Biographical Reading of Ann Beattie's "Janus"

Introduction: Biography and Literary Scale

Great literature is often associated with revealing great passions and large events. The English literature produced during the nineteenth century can be especially noted for the grand scope and sensationalism employed by many of its authors. Charles Dickens stands out as the foremost example of these sensationalist literary figures. In his novels — such as Oliver Twist, Great Expectations, and A Tale of Two Cities, not to mention many others — life-altering events occur in almost every chapter, and the circumstances the various characters find themselves in change drastically over the course of each novel's plot.

One explanation for this is that the novels Dickens wrote reflect both the turbulence of the time and place he lived in, and the many major changes of circumstance that he himself went through in his own life. He experienced life at most levels of British society and wrote about the many inequalities and injustices he perceived. The fact that he wrote about them as fiction does not diminish the truth that these factors held in his personal experience. In fact, a biographical reading of his work reveals that the great passions and events occurring in his novels — those qualities that earn them the status of great literature — are really reflections of his own real life, with some necessary embellishments and modifications, of course.

In the case of Charles Dickens, the connection between his biographical details and the plots and themes of his literary works is direct and easy to perceive. It can be less simple to discern the biographical impact of a work that does not exhibit such a grand scale, however. Ann Beattie is considered one of the great geniuses of the minimalist form, and as such her stories reveal characters through small details rather than plot (Frost, par. 1). This can make a biographical reading tricky, but not impossible.

Minimalism, Disillusionment, and Beattie's Tradition

The world changed drastically from the Victorian Era and the Industrial Revolution that Dickens inhabited. After the turn of the century and two World Wars, things were settling down again by the late 1940s and into the 1950s. A great deal of disillusionment occurred during this period, and many literary figures began to focus on the false promises of equality and the disappointment that passions can bring. As time wore on, a complete lack of passion — or total ennui — began to emerge as a new literary theme: the theme of disillusionment with the world in general, and specifically with the idea that humanity had any special place in the universe. This is the tradition that Ann Beattie belongs to, and it is harder to identify biographical influences in her work precisely because much of it is delivered in such a seemingly passionless and purposeless manner. Yet even with this obstacle, comparisons between her life and her work can be made.

Class, Entitlement, and the Character of Andrea

Beattie's short story "Janus" centers on the figure of Andrea, an upper-middle-class white woman who works as a real estate agent and is married to a stockbroker; both of them also attended graduate school, which signals their class position (Beattie, 80; Miller, 48). Beattie's own experience with class is very similar. She was born in Washington, D.C., in 1947, part of the generation now known as the Baby Boomers, who largely grew up in very prosperous conditions following the end of World War II (Frost, par. 2). Like many mothers of that era, Beattie's mother stayed at home while her father worked at the Department of Health, Education, and Welfare (Frost, par. 2). Not only did this position provide a very comfortable living for him and his family, but it also provided many connections to people of means and power that led to increased privileges for Beattie as she was growing up and into her adulthood (Frost, par. 2–3).

Andrea displays the same sense of entitlement that one might expect from someone raised in Beattie's circumstances. Though it is not revealed until late in the story, the bowl that figures so prominently in "Janus" and in Andrea's life was given to her by an extramarital lover, who left her soon after when she refused to leave her husband (Beattie, 83). Andrea believed she could have it all; she does not seem particularly disappointed or heartbroken about the situation. Her marriage is not especially bad — it is simply too easy, too calm, and passionless, and so it has grown stagnant. Her attachment to her lover is obviously not that strong, either, or she would have expressed more regret and sorrow at the end of the relationship. Instead, she simply held on to the bowl he had given her, "sitting on the table, still and safe, unilluminated" (Beattie, 83).

Stillness and safety seem to be Andrea's guiding principles, and they had much to do with Beattie's life as well. As a relatively spoiled only child, Beattie did pretty much as she pleased throughout her early education, and was only able to gain entrance to her university because of connections her father had at the institution (Frost, par. 2). She originally wanted to study journalism, but her boyfriend at the time convinced her that this would be an "uncool" field to enter, and not wanting to disturb the peace among her social peers, Beattie switched her major to English Literature (Frost, par. 2). This is one of the earlier instances demonstrating Beattie's awareness of social pressures, especially as they relate to gender and sexuality. The question of gender roles and power structures is also apparent in "Janus."

Conclusion

Only the most basic verifiable details of Ann Beattie's biography are available; she has yet to write a memoir or any work of direct personal revelation. Reasoned and cautious extrapolation from the known events and details of her life, however, can provide useful insights into her work. Though Andrea is in no way a stand-in for her creator, the two share many qualities and perhaps even attitudes.