I remember the first Deborah Levy book I read, and where I acquired it. It was Beautiful Mutants, in its splendid Vintage paperback edition, with its Andrzej Klimowski collage cover, and I bought it from a remaindered bookshop in Tenterden in Kent, where my grandmother lived. Tenterden had a good old-fashioned sweetshop, and it had this bookshop, with two low-ceilinged rooms, at the far end of the high street, which I used to try to try to get to whenever we visited.
I’ve always preferred bookshops to libraries. I know how that sounds, and I do love libraries, but it’s true. Books are things I want to acquire. Reading them is not enough; I need to have them. There are reasons behind this beyond mere materialism: I want to be able to read the book in my own time; I want to be able to put it down and pick it up again; I want to be able to write in it; I like to read books I believe I will want to read again; I want it there in my house to remind me I’ve read it, so I can reread it if I want. And yes, book is a statement about the person who buys it. Books are part of the way I interact with the world. This is the way we make culture out of art, by sharing it, and sharing through it.
I love new bookshops, and I love secondhand bookshops, and I love the book sections in charity shops, and each of these venues offers something slightly different as an experience to browser and buyer, but I have always had a fondness for remaindered bookshops.
Remaindered bookshops (good ones – are there still good ones? perhaps there were more of them in the days of the Net Book Agreement) give you two fine things: a sense of getting something new, for cheap, a bargain; and a sense that you’re getting something that perhaps has slipped under the radar, that didn’t sell as well as the publishers thought, that is likely to be something you haven’t heard of, that you might want to take a punt on, that is perhaps not quite first rate, but all the more interesting for that, a potential future cult classic.
I can’t remember all the other books I bought from that shop in Tenterden, except for a book of the graphic design of Neville Brody, and a hardback collection of letters written toGeorge Bernard Shaw by ordinary members of the public. I don’t think I have either of those two books any more, but I do have the Levy.
(How I wish had written in the front of all my books the details of where I got them. Imagine the Perecesque autobiography those details would tell.)
I do know where I got the newest Deborah Levy, which was sent to me by the publisher. Real Estate is the third of Levy’s ‘living autobiographies’, sort of diary-cum-memoir-cum-essays. I read the first, Things I Don’t Want to Know, and reviewed it for The Independent when it came out, in 2013, published by Notting Hill Editions, but I don’t know where my copy is. Either I reviewed it from a digital copy, or I lent or gave it away. I certainly wouldn’t have charity-shopped it. I didn’t read the second instalment, The Cost of Living, but having now read Real Estate, I’ve ordered a copy.
Real Estate I enjoyed hugely, and more than I was expecting to. I’ve been reading Levy since the early 90s, and loved Beautiful Mutants and Swallowing Geography, though not so much Billy and Girl, I seem to remember. (I can’t find my copy of that either, to update my thoughts.) I was less taken with her second wave or renaissance books, Swimming Home, Black Vodka (stories) and Hot Milk. I felt she had toned down her exuberance but lost the craziness – the burning zoo, the “Lapinsky is a shameless cunt” – that seemed to carry crackling danger in every sentence, every page. The newer novels were tilted off their axis, certainly, but either didn’t entirely find their footing or didn’t take to the air.
I don’t remember that much about Things I Don’t Want to Know, and will reread it, to see how the three books operate together, but here’s what I think about Real Estate: it’s a swift, sure, clean, clear account of and reflection on Levy’s world, post-success, post-marriage, with both of her daughters now left home, leaving her to consider how she will make the most of her fully independent life at an age (she turns 60 in the course of the book) when one might hope she can fully capitalise on her promise, and success.
The title refers to the question of house ownership, as a dream and as an anchor, an aspect of self-identity and self-worth. During the book Levy writes in two sheds in two different people’s gardens, packs up her dead stepmother’s apartment in New York, travels to Mumbai for a literary festival, and decamps to Paris for a nine-month fellowship; she visits a friend in Berlin, and rents a house in Greece to write in for the summer. She is also haunted by the family house where she was once happy, and then unhappy.
All the while she cultivates her dream of a “grand old house with a pomegranate tree in the garden”, furnishing it in her mind with articles and objects she has accumulated over her life that would deserve their place in this ideal dwelling.
