and

Incredibly Close is a captivating and enjoyable read, several literary flaws, from its

unrelatable narrator and underdeveloped theme to Foers lack of an authorial message,

disqualify the novel from earning a place on the renowned shelf of the literary canon.

Extremely Loud and Incredibly Close, addresses several universal themes,

namely the ability to confront loss and define oneself in the midst of change, essential

components that make the novel a worthwhile read. On a broad scale, the novel is a story

about defining oneself and obtaining maturity in the face of loss and grief. As Oskar

struggles to define his growing self and determine who he wants to become, he tries on

many different identities. When Oskar find an envelope in his father closet with a key and

word black written on the front, he sets off to find the matching lock, starting by visiting

every person in New York City with the last name Black. These identities are portrayed

in the novel as the Blacks, and each individual teaches Oskar a lesson essential to
unlocking his true identity. When the novel begins, Oskar is constantly being told of

how much he reminds others of his father and responds by saying, It doesn't make me

feel good when you say that something I do reminds you of Dad(Foer 76). He distances

himself from his grief and struggles, as one would expect of a nine nine-year old boy, but

through his journey to acceptance readers question their own ability to cope with tragedy

and deal with the death of a loved one. Ultimately, as time goes on and Oskar begins to

come to terms with his father's death, he also comes to understand that while his father

may no longer be with him, he will always be a component of his identity (Foer).

However, Foers many thematic elements are often undeveloped or offer little to

no ultimate message or takeaway for readers. In fact, Foer himself describes his own lack

of intention when it came to a reader's takeaway commenting, There is nothing

particular that I hope readers of the book take from it, I hope that it offers a very strong

experience for them...there is no particular way that I want them to be moved

(Jonathan). The debate over the importance of authorial intent rages even today, but

despite unsurety surrounding this qualitys negotiability in the definition of a classic,

works considered today to be the epitome of classic literature show that it is certainly a

common factor. F. Scott Fitzgerald's The Great Gatsby leaves little room for question

with its societal commentary on the impossibility of the American Dream. Similarly,

when it comes to Harper Lees renowned To Kill A Mockingbird, negotiation surrounding

Lees claims about the power of generational spread of prejudice and how the loss of

innocence and growing up is a process of determining for oneself the line between good

and evil, is rare. Unlike these identifiable classics, Extremely Loud and Incredibly Close

fails to clarify its moral value, and this flaw extends past Foers interpretive intent.
Universal themes are given very open ended and simplistic conclusions, and in some

cases, themes assumed by the premise or plot of the novel are slighted. For one, the

primary theme of the novel, loss, offers no lasting message beyond --people deal with

grief and loss in many ways and for Oskar, maturity and growing up in the face of

tragedy was a vessel of identity. Another key thematic element that falls short of a full

purpose is terror. Given that the novel is set the aftermath of the September 11th terrorist

attacks, it is only natural and only right that readers anticipate some thematic

acknowledgment of terror. One reviewer comments, More than marking the novels

inability to grasp the trauma-like effects of terrorism, and the war on terror, the [novel] is

perhaps, dishonest in a way that seems almost to betray the novel as a form in its grand

sense (Eaglestone). In response to such accusations, Foer explains, I think that the

emphasis is put on September 11th because it is a trauma in our very very recent past, its

not the way that I look at the book. I see that book as story about loss and about family

(Jonathan). While this may be true, placing no emphasis on 9/11 itself does a

disservice to his inclusion of the attacks in the novel, ultimately circumventing the

concept of terrorism and the effects of terror on the lives of individuals both within

America and across the nation.

Furthermore, Foers decision to narrate his story from the perspective of young

Oskar only fuels the fire. Critics argue:

Choosing a child narrator gives Foer access to extravagant emotions and quirky

imaginings that would seem cloying or self-indulgent in a grown-up, but at the

cost of allowing the central trauma its due. September 11 was a surreal intrusion

of the spectacular and malevolent into the banal and safe. But for a kid like Oskar,
 reality has yet to be fully established, so surreality is impossible...With a child

narrator like Oskar, you can finesse the problem; he cant be expected to realize

his own poignancy, let alone be accused of wallowing in it. (Miller)

If Oskar himself is unable to deem meaning from his experiences and his circumstances,

how are readers expected to? Moreover, Foers choice of narrator diminishes relatability

to the main themes and makes it difficult for readers to derive meaning from Oskars

methods of dealing with his grief. Oskar thinks in ways and thus act in ways that most

readers cannot directly identify with. His blind trust in the human race, as one example,

can be seen in this dialogue between Oskar and his mother after Oskar gives the mailman

a key to their apartment, "Sometimes people who seem good end up being not as good as

you might have hoped, you know? What if she had stolen our things? She wouldn't.

