I hadn’t read any Sally Rooney until a couple of days ago when I was reminded on Twitter that there was a story in a back issue of The White Review that features the two characters – Marianne and Connell – from Normal People, Rooney’s Booker-longlisted and roundly lauded second novel. (Interestingly, this is from 2016, before the publication of her debut, Conversations with Friends.)
I read it, and loved it.
Then this morning I decided to take the latest Granta magazine (‘Generic Love Story’) into the bath with me for a lazy Sunday morning read, and there she was again, in the form of an actual extract from the book. (You can read it online.)
I read it, and loved it too, and finished with teary eyes.
Although this isn’t the main point of this post, I’ll say briefly that my reasons for loving it are more or less the same reasons other people have mentioned in reviews and online: that Rooney makes you care about the characters, which is perhaps an unfashionable thing; but also she seems utterly contemporary. This comes partly in the depiction of contemporary attitudes – to relationships, to sex – or rather of the contemporary ways of conceptualizing attitudes that themselves are probably as old as the hills; and also partly in the smooth integration of contemporary technology etc into the narrative, but also in the way the prose seems alive to the texture of life today.
One example: in the Granta extract, teenage Connell’s mother puts the kettle on, something that has happened countless times in realist prose fiction since the invention of kettles, or realism, whichever came first, but this time we get this: “She laughed, fixing the kettle into its cradle and hitting the switch.” And I realise that’s the first time I’ve had a writer notice that that’s how kettles work these days. (Perhaps someone else has used it, but I missed it.) And if Rooney is noticing that, then what else is she noticing about modern life? The kettle moment is like a concrete token offered to reader that encourages them to believe that the more intangible things she’s noticing (do young people really think like that about sex?) are credible also.
Now as it happens I’m off out to my local bookshop shortly to buy a book as a present (in fact it may well be a copy of Conversations with Friends) and so I’m asking myself: should I get Normal People? I’m sure I’ll like it. There is also a definite thrill to buying a new book to read straightaway when I’m not exactly short of other books that I either want to read or feel I should.
But… here’s the thing: it’s hardback, and I don’t want to read Normal People in hardback. Nor do I want to have the hardback of Normal People on my shelves.
Why is this?
Well, there are bad and shallow reasons why I might feel this. She’s a female writer is the most obvious one, and I don’t want to accord her the status of hardback author. She’s a paperback writer, to quote George Harrison out of context. Do I think this? I hope not. Or rather: the status thing is true. Not everything is worth buying in hardback. But I hope that my measuring of her worth doesn’t involve sexism.
Let’s take a step back. Continue reading
My month’s reading began with Russell Hoban’s Pilgermann and ended with First Love, by Gwendoline Riley, read in a day, started on the train to work, and finished – nearly – on the train home. I read the last five pages leaning over the kitchen counter, eating hobnobs. If it had been light I would happily have stood out on the street to finish it. How does it end? Unexpectedly, desultorily, off-handedly, as it proceeds. It is, I think, the second Riley I’ve read. It’s excellent: a sketch (not a portrait) of a toxic marriage, with the narrator’s other relationships – ranging from also toxic to just failing to simply meh – doodled in the margins. Looking at it now I feel there’s a real risk that, for all my pleasurable immersion in its slantwise take on life, it will evaporate from my mind, as, indeed has the other Riley I’ve read, Joshua Spassky. (Maybe I’ve also read Opposing Positions. I’ve definitely got it. This isn’t looking good.) So, here’s me telling to re-read First Love in five years’ time. Item: “a small, poxed mirror”. Item: “We walked up to the shops, into the throat of the wind.” Item: “Outside the sunset abetted one last queer revival of light.” Item: the handful of walnuts; those final, vituperative rants. If some novels are the equivalent of a nice cup of tea, this book is a cup of tea, spilled. Deliberately, and pointedly.
Hoban couldn’t have been more different. It’s as much an outlier in the Hoban oeuvre as Riddley Walker, which it follows. A middle-aged reel through the Middle Ages, it follows the man (and owl) Pilgermann through some kind of life, some kind of afterlife. It lifts itself into operatic riffs on various religious preoccupations; it’s got walking corpses and terrible battles and Jewish folklore. It starts better than it finishes, though it starts brilliantly. The idea of picking it up again, now, four weeks on, to work out what was going on in it, seems rather too tiring. I prefer his later, more obviously comic novels, that seem to carry themselves more lightly.