If Levy is playing ‘dream house-hunting’ then that’s fine with me. In a way, she herself is living a dream that belongs to many of the rest of us: a writer comes into well-deserved success after early years of promise, and middle fallow years, finding the literary superstructure bending itself as if by magic around her and to her and lifting her up. (Mumbai… Paris… Greece… what writer wouldn’t dream of that! What writer wouldn’t at least consider the painful end of a marriage a fair psychic payment for this other daydream…)
She uses the house metaphor to bring in other themes and issues: the difficulties female writers face, the lack of self-knowledge of male writers who turn up at festivals with their wives in tow as assistants, who corner you at parties with self-centred wining.
The second in an occasional series of posts reflecting on bits and pieces I’ve learned teaching Creative Writing both previously at UEA and St Mary’s University, Twickenham, and now, at City, University of London, where I run the MA/MFA Creative Writing, which is now recruiting for September 2021 entry.
How long should a chapter be?
This is a question I’ve been asked in class by novel-writing students, and it’s not a stupid question. Chapters are odd things, that we tend to take for granted, and that most of us won’t have thought properly about until we try to write one. Or, once we’ve started writing one, when we ask ourselves when we are supposed to stop.
The best way of thinking about chapters (like so much else in writing) will be to think of it from the reader’s point of view. A reader sees chapters first of all as way of measuring a book. A book is divided into chapters like a Terry’s Chocolate Orange is divided into segments. Eat one segment, and you might get an immediate sense of whether you will want to eat the whole thing in one go, or spread the pieces out. Chapters give a sense of scale, then, and also a sense of rhythm. Even though chapters aren’t necessarily all the same size, like Chocolate Orange segments, they will tend to be more or less the same.
Once upon a time, that decision – of how many chapters to ‘eat’ in one go – wasn’t left to the reader. In the Nineteenth Century, novels were usually serialised, published one chapter at a time in weekly or monthly periodicals, and only collected as a book once they were finished. (It wasn’t just commercial novels that were serialised. Henry James’s Portrait of a Lady and Flaubert’s Madame Bovary were originally published this way.)
This led to two results for novels: they tended to get longer, as writers padded out and extended storylines that were proving popular with readers; and novelists learned to end chapters on a cliff-hanger, an unresolved plot element that would not just make readers want to know what happened next, but would stick in their heads for the week or month until the next instalment.
On Friday 19th March 2021 it will be one calendar year since I lay on a sofa, phone in hand, and had the idle thought that one could tweet about the impending coronavirus pandemic, and the lockdown that had just started, in the form of a mash-up with / homage to / pastiche of Louis MacNeice’s ‘Autumn Journal’. I created a new account (that’s one of the things I love about Twitter as a creative platform; you can put ideas into action with no planning or forethought), grabbed my MacNeice Selected Poems paperback from the shelves, to copy those famous opening lines, and posted two tweets, that same evening. Here they are:
And here are the corresponding opening lines from MacNeice:
Close and slow, summer is ending in Hampshire, Ebbing away down ramps of shaven lawn where close-clipped yew
Insulates the lives of retired generals and admirals And the spyglasses hung in the hall and the prayer-books ready in the pew And August going out to the tin trumpets of nasturtiums And the sunflowers’ Salvation Army blare of brass And the spinster sitting in a deck-chair picking up stitches Not raising her eyes to the noise of the ’planes that pass
I carried on Tweeting my version of MacNeice in sporadic bursts over the next few weeks (I particularly remember standing in the aisle at Sainsbury’s Tweeting about standing Tweeting in the aisle at Sainsbury’s) and maybe the whole thing would have fizzled out if David Collard hadn’t asked if would like to feature the poem on his online salon A Leap in the Dark, which ran on Friday and Saturday evenings right through lockdown, on Zoom. It was a typically generous offer, but David’s stroke of brilliance was to invite, or persuade, Northern Irish novelist and actor Michael Hughes to do the readings – a canto a week, starting in early April, and running through until I had matched MacNeice’s 24 cantos. Michael read the final canto as part of a full read-through of my poem on Friday 28th August.
As it happens, the anniversary of the poem’s inception coincides with the first review of the book of the poem, which was published by CB Editions in December, after a typically nimble quick turnaround by Charles Boyle.
