An Interview with Dave Eggers About His New Novel, Contrapposto

- - - KNOPF: This is a very funny, very moving book about the deepest kind of friendship. It unfolds over many decades, and the novel took shape over decades for you, too. When did you begin thinking about these characters? DAVE EGGERS: I’ve been thinking about Cricket and Olympia for about twenty years, and was writing random passages about them much of that period. Sometimes a certain book takes an especially long time to gestate and make its correct form known, and this was one of those books. Q: The book covers about 65 years in the lives of its two main characters, Cricket and Olympia. Their interactions take place all over the world, from Indiana to Thailand, from Philadelphia to Turkey and Paris. Did you always see this as a book with that kind of epic scope? DE: Once I decided it would cover most of their lives, yes. I knew that having grown up in rural Indiana, they’d be restless and curious about the rest of the world, and I really came to love tossing them all over the globe. Each section of the book starts in a very different place in their lives, physically and mentally, and the reader’s left to fill in the gaps. Q: Which becomes surprisingly easy, given how long we’ve known them. The novel starts when they’re 8 and 9. Cricket is a quiet kid who loves to draw. What does he see in Olympia? DE: She’s obviously far more worldly and erudite and quick on her feet, even at age nine. Some kids are. There are just some humans that develop exponentially faster than others. Olympia is that way—just intellectually on fire from minute one, along with being this beautiful human, too, with golden eyes. Cricket is a talented draftsman, but Olympia’s mind works at about ten times the pace of his. Q: And she has ambitions for him. DE: Without her, his ambitions might be pretty modest. He doesn’t ever know what to do with anything he creates. But from the start, she is his champion. She wants to start movements, change the face of the art world, on and on. He just wants to draw. Q: You were a young draftsman yourself, going to art schools and such. Did you have such a champion? An Olympia? DE: No, nothing like this. Olympia was created out of whole cloth. I wanted to conjure someone who would drag Cricket out of a studio and into the world. She was huge fun to write because while she’s brilliant and loyal, she’s a bit mercurial, too. You know she’ll re-enter Cricket’s life periodically, but you’re never really sure what angle she’ll be coming from. Q: She’s very comfortable with the business of art, eventually becoming a gallerist and curator. Cricket is not so adept, and struggles with the commerce aspect of it. DE: I think we’ve all known people like this—they have great talent but are stubborn about even the smallest compromises, and they loathe the business side of the artist’s life. Cricket can’t really manage it. He’s a bit of a classicist at a time when trends and theories were very important to observe and address. Q: Contrapposto is a pose in figure drawing, which is something we see Cricket and Olympia take part in again and again over the course of the book. Can you say more about the long tradition of learning to draw the body—the rigor of it, the intimacy—and all of what that means in the context of the book? DE: When you see that trope of an artist holding their thumb out and squinting, that’s the artist “measuring” the proportions of a figure. It’s a real thing! You look at the model, stick your arm out straight, and you cover their head with your thumb. That thumb-height becomes your unit of measure. Then you count how many heads the model’s total height is, how many heads the width of their shoulders are, on and on. By comparing all of these dimensions against each other, you can arrive at perfect accuracy (if you’re seeking that, of course). I’m convinced most people can be taught these techniques, too; it’s the same process that’s been observed for hundreds of years. The rigor of classical drawing was revelatory to me, and I wanted to convey that to a reader, too—the fact classical art education was much like a classical musical education, in that it was based on hard skills, hundreds of hours of practice, and a certain humility, too. But it is imminently learnable, and in an exhilarating way, it teaches any student how to see. Q: In college they have a teacher, Marcus Carpenter, who is a bit of rebel in that he’s a classicist at a time when that’s not in vogue. He doesn’t kowtow to the theories of the day, and he’s ostracized for it. DE: There are such people, always, thank god. In Carpenter, Cricket finds a mentor who also appreciates the intrinsic beauty of the art he loves, as opposed to art that rides certain temporary fashions. More than anything, Carpenter takes all the competitiveness out of what’s often present in art schools—a very strange misery that comes from students pitted against each other. But there is a way, a better way, to bring up young artists together. Q: Cricket and Olympia know each other so well that they bicker with total, hilarious abandon, but they also fight fiercely for each other. Were you always sure about their path together? A: I’ve had the same friends since grade school, so with these ancient friendships, you can speak candidly to each other, and pretension doesn’t get you far. But there’s an element of mild resistance, too, embedded in these old friendships. Cricket and Olympia want to reinvent themselves over their lives, but they also know they can’t pull one over on someone who’s known them since they were eight. At that point, you know each other on a molecular level. So you fight for that person as you would fight to keep a limb of your own body. Q: In a time when AI relationships have suddenly left the realm of sci-fi and are seemingly both common and legitimate, this novel argues for the irreplaceable connection that can occur between two humans, in either romance or friendship. Do you think Cricket and Olympia share something rare in their relationship? DE: I don’t know that it’s rare, but I did want to show a complex friendship over time. For millions of people, there are times when you’re in love, then you’re friends, and maybe love happens again… The line for Cricket and Olympia is blurry, which I think happens with so many people who don’t get married but who provide a certain familiar comfort to each other. Together they have a kind of perfect imbalance, which is really about as good as we can do. - - - Contrapposto is out June 9, but is available for preorder now.