Tagged: Nathalie Léger

Books of the Year 2020

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’s Mother: 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.

March Reading 2020: Stamm, Hall, Solnit, Léger, MacNeice

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I have this problem with the novels of Peter Stamm. I love reading them, but they evaporate from my reading brain after I have read them – like the conceptual artist mentioned in Nathalie Léger’s The White Dress who pushed a block of ice around Mexico City until it melted entirely away. All that is left from my reading of All Days Are Night is a sense of a couple coming together in a ski resort, and an all-night rave of some kind, and of the relationship not working; Seven Years I remember barely at all; To the Back of Beyond is more memorable, perhaps because more high-concept: it is a novel built on an audacious idea that all the same builds that idea into something subtle, and moving.

The only thing I could remember about Stamm’s latest novel, The Sweet Indifference of the World, when I put it in that stack of books read in March, and photographed it with my phone, was the idea of the doppelgänger – which is also foundational to To the Back of Beyond. Beyond that, I could remember not a thing.

Writing this, though, the book has come back to me. It is just as audacious as To the Back of Beyond, and for that reason cannot be described. Let me repeat that Stamm tends to write books that start from an audacious conceit, but which drift away from it, or sink down into it, or in any case hedge or fudge their treatment of that conceit, so that you are never forced to actually judge it in the clear light of day, as you would with a piece of speculative or fantastical fiction that leads you to ask: yes, well, but would it actually work like that?

There is a kind of disintegration loops approach to the writing here – these are thought experiments that are allowed to unfold only so far until they start to disintegrate, while continuing to unfold.

Or: they are Schrodinger’s Boxes novels, that allow their conceits to both be and not be, and honour both in the telling, on the page, where normally things just are.

I’ve just picked the book up and flicked through it: no notes, no underlinings, which is unusual for me. And as I flicked through the book I thought about the nasty trick it plays with its gimmick; and that that’s precisely the reason for having it. It’s a book that undermines its own narrative strategy, or at least its narrator, that kills him off and leaves him alive to see it. It made me think of Simon Kinch’s excellent Two Sketches of Disjointed Happiness, which plays a more similar trick, I think, to To the Back of Beyond. There is something to be written about doppelgängers in fiction – not the simplistic Jekyll and Hyde type, but the type of novel that plays with the foundational idea of narrative that the narrator is a stable, indivisible unit. There’s also Geoff Dyer’s The Search. It is only men who write this kind of novel?

A thought experiment novel, I like that. Perhaps also a little like a Borgesian novel, if Borges hadn’t been too lazy (to use his word) to write one, and had had the patience to let his conceit roll out and gradually disintegrate, like the 1:1 scale map in That Empire in ‘On Exactitude in Science’.

Just for reasons of titular symmetry I’ll move from Stamm to Sarah Hall’s The Beautiful Indifference. Now, I’ve never quite managed to get to grips with Hall as a writer: I’ve failed to make significant headway with any of the novels of hers I’ve tried, and although I remember being quite affected by the story ‘She Murdered Mortal He’ – the part with the creature following the woman along a beach in some far off holiday country – and I’m sure that I did get to the end of the story at least once, I was still surprised by that ending when I read it this time.

This time I read it because Hall was again picked as part of a Personal Anthology. Continue reading

Out of photographs into words: Nathalie Legér’s Exposition, Barthes and the mother-child photograph

IMG_0104Nathalie Léger’s Exposition is the first in a loose trilogy of books published in French between 2008 and 2018. Formally they mix essay, criticism and memoir. In each of them Léger focuses on the work of a woman engaged in making art in some way either provocative or running counter to the prevailing cultural mood, and each of them pulls back from that woman to consider the art form in which they’re working, and then to reverse, as it were, into the author’s own life.

Although Exposition (2008) opens this trilogy, it was not the first to appear in English. That was Suite for Barbara Loden (2012), about the film actor and director of that name. (All three books are or will be published in the UK by Les Fugitives. I wrote about Barbara Loden here.) Loden’s sole film as writer and director, the American new wave landmark Wanda, remains a cult favourite, though hopefully she will in future be better known for that than for being Elia Kazan’s second wife.

The third book, The White Dress (2018), treats Italian performance artist Pippa Bacca, who in 2008 hitchhiked from Milan to Jerusalem wearing in a wedding dress to promote world peace; she was raped and murdered in Turkey.

(The White Dress is forthcoming from Les Fugitives and I will be talking with Léger about it at the Institut Français in May.)

What follows is some thoughts on Exposition, following an event last week at The Photographers’ Gallery, at which I discussed the book with its translator, Amanda DeMarco.