Tristram Fane Saunders in the Times Literary Supplement starts by setting the poem against the responses from more famous names (Don Paterson, Paul Muldoon, Glyn Maxwell), and is generous in his estimation of how my poem measures up to its inspiration and model:
aiming somewhere halfway between cheap pastiche and serious homage, Gibbs hits his mark. He nails Autumn Journal’s casual, yawning metres and late-to-the-party rhymes, its balance of didacticism and doubt.
(And if you have the print copy of the paper, you can have the additional thrill of turning the page to find, recto to my review’s verso, a review by Michael Hughes himself, of Anatomy of a Killing, by Ian Cobain.)
This anniversary also coincides with the vigil for Sarah Everard and protest against male violence on Clapham Common, so appallingly handled by the Met Police, which I mention only to point out the obvious fact that the pandemic only brought to the surface frustrations and inequalities that had been brewing and burning for much longer. And that if it felt like the six months during which I wrote the poem happened to have given me material to bounce at MacNeice, as it were, as a sounding board, then that’s missing the point. Whenever this had happened, these things or something like them would have happened, because they’re always happening.
The lines that Charles Boyle chose to put on the back of his edition of ‘Spring Journal’ were these:
Too many are dead, but jobs are dying too, all over. The virus reveals the flaw In our way of living: the rich fly it around the planet And dump it on the doorsteps of the poor.
And the fact that the murder of Sarah Everard, and the way it triggered deep-lying anger about structural misogyny in our society, seems to repeat what happened last year when the murder of George Floyd did the same for structural racism, only goes to show that we are stuck in a cycle. The anniversary puts us no further forward in the kind of world we want to live in, and nothing to show for the lesson of so many dead.
As I wrote in August, in the penultimate canto of my poem, addressing MacNeice:
And then autumn will come, And I’ll pass back the baton, Let you handle your natural season, And I’ll be there waiting, in March, when you’re done. For as long as there’s something vicious looming Beyond the horizon, and just as long As we keep on getting things hopelessly wrong, We can keep this thing turning, from poem to poem.
The first in an occasional series of posts reflecting on bits and pieces I’ve learned teaching Creative Writing both previously at UEA and St Mary’s University, Twickenham, and now, at City, University of London, where I run the MA/MFA Creative Writing, which is now recruiting for September 2021 entry.
I teach how to write of prose fiction, as that’s what I write. I’ve never written for the screen, and don’t watch that much film or television. All the same, there are some instances in my teaching where I lean on cinema, rather than novels or stories, for examples and instruction.
One of these is to do with plotting and plot arcs. I’ll write about that another time. The other is to do with writing scenes between characters, and specifically to do with handling dialogue.
The fact I’ve already used the word scenes suggests that I’m thinking in visual terms. After all, in our ordinary life we don’t consider the stuff we do, and our interactions with other people, as scenes all. We’re too much in them to think of them like that. But, even with a first person narrator, it’s useful to think of interactions between characters in a written narrative as scenes – discrete elements, with a start and a finish, and a reason for being.
The two ways that I think of film as a useful guide to writing prose scenes is firstly in terms of dialogue, and then in terms of pacing. Some creative writing students dislike dialogue, and can write whole scenes with none of it at all. For others it’s the best way into drafting. You imagine your characters talking to each other, and that helps you drive towards your planned plot development. It’s easier, in a way, to make a character say something than do something. There’s less at stake.
I followed Claire Fuller’s Uncommon Ground with The Vanishing Half by Brit Bennett. Two books about twins, which I read – in part – for a thing about twins in literature that I hope to be able to share soon. I was impressed by Bennett’s book without particularly being captivated by it. The characters were strong, and the through-line from generation to generation allowed her to cover a lot of ground. (The plot: twin light-skinned African-American girls in the Deep South of the 1960s go their separate ways, one passing as white, one staying black, their stories reconverging when their daughters meet, these two cousins having been entirely unaware of each other’s existence until they met.)
The narrative is shared out, and I liked seeing the daughters’ lives given as much space as their mothers’, but somehow I felt the novel didn’t have a true centre of gravity, a moral place from which it was being told. Which means the novel’s climactic moment (no spoilers) didn’t really have the emotional punch I was expecting, and wanted This is one of those books that feels rather as if it’s a treatment for a television series. The characters are there, but the work needed to make them really count is not; it’s as if it’s been delegated to a hypothetical director and cast. (Book not pictured as it was a loan, now returned.)
