Tuesday, March 12, 2024

the last book I read

So Long, See You Tomorrow by William Maxwell.

Our un-named narrator is a young boy on the cusp of his teens living with his father and siblings in Lincoln, Illinois, his mother having been a victim of the Spanish flu epidemic of 1918. Her death has had a quietly shattering effect on the family, his father in particular, thrown into having to care for three children on his own while struggling to process his own grief. 

Eventually he starts to emerge back into normal life, re-marries and decides to make a fresh start in a new house, built to his and his new bride's design. Our narrator spends some happy hours playing in the dangerous and half-finished house, climbing on high narrow roof timbers and the like, some of it in the company of Cletus Smith, son of a tenant farmer on a nearby farm. The two boys' tentative and monosyllabic friendship is soon shattered by events outside of their control and understanding.

Cletus' father, Clarence Smith, rents and farms a plot of land next to a similar plot of land rented and farmed by Lloyd Wilson. Both men have wives and children to support, but also strike up a gruff and monosyllabic friendship with an unspoken level of understanding about help being freely available when required, be it with milking cows, gathering harvests, getting a chicken out of a threshing machine, you name it.

All of this goes to shit in a rapidly unravelling spiral when Lloyd falls in love with, and starts an affair with, Clarence's wife, Fern. However discreet you are - and Fern is not especially discreet - it's almost impossible to keep this sort of thing a secret, not in rural Illinois in the 1920s anyway, well before the availability of end-to-end encrypted WhatsApp messaging. Lloyd's wife gets wind of it first and leaves him, taking their daughters with her, and Fern soon spills the beans to Clarence. Given the literal impossibility of two men having a conversation about this kind of stuff, Clarence and Lloyd just start to avoid each other. 

This uneasy truce can't last, especially as Fern and Lloyd are still managing to meet up occasionally in the barn for a speedy and teeth-rattling seeing-to. Fern decides to twist the knife by suing Clarence for divorce, and succeeds in doing so, thanks to some smart lawyering. This results in Clarence having to relinquish the farm and prompts a swift descent into drinking and despair. Things clearly can't get any worse for him, so why not just perform a cathartic act of revenge and then remove yourself from the world?

And so we arrive back at where the novel started, with the sound of a pistol shot in the early hours of the morning, and the subsequent discovery of Lloyd's body by his young son, and of Clarence's body by the police when they drag a local lake. One obvious consequence of all this is a number of youngish children losing a father, and more particularly Cletus being moved away with his mother, who (probably wisely) feels that a completely new start somewhere else would be in order. Other than one random unspoken encounter in a school corridor in Chicago some years later our narrator never sees him again. 

You'll recall I read Maxwell's much earlier novel They Came Like Swallows a few years ago (five, now that I check) - by "much earlier" here I mean much earlier; that book was published in 1937, So Long, See You Tomorrow was published in 1980. It was the sixth and last novel of Maxwell's long but intermittent career - he published short stories as well and had a prolific day job as fiction editor of the New Yorker for nearly forty years. Despite the 43 years of separation the two novels have lots in common, most notably the fact that their narrator appears to be the same person: mother lost to flu in 1918, tick, big brother missing a leg, check, father stricken by grief, yep. Given the close parallels with Maxwell's own life it's not certain to me whether it's meant to be literally the same character (called Bunny Morison in the earlier novel, unnamed in the later one), two separate characters who happen to have been given the same back-story (largely adapted from Maxwell's own), or whether the later novel is an attempt to rewrite and refine the earlier one. This seems unlikely given the differences in the stories they tell - They Came Like Swallows is very claustrophobic and takes place almost entirely in the family home, whereas So Long, See You Tomorrow just uses that stuff as a framing device and most of its narrative takes place on the neighbouring farms. 

My Vintage paperback copy has a foreword by Ann Patchett, whose previous appearance on this list in her own right (Bel Canto was the book) puts this book in a group with Christie Malry's Own Double-Entry, LanarkTrue Grit, Stoner and The Queen's Gambit. It also includes this paragraph:


I think I probably agree that the later book is better, but I very much enjoyed them both and recommend them highly. The contrast with a book like Foucault's Pendulum couldn't be more stark (and their juxtaposition is not a complete coincidence; I often like to follow a long book with a short one) - this is short, completely serious, acutely insightful into how people are and how they behave, and pared of all but the most essential words. 

So Long, See You Tomorrow won the National Book Award in 1982, so you can add that year to the ones listed here

Monday, March 11, 2024

the last book I read

Foucault's Pendulum by Umberto Eco.

Meet our narrator, Casaubon. Why is he called Casaubon? Or, more accurately, why has the author decided to give him that name, and what did he expect the reader to take from it? Well, briefly, Isaac Casaubon was a classical scholar and philologist in the 16th and 17th centuries (his son Meric studied in similar areas) and there is also a character of the same name in George Eliot's Middlemarch (a book I have not read, I should point out, and am 99% sure I never will).

