Q: Your novels are often set in the Midwest, but why set a trilogy in suburban Chicago?
A: I wanted it near a major metropolitan area in the Midwest. I wanted it big because my recollection of the early 1970s is strongest ‘73 onward. I was in suburban St. Louis and the stuff that was happening in suburban St. Louis was probably happening a year or two earlier in Chicago. For that reason, the book begins in late 1971. I could be more assured of getting the cultural references and spirit right. But also, gosh, the Midwest just recurs in my work, right? I was born in suburban Chicago, I knew Chicago starting from the mid-70s on. Both of my brothers moved to Chicago, and with a novel, it’s nice to feel like you know the streets in a place. It’s that extra research you don’t have to do.
This leads to two related questions:
- Can a great cultural work be set in the American suburbs of the postwar era? Can the space that is often criticized for sprawl, conformity, exclusion, and dullness serve as a compelling setting?
- Are the suburbs of a city like Chicago, set in the Midwest, a kind of shorthand for central or normal America?
Of course, the simpler answer may be what is above: Franzen is familiar with the Chicago suburbs and its ways of life. But, the questions above still stand: are there great cultural works set in the suburbs? In a country where a majority of the residents live in the suburbs, I would suggest those experiences have not necessarily translated into critically acclaimed or very popular cultural works.
See this earlier post on different kinds of cultural works involving the suburbs.