Another twins book was Redder Days by Sue Rainsford, like Bennett an author I hadn’t read before. This was a weird, slippery novel that comes on like an eco-dystopian fiction (shades of Oryx and Crake by Margaret Atwood), dropping us into an ailing world that’s reeling from the impact of some kind of viral cataclysm, and is now waiting feverishly for the oncoming end, a true apocalypse the characters call ‘The Storm’.
But with its isolated setting and tight character list – centred around a pair of adult twins, their mother, and a guru who has drawn them out to a remote commune to await total destruction – it’s more local in its emotional dynamics than global.
This has a stronger narrative drive, with scenes following the twins Adam and Anna scraping by in their gradually unravelling survivalist commune interspersed with journal entries written by their guru, Koan, about the onset of the virus, of which he alone saw the danger from the first moment.
The exact nature of the virus is left unclear, both in its origin and its effects. It seems to turn people into violent zombie-like automatons, but also to turn on themselves, licking at their skin where the red shows through like a cat, until they lick the skin right off. This is all described in a way I’d call poetically evasive, and often compellingly so, but at times I did wish for a bit more clarity. More to the point, why do the characters always have to talk like this too? Living the life they do, I’d have thought Anna and Adam might have been a bit less gnomic in their conversation. At times the writing reminded me of Don DeLillo, king of gnomic evocativeness, but I did want a bit more groundedness.
I read The Trick is to Keep Breathing by Janice Galloway too quickly, so as to be able to discuss it with a PhD student: looking for the angles, the quick and easy lessons. It’s not a novel that reads smoothly. Why should it be? It’s a novel about what was probably at the time called a nervous breakdown, as Joy, a single woman only barely getting by as a drama teacher and working weekends in a bookies battles anorexia and alcoholism on a remote Scottish council estate. The book is as fragmentary as her mind, with some really effective typographical play, including some of the most imaginative use of margins (and restrained at that: it wouldn’t work if there was more of it) I can remember seeing.
The editors Kirsten and Brian at The Common Breath kindly invited me to contribute to their Fiction Friday segment, with a series of bookish questions to answer.
Click here if you want to find out what book most influenced me as a young person, the books that get me through hard times, my favourite literary character and novel ending, my idea of a great novel, and a book that disappointed me.
(Clues in the cover image, but you’ll have to work out which is which, and – oh horror! – which book couldn’t I actually find? Where is it! Where is it!)
I started the year with a short Don DeLillo blitz, research for an academic chapter I’m writing. Some of this was rereading, but Americana, his 1971 debut, was one I hadn’t read before. It is strangely split into different parts, as if moving through different tonal landscapes, which is not an approach I associate with this writer.
The opening is a zippy corporate media satire – at times like Joseph Heller’s Something Happened, published three years later – with lots of cynical male advertising executives trying to screw each other over, and screw each other’s secretaries. It then diverts into a long dull suburban childhood flashback, and then goes on a Pynchonesque road trip across the country, fantasmagorical in parts, skippably dull in others.
My conclusion on Twitter was: In the end I suppose I’m just not in the market for these old myths – which, now that I think about it, is basically a paraphrase of the opening line of Apollinaire’s Zone: “À la fin tu es las de ce monde ancien.” Unlike for Pynchon’s freewheeling carnival of invention, I got the feeling I was supposed to care for these characters, in their struggle to care about themselves, and there were simply too many unexamined assumptions that don’t align with my own for that to apply. It tries too hard to be cool, to shock, to provoke; it flails around to distract you from the fact it doesn’t know what it wants to mean, but as a debut novel it’s still hugely impressive and quite powerful.
I also zoomed through Great Jones Street (1973) and Running Dog(1978). In all these books DeLillo seems to be pushing against the novel form, wanting to find some other way of getting through than via a standard plot arc. Great Jones Street is interesting because of what it says about celebrity, and about music – which is a subject DeLillo has never really returned to. Running Dog to an extent is interesting about the mystique that arises when art and money converge, but he mishandles the thriller plot he starts off by gleefully satirising. The ultra-hardboiled dialogue boils dry, with pages and pages of interchangeable spooks tough-talking each other in the backs of limousines. There is an impressively destructive ending – as destructive as Great Jones Street, but really you get the sense that he’s given up before we even get there. By ‘given up’, I mean given up trying to find a way to resolve the plot in a way that honours equally his characters, his themes, and any remaining sense of reality/realism/credibility.