Black Waltz, by Patrícia Melo, translated from the Portuguese by Clifford E Landers, is a re-read. I’d been meaning to try it again. It’s a story of a man – a successful international conductor – unhinged by jealousy. With no apparent reason apart from his own delirium, he he decides that his younger wife, a violinist, is being unfaithful to him. He ends up losing much more than her. It’s smoothly gripping, and effectively guts the reader at crucial moments. It reminded me of the early standalone Elena Ferrante novels, especially Days of Abandonment.
My Name is Lucy Barton, by Elizabeth Strout. Well: it’s exquisitely written – but I wasn’t fully taken in. Something about the reticence, the distance with which emotions are held, and for what purpose, meant it didn’t work its magic on me as it has on others. I wonder if it’s something to do with American reticence, which has a slightly different tenor to British, or English, reticence. Perhaps Americans see it as less of an inherent national trait, puritanism aside, and so it tastes that bit more delicious to an American palate.
Seven Brief Lessons on Physics – a Christmas present from my sister – was a bit of a frustration. I mean, how many times do I have to read accounts of quantum physics, black holes and the rest of them, before I actually understand them? I don’t think it will ever happen. (It happened, once, briefly, watching Michael Frayn’s Copenhagen. I got it, I really did – with the way the characters walked across the stage representing the movement of quarks or whatever they are – but I lost it the moment I left the theatre.) It doesn’t help that Carlo Rovelli uses some hokey metaphors to try to explain his science. When he says that the elementary particles “combine together to infinity like the letters of a cosmic alphabet to tell the immense history of galaxies, of the innumerable stars, of sunlight, of mountains…” and so on, I just can’t see how that helps. That’s not how letters work, really, and I can’t imagine that that’s how elementary particles work either: placed in sequence to form clusters as much made up with reference to the letters that aren’t there as to those that are, these clusters then being themselves arranged in particular sequences, so as to suggest meaning. That’s how the universe is made? No, it’s not.
River (by Esther Kinsky, translated by Iain Galbraith) and Sight (by Jessie Greengrass) are there because of reviews, still forthcoming. An Account of the Decline of the Great Auk… was homework for that review. (Review links added, to The Guardian and The White Review)
Flight was (re)read for the MA Creative Writing module I’ll be teaching this semester. It’s a great blokey literary thriller, a little too on-the-nose in the way it looks for flight metaphors, but agreeably credible in its blend of mystery and violence, and its slow unfolding of human relations, and evocative in its description of the remote Scottish coastline.
Heinrich Böll’s The Lost Honour of Katharina Blum (trans Leila Vennewitz) was read as a palette cleanser, because it was so short. But, for a short book, it’s dicey to read, and not just because this old Penguin paperback is going at the spine. At this distance (it was written in 1974) its twin themes of sensationalist tabloid journalism and the furore around the Red Army Faction terrorist group don’t seem to carry equal weight. The journalism stuff seems heavy-handed, but also naïve by comparison with the way news organisations treat individual privacy today, while the terrorism, so much meatier as a theme, is treated less thoroughly. The documentary style is interesting, certainly, and it’s made me want to keep exploring Böll. His stories, apparently, are superb.
Another short book I (re)read in a day is André Gide’s Strait is the Gate, translated by Dorothy Bussy, who features in Kate Briggs’s fascinating book about translation, This Little Art. Picked up because its title accidentally mirrors the title of my current work in progress, it astonished me again with the pure music of its prose, and the aching passion of its story, melodramatic and melancholy at the same time. It’s the story of a young love destroyed by excess religious sense, that sees heaven only in self-denial. It made we well up, and as good as cry, twice. If you read Gide in French as a schoolchild (probably La Symphonie Pastorale) it might be time to pick him up again. I want to go on straight to another of his books. I’ll see what I have. This, though, is a sublime little book.
The stories (Chris Power, M John Harrison, Bridget Penney, in a lovely old Polygon edition) I’ve been dipping into and enjoying. I may write about them next month.
