My second novel, The Large Door, is published by Boiler House Press in April 2019. You can read more about it and sign up for updates here.
I remember exactly where I was when I had the idea for this book – or rather where the two ideas collided that made it possible. I was walking down the Mile End Road in Norwich after sitting in the library researching a conference paper on Brigid Brophy, a C20th British writer I had become a little obsessed by.
In the three years from 1962 to 1964 Brophy published three utterly brilliant short novels that I thought had rather slipped off the literary map: Flesh, The Finishing Touch and The Snow Ball. It was The Snow Ball that I was particularly enamoured of – a dark, sparkling and death-obsessed sex comedy set between midnight and dawn at a masked New Year’s Ball as close in spirit to C18th Vienna as Swinging London. It is unashamedly intelligent, psychologically acute and serious as hell about love and sex, all while whipping along the line of its narrative like a dancer in a drunken gavotte. Why didn’t anyone write books like that anymore, I thought, which naturally slipped far too quickly into the dangerous thought: hell, I will write a book like that!
And then, walking through the Norwich night, I realised I had the material to do it: a short story set over 24 hours at an academic conference, with an arch and unbiddable female protagonist very much in the vein of The Snow Ball‘s Anna. ‘Festschrift’ had been published by Susan Tomeselli in her excellent journal Gorse, and then picked by Nick Royle for one of his Salt Best British Short Stories anthologies, but expanding that 8,000-odd-word story to the length of a short novel shouldn’t be too much trouble, should it? The title, that had been lying around for about 20 years, and I also remember the moment when the decision to use it became absolutely fixed, when a particular sentence set itself down on the page.
During the time I’ve worked on the text, ripping it apart and building it back up, I’ve also been trying to read as much as possible of – and, in a way, to triangulate – three British writers who to my mind bestride the second half of the last century: Brophy, and the far better-known Iris Murdoch and Muriel Spark. I’ve read most of Brophy, and about half of Spark’s novels, and a third of Murdoch, and I find that, together, they map a set of approaches to writing fiction that I find irresistible. How to dive headfirst into your characters’ moral quandaries, like Murdoch, and wallow in them? Or how to hold them at arm’s length, like the divinely ambivalent Spark. In a sense, Brophy splits their difference: as involved in her characters as Murdoch, but able to dismiss them with a Sparkish turn of the wrist when need be.
The Large Door, in a sense, is the result of that reading, and thinking. Of course there are plenty of other concerns in the book, thoughts that occurred to me on the journey and got Hoovered up: how to make use of text message communication in prose fiction; how to make the mechanics of an academic conference (keynote speech, panel, workshop) remotely interesting; the desire to find a way to punch through the page of the novel – break the fourth wall, in theatrical terms – without resorting to the usual tired postmodern gestures.
But in essence the book is a serious attempt to do what Brophy did, time and time again, and Murdoch and Spark, in their different ways: put serious characters at the heart of a comedy. They all three of them write tragic-comedies, I suppose – comedies in their structure, in the artifice of their narrative devices, but tragedies in their temperament, in the way that you feel an abyss would open up under the characters if only they once looked down. I fell in love with Brophy’s Anna, as much as I’ve ever fallen for a fictional character, and that’s the challenge I set myself: to write a character that, for all their foibles and – say it! – unlikeableness, other people might fall in love with in turn.
Neel Mukherjee’s A State of Freedom took me two goes to get into. This a novel of parts: there are five numbered sections, told from the points of view of five different characters, who cross each other at most tangentially. The problem was that I found the first character – a wealthy Indian emigre taking his young, more or less American son on a tour of the Taj Mahal and other attractions – essentially uninteresting… or uncompelling… or that taboo word, unlikeable.
Unlikeable. I’m in two minds about this term, which has become something of a shibboleth in the contemporary book world. For some it’s a good thing – essential, if you want to take your readers with you. For others it’s anathema. How gauche, that you need to like the characters you read about! The way I’d think about it is that, however unlikeable a character, you’ve got to like reading about them.
I prefer the term ‘compelling’. It’s active; it describes what an interesting character does, whereas likeable or – ugh! – relatable are passive, indicating only the capacity to be seen in a particular way. You can like them, or relate to them, or not. ‘Relatable’ also strikes me as being analogous to that awful word collectable, as in the kinds of collectable figurines or commemorative plates you used to get advertised in the back of the Radio Times. Listen, mate, you can collect anything; designating something as such is worse than meaningless.
So: the rich man failing to connect with his son in the first section of Mukherjee’s novel did nothing for me. It wasn’t until I read on, however, that I came to understand that I wasn’t supposed to like him. The next section’s character – a British-Indian designer visiting his parents in Bombay, and the only first-person narrator of the five – is more sympathetic, a well-meaning man trying to square his western morals with his parents’ culturally-ingrained treatment of their cook and servant girl. With each section, in fact, we are moving down the social scale: to an unemployed villager who sets himself up in business with a bear cub he teaches to dance; to a young girl sent into service (who ends up in the apartment of the couple in part II); to the brother of the bear-man, who is working on big city construction sites and who impinges on the father and son in part I… you get the idea.