More on novel endings later in this post.
After DeLillo I moved onto A Gate at the Stairs by Lorrie Moore, which I’ve tried to read at least once before, but didn’t get far into. As with Moore’s best stories it made me absolutely snort with laughter on a regular basis. It also ends wonderfully and movingly and, in a way, thrillingly – doing that thing that I think DeLillo has tried to do, to move outside or above the confines or sphere of novelistic plot: not just giving you what you think deserve from what has come before.
It’s clever in the way it stretches what could have been a fine long short story to over 300pp, but there’s too much stodge: more childhood flashback than is necessary (with Americana, is this a lesson?), even bearing in mind the emotional ballast it contributes to the payoff at the end, and too much compulsive-idiosyncratic detail, delivered by the bucketload. This last is of course a familiar aspect of Moore’s short stories, and perhaps she simply though that the same intensity of narratorial gaze can be endlessly extended without consequence, but it ain’t so.
Lorrie Moore’s short stories work because we can only bear to spend so much time with her characters.
To which her characters would doubtless say, Imagine what it’s like being us!
It was great to see this story published in The Lonely Crowd at the end of 2020, in their bumper five-year anniversary issue, no less. It’s a story about the theatre, about acting… grown out of an idea I had years and years ago (about how interesting it would be to watch a play every night, through it’s run, to see how it changes, grows and evolves) and brought to life in 2016, when I saw Jonathan Kent’s production of The Seagull at the National Theatre.
Here is the opening paragraph:
The kiss comes at the end of Act Three, just before the interval. It’s really what the play has been leading up to all along, and its high point. We try hard, but the fourth act is an anti-climax. Which is perhaps the point – new forms, new forms – but still you wish, with all due respect to the author, that it was stronger.
The best books of the year – or rather the books that gave me the best reading experiences. Meaning the deepest, highest, widest, closest, most pleasurable. In all the strange ways we measure pleasure.
Well, I’d better start by saying I finished my complete, first reading of Proust – which I’d started on 1st January 2019 – on 31st May 2020. The plan had been to read the whole thing in a year, but by October 2019 I was still only on volume 4, and the last date that year (I took to writing the date in the margin to mark where I finished reading each day) was 21st October, halfway through that volume. I picked it back up in February 2020, beginning again at the start of vol 4, and made good progress through lockdown. All along I jotted thoughts and posted screenshots on a dedicated Twitter account (@proustdiary), and if I had the time I would try to scrabble together and collate these into something more coherent. It was a major reading experience, yes, full of great highs but also full of longeurs and swampy sections to trudge through. Don’t go reading it thinking it’s like other novels. It’s not.
Other major reading experiences of the year from books not published in the year:
Middlemarch, read for the first time, on holiday in that odd distant summer window when I was lucky enough (for lucky read privileged) to be able to spend 10 days on a Greek island. Not just a wonderful, exemplary novel, it is also a vindication of the very idea of the Victorian novel, of what it can do: stolid realism, intrusive omniscient narration, all the things we like to think we do without in our literary style today.
The Third Policeman. I’d tried At Swim, Two Birds before, more than once, and never got far with it, admiring its precocious undergraduate wit without being convinced that it would develop into anything more worthwhile. This one, though, tugged at me from the first pages, and delivered, in all dimensions. The spear, and the series of chests! The lift to the underworld. The ending! My god, the ending. Let me kneel before the scaffold, which must be the best piece of tactical diversionary business in the history of literature. Read it, then let me buy you a beer to talk about it. (By the bye, I’ve been reading Kevin Barry’s Night Boat to Tangier, on and off, this last month or so – for so slight a book, it’s taken a long time to get through – and you think: oh man, you have talent, but you don’t have that bastard’s wicked spear, so sharp it will cut you and won’t even notice. “About an inch from the end it is so sharp that sometimes – late at night or on a soft bad day especially – you cannot think of it or try to make it the subject of a little idea because you will hurt your box with the excruciaton of it.” Recommended to me by Helen McClory, to whom I am grateful.