Also read, but not pictured: The Language of Kindness, the forthcoming nursing memoir written by my colleage at St Marys, Twickenham, Christie Watson. That made me well up more times than I care to remember. A stonkingly human book, brilliantly pitched and controlled.
Yesterday I was at the South Bank’s Women of the World festival, deputising as host for a book group that met to discuss Elena Ferrante’s marvellous second novel, The Days of Abandonment. Reading it again ahead of the weekend (the third time of reading), this remains, for me, one of the most visceral and eye-opening pieces of fiction of recent years.
The story, for those that don’t know it, is about a woman, nearing 40 and with two young children, who is walked out on by her husband, and the spiral of mania, hatred and despair this sends her into. The story is full of violence and passion – more is abandoned than just a wife – but it never loses its grip on language or narration. It is as much a philosophical novel, as a psychological one. It’s also got a sex scene in it that has made me look at my partner with new, fearful eyes – it’s entirely naked in the way that Kerouac meant when he titled Williams Burroughs’ novel for him: “a frozen moment when everyone sees what is on the end of every fork.” On the one hand, this is the book that should be given to every new husband, just on the off chance they might, one day, be tempted by a piece of young flesh. It shows what abandonment can mean to the person you not just betray, but drop: what that can do to the sense of self. On the other hand, for reasons I won’t spoil, this would probably be a bad idea.
Obviously one of the topics of discussion during the group was Ferrante’s anonymity, and the fact that it would be hugely surprising if this was allowed to last, and lo and behold when I got home, I found stories on the web informing me that an Italian journalist thinks he has unmasked her. Denials followed, from everyone concerned, but even if this particular journalist was wrong, it’s bound to happen at some point. Fuckers.
Rather than dwelling on that, however, I thought I’d share another topic of discussion in the book group, which was – as with any book group – other writers and other books that this particular writer or book brought to mind. Everyone present scribbled down these recommendations, but here they are for general information:
Another book about betrayal and the end of a marriage: Stag’s Leap by Sharon Olds (poetry: not the first time I’ve heard great things about this)
Another book written by an anonymous author: Salt by Nayyirah Waheed, an entirely absent author, though one with an active Twitter feed – a way of reaching readers while bypassing the usual literary rigamarole. Poetry, again.
An even more ambitious form of anonymity: Wu Ming – a group of anonymous Italian novelists who write and publish their works collectively under an assumed name. They previously operated as Luther Blisset, under which name they published the successful novel Q.
Another book about a female friendship: We racked our brains trying to think of other novels that rivalled the Neapolitan Quartet for its portrayal of a life-long female friendship, with all the love, affection, rivalry, tension and comfort that entails. Someone suggested The Grandmothers by Doris Lessing, a novella about two old friends who both fall in love with each other’s teenage sons – a brilliant sounding conceit, and definitely one I will be checking out. (It was filmed as Adore, aka Two Mothers, starring Robin Wright and Naomi Watts. In book form it is available as a standalone film tie-in, called Adore, or as the title story in a collection of four novellas, The Grandmothers.)
Another book about female friendship: Animals by Emma Jane Unsworth. I chipped in with Sula by Toni Morrison. Someone also mentioned A Little Life by Hanya Yanagihara as a take on male friendships written by a woman – the reactions were the usual mixture when this book comes up.
Another book that treats violence against women: The Book of Night Women by Marlon James – the previous book by the author of the Man Booker-winning A Brief History of Seven Killings.
Another (female) Italian author to check out: Margaret Mazzantini. There was one Italian woman in the book group, and she explained how she was rather surprised when she first saw the attention that Ferrante got in the UK. She was well-known in Italy, she said, and well-regarded, but was not necessarily lauded and celebrated quite as she is here. She suggested Mazzantini as the one of the most popular contemporary novelists, whose new book always causes a stir. Currently available in translation: Twice Born and Don’t Move, with another book, The Morning Sea, coming out May 2016.
To Lutyens & Rubinstein last night to help launch the final instalment of Elena Ferrante’s quartet of Neapolitan novels, The Story of the Lost Child, along with Cathy Rentzenbrink (The Last Act of Love), Tessa Hadley (The London Train etc), and Susanna Gross, literary editor of the Mail on Sunday. We had a fascinating discussion, with help from the attentive audience, though as was pointed out by I think Cathy, this was largely because by the end we were less certain of our thoughts and opinions on the books and its author than we had been at the beginning.
