Irony often plays on the gap between expectation and reality. The gap between is a commonplace in much schlemiel fiction. Playing on the main motif of How Should a Person Be? Sheila Heti, the main character and author of the novel, casts the other as her teacher. She looks for ethical and artistic models of personhood outside her self. Following this model, Heti notes how, several months before her wedding, she saw a beautiful wedding (the perfect model of how a wedding “should” be):
Several months before our wedding, my fiancé and I were strolling together in an elegant park when off in the distance we noticed a bride and a groom standing before a congregation, tall and upright like two figures on a cake…The vows were being exchanged, and the minister was speaking quietly. Then I saw and heard the lovely bride grow choked up with emotion as she repeated the words for richer or for poorer. A tear ran down her cheek, and she had to stop and collect herself before she finished what she was saying. (23)
When she comes to the same moment, years later, Sheila did the same things but “felt none of it.” She felt it was canned and she felt as if “she was not there at all”:
Then something happened. As I said the words for richer or for power, that bride came up in me. Tears welled in my eyes, just as they had welled up in hers. My voice cracked with the same emotion that had cracked her voice, but I felt none of it. It was a copy, a possession, canned. That bride inhabited me at the exact moment I should have been more present. It was like was not there at all – it was not me. (23)
Compounding the feeling of alienation and bad luck, Heti recalls a painful event with her last boyfriend before she got married. She and her boyfriend used to have desks in the same room. Both of them would sit at their desks and write plays (24). But one day, after hearing her on the phone talking about a crush she had a on a photographer, he got angry, stole her computer where she was sleeping and returned it to her desk with a play he wrote about her. The play had plotted out her entire life leaving nothing to freedom or chance. The plot casts her as a kind of existential schlemiel (in the worst sense):
When I go up the next morning, I found, there on the screen, an outline for a play about my life – how it would unfold, decade by decade. Reading it compulsively as the sun came up in the window behind me, I grew incredibly scared. Tears ran down my cheeks as a I absorbed the horrible picture he had painted of my life: vivid and vile and filled with everything his heart and mind knew would hurt me best. (24)
The play culminates with Sheila in a pornographic encounter with a Nazi. She kneels in a dumpster and gives a Nazi a blowjob (25). When she asks the Nazi, in her “last bubble of hope,” “Are you mine?” he says “Sure, baby,” and “cruelly stuck my nose in his hairy ass and shat. The end”(25).
Heti is disturbed by the play and tries but cannot stop thinking about it. She thought, in some way, that it could come true! She felt she could not escape this theatrical fate:
It lodged inside me like seed that I was already watching take root and grow into my life. The conviction in every line haunted me. I was determined to act in such a way as to erase the fate of the play, to bury far from my heart the rotting seed he had discovered – or planted – there. (25)
In these lines we see that Heti’s schlemiel is struggling with fictional fate. She wants freedom. But how will she get it if she is constantly making big mistakes. It seems as if there is no way out. It’s as if she was fated to be a slave, a schlemiel-slave-of-fate. Marriage seems to promise a way out of fate, but it only seems to reiterate eternal repetition.
In the beginning of their marriage, they have “two years” of parties. At the end of the second year, she wonders “Why are we having these parties?(26). Imagining she was someone from the future looking back she says, winking at the Jews building pyramids: “That could only have built by slaves.”
While in the bathroom, Sheila thinks of a dream she had about writing and shitting: “Sitting there, I recalled a dream from the night before, in which I was taking pills that made me shit a lot. In my dream, I decided I would only write what I thought about as I shit – since I was now spending all my time shitting”(27). Her dream parallels shit and writing and touches on the main theme of making Big Mistakes (as noted in another blog entry, Heti points out that all artists must make “Big Mistakes” – a motif shared with schlemiels). It seems she is reconsidering not just her marriage but also her art.
Right after she leaves the toilet she meets someone who takes part in the Ugly Painting Contest: Margaux. The backstory of her relationship with Margaux gives us a sense of how artists, like schlemiels, have dreams about art but are awakened, like Sheila, to the fact that their project (writing, painting, acting) might be meaningless. (The metaphor Sheila will use, which we have already seen above, has to do with waste: either having one’s face put in someone’s ass or defecating.) But the lesson is never final. The schlemiel, like all of these artists, seems to repeat the cycle. To be sure, the postmodern schlemiel goes through this process, returns to her original naivite, and starts again.
As Heti’s metaphor suggests, being an artist-schlemiel and making art is like returning to the bathroom, repeatedly. And if one model fails, the schlemiel – at least in Heti’s version – will always move on to another. Once that fails, one goes to the bathroom and then returns to start again. In other words, as a result of repeated failure, the schlemiel’s models will always be tainted or will become tainted (at some point). Yet the schlemiel doesn’t give up hope that he or she will, one day, know “how a person should be.”