Midwinter Break by Bernard MacLaverty. My first by him. The kind of writing I feel able to aspire to. Precise building of characters in the round. All tilting towards a moment. That moment in the Anne Frank House. It made me reconsider VS Prichett’s line about a short story being something glimpsed out of the corner of your eye. That particular scene could have made a great short story, and it would have remained a glimpse. Sometimes, however, a novel can be a heavy and ornate or structurally robust frame or scaffold designed to hold a glimpse, and the glimpse hits home harder than it ever would at the length of a story.
Autumn Journal. My true book of the year. From March to August I read it every day, as I was writing my own poem, Spring Journal, given out first on Twitter, and now published by CB Editions. I learned so much about metre, and rhyme, from immersing myself in it.
But, of books published this year:
The Lying Life of Adults by Elena Ferrante (translated by Ann Goldstein, Europa Editions, not pictured as lent out) was my novel of the year. Such a relief, to start with, that she was able to follow the Neapolitan Quartet, and with something that was neither a shorter version of those books, nor a return, quite, to the short vicious claustrophobia of the three brilliant standalone novels. It is perhaps less fully distinctive than any of those works – more similar, in scope, to what other people write as novels, but no less pleasurable for that. I read it, along with Middlemarch, on holiday, and it gave me the great pleasure of holiday reading, of allowing reading time to overflow the usually watertight boundaries of hours and activities, of blocking out the world. It’s strange, isn’t it, how we go to lovely places on holiday – places with great views, great landscape, and great climate – and read. I mean, you could lock yourself up in your bedroom and read, for a week, but you don’t. (If you can afford to, you don’t.) There must be something about the climate and landscape that improves the reading, or something about the reading that makes the landscape and climate more precious, for being ignored, or not being made the most of. The Ferrante reminded me of Javier Marías – who, incidentally, I had auditioned for taking on that same holiday, buying Berta Isla in anticipation, but I glanced at it a few times before setting off and, chillingly, found it utterly unappealing and most likely dreadful.
Similar in a way to Ferrante’s quartet was Ana María Matute’s The Island(translated by Laura Lonsdale), another essential discovery from Penguin Modern Classics. I reviewed it on this blog, here. As I say there, it was the incantatory aspect of the narration, calling back over the years to the lost friends, lost love, lost self, that stayed with me from reading it.
2020 saw the publication in translation of Natalie Léger’s The White Dress(translated by Natasha Lehrer, Les Fugitives), the third part of her trilogy of monograph-cum-memoirs that began – in English – with Suite for Barbara Loden, and continued with Exposition (those two were written and published in French in the opposite order). What a set of books these are! As strong on the furious waste of female artistic talent, and the general and specific ways that men, and male social and cultural structures, set out to achieve this end, as anything by Chris Kraus; as simply, naturally adventurous in its manner of navigating its different forms as Kraus or Maggie Nelson. Each book is brilliant, no one of them is put in the shadow by the other two, but the ending of The White Dress – this book is about Pippa Bacca, an Italian performance artist who was abducted, raped and murdered while hitchhiking across Europe to promote world peace – is as sickeningly powerful in its effect as the end of Spoorloos(The Vanishing). You feel helpless. I wrote more about The White Dress in a monthly reading round-up, before these petered out, here.
I chose Nicholas Royle’sMother: A Memoir (Myriad Editions) and Amy McCauley’s Propositions(Monitor Books) as my books of the year for The Lonely Crowd. They’re both brilliant, and you can read my thoughts on them here.
Another memoir that I devoured, and that gave me tough minutes and hours of thinking and reflection, even as, on the page, it sparked and effervesced, was Rebecca Solnit’s Recollections of my Non-Existence (Granta). In a way it’s the opposite to Royle’s book, which is only ever caught up in the flow of time as if by happenstance. Royle’s mother happened to live through certain years, and be of a certain nationality and generation, so the exterior world does impinge, but impinges contingently. (The book is about personality, and how personalities bend towards, away from and around each other in a family.) Solnit’s book, by contrast, is absolutely caught in the flow of time. Solnit is who she is because of when she lived, and lives. In this it’s somewhat similar to Annie Ernaux’s superb The Years, which I wrote about here, and chose for my Books of the Year in 2018. And it’s as intelligent and insightful as Léger’s books, though Solnit has no reservations about writing about herself. (Léger, you feel, can only write about herself by way of writing about others. She is reticent, and so to an extent subject to the ego. Solnit writes memoir without ego.) This is certainly the book of Solnit’s that I’ve enjoyed the most.
