From left to right, courtesy of WSJ Magazine, Macmillan Publisher, IMDb
Imagine for a moment reading a book — reading the whole thing in a strange, enchanted state. The main character is so … relatable. They grew up in the same town as you, played the same sport, went to the same concert where the main guitarist tried to crowd surf. When he dove into that patchy crowd head first, you heard the crack of his skull splitting down the side. Somehow this character heard it too? While lying there lifeless, curled up like a husk of snake skin, the guitarist … Wait! Is this about me? Is that strangely relatable character some fictitious version of myself? If this fictional character is a representation of a real person, is it still fictional? Is it non-fictional? Can a line be drawn between fiction and nonfiction, or would a spectrum between the two be more accurate?
If one day you discover yourself written into a fictional novel, take comfort in knowing you have something in common with actress Natalie Portman. Rachel Cusk’s latest novel, “Life of M,” published Aug. 25 garnered controversy after audiences noticed uncanny similarities between M’s life, M being the novel’s titular character and the life of Natalie Portman.
When an author combines their real-life characteristics, relationships, experiences, etc., with fictional elements, it is known as “autobiographical fiction” or “auto fiction,”for short. According to Penguin Random House’s guide to autofiction, this fictionalization often serves the author’s creative expression, allowing for the exploration of deeper themes or narrative ideas. But is it okay to write about real people under the guise of fiction? And at what point does a real person become a fictional character within the author’s world?
Portman has not shared her opinions on the “Life of M,” despite the controversy surrounding its release. In fact, little information about the relationship between Cusk and Portman exists. Portman praised the author’s novel, “Parade,” on her popular Instagram book club. The two have reportedly met under pleasant circumstances according to a 2023 interview with GQ, in which Portman stated: “I got to meet Rachel Cusk recently, and Deborah Levy, and I get really in awe of them, because writing beautifully is just, like, the greatest gift.” Much of the speculation about “Life of M” surrounds an interpersonal drama that does not seem to exist. A strange fiction of its own, created by fans and onlookers. Despite this, imagine for a moment that Natalie Portman was completely outraged by this alleged depiction of her life. Could she do anything about it?
Read a book. Cover to cover, including all those banal, repetitive pages about publishing houses, translators, the many years of previous editions and the thank-yous to my mother and my brother and the guy around the corner. There is something present in the majority of fictional books: “Any resemblance to real persons, places or events is coincidental.” Most works of fiction include this little line. Open any fictional novel from the shelves of Watzek Library; it will most likely be there. Why?
While this disclaimer can mutate in its form, the principle remains: It acts as a legal prophylactic. Presumably worth the ink, if the majority of published novels include it. However, it is not a magical ward against any lawsuits. There have been many cases of persons depicted in auto-fictional stories suing the author and winning under protection against libel. Recently, Netflix faced a defamation lawsuit brought on by Chess Grandmaster Nona Gaprindashvili. Gaprindashvili was mentioned by name in the fictional show “The Queen’s Gambit.” A character stated that Gaprindashvili had “never faced men.” This claim, despite being said in a work of fiction, acted as a false claim against the real-life person. Gaprindashvili’s case was strong enough for Netflix to settle with her out of court.
Libel is the written version of defamation, which encapsulates false statements of fact harmful to the reputation of an identifiable person or entity, according to The Author’s Guild. Courts will step in if a work of fiction or nonfiction lies about a person’s life purposefully, dishonestly and maliciously. Numerous publications have covered this controversy, such as The New York Times, Variety and many more. The BBC called it a “literary assassination” of Portman. Despite the attention garnered, there is almost no real case to be made against Rachel Cusk. Cusk never named Portman, nor did she use her image or name to market “Life of M.” Since the novel’s release, has Portman’s career and reputation been ripped apart by packs of former fans turned wild dogs, leaving her a destitute urchin? No. Portman seems to be doing just fine with an upcoming role in Lena Dunham’s latest movie “Good Sex.”
Some would argue that Cusk’s use of Portman’s likeness and life story without ever mentioning her by name is dishonest and evasive. After all, people recognized that the unnamed, fictional character was a version of Portman. Cusk receives the cultural charge of writing about Portman, without having to defend any claims made about her character in “Life of M.” It is fair to be put off by that. However, what she does in “Life of M” is arguably an important part of creating fictitious stories. She takes inspiration from life to explore themes and narratives. Moreover, Portman’s life and filmography are fairly public. Any author could use her story to create a character or plot. Unlike in “The Queen’s Gambit” case, Cusk does not make a false claim about Portman or utilize her name or likeness. Instead, she uses aspects of Portman’s life to create a story exploring complex themes of fame, truth and isolation.
Some might still argue that there is something morally or ethically wrong with using another person as a character. While I agree there should be limits, indicated by the legal boundaries previously touched on, there is also the matter of freedom of speech. I believe Rachel Cusk has every right to create a story following a Natalie Portman-esque character. Portman is a known figure in the public sphere — her life as a celebrity has impacted many different people. At the end of the day, Cusk’s “Life of M” is firmly a speculative look into a fictional character, likely inspired by Portman. Why shouldn’t Cusk be allowed to explore that? However, the existence of this drama poses another question: If a real person can be recognized in a fictional work, then what differentiates fiction and nonfiction. Where do we draw the line? Can a line be drawn, and should it?
Drawing a clear line between the two literary genres can feel impossible, particularly when trying to categorize texts which play in the space between objective facts, subjective truths and an author’s own creativity. I like to think about a spectrum of fictional and nonfictional works, instead of a binary. This spectrum ranges from nonfictional pieces striving to be as true and objective as possible, to completely made-up fantasy novels. Even the most fantastical, insane book is still filtered through an author’s real mind, full of their real fears, ideas, relationships, etc., and even fully non-fictional textbooks could include the author’s subconscious opinions that may not be fully factual.
For the label of “nonfiction” in literary circles, there is no large governing body which can grant a piece of text the label of “nonfiction.” That does not mean, however, that nonfiction is a free-for-all because “everything is on a spectrum of fact.” People do not enjoy being lied to. Consider the case of James Frey’s “A Million Little Pieces,” a memoir about addiction that was found to contain substantial fabrications. Frey was sued for consumer fraud and dropped by his publisher.
Let us go back to the concert with the husked guitarist — maybe the author was there that night too, or maybe they just dreamed up that situation. Either way, the author attempts to get at the truth of that night, their truth. Whether fiction or nonfiction, when creating a story, authors are broaching a truth. Cusk never claimed “Life of M” to be Natalie Portman’s story — it is Rachel Cusk’s story. Allowing people to explore life through art and share those ideas with others is an essential pillar of freedom of speech and freedom of expression. If using an unnamed, fictitious Portman-esque character facilitated her expression of a truth she wanted to examine, what is so wrong with that?
Categories are useful. Non-fiction and fiction are not going anywhere anytime soon and I do not mind that. However, I believe the way non-fiction literature is often presented misleads people. The idea of nonfiction as “fact?” There is no ultimate, high-in-the-sky fact-checker ensuring every non-fiction piece is “true.” If there was, I would be against it! Most memoirs are nonfiction, but include fictionalized versions of the author and the people they choose to include. The same story told from the eye of another would be completely different. In every fact there is some fiction and in every fiction there is some fact, that is how I wrap my head around it.
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