As I understand it, a specter hangs over the literary world—the specter of The Great American Novel. Like the messiah (for Jews), The Great American Novel is something we have been waiting for for a long time, and, although there are plenty of prime candidates—anything written by Jonathan Franzen being perhaps the most oft-cited—it has been years since we last had a novel that captured the American zeitgeist in a profound way. A Little Life by Hanya Yanagihara, I think, is worthy of the title. At the very least, it is a prime contender. (Warning: this piece contains spoilers.)

What this book is about is what makes a life worthwhile. The characters in the novel are, by and large, extraordinary individuals, but each of them has only their own little life, full of its own joys and terrors, highs and lows, friendships and failed relationships. Each of the four main characters goes on to be enormously successful in his respective field—Willem in acting, JB in painting, Malcolm in architecture, and Jude in law. (One critique of this book might be that it is only a portrait of success; there are no professional failures, which leads to a particularly rarified set of professional challenges. I am not making this critique, though; not all books have to speak to every little life.)

Is what makes life worthwhile based on professional success? Despite their elite educations, Jude and Willem do not seem to notice that they are successful, and even then it feels secondary to their other concerns. Malcolm is constantly worried that he will not be working at a prestigious enough firm, which causes him to turn down more appealing career opportunities. JB is the most tortured character when it comes to trying to let go of the seductive allure of success: his paintings are well-received, but somehow his colleagues have career retrospectives before he does. He is afraid of failing, but he is even more afraid of succeeding and then stagnating. There is a beautiful passage in which he describes how his friends’ careers are taking off beyond his, but leaving behind people he doesn’t fully recognize:

The thing he hadn’t realized about success was that success made people boring. Failure also made people boring, but in a different way: failing people were constantly striving for one thing—success. But successful people were also only striving to maintain their success. It was the difference between running and running in place, and although running was boring no matter what, at least the person running was moving, through different scenery and past different vistas. And yet here again, it seemed that Jude and Willem had something he didn’t, something that was protecting them from the suffocating ennui of being successful, from the tedium of waking up and realizing that you were a success and that every day you had to keep doing whatever it was that made you a success, because once you stopped, you were no longer a success, you were becoming a failure. (302)

Of the four main characters, Willem throughout is the least concerned about professional success or failure. He maintains the most earnest—perhaps childlike—attachment to a vision of worthiness that goes beyond any of the metrics that we normally associate with success. He seems happy to hold fast to the unadulterated belief that what matters most in his work is whether he is proud of it, not how audiences reacted or whether the critics gave it a thumbs up. He doesn’t seem to worry about having kids or leaving a legacy, even as his professional stature grows. All he cares about it is caring about others—a positive, pure, possibly naive vision that is either enviable or pitiable in a tragic world.

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