It is Batuman’s way of dismantling the way we talk about our desires and our fears, of reimagining the way the world could be-not only when it comes to oral sex, but, you know, that too. If The Idiot could be seen as Batuman’s reflection on what it is to be young, fiercely intelligent, and consciously depoliticized, Either/Or is a step toward Selin’s eventual awakening, a future understanding that the shame that she feels around certain things is being projected upon her, and doesn’t have to exist within her. Also, there’s sex.īatuman remembers being in college and reading Amis’s take on oral sex in The Rachel Papers, how he described it as being a “confrontation with a glistening pouch, redolent of oysters.” When she thought about it again, she says, “more than 20 years had passed, and I was like, Could it really have said that?” A quick Google confirmed that it did, and Selin’s contemplation of that part of The Rachel Papers is a pivotal part of the novel, a glimmering reminder of the ways in which even the most self-consciously progressive young women often see the world through the lenses of heterosexual men-whose vision is clearly impaired if they’re spotting “glistening oysters” in the dark. The novel features plenty of Selin’s biting humor, frustrations with evolving (and devolving) friendships, free-flowing thoughts on musicians from Fiona Apple to Lauryn Hill, and a stint writing for a travel guide. While The Idiot took place during Selin’s freshman year and took Dostoevsky for its titular inspiration, Either/Or occurs during her sophomore year, and borrows its title from Kierkegaard’s seminal text debating the merits of an aesthetic versus an ethical life.
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