There was a similar structure behind Jennifer Egan’s A Visit From the Goon Squad, although this feels tighter, harder to recast as a set of ‘interlinked stories’. Perhaps not so much tighter as denser, more deeply attached to its theme. Egan’s book had a superficial subject, the music industry, and an interest in connectedness; Mukherjee’s has that same structural interest, but the connectedness is linked to an investigation into the strata of Indian society as they currently stand and, through that, the subject set out in the title: freedom. Mukherjee digs deep into his characters’ situations; their place in the book feels earned (apart, perhaps, for the father and son, which is more important structurally than thematically). Winningly, the sections are variable in length, as if they are as long as they need to be, rather than as long as the author needs them to be for the sake of the novel’s structure.
The novel belongs with those that attempt to adapt the Nineteenth Century realist novel for postmodern times. It sees the hidden, sometimes ephemeral connections that cross class and caste boundaries, and it wants to tell the story of the age through individual narratives that respect and embody vastly different life experiences – but it doesn’t try to offer the whole social-aesthetic architecture that would build these characters and these connections into a closed, coherent superstructure. Each character is given a narrative that, naturally, grows social context around itself – the embarrassment of the Westerner who imposes himself on his family servants’ lives, the Maoist rebels who drift in and out of the forests around the poorest, most remote villages – but the connective tissue that would be needed to show each character present and correct in a fully embodied structure is cut away, until those connections have almost to be inferred. It’s to Zola as Giacometti is to Rodin.
This month was a month of two Sparks: The Ballad of Peckham Rye, which I have read before, and The Mandelbaum Gate, which I have not. I’m not entirely sure how much I got out of The Ballad…this time around. The style, of course, is perfection, a studied nonchalance with regards to character that makes me think of a grandmaster politely playing a game of chess with a house guest while at the same time filling out their tax return. But how much is going on underneath? The lower-class satire of the factory workers and managers thrown into chaos by a Scottish graduate set on bringing the arts to the unlettered feels dated; it takes too much for granted. Dougal Douglas is no Jean Brodie.
The Mandelbaum Gate is a different matter. Set in Jerusalem in 1961, when the Eichmann trial was in progress, it follows a British half-Jewish Catholic convert (shades of Spark, obviously) who crosses over to the Jordanian-held part of the city as part of a pilgrimage. She falls in with a slightly comical, fusty British diplomat, who persuades her to conduct her pilgrimage in disguise, as her Jewishness could put her in danger, which she does in a full Arabic veil, pretending to be the old maidservant of a young Jordanian woman – who happens to involved in a spy network, and who also happens to fall into a romantic entanglement with Freddy, the diplomat. Although much is made of Spark’s debt to the French nouveau roman, especially in terms of her determinedly ironic attitude to characters, this book is far closer to a Graham Greene entertainment. Characters are given, as the rather archaic saying goes, their head; they are about as credible as Spark characters get. There is tension, and danger, and even the close threat of death – compare to poor Joyce Emily Hammond, from The Prime of Miss Jean Brodie, whose death in the Spanish Civil War is distant and bathetic rather than tragic. It’s the biggest Spark novel I’ve read, at 300pp, and rather against expectations – I hadn’t expected her to carry it off for so long – one of my favourites. (That said, I’ve got rather a poor track record with rereading Sparks. The Driver’s Seat, Ballad of Peckham Rye, The Public Image: none of these improved particularly on second reading. Only Jean Brodie gets better each time.)
Another writer that I had a hard time with in April was Cees Nooteboom, some of whose books I have loved immensely (The Following Story, Rituals). I took the latter with me on a writing trip to Amsterdam (my next book is set there), together with In The Dutch Mountains, which I’d never read. Dutch Mountains I reallydidn’t like: a strange fable about runaway circus performers with little grip on reality. Worse than this, however, was that I couldn’t get on with Rituals. This is probably the fourth time I’ve read it. Maybe I need to give it a rest.
Also on the Dutch trip I bought a first book, for me, by Tommy Wieringa, A Beautiful Young Wife, a slim novel about a brilliant 40-something biologist (working on cures for bird flu and the like) who has, as the title hints, a wonderful younger wife. The first half of the book, that shows them falling in love, is fine, but then when they have a child, against his wishes, things go off the rails, but in a confusing, unsatisfying way.
A fabular book that I did love was Juan Rulfo’s Pedro Páramo, which I read on the recommendation of a student at St Mary’s, Twickenham, where I teach. I wrote about it here.
My best find of the month was Carmen Maria Machado’s Her Body and Other Parties, which I finally got around to buying after reading her piece ‘The Body That Says I’m Here’. I haven’t read all the stories yet (incidentally, see this, from Mavis Gallant), but what I have read, I love. It’s fiercely intelligent in its formal experimentations, but it bends back and back to the communication of real, or credible, experiences.