Bloody hell, you might be thinking at this point, I'm only on page one of a 600+-page book and already I need to have access to an online encyclopaedia to keep up with all the meta-textual references and stuff. How am I going to cope for the rest of the six freakin' years it's going to take me to finish it?

Well, you'll have to find your own coping strategy, but what I would offer is that you should probably come to a Zen-like acceptance that your level of unassisted erudition is almost certainly not equal to Umberto Eco's and that you're probably going to miss the significance of a reference here or there. By all means look something up if it piques your interest, but don't spend months and years looking up every single name; in any case some of them will be made up. To put it another way, get over yourself and just read the freakin' book already.

So: when we first meet Casaubon he is in the Musée des Arts et Métiers in Paris, looking at the eponymous pendulum and musing on the physical laws that govern its motion. It turns out he's not just there to have a look at that, though, as Mysterious Shit is afoot which necessitates him secreting himself in the museum after closing time and awaiting the arrival of a group of people to carry out some arcane ritual. What ritual? How does Casaubon know about it? Why does he care? That will take a 500-page flashback to explain.

Some years previously, Casaubon, a devotee of arcane lore about secret societies and the Knights Templar in particular, is living in Milan when he meets Belbo and Diotallevi, who work for a publisher called Garamond and want to make use of his particular area of knowledge to review a manuscript that's come into their possession. Garamond, it turns out, is a serious publishing house but also operates a separate arm which does vanity publishing for nutters with enough money to self-finance their crackpot books. This is all a lot of fun, but the guy who submitted the original manuscript, Colonel Ardenti, suddenly disappears in mysterious circumstances. Could there be something in his conspiratorial ravings after all?

Casaubon spends some time living with a woman in Brazil and while he's there meets an elderly man called Agliè who introduces him to various local voodoo rituals, suggests that these and the whole Templar thing are all interconnected in some way, and hints that he may in fact be the near-immortal Comte de Saint Germain. Casaubon's relationship eventually goes to shit and he returns to Italy, where he discovers that Garamond have taken on Agliè as some sort of consultant and that Belpo and Diotallevi have really ramped up the Templar conspiracy angle. Belpo has acquired an early home computer and is experimenting with feeding in all sorts of stuff and having the computer spit out plausible links: the Templars, the Rosicrucians, the Jesuits, the Jews, the Nazis, you name it. 

Again, this is all tremendous fun and generates a series of increasingly outlandish, wide-ranging, interlinked theories which Belpo, Diotallevi and Casaubon call "the Plan". It's all just a lot of imaginative weaving together of disparate conspiracy elements with no basis in reality, though, isn't it? OR IS IT? Easy to dismiss the cancer that ravages Diotallevi as just a coincidence, rather than some sort of karmic retribution for meddling with things that should not be meddled with; not so easy for Belpo to dismiss the feeling that he's being followed and perhaps manipulated by sinister forces, especially Agliè who seems very interested in knowing everything that Belpo knows about the Plan. 

Eventually Belpo is blackmailed into travelling to Paris to meet with Agliè and his associates at the Musée des Arts et Métiers, which you'll recall is where we came in. Once the shady group has convened and Casaubon has extricated himself from his cramped hiding-place to observe their nefarious activities, a bizarre ritual ensues involving much in the way of voodoo incantations, ectoplasm, speaking in tongues and the like and culminating in Belbo's death. Casaubon, while escaping unseen, nonetheless feels certain that They, whoever They actually are, are Onto Him, and flees to the country, abandoning his wife and young child, to await them inevitably catching up with him.

So *cracks knuckles* what the hell is going on there then? Well, lots of different things, some of which almost certainly went over your humble blogger's head entirely unnoticed. There's obviously some satire on people exploiting the lucrative market for the sort of Grail/Templar hokum put about by books like The Holy Blood & The Holy Grail (published six years before Foucault's Pendulum, in 1982) and, many years later, The Da Vinci Code, some further satire on vanity publishing in general and still further satire on the sort of post-modern school of criticism and philosophy that completely unhitches itself from any necessity to check in with the real world to see if what you're saying actually makes any sense. The Foucault of the book's title is obviously the pendulum's inventor Léon Foucault, but also quite probably Michel Foucault, philosopher, activist, and slightly queasy advocate of underage sex.

But what are we to make of the intersections with the real world, in particular the Night At The Museum interlude at the end where Belpo and his girlfriend Lorenza appear to be actually killed? There's no mention of the police arriving either on the night or the following morning when the museum opens and various murder victims are presumably found cluttering up the exhibits. Did any of it actually happen? 

Trying to apply any sort of gritty real-world seriousness here is probably a mistake, though, as it's all just a fabulously droll and playful post-modern joke, albeit one that in my view drags a bit in the telling. Some of the passages where Belpo, Diotallevi and Casaubon expound at great length on increasingly convoluted iterations of the Plan really start to go on a bit and have the feel of authorial showing-off. None of the characters here really give off any feel of behaving like actual humans; the closest is probably Casaubon's wife Lia, but even she displays implausible levels of arcane knowledge while trying to debunk the wilder excesses of the Plan, and is in any case roundly ignored for her trouble. 

