8.8. 2:00 | Updated 8.8. 10:59
People talk again about Cat Person, a short story published in the New Yorker #metoon in the beginning. The text about bad sex quickly became a viral hit, which was thought to elevate the short stories to a new rise.
An essay was published in July “Cat Person” and me. That’s the author Alexis Nowicki accurately describes that ghostly feeling when he identified himself and his former partner in a famous short story.
Nowicki identified the story of his life down to the smallest detail: the same place of residence, place of study, place of work. First date with a partner. The appearance of the partner and the interior of the home were found in the text.
Only the distorted power dynamics and the sexual intercourse described in the text, he did not recognize.
It turned out that the author Kristen Roupenian had really met Nowick’s ex-partner and was interested in his previous relationship with a much younger student girl. He had picked up the details of their lives and mixed them into his own experiences and fiction.
The only person we don’t hear about in the dialogue between these two texts is this man, “Charles,” as Nowick calls him, but who is not his real name. Charles died in 2020.
One of art there is freedom from fundamental conditions. Liability can be encountered at least retrospectively in the form of family disputes, as has happened to the Norwegians Karl Ove Knausgårdille and Vigdis Hjorthille.
Family relationships have become inflamed in Finland as well. In 2012 Marjukka Ala-Harja commented on his sister Riikka Ala-Harjan Landingas follows: “We have been exploited. We have been stolen. It feels like we were raped. ” Riikka Ala-Harja wrote about childhood leukemia. The tragedy affected the sister’s family in real life.
As a solution to morally questionable problems, ethical rules of art and a self-regulatory body that oversees them have been proposed. But such is in no way appropriate to the nature of art.
When Nowick was able to express his experience to Roupian, he felt he had power over his own experience. It may be that, as a culture, we are more willing to listen to the objects of the exercise of power in art as well.