The Four Spent the Day Together features individuals chasing after new beginnings, struggling to escape substance abuse or abusive marriages, only to see hope turn into violence. Kraus frequently uses the phrase "clean slate", transforming it into intentionally weary through recurring use. Phrases such as "He aimed to start over" and "They decided to make a fresh start" are scattered across the story. And yet, she appears to be undertaking her personal new beginning, as this presents as a new kind of book – documentarian, authentically narrative. But then it reveals itself to be packed with the familiar conflicts and styles as earlier books.
From Chance Novelist to Renowned Book
Chris Kraus began as an artist who transitioned to writing almost accidentally with her 1997 groundbreaking book I Love Dick, made up of letters to an unreceptive lover, converting personal female narrative from abjection into defiance. She continued writing, but the three subsequent engaging and challenging novels lacked the impact and rawness that the epistolary style brought to the narrative voice of I Love Dick. It didn't help was her role as a nonconformist creator who had evolved into a large-scale low-rent landlord, so there was considerable focus on real estate deals. It is logical that she now wants to experiment with fresh narrative sources, turning outward to external narratives, at a period in which she asserts that contemporary political climate renders personal narrative unnecessary.
Several Eras, One Unescapable Past
The Four Spent the Day Together is divided into three sections, covering three generations – each trapped by their histories. The book includes the tale of Emma and Jasper, versions of Kraus's parents, relocating from the New York borough to the Connecticut countryside. Then there is the narrative of the author, in the persona of protagonist Catt Greene, grappling with the late recognition of I Love Dick, the ascent of a political figure, and her partner struggling with addiction Paul. Finally the story of the murder of one lost young man by another in a community mostly forsaken by forward-thinking policies only a short distance from Catt's cottage in the Minnesota countryside.
As a reader drawn to refined literature of the kind Kraus often avoids, I was captivated by the novelistic voice of the initial segment.
As a reader drawn to crafted language of the style that Kraus often disregards, I was captivated by the storytelling approach of the opening segment. There is a novel degree of detail that accommodates minutiae, like the container that the youthful Catt pries out of frozen water at the beginning of the narrative, assisted by her adored dad. "Look, an ice toy!" she exclaims; "a nice toy", he replies, "the ambiguous meanings of language rolling around in their mouths like piece candy". She tells Emma's narrative with inquiry and familiarity. "Emma experienced a dreamlike sensation – not hers, exactly."
Letdown and Fragmentation
I was destined to be disappointed when I wished this fresh tone could persist to the end. Kraus says here that she resents the satisfaction those who appreciate polished prose have derived from I Love Dick; she's devoted to disjunction, to the unpolished style she echoes from her hero writer Kathy Acker, and the void and recurrence of her past books returns in the second segment. The protagonist is working on refurbishing multiple decrepit residences in the city's most challenging districts while moving between Minnesota and LA, failing to help Paul curb his addiction. She experiences powerlessness as her spouse moves between poorly supported positions as an addiction therapist in a world fueled by the rage and anxiety that drives a political win. A significant portion discusses about the protagonist facing cancellation on Twitter, her listed profession modified from "author" to "property owner" on a reference site. She still gives the impression to invest excessive emotion about this. In a moment she says that she's researching the homicide so that before exiting the region, "she may grasp something about an America that her social media opponents would not understand, would overlook entirely".
The Killing Story
So then we come to the murder itself – and the eponymous day passed by the deceased with the perpetrator and his associates. Kraus utilizes compelling foundational content, and details moment by moment what happened when a man named Brandon came to meet Brittney after connecting via an application where she marketed explicit images. He sought a sexual encounter but appears congenially to have passed the day alongside her friends, loitering having his vehicle repaired and funding treats and narcotics, before being killed by gunfire by Brittney's partner a man named Micah – a young, mentally ill man who has repeatedly received inpatient care for aggressive outbursts.
Preoccupation and Open Ends
The protagonist becomes fixated by the account, and I found myself captivated by the way that her twin drives towards responsible documentation and daring boundary-pushing wrestle in this part. However, I would have preferred her to explore more thoroughly her individual preoccupations here. The most interesting character is Brittney, who gains dimension partly through Catt's identification with her – another bright, bullied girl spiraling out of control in a troubled, forgotten town. Kraus notes that Catt speaks to Brittney in prison, but she omits the dramatization of these talks. This entire part feels oddly unfinished, to the degree that her narrative ends almost mid-par
