In going back through my Monthly Reading blog posts for the year I’ve identified 12 books published this year that I more than thoroughly enjoyed, that I think are great to brilliant examples of what they do, and that I feel will frame and influence my future reading. (A thirteenth, The Penguin Book of the Prose Poem, is not pictured because I’ve loaned it to someone.)
A quick scan of the books shows me Faber have had an excellent year – four of the twelve – and it’s no surprise that Fitzcarraldo and CB Editions show up, both publishers very close to my heart. (It’s only fair to point out that those books were complimentary/review copies, as was the Heti and the Johnson. All others bought by me.) And a shout-out to Peninsula Press, whose £6 pocket essays are a welcome intervention to the literary scene. Eight women to four men writers. Only one BAME writer. Two books in translation. Two US writers.
I’m not going to write at length again about each book, but rather provide links to the original monthly blog posts or reviews, but I do want to take a moment again to think about Sally Rooney’s Normal People, which seems to stand out for me as a Book of the Year in a more than personal way. In a year that the “difficulty” or otherwise of Anna Burns’ Milkman (which I haven’t read, and very much want to) became a hot topic, I think it’s worth considering just how un-difficult Rooney’s book is, and how that absence of difficulty, that simplicity, that ease-of-reading – allied to the novel’s clear intelligence – is central to its success, both as a novel unto itself, and more widely. You can see precisely why an organisation like Waterstones would make it Book of the Year: it is utterly approachable; it finds an uncomplicated way of narrating complicated lives and issues.
I read Normal People in September, a borrowed copy, but bought it again recently, and was pleased to find that Marianne and Connell drifted back into my life without so much as a shrug. I think it’s a brilliant accomplishment, while I’m also very aware that this is a book aimed squarely at me: white, middle class, educated. I embrace it because it reflects my situation and concerns, and in addition romanticises and bolsters the generation I now find myself teaching at university. I want it to work, and it does, for me.
Yet I am astonished that it does so much with so little. Present tense, shifting close third person narration. Unpunctuated dialogue. A drifting narrative almost without plot, chopped into dated sections.
I wrote here about how I didn’t want to have to buy it in hardback (though I did) and I wrote here about how these anti-technical techniques made the book a potentially dangerous model for Creative Writing students – it looks like you can get away with Not Much – and it is true that Rooney’s book seems to throw a harsh light on some of the other books on my list, sitting with it in that stack. They seem to be trying so hard: Jessie Greengrass’s Sight is so unashamedly intelligent, Will Eaves’s Murmur so oblique and poetic, Tony White’s The Fountain in the Forest so formally inventive (and in a number of different ways), Sheila Heti’s Motherhood so disingenuous in its informality, its seeming-naturalness. (I hope it’s clear that I love these books for the very aspects I seem to disparage.)
By contrast, Normal People seems written at what Roland Barthes called ‘writing degree zero’, by which he meant writing with no pretension to Literature – “a style of absence which is almost an ideal absence of style”. His model for this is Camus’ L’Étranger, and the comparison seems apt, except that L’Étranger is written in the first person. Everything extraneous is taken out. It’s interesting to note that David Szalay’s All That Man Is is written in a very similar way to Normal People, the only real difference being the use of single quote marks for dialogue. Yet they seem a world apart to me. Continue reading