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Mrs. Mann
8 November 2017
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.
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
disqualify the novel from earning a place on the renowned shelf of the literary canon.
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
particular that I hope readers of the book take from it, I hope that it offers a very strong
(Jonathan). The debate over the importance of authorial intent rages even today, but
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,
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
Furthermore, Foers decision to narrate his story from the perspective of young
Choosing a child narrator gives Foer access to extravagant emotions and quirky
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
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
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,
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
Works Cited
Jonathan Safran Foers Extremely Loud and Incredibly Close. Journal of English
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,
Jonathan Safran Foer on Extremely Loud and Incredibly Close. Michigan State University
Miller, Laura. Terror Comes to Tiny Towns. Review of Extremely Loud and Incredibly Close.
lacesmagnetschool.org/ourpages/auto/2009/4/15/54108459/NYT%20Mag-Foer.pdf.