But what if? But she wouldn't. she was obviously mad at me, but I didn't know

why. I could tell that she really didn't love me (Foer 6). Furthermore, he mistakes his

mother's frustration at his rash decisions for lack of love, a conclusion that seems far-

fetched given the circumstance and adds an element of unrealistic drama and

exaggeration to Oskars perspectives. Foer responds to questions about his unconventional

narrator saying simply, When I was writing, Oskar felt honest (Jonathan).

Unfortunately, the more prevalent interpretation after reading the novel, and view shared

by most critics more closely aligns with the belief that, It is the lack of understanding of

the child protagonist that licenses the misleading simplicity of the novel (Eaglestone).

Oskars abstract mind and obscure thought process is confusing and through diminishing

relatability to the narrator and the lessons he learns throughout the text, Foers message,

if any, is lost to misunderstanding.

 A final, non negotiable quality of classic literature is timelessness, a quality sadly

lacking in Extremely Loud and Incredibly Close. Written during an era in which 9/11 was

at the forefront of a movement towards greater nationalism and unity across the country,

this tragedy is kept alive today by the vast population of Americans who remember where

they were standing, who they were with, and what they were thinking when the towers

fell. Yet, 9/11 as the underlying premise and major draw for readers will not stand the test

of time. As the generations continue 9/11 like many event of history will become an

important component the history textbooks, but have little personal or emotional

connection with readers. While, the universal theme of grief and maturity was the

author primarily thematic intention, his decision to set the novel following 9/11 and

unclarity of this decision only further distances readers from the text. The death of a

beloved parent will always be cataclysmic to a child, but the attacks of September 11

were also cataclysmic in another way, a way that can only be understood with the

perspective and context that comes from an adults experience. (Miller). September 11th

carries with it its own themes and messages that while not intentional in this book, are

left seemingly unaddressed. Essentially, the novels draw today stems from its setting in

post-9/11 New York City, but ast 9/11 falls to history, Extremely Loud and Incredibly

Close too will fall in the battle against the test of time.

Loss, maturity, identity, love, are all major currents of theme throughout the

novel. Everyone deals with loss in their own way and through Oskars story, readers are

prompted to question for themselves how they have or would deal with loss in their own

life. However, there is no conclusion to Oskars struggle. The novel will always be

relevant on a broad sense, but the themes are merely too simplistic to be held as any deep
 universal truth, and thus will never become a component of academic literature. From its

lack of thematic development to young narrator, Oskars Shells abstract mind and

reader's inability to relate, Jonathan Safran Foers Extremely Loud and Incredibly Close

is not successful in conveying an ultimate message or making any clear conclusion about

universal themes. While an interesting story and enjoyable read, the novel does not

deserve the title of classic.

Works Cited

Collado-Rodriguez, Francisco. Trauma, Ethics and Myth Oriented Literary Tradition in

Jonathan Safran Foers Extremely Loud and Incredibly Close. Journal of English

Studies, vol. 5-6, 2005, pp. 4762.

https://publicaciones.unirioja.es/ojs/index.php/jes/article/view/120

Eaglestone, Robert. The Age of Reason Was overan Age of Fury Was Dawning:

Contemporary Fiction and Terror. Terror and the Postcolonial: A Concise Companion,

vol. 40, John Wiley & Sons, 2011, pp. 361364.

Foer, Jonathan Safran. Houghton Mifflin Harcourt, 2005.

Jonathan Safran Foer on Extremely Loud and Incredibly Close. Michigan State University

Alumni Association, 25 Sept. 2011, www.youtube.com/watch?v=aEE1hMopdpo.

Miller, Laura. Terror Comes to Tiny Towns. Review of Extremely Loud and Incredibly Close.

New York Books, nymag.com/nymetro/arts/books/reviews/11574/.

Solomon, Deborah. The Rescue Artist. The New York Times Magazine, 27 Feb. 2005,

lacesmagnetschool.org/ourpages/auto/2009/4/15/54108459/NYT%20Mag-Foer.pdf.