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.