From memoir to essays – and yes there is a lot of non-fiction on this list, among the new books I mean. I’m not sure why this is. There are other contemporary novels and short stories (in collections, journals, on their own) that I’ve read this year that I enjoyed, but none of them impacted on me as heavily as these books. Perhaps it’s because fiction is less concerned with its impact on the reader here and now, it drifts into the timeless time of world and story that must, perforce, be largely unlinked to the phenomenal world. By contrast, all these essays address me, here today, and demand something of me. (Incidentally, timeliness is not a guarantee of meaning. I tried reading Zadie Smith’s ‘lockdown’ essay collection Intimations, and found it rather insipid. It seemed like noodles and doodles, when Solnit, Léger and Ernaux, as good as sat me down and talked important things to me, things that needed to be said.)
I very much enjoyed Elisa Gabbert’s The Unreality of Memory and Other Essays (Atlantic), the essays of which seemed to spring from the world – they are about disaster, ecological crisis, terrorism, things that we know as it were unknowingly. They are unknown knows. The subjects seemed to be held still by Gabbert as if by force of will, in a way that seems different from the other non-fiction pieces mentioned here. They were not a natural outpouring or distillation of insight – as, for example, and famously, was Solnit’s brilliant ‘Men Explain Things to Me’ – but worked pieces, pieces Gabbert had to work at, to get right, topics she had to apply herself to in order understand them, to bring them under the law of her thought. She was forcing herself to think, and we were beneficiaries.
Brian Dillon’s Suppose a Sentence(Fitzcarraldo) is a characteristically intelligent, urbane, distinguished set of essays that focus on particular writers by zooming in on – and then building out from – single sentences of their writing. They are master-classes, and they remind me of Clive James’s Cultural Amnesia, though that book ranged more widely (James ranged more widely, full stop). Suppose a Sentence is wonderful because what it offers is unapplicable. You can’t use it for anything else. Its lessons are oblique. It’s like a walking tour of a part of the city you’d never found on your own, and never will be able to again.
Exercises in Control by Annabel Banks (Influx Press) was perhaps the most interesting new collection of short stories I read this year. The stories are mostly short, and don’t try too hard to be polished or well-rounded, nor to be artfully extraordinary. But they grab you with their insouciance, their not-caring. The story ‘Rite of Passage’, with a girl (I should say ‘woman’) who crawls into hole in a rock on a beach on a date, was thrilling for its unpredictability. It didn’t quite have the courage of its convictions, in the end, but many of the stories left me feeling deliciously unmoored.
Finally, my other book of the year, it goes without saying, was The Snow Ball by Brigid Brophy, reissued by Faber, my favourite novel of one of my all-time favourite writers, who is hopefully becoming better known. This book was, to some extent, the model for my last novel, The Large Door, set, like Midwinter Break, in Amsterdam. I love The Snow Ball with a reader’s passion, that is say excessive, partial, formed by circumstance and transference.
The following books were courtesy of the publishers: The Island, The Snow Ball, The Lying Life of Adults, The White Dress, Suppose a Sentence. Thank you to Penguin, Faber, Europa Editions, Les Fugitives and Fitzcarraldo.
In hugely exciting news I can now announce that Spring Journal will be published as a book by CB Editions before the end of 2020.
The publisher says: “Spring Journalis an honest, angry, sad, thoughtful, appalled, urgent act of witness to this lousy year. Why would anyone want to be reminded? Those who have followed the week-by-week reading-aloud of the poem by Michael Hughes on David Collard’s Leaps-in-the-Dark on Zoom know that this is not a statistical summary or an op-ed piece; that something cumulative has been building, and that its sharing has been important. The poem itself is deeply sceptical of exaggerated or romantic notions of what poetry can do, or is for; it feels nevertheless, in part because of this scepticism, a necessary work.”
Huge thanks to Charles Boyle at CB Editions for this mark of confidence. CB Editions is one of my favourite British small presses, and it’s marvellous to see how it turn around ‘on a sixpence’ as Boyle puts it, to publish the poem while it’s still hot and, hopefully, vital. More details in the CB Editions newsletter, here.
And full information about Spring Journal on the dedicated web page on this blog, here.