Tagged: Tessa Hadley

Elena Ferrante: Four ways in to the Neapolitan novels, and no way out

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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

April reading: White Review Short Story Prize, Ben Lerner… but mostly: why I read so few women writers, and how you can help me kick the habit

[NB: Click here for the follow-up post, my ‘Reading list, for the misogynist and myopic, of women writers’]

april 2013 reading

Okay, so here’s my pile of books from April. Some can be dispensed with quickly: the Knausgaard I wrote about here; the Tim Parks was mentioned in my March reading, about pockets of time and site-specific reading; the Jonathan Buckley (Nostalgia) was for a review, forthcoming from The Independent; the White Review, though I read it, stands in for the shortlist of the White Review Short Story Prize, which had my story ‘The Story I’m Thinking Of’ on it.

In fact, a fair amount of April was spent fretting about that, and I came up with an ingenious way of not fretting: I read all the other stories once, quickly, so as to pick up their good points, but I read mine a dozen times or more, obsessively, until all meaning and possible good qualities had leached from it entirely, and I was convinced I wouldn’t win. Correctly, as it turned out, though I’m happy to say I didn’t guess the winner, Claire-Louise Bennett’s ‘The Lady of the House‘, the best qualities of which absolutely don’t give themselves up to skim reading online. It’s very good, on rereading, and will I think be even better when it’s read, in print, in the next issue of the journal.

That leaves Jay Griffiths and Edith Pearlman. Giffiths’ Kith, which I have only read some of, I found – as with many of the reviews that I’ve seen – disappointing. Where her previous book, Wild, seemed to vibrate with passion, this seems merely indignant, and the writing too quickly evaporates into abstractions. In Wild, Griffiths’ passion about her subject grew directly out of her first-hand experience of it – the places she had been, the things she had seen, lived and done – and the glorious baggage (the incisive and scintillating philosophical and literary reference and analysis) seemed to settle in effortlessly amongst it. Here, the first-hand experience – her memories her childhood – are too distant, too bound up in myth.

The Pearlman – her new and selected stories, Binocular Vision, I will reserve judgement on. It’s sitting by my bed, and I’m reading a story every now and then. The three that I’ve read (‘Fidelity’, ‘If Love Were All’ and ‘The Story’) have convinced me that she is a very strange writer indeed, and perhaps not best served by a collected stories like this one.

Those three stories are all very different, almost sui generis, and each carries within itself a decisive element of idiosyncrasy that it’s hard not to think of as a being close to a gimmick. They all do something very different to what they seemed to set out to do. They seem to start out like John Updike, and end up like Lydia Davis. Which makes reading them a disconcerting experience, especially when they live all together in a book like this. It makes the book seem unwieldy and inappropriate. I’d rather have them individually bound, so I can take them on one-on-one. Then they’d come with the sense that each one needs individual consideration. More on Pearlman, I hope.

The book that I was intending to write more on, this month, was the Ben Lerner, Leaving the Atocha Station, which I read quickly (overquickly) in an over-caffeinated, sleep-deprived fug in the days after not winning the White Review prize, which also involved a pretty big night’s drinking.

But my thoughts about Lerner are very much bound up in a problem which is ably represented by the book standing upright at the side of my pile: Elaine Showalter’s history of American women writers, A Jury of Her Peers. This was a birthday present from my darling sister, who, if I didn’t know her better, might have meant it as an ironic rebuke that I don’t read enough women writers. Continue reading