"Well, my relationship to America at the time I left was very limited"
About this Quote
A sentence that pretends to be small talk but actually performs a quiet severing. Harry Mathews frames departure not as a dramatic break with a homeland, but as an administrative fact: his "relationship to America" was "very limited". The wording is pointedly impersonal. Not "I felt alienated" or "I was fed up", but relationship, as if citizenship were a contract, a correspondence, a set of mutual obligations that can lapse. It undercuts the expected romance of exile and replaces it with cool accounting.
That coolness fits Mathews's larger sensibility: a writer shaped by Oulipo constraint and by a taste for sidestepping confession. The subtext is that attachment is not inevitable; it is constructed, maintained, or neglected. "At the time I left" matters because it refuses the audience's desire for a permanent stance. He's not issuing an anti-American manifesto. He's describing a historical moment in a life, the way you might describe a job you once had and outgrew. The effect is almost deadpan, but the deadpan carries its own critique: if a person can leave a country with only a "limited" relationship, what does that say about the country's ability to claim him?
It also gestures toward the mid-century American artist's dilemma: a nation loud with identity claims, and a cosmopolitan literary world increasingly centered elsewhere. Mathews makes the exit sound mundane, which is precisely the provocation. The shock isn't that he left. It's how little leaving had to mean.
That coolness fits Mathews's larger sensibility: a writer shaped by Oulipo constraint and by a taste for sidestepping confession. The subtext is that attachment is not inevitable; it is constructed, maintained, or neglected. "At the time I left" matters because it refuses the audience's desire for a permanent stance. He's not issuing an anti-American manifesto. He's describing a historical moment in a life, the way you might describe a job you once had and outgrew. The effect is almost deadpan, but the deadpan carries its own critique: if a person can leave a country with only a "limited" relationship, what does that say about the country's ability to claim him?
It also gestures toward the mid-century American artist's dilemma: a nation loud with identity claims, and a cosmopolitan literary world increasingly centered elsewhere. Mathews makes the exit sound mundane, which is precisely the provocation. The shock isn't that he left. It's how little leaving had to mean.
Quote Details
| Topic | Travel |
|---|---|
| Source | Help us find the source |
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