Rachel Cusk explores celebrity in new novel ‘Life of M’
In Life of M, British-Canadian writer Rachel Cusk presents a compelling series of scenes focused on the character of M, a famous actor, challenging the very nature of autobiography. The narrative begins when a writer asks M if they can compose her autobiography, to which M responds, “Would you just make it up?”, reports BritPanorama.
M is portrayed as emotionally distant and almost artificial, her existence shaped by public perception. Early on, she grasps that “reality can be engineered,” which transforms her everyday activities—such as dropping her children off at school or walking her dogs—into mere performances of normality.
The novel has garnered attention not only for its content but also for speculation regarding M’s real-life counterpart, widely believed to be Natalie Portman. This connection raises questions about the ethics of depicting real-life figures in such a critical light, placing it firmly within the genre of autofiction—a blend of memoir and fiction.
Cusk’s own history with autofiction is notable. In 2009, an early print run of her memoir The Last Supper was destroyed after legal threats from a man claiming to be misrepresented. In 2017, another writer remarked on Cusk’s thin boundary between fiction and reality in her narrative work. It is unsurprising that Life of M has drawn parallels to Portman’s career trajectory, as both starlets began at a young age and endured similar experiences within the film industry.
In recent remarks to The New York Times, Cusk described the sensationalism surrounding the book as bewildering. She refrains from confirming any conversations with Portman regarding the book, insisting that whether M mirrors a real celebrity is ultimately irrelevant. Cusk asserts the work stands as fiction, composed from “a mishmash of real things and invented schemes and personal material.”
This ambiguity has served as a marketing tool, generating extensive media coverage prior to the book’s release. Cusk acknowledges that using a celebrity as a fictional muse constitutes “a kind of game” where both the character and the narrator inhabit real spaces.
The questions raised about artistic boundaries in relation to real figures persist. Observers ponder whether Cusk’s approach is a “literary assassination” or simply part of the necessary ruthlessness of literary creation. Graham Greene’s notion of a writer’s inherent coldness captures this sentiment aptly.
Autofiction’s tricky landscape leads readers to grapple with the delineation between the real and imagined, a hallmark seen in works by writers like Annie Ernaux and Jeanette Winterson, who expertly navigate this blurred terrain.
The narrative depicts M’s hollow existence vividly, illustrating her detachment and superficiality. In a poignant scene, M encounters a younger woman reflecting her own visage, which serves to highlight her own emptiness—a reflection garnering further scrutiny.
Despite potential backlash from Portman, Cusk refrains from delivering specific revelations about her. Instead, the narrative offers insight into Cusk’s perspectives on celebrity culture, often underscored by a tone of moral superiority that is somewhat precarious.
Life of M, where the line between fabrication and fact remains persistently uncertain, ultimately confronts the reader with the nature of truth in literature. Cusk emphasizes the fictional premise, even while leaning heavily on a public figure’s biography, leading to thoughtful reflections on the implications of such artistic liberties.
In the end, Cusk crafts a narrative that not only probes the depths of M’s character but also serves as commentary on the very nature of storytelling itself. This complex interplay can leave readers contemplating the relational dynamics between authors and their subjects.
‘Life of M’ is published by Faber (£18.99)