I’ll say a little about my personal take on the books in a moment, but perhaps the best way of sharing something of the spirit and content of the evening would be to introduce the four passages that each of us chose to read. This was very much unplanned: we only decided to do it when we met up just before the event, but of course we all had our favourite bits marked in our copies and knew precisely what we’d like to read. What was so fun about this element was that it was different to a standard author reading, where – and I know I’m guilty of this – the author reads a bit they’ve probably read a dozen times, because they know it works, or it’s funny, or has got some sex in it. (And the humour, or comedy, of Ferrante is something that got discussed: Susanna said she remembered precisely the two points in the four books that made her laugh, and we agreed that while the books aren’t funny as such, and are full of violence, pain and misery, still there is something of the human comedy that runs through them; if their 1,600 pages were simply unremitting tragedy and trauma then we wouldn’t skip through as eagerly and easily as we – most of us – do.)
We read our passages in the order they came in the books, and introduced them by saying what the books and the author meant for us personally.
Susanna read from the second book, The Story of a New Name, from when the still teenage Elena has taken Lila along to her professor’s house for an evening of intellectual debate. Lila, the spikily intelligent but essentially unschooled best friend, says not a word all evening, while Elena tries valiantly to keep up and ingratiate herself, but once they’re out in the car, Lila sounds off to her husband, Stefano: Continue reading
I haven’t been keeping a strict list of books read during 2014 so this won’t be a strict list of best books, but rather a recollection of the most memorable reading experiences. Which itself leads to an interesting question. How much does a book have to stay with you after finishing it for it to be a good book? I ended my TLS review of Mary Costello’s remarkable Academy Street with the observation that I wasn’t sure if Tess was “the kind of character to stay with the reader long after the book is closed, but during the reading of it she is an extraordinary companion.”
I was discussing the book with David Hayden of Reaktion Books, and the name Deirdre Madden sprung up, whose latest novel Time Present and Time Past I’d just read. I said that I’d hugely enjoyed her earlier book Molly Fox’s Birthday, and that although that judgment stood – that it was a good book – I honestly wouldn’t have been able to tell you anything that happened in it at all.
What books have stayed with me, then? For new novels, Zoe Pilger’s helter-skelter semi-satire Eat My Heart Out and Emma Jane Unsworth’s more groundedly rambunctious Animals both offered up visions of contemporary Britain that I found winning and accurate, or appropriately overdone. Unsworth’s had the thing I thought Pilger’s lacked (though there was more at stake in Pilger) – a sense of where the character might be heading at the end of the dark trip of the narrative. Thinking back on Pilger’s book now, it occurs to me – and I wonder if it’s occurred to her– that Anne-Marie would make a superb recurring character. She’s great at showing where London is, a decade or so into the century. She’d be a useful guide to future moments, too.
The characters I spent the most time with over the year were Lila and Elena from Elena Ferrante’s Neapolitan novels, aka My Brilliant Friend. I read the first volume early in the year, having been previously blown away by the gut punch/throat grab/face slap of The Days of Abandonment. I read the second and third Neapolitan volumes on holiday in the summer. I was reviewing it, so my proof copy is full of scribbles, but the scribble on the final page of Those Who Leave and Those Who Stay says just: ‘Wow’. As has been said before, these books do so many things – European political history, female friendship, anatomisation of Italian society, child to adult growth and adult to child memory – but it does two things that I found particularly powerful. Continue reading
Last night I was at Foxed Books in West London for the London launch for Elena Ferrante’s Those Who Leave and Those Who Stay, the third in her ‘Neapolitan novels’ – a projected sequence of four books telling the intense, dialectical relationship between two women over, thus far, thirty years. What with Ferrante being a non-public author, it was up to others to do the promotional duties, and I was asked to join Joanna Walsh, who chaired, and Catherine Taylor to read from and discuss her work.
Walsh has written on Ferrante for the Guardian, while Taylor and I both reviewed the new book, she for The Telegraph and I for The Independent. It was a great evening, with what I hope was an interesting discussion, both for those that already knew Ferrante’s writing and those that didn’t, and some incisive comments from the floor.
