In between discouraging my children from bothering me, I managed to read a charming little novel called
Playing for Pizza, by John Grisham. Yes, you heard me, a charming little novel from John Grisham. His other novels may be taut, gripping thrillers, but this one is coming from some other part of the Grish-man’s psyche.
Playing for Pizza is the story of a man who washes out of the NFL in spectacularly humiliating style. He finds a new place in life playing American-style football in Italy. Overall, the plot closely mirrored many a chick-lit novel I’ve read, with a protagonist who’s staggering from the slings-and-arrows, and slowly realizes all the goodness available under the toasty foreign sunlight, and of course finds a little love. I call this the "European Awakening." It was quite interesting to enjoy this classic old-school story in the hands of a master writer who’d never call his “friend” a “BFF.”
Although the underlying plot reminded me of many girly books I’ve read,
Playing for Pizza was clearly written by a man, for men to read. Fully two-thirds of the book was consumed with play-by-play descriptions of football, along with practices, coach speeches and so forth. Oddly, I enjoyed this very much although what I know about football wouldn’t fill a finger bowl. Compare this to the sports-themed stories from Susan Elizabeth Phillips – they’re all about football and the men who play it, but she’d never blow that many pages on actual play description. Not when she could instead spend those pages on describing somebody’s awesomely sexy dress/boots/haircut/walk/whatever. Neither way is better in my eyes, but it was so very different reading this story written Grisham’s way.
Another big difference I encountered in
Playing for Pizza was the opacity of the hero’s inner life. I won’t say that Grisham avoided the topic completely. But it was sort of like reading the Bible, or maybe Hemingway – this story is all about action verbs, baby. Eating, driving, running, sweating. Not so much with the thinking, feeling, dreaming. To be fair, though, there was crying. By the hero. So sad! But it was literally only one sentence. Not even a whole paragraph.
This determined avoidance of the emotional/inner side of life made the whole romantic subplot really odd. The hero falls for a hot opera singer, but it doesn’t work out. She blows him off and has too much drama anyway. Is the hero sad about this? Dunno. But he gives her a marvelously terse email kiss-off note. In the meantime, he hooks up with a sexy American coed. She gloms onto him and begins dragging him all over Italy to look at cathedrals, and eventually even moves right into his apartment without even really asking his permission. He’s completely passive about all this, completely accepting it as being okay for this cute little girl to take over his life this way. She has hot legs, therefore she = good.
Is this really what it is like to be a man? Sexy = good, therefore thinking = over? Grisham shows us how the hero gets bored of the cathedral tours and really just wants to take a nap. But he doesn't show us how their love grows. They just hang out and then have some sex. Offscreen, too -- no hot love scenes in this book. Not even a real kiss scene. By the end of the story, the hero’s starting to think about settling down with the girl – and yet she remains quite a mystery to him, and he’s okay with that. Does he love her? Does she love him? Will he be able to cope with her rich-girl-drama? We don’t know, because Grisham barely glances at these issues. We can clearly see that if those two ever marry, it’ll be because the coed makes it happen. The hero will be as passive about that as he is about everything in his life that is not football.
I won’t say I’ve never moved through my life with this kind of thoughtlessness – I surely have. But I don't think I've read any other novel that had such a light, gentle storyline, yet that showcased this approach to storytelling. Grisham, however, has sold millions doing it his way and I guess you don’t mess with success. I haven’t read any of his other books, so I don’t know if all his heroes are like this one.
Grisham did respect the other trope common to “European Awakening” stories: he lavished attention on the food and really made me drool. And I’d like to close with a round of thanks to Mr. Grisham for avoiding some of the things I’ve come to hate in “European Awakenings,” in particular home renovation stories, protagonists with strangely well-padded bank accounts who are not working (Frances Mayes, I’m looking at you) and sexual awakening with an experienced European. I particularly hate the way annoyingly vague contractors that we would wish to KILL KILL KILL here in America are somehow charming and funny when they are French or Tuscan. Why did you have to go to Europe to enjoy contractor hell, huh? You privileged dorkwad! So thank you very much, Mr. Grisham, for staying far away from the stuff I hate, and for delivering a delightful, light-hearted, sweet little book.