Angle of Repose – Wallace Stegner (1971, Pulitzer Prize winner).
I do love some Stegner every now and then – typically very well written with true-to-life characters about whom you end up caring for the duration of the read.
This one, Angle of Repose, has elderly protagonist Lyman Ward researching the life of his grandparents who had both gone to the American West as part of the pioneering mining-for-gold industry.
Ward is trying to understand his grandparents via these old papers (including letters and diaries) which he has gathered from a local library, and interestingly, this novel is written as a mix of both a straightforward narrative looking back in time (from Lyman to the grandparents) and also as an epistolary novel (in that Stegner includes some slightly-fictionalized diary entries and letters from his grandmother character).
So, this is the plot and the reader tracks along with Lyman as he ploughs through all this historical paperwork from his family. The reason why Lyman is doing this is fairly hidden until the last third of the novel, but this doesn’t detract from the overall enjoyment of the book but does clarify a lot of what’s come before when you do learn this. (So, hold tight if you read this. Patience, my friend. It pays off.)
The novel switches back and forth between his grandparents’ lives and times and Lyman’s current life, where he is now an elderly retired history professor who lives by himself and whose son believes that Lyman should really be living in an assisted living home. The old man is helped by various assistants who come in, and his observations about these people are sharp as a tack, so he’s obviously still got his intellect. It’s his physical body that is failing him, so it’s rather a race against time in some ways.
What was really so interesting about this novel was the actual story of how Stegner obtained and then utilized the background materials for the historical underpinnings of the story. Let me tell you – it’s a corker…
You may (or may not!) have heard of a real-life American woman called Mary Hallock Foote who was a nineteenth-century writer and illustrator of pioneer life in the West. She has left behind a bounty of handwritten materials about the early mining life for many Victorian pioneers, and she had the industry connections as well since her husband had been the mine superintendent for some time. Stegner’s two main grandparent characters closely mirror this same lifestyle in the book, although they are not portrayed in a very flattering manner (especially the grandmother).
Stegner, as a real-life English professor at Stanford University, included one of Foote’s stories in his American Literature class that he was teaching in 1946, and a grad student in that same class decided to write his dissertation on Foote. The grad student had learned that Foote had a granddaughter who was living quite close and so this student visited the family with the dual intention of both asking the family for the collection of papers to be donated to Stanford Library and also for using them for his academic work.
The family gave the grad student permission to use the papers with the understanding that he (the grad student) would publish from their content and also supply the family with typed transcriptions of the actual letters. Years passed with no dissertation, but when the grad student gave up that goal, he passed the transcriptions on to Stegner who took them with him to read over a faculty summer.
A few years pass and Stegner comes up with the book idea (very influenced by the transcript materials and also by some of the people he knows), and thus Angle of Repose is scribed. By this time, Stegner is familiar with one of Foote’s granddaughters and it is she who gave Stegner the go-ahead to use the family paperwork however he wished.
The trouble arrived when the rest of the Foote relatives found this out and learned that the plot was very heavily based on Foote’s own life and times, and when you look at the parallels, it’s obvious.
The Foote family had believed that Stegner would follow Foote’s history more closely and give her credit where credit was due. Instead, Stegner really carbon-copies the Foote life but with his own characters and in doing so, ends up being accused of plagiarism. (The book’s introduction states that just over 10 percent of the actual novel uses Foote’s letters in toto but with no credit to the original author.)
Stegner does give his thanks and credit to a J.M. at the start of the novel, writing:
“My thanks for J.M. and her sister for the loan of their ancestors. Though I have used many details of their lives and characters, I have not hesitated to warp both personalities and events to fictional needs. This is a novel which utilizes selected facts from their real lives. It is in no sense a family history.”
So, it seems to me that both parties were working under varying definitions of what a novel is (or “should be”) and exactly how much Stegner relied on the papers. Perhaps it’s more of a communication problem than anything, because I can’t see this misunderstanding happening nowadays since a legal representative would more than likely be present in a similar situation.
In the end, Stegner stuck to his guns saying his novel was “based” on the historical papers, but how much is too much? Needless to say, the Pulitzer committee gave him the prize in 1971 (which probably did not help things between Stegner and the family!)
A number of years later (and before the book’s publication), a scholar received funding to publish Foote’s actual reminiscences and although this was great news for the Foote family, it put Stegner on tricky ground since it would be apparently obvious upon whom his novel’s main protagonist was based upon.
To his credit, Stegner got in touch with the family and offered to change character names and action in the novel (to protect the anonymity of Foote as author), but the family member didn’t want that nor did she want to read the manuscript. So, the printing went ahead…
Another issue that cropped up was that some thought that Stegner co-opted the life of the Victorian female writer. As a privileged white male who worked in a university, there was some umbrage about this…
As for what I thought about the book: I thought it was a really solid straight-forward read. It kept my interest throughout (although there was some wandering in the middle third of the novel), and I did become attached to the central characters (even if I didn’t particularly like them as people).
I can see why the Foote family was disenchanted with Stegner’s portrayal: the grandma in the book is petulant and immature throughout her ENTIRE life on earth, holding her husband responsible for taking her away from her cultured East Coast friends and the letters which are quoted provide evidence of her small-mindedness and resentment (that NEVER goes away).
I suppose in Victorian times, marital separation (let alone divorce) was very frowned upon but the couple were out West where laws only played a secondary role in life, so why didn’t she just up-sticks and move back East? And her husband was portrayed as a big dreamer in business without the skills to follow through on his ideas, but Heavens to Betsy – leave him. Instead, there are years of moaning and complaining about the life they lead (which, TBH, does sound hard), but then again, no one has a gun to his (or her) head.
Apart from the niggling irritation with the couple, the actual writing and descriptions of the Western mining camps and their inhabitants was lovely. Stegner was a great writer – I have no doubts about that.
I do wonder what he was thinking when he took this Victorian figure, unknown but hallowed by her immediate family, and then twisted her story very slightly (and not always in a positive light). I suppose he thought that he’d given the family the chance to review the manuscript and they had chosen not to, so it was a done deal.
But don’t let all this drama overshadow the fact that Angle of Repose is truly a good novel. Think of it as an interesting sideline.
And, I learned that the phrase “Angle of Repose” is from physics and is the actual angle at which material, when it’s piled up in a cone shape, actually stops moving – it reposes. Imagine a pile of sugar – the angle at which it settles and finally stops moving – that’s the angle of repose.
The title (and its meaning) also opens up another can of worms, as the grandparents live an itinerant life moving from mine to mine — so do they actually reach their own “Angle of Repose”? You’ll have to read to see.