1. Telepathy on a budget
If you don’t know Nicholson Baker as an intensive describer of everyday minutiae, surely you know him as an intensive describer of goofy sexual fantasy. At the very least, you might hold the broad notion that he’s very, very detail-oriented. None of those images capture the novelist in full, but if you twist them into a feedback loop by their common roots, you’ll get closer to the reality. Whatever the themes at hand, Baker adheres with utter faith to his narrators’ internal monologues, carefully following every turn, loop, and kink (as it were) in their trains of thought. He understands how often people think about sex, but he also understands that, often times, they just think about shoelaces — and he understands those thoughts of sex and shoelaces aren’t as far apart, in form or in content, as they might at first seem.
This is why some find Baker’s novels uniquely dull, irritating, or repulsive, and why others place them in the small league of books that make sense. Not “sense” in that they comprise understandable sentences, paragraphs, and chapters; the existential kind of sense. So many novels exude indifference to their medium, as though they could just as easily have been — or are merely slouching around before being turned into — movies, comics, or interpretive dances. The Baker novel is long-form text on the page as well, but it’s also long-form text at its core, and on every level in between. Adapting it into anything else would be a ludicrous project at best and an inconceivable one at worst; you might as well “adapt” a boat into a goat.
Baker lays out certain clues to the effectiveness — or if you’re on the other side, ineffectiveness — of his concept of the novel in the texts themselves. Brazen, perhaps, but awfully convenient.