As might be hoped, most of the talk was less about the enigmatic Ferrante herself, as about the books. As a critic, I have to say, it is a joy to be able to talk about the writer without the sense that they are listening in, and might stalk up to you at another launch, months hence, and throw a glass of wine in your face. (If it’s true, as the hints would have it, that Ferrante’s decision to absent herself from the public gaze is at least partly down to constitutional shyness, then I guess she doesn’t read her reviews.) Ferrante, so far as the critic is concerned, may as well be dead. Or, as the final two lines of one of her novels read:
Deeply moved, I murmured:
“I’m dead, but I’m fine.”
One theme that recurred over the evening, and that I think worth reiterating, is the highly specific Italian-ness of her books: the overwhelming, overweening importance of family; and, one circle further out from that, of ‘the neighbourhood’. These are facets of the Neapolitan novels that simply couldn’t be successfully transplanted to any other setting, not even really to, say Italian New York. And yet there is nothing foreign about them. The effect on the characters’ lives of ‘family’ and ‘neighbourhood’ in Ferrante’s books is at once universally recognisable and highly localised.
In preparation for the talk I read the two Ferrante books that I hadn’t read before (and, in fact, re-read another, The Days of Abandonment), and this drilled home for me one other aspect of her oeuvre, thus far, that is worth mentioning. Continue reading
I am bad. This is old. We are going back to early February here. I’ve been reading, but I’ve not got round to writing any of it up. There are two reasons for this, beyond sheer laziness. One of them is that I wanted to use one of these month’s round-ups to reconsider the whole ‘reading women writers’ / #ReadWomen2014 thing, which beyond being a prompt to myself to read more women was originally supposed to be a prompt to thought: not just why don’t I read more of them, but why do I read them as women; why when I’m reading them am I aware, at some level, of treating them, in my reading, as women writers, not male writers.
Is this true? Or do I just worry that it’s true?
Is awareness thought?
Am I turning into my own thought police?
Do I cut male writers more slack than women, or do I genuinely prefer male writers to women (my personal pantheon of contemporary writers, as I said before, starts with Geoff Dyer, Javier Marías, Knausgaard, Foster Wallace, Nicholson Baker… and goes through a few more, probably, before it hits Lorrie Moore, Lydia Davis.
And of course you’re entitled to question the very idea of the pantheon as a method of literary assessment.)
So, the four months I spent reading women last year was supposed to end with some kind of accounting of that experience, and it never did. I wanted to include that in my Feb reading post, but wasn’t ready to, hadn’t marshalled my thoughts.
I’m not ready now.
I have not marshalled my thoughts. Continue reading
Two months’ reading conflated, due to the small matter of PhD thesis duly submitted, with this post rushed due to impending holiday – which, though, should allow plenty of time for more reading – and all coming out in the wrong order, a concatenation of events, stitched together with tiredness, a tinnitus of the calendar.
Working backwards, from July to June we have: After Claude, by Iris Owens, The Days of Abandonment, by Elena Ferrante, All The Birds, Singing, by Evie Wyld, A Girl is a Half-Formed Thing, by Eimear McBride and Armed With Madness, by Mary Butts. To which I’m adding a long poem, ‘You, Very Young in New York’, by Hannah Sullivan, from Areté’s Retrospective. Two new novels, one of them a new debut novel, the others recommendations from my Myopic/Misogynist reading list, one recent Italian translation and two classics of varying modernity – bitchy 70s New York, and and England between the wars.
And all touching, in one form or another, on madness, on a mind battling to contain and control the rising tide of reality – although strangely enough it’s the one with Madness in the title that least matches with what we think of as madness today – which I’d characterise as psychological disturbance. (I might be influenced in some of this by the fact that I’m married to a psychologist, who is very much against any kind of mystification or romanticisation of the topic.)
Perhaps that’s not surprising at all. Mary Butts’ book, Armed With Madness is a piece of modernism, coming somehow between Virginia Woolf and the Beats, if that’s a valid continuum, and seems to be of a time, or a moment, or a genre, that sees madness as something divine, and tragic, rather than, as today, something medical, and solvable. Continue reading