And then, at the end of month, I received two quite splendid books: Riot Days by Maria Alyokhina, about her experience as part of Pussy Riot, and Derek Jarman’s Modern Nature, with a lovely evocative introduction by Olivia Lang. I can’t believe I hadn’t read this book of Jarman’s – I’ve read At Your Own Risk and Chroma, as well as Blue – but it’s an absolute beauty, his diaries of Prospect Cottage at Dungeness and of the aftermath of AIDS. It’s a bath book par excellence. A book to dip into, time and time again, and to luxuriate in.
Thanks to Penguin for the copy of Riot Days and to Vintage for the copy of Modern Nature.
There are worse things in the world, but still I do get riled at the rise of trick-or-treating in the UK. It’s partly the arrant commercialism of the event. I hate the fact that supermarkets cashing in twice over, with the rinky-dink witch and zombie costumes shelved right next to the bags of orange and black themed candy. The now-extinguished penny-for-the-guy, by comparison, offered a simpler, less costly and more direct transaction between kids and adults: handfuls of loose change given in tribute, for the stuffing of old clothes and tights with balled up newspaper.
But it’s also the way that trick-or-treating leaches any real sense of fear from the traditions of Halloween – for the kids at least. They aren’t scared; they’re just in it for sweets. If anyone’s spooked by trick-or-treating it’s the parents, so fearful of the idea of their children wandering around at night that they insist on chaperoning them. You have to hope their kids don’t catch sight of mum or dad’s face, a rictus of stranger-danger hypervigilance and forced jollity. That would give them a shock.
I’ve never taken my kids trick or treating, like the dull dad they insist I am. One Halloween, though, I did take them to the local cemetery to hang out. It didn’t work. London suburbs: far too much ambient light. I’d like to think that the country graveyard on the edge of the village where I grew up would have been a different matter, with its wonky headstones and moonlight-blocking yew trees.
When I think of trick-or-tweeting, I think of E.T., with its mass takeover of the streets by children, producing something like the benign anarchism of a May Day carnival or Saturnalia. There is freedom here, it’s true, but no fear of the dark, no sense of the dead hovering just out of sight, needing to be appeased.
Does this antipathy translate into a bias against US horror and gothic writing? Is this why I’ve never really read Shirley Jackson, beyond her classic story ‘The Lottery’, which is apparently the one story all US schoolchildren will have read by the time they reach eighth grade? Well, perhaps – but then I don’t really read gothic and horror as a genre. (The only book I can think of that gave me sleepless nights is Thomas Harris’s The Silence of the Lambs.) A reader of literary fiction, i.e. prose tragedy, I suppose I prefer despair to fear. The world is quite bad enough without ghouls and ghosties.
So it is only right and just that I give my full attention to Jackson’s work, in this new selection of short stories – although quite what decisions lie behind the selection is unclear, as two of the three collections they are taken from are already available in Penguin Modern Classics. And, presumably, all of her tales are ‘dark’ – aren’t they? Continue reading
Last month the estimable Hesperus Press ran a competition to find an undiscovered classic, asking entrants to write a short introduction to a book unwarrantedly out-of-print. The winner was Michael Wynne, who suggested The Great Meadow by Elizabeth Madox Roberts. Congratulations to him, and to her. My entry was a pitch for Brigid Brophy’s Flesh, first published by Secker & Warburg, 1962, and since seen in editions from Corgi, 1965, and Cardinal, 1990. I wrote about my initial discovery of Brophy’s books in a previous post here, but here, for posterity, is my pitch for Flesh. I heartily recommend it to all, especially publishers of neglected classics, who are more than welcome to approach me for use of the following…
Both my editions of Brigid Brophy’s short novel Flesh have a woman on their cover, both naked, seemingly, but sultry and melancholy, undeniably. On 1990’s Cardinal edition – its last published appearance – she is Bill Brandt’s 1955 photograph Nude, which has also graced the covers of novels by Alexander Theroux and Don DeLillo. (The other woman, on the 1965 Corgi paperback, popped up again, bizarrely enough, on Creation Records’ seminal 1988 sampler LP Doing it for the Kids.)
Both images do the book a disservice. The flesh of the title, after all, isn’t simply a euphemism for sex, though sex features strongly in it; it is also a reference to that other appetite that religion treats as a sin, though Brophy doesn’t: gluttony. By the end of the book’s narrative, gauche, nervy Marcus has become, in the words of his wife Nancy, and thanks (to her surprise as much as his) to her excellent cooking, “disgustingly fat,” to which he chucklingly, approvingly replies, referring back to their art gallery visits, “I’ve become a Reubens woman.”
Flesh was first published in 1962, which makes it an early and definitive refutation of Larkin’s claim that sexual intercourse began the following year. Continue reading