(What a pleasingly alliterative set of author names)
There’s an epigraph that I often remember, from Dave Eggers’ debut A Heartbreaking Work of Staggering Genius (2000 – and boy I wonder if anyone’s read or reread that book recently. It would be an interesting experience.) In fact the book has two memorable epigraphs: firstly, ‘THIS WAS UNCALLED FOR.’; and, secondly:
First of all:
I am tired.
I am true of heart.
You are tired.
You are true of heart.
Both of them sum up the radical sincerity and potential mawkishness at the heart of his writing. Both, because of this, are memorable. They stay with me, because as statements they are so widely applicable – they are applicable now – as well as being pertinent to the book for which they act as curtain raisers, or perhaps, rather, mottos painted on the safety curtain of the book’s theatre.
I am tired. Teaching starts next week. Summer’s over. I am sure that you are tired. I make no claims for the trueness of either of our hearts, but let’s accentuate the positive.
I am tired. That’s it. That’s the tweet.
And but so:
Books are wonderful relaxation. They are also wonderful energising. There’s nothing I love more than grabbing my phone to tweet a response to something I’m reading, whether it’s Don DeLillo describing a woman putting a condom on a man’s penis as “dainty-fingered and determined to be an expert, like a solemn child dressing a doll”,
No big deal, just a DeLillo sentence describing someone putting a condom on a penis. Fuck sake, Don. pic.twitter.com/i5oBTEN1ly
— Jonathan Gibbs (@Tiny_Camels) August 31, 2019
or Lorrie Moore pole-axing the reader with the devastating end to the first page of her story ‘Terrific Mother’.
Here is the first page of ‘Terrific Mother’. Who else would *dare* to open a story like that? pic.twitter.com/vr4qFHJFXR
— Jonathan Gibbs (@Tiny_Camels) August 22, 2019
I’ve been trying to read Proust with my phone to hand, too, as an enhanced form of annotation, and that, too, has been fun and exciting.
Fun and excitement: wow. That’s it. That’s the tweet.
But, sometimes, writing about books can be a chore. It’s a terrible thing that a book, once read, even a good book, can be put on one side and forgotten. What’s the point of all of this, you think, if a book that engages your brain and emotions over a number of hours over a number of days just gets put back on the shelf and, to all intents and purposes, forgotten? Because sometimes they are picked up again. Sometimes they are passed on. My August reading contained left-turns and blind alleys, slogs up stony hills and brief gleefully shrieking slides down sandy dunes. There was reading for work, reading for the soul, reading by accident and reading by design.
The Don DeLillos are there for an academic chapter I’m writing, and I found myself zooming through them. Mao II, a re-read, is far from my favourite of his novels: too slick and portentous, too glib in the way it throws around its themes.
In one aspect at least it’s a victim of its success. The famous riff about terrorists having replaced the novelists at the heart of the inner life of the culture is blandly prophetic, but it’s too on the nose. The other ‘prophetic’ moments or images in his novels – such as the most photographed barn in America, or the playing dead response to the Airborne Toxic Event, are more oblique, more generally symbolic. The writing is spiffing. It’s spiky poetry has just become too easy to read.
Running Dog, by contrast, I enjoyed. I don’t think I’d read it before. It’s more corny in its plotting – closer to a spy thriller or a contemporary hardboiled thriller – and that allows the author to have more fun, and for the punchier writing to stand out from the more familiar skeleton. Another extract I tweeted managed to pick out something that occurred to me elsewhere about the male (I think) approach to language. Here it is: Continue reading
I’m coming out of a hectic and not entirely satisfying couple of weeks of reading. I finished the third volume of Proust on holiday, but didn’t have the fourth with me, which lost me impetus. Then the Booker longlist was announced and this sent me back to Ducks, Newburyport, which I had only dipped into but wanted very much to read. Then there was reading for work (variously, and for various reasons, Nick Harkaway, Don DeLillo) and then I read some short stories from the new editions of Granta and Lighthouse, and then one night I couldn’t work out what to read, so turned to Borges, which is my usual response to this problem, and that kept me going for a couple of nights. An unread secondhand copy of a Herman Hesse book, Klingsor’s Last Summer, beckoned when I wanted something to read in the bath, and I found a Hollinghurst in a charity shop I hadn’t read (The Sparsholt Affair) and read the opening pages of that on the train home. There’s a Penelope Fitzgerald re-read face-down and spine-open somewhere in the house. Then, yesterday, Toni Morrison died, so of course I picked up Beloved for the train home. Honestly, it’s a miracle I finish any books at all.
Here’s what I did read in July, however: three short novels by Mario Benedetti, a Uruguayan writer and poet who died in 2009 and is only now being translated into English. So far Penguin Modern Classics have given us Who Among Us?, The Truce and Springtime in a Broken Mirror. These were all wonderful, three broken-hearted love stories of one kind or another, two of them based around love triangles in which a woman leaves her husband for another man, the other featuring a middle-aged divorcee falling in love with a twenty-something woman working in his office.
So, yes, the vibe is melancholic-masculine, with not all but most of the telling coming from the men’s points of view, giving us the sort of pained, elegiac, romantic narrative that men might sneer at in a similar book written by a woman, and women might roll their eyes at when they read in a book written like this by a man. So there’s a risk that they are overly male-gazey, not a million miles from the kind of thing James Salter wrote at his best, though hopefully in a benign kind of way. (The casual homophobia in The Truce, in which the main character despairs when he learns one of his sons is gay, is harder to squint at.)
I certainly found all three books quite lovely and compelling and drank them down like long cold drinks on a hot day. (I reviewed one of them, Who Among Us?, for The Guardian.) In the review I point out that at least two of the books – Who Among Us? and Springtime in a Broken Mirror – make use of subtly destabilising narrative structures, giving the main characters opportunities to reframe and sometimes retell the events of the story in ways that are effective without being aggravatingly demonstrative. In terms of mood I’d perhaps also say that they have something of the at-a-distance melancholy of Yuko Tsushima’s slim books. I’d definitely recommend them – start with any of them, but why not Who Among Us? It’s the slimmest of the three, and the most seductive in its narrative play.
I absolutely loved Nan Shepherd’s influential nature-writing book The Living Mountain, about her lifelong love for – and built out of her lifelong knowledge of – the Cairngorms. The book was written during the second world war, but not published until 1973. Calling it ‘nature writing’ is somehow reductive, however, despite the beautiful descriptions of animals and especially birds: it seems clear that for her the Cairngorms transcend ‘nature’. Nor, really, is it ‘place writing’. The Cairngorms aren’t a “place”. When she is in them, the mountains become her whole world, so perhaps it should be called ‘world writing’. Continue reading