Exposition takes as its subject the Countess de Castiglione, Virginia Odioni (1837-1899), an Italian aristocrat who took Paris by storm in the 1850s – though see how young she still was! – and was briefly mistress of the French Emperor. (Again, how young.) She was famed for her beauty and her narcissism, and was later rejected by the court, and ended her life more or less in squalor. Through all this she was obsessed with having her photograph taken, returning again and again to the same society studio, in good times and bad, for elaborate photographs – in costume, role-playing with props and accessories – taken to her own specification. (Shades of Cindy Sherman, as Léger notes in her book, and also of selfie-culture, though Léger doesn’t mention that: the iPhone 4 with front-facing camera wasn’t released until 2010, two years after Exposition‘s original publication.)

Exposition is partly a book about ideas of beauty, then, and partly about photography. It pays homage to classics of the genre such as Roland Barthes’ Camera Lucida, without particularly seeking to insert itself into that genealogy. Léger turns away from Castiglione to write about photography, turns away from photography to write about writing, turns away from writing to write about herself – and her mother.

This aversion to straightforward narrative is played out through Léger’s loyalty to the fragment as form. She constructs her books from island-paragraphs that float unmoored on the white space of the page, with little attempt to make meaning or argument flow between them. You have to hop from one to the next. Which is not to say that there is no order to what is presented; the links are there to be made by the reader. What narrative flow there is works slowly, and at depth. Continue reading

(Not) Books of the Year 2019


This has not been a good year for me, reading-wise. Last year’s Year in Reading post features a stack of great books published in 2018 that I was able to enjoy and write about as they came out. For various reasons, this year’s stack is much smaller. This might be simply that there weren’t so many good books, or it might be that I lost my taste for them – for books, for reading.

There are some other mitigating circumstances:

First of all, 2019 was supposed to be the Year of Reading Proust, something I set for myself as a new year’s resolution, with a dedicated Twitter account to accompany it, and give me encouragement. It started well, with the first two volumes done over the first two months, but the third wasn’t finished until I was on my summer holiday. The fourth volume, Sodom and Gomorrah, sits by my bed even now. Proust calls for time properly devoted to it – you have to have time to find time, or speculate to accumulate you might say – and time this year was sucked up by other things.

There were four intense reading projects that got in the way: a blitz through some unread Iris Murdochs ahead of a panel discussion at the Cambridge Literary Festival; rereading some Brigid Brophys as I put together a chapter for an academic book; reading and rereading Don DeLillo for another academic chapter; and currently an avalanche of Simenons for a long piece to be published next year. These were and are all fulfilling and exhilarating in their different ways, but ate up much of my reading/writing energy while they occurred.

Work got in the way: academia is becoming more gruelling. (Academia, in part, means reading lots of things fast to find the things I want my students to read more slowly. It means strategic, points-based, results-oriented reading.)

Writing got in the way, for a time: my morning commute, which is often my best time for reading, suddenly gave itself over to the first draft of a new book – that now, alas, languishes at 45,000 words, untouched in two months. I have no idea when I will get back to it.

A Personal Anthology has been a happy distraction: all those short stories to read! Obviously, I don’t read all of all of them, but the project has sent me in many different and rewarding directions.

There were months this year – September and November – when I didn’t read an entire book front to back, though I never stopped reading. Reading just became scatter-gun, fragmentary, a bit of this, a bit of that, snacking, never finding the book that would suck me in and close off the rest of the world. Perhaps this is to do with teaching (I am always looking for useful examples of types of writing, always classifying, always comparing), perhaps with writing (I am always looking for inspiration, for something in a book that will light the fuse under my own writing; a snatch of writing can be enough).

I’m somewhat in that mood at the moment, on the last day of the year. Knowing that I have a big piece of writing work to do in January (academic bureaucracy) and a big piece in February (the Simenons), I find it hard to settle on any book that I feel deserves my full attention.

Or rather I feel I don’t have enough to offer any book that is going to make demands on me, as a reader. And I have too much pride to reach for something that demands nothing from me.

Instead, I reach for books that I think will steady me, will give an intense shot of what I need without having to read all of it – a ‘livener’ I think you’d call it. Something bracing. So, in the last few days I’ve picked up:

  • an Alasdair Gray novel from the four I have unread on my shelves. It was Something Leather. It didn’t do the trick;
  • a John Berger book I have read before (Here is Where We Meet), hoping that it would match or else steer my self-pitying end-of-year rudderlessness (it didn’t);
  • a big book of RS Thomas poems. That did the trick for one bedtime;
  • then Alasdair Gray’s wonderful The Book of Prefaces, which is the very definition of the intellectual livener.
  • And then see me walking back up the road from the high street, having dropped off a selection of books at the charity shop, reading the opening to Adam Mars Jones’s book of film writing, Second Sight, a steal at a pound, and instantly, though temporarily, feeling invigorated. Here is someone writing insightfully, fruitfully, encouragingly about culture, making it all seem worth while.

None of those books, though, have been read enough to count as Reading. They haven’t been ‘ticked off’.

So if I look back at my Monthly Reading posts from 2019, I find that the new books I read that I loved the most were not new books at all, but just newly translated. Continue reading