So it's all tremendously clever, and generally pretty easy to read, though some will find the lumpiness of the structure and the length of some of the more treacly expository passages off-putting, or at least frustrating. For what it's worth I enjoyed The Name Of The Rose quite a lot more. 

Monday, March 04, 2024

celebrity lookeylikeys of the day

I have two for you today - now in theory I could parlay that into two posts in a pathetic and transparent bid to bump the blog stats up, post frequency and aggregate numbers not being what they once were back in the pre-marriage, pre-kids glory glory days of 2008, but you know and I know that that would be a shameful and hollow sham and a travesty and I respect you (yes, even you) too much to do it.

So here's Dan Hartman, successful songwriter of the 1970s and 1980s and occasional solo artist in his own right (1985's I Can Dream About You is probably the one you remember if you're of a similar age to me), and Kim Hughes, Australian batsman of the late 1970s and early 1980s, most remembered - rather unjustly - for his luckless stint as captain during the 1981 Ashes series when he was on the wrong end of Ian Botham's various legendary deeds, and for resigning the captaincy in a tearful hot mess in 1984. 


Secondly, Huwie recently got Neil Gaiman's Pirate Stew out of the library, and among Chris Riddell's many splendid illustrations of the motley piratical crew is this flamboyant chap, who, I'm sure you'll agree, closely resembles Dave Navarro, guitarist with Jane's Addiction since their formation in the mid-1980s and with the Red Hot Chilli Peppers for quite LIDDERALLY One Hot Minute in the mid-1990s. 

Tuesday, February 27, 2024

peat repeat

You'll recall my frustration at being thwarted in my plans to do a long circular walk in the Black Mountains back in May of last year. As I unexpectedly had a couple of days' leave to use up I found myself at a loose end yesterday and decided to go and have another crack at it. After the extreme fuckery involved with trying to pick out a route up through the forestry last time I decided to keep any involvement with it minimal this time, and not get involved with the area I was in last time at all. 

There are two car parks on the road up the Grwyne Fawr valley, the first being Pont Cadwgan where I parked last time, and the second, further up towards the reservoir, which just seems to be called Mynydd Du (Black Mountain). This is where I parked this time and headed up in a roughly north-east direction to get onto the long ridge just before the summit of Chwarel y Fan, which makes the rather grandiose claim to being the highest point in Monmouthshire. I mean, I daresay it is, but it's not a summit in any real sense, just the high point of the ridge which gradually descends from north-west to south-east. It does have a cairn, though. 

So the first thing you'll notice here is that I'm attacking the walk anticlockwise, rather than clockwise which was the intention last time (not that you'd know from the route map). This is partly because the car park is on that side of the road, partly because most of the clearly-visible paths from near the car park head in that direction (and I was keen to get a fast start and defer any navigational fuckery until later) and partly because my loose rule-of-thumb for walks dictates having the high points (the summits of Waun Fach and Pen y Gadair Fawr) in the second half of the walk. 

Anyway, once on the ridge the route proceeds almost dead straight north-west towards the trig point at the summit of Rhos Dirion (at 713 metres, 2339 feet) - again, a summit in name only as it just marks the point where the long ridge ends and drops off the steep northern face of the Black Mountains escarpment. At this point you turn 90 degrees left along the ridge that heads up over Pen y Manllwyn towards Waun Fach, which, as I'm sure you'll remember from 2010, is the highest point in the Black Mountains. You'll also recall that when I went up it then it was after a period of very dry weather and it was still a treacherous boggy nightmare on the summit plateau. Well, I'm pleased to be able to tell you that the National Park authorities, starting in what seems to have been around 2015, have done some extensive restoration work and landscaping on the top of Waun Fach and the surrounding area, created an understated summit monument (with a little OS logo embedded in it, just so you know it's legit) and laid some paths by dumping what a quick back-of-a-fag-packet calculation suggests must have been SEVERAL GAJILLION TONNES of stone and gravel up there. Before and after summit pics (i.e. from 2010 and yesterday) are below. 



In addition to being able to stand at the summit for a photo without gradually slurping knee-deep into a peat bog, you can now walk along a pleasant gravel path across the summit plateau and (via a bit of down and up again and, yesterday, quite a bit of slightly slippery ice and snow) to the neighbouring summit of Pen y Gadair Fawr, which is a much more satisfying mountain summit but happens to be about ten metres lower than Waun Fach. I don't make the rules. From there you drop off the east face of Pen y Gadair Fawr for a steepish descent back down to the Grwyne Fawr valley. Suspicions of further navigational fuckery which arise as you approach what appears to be an unbridged and unfordable section of river at the bottom of the slope are curtailed as the path takes a sharp right turn along the riverbank to a footbridge which takes you back onto the road and back to the car park. 

Overall, a round trip of around 18.3 kilometres or 11.4 miles, considerably shorter than the original walk would have been (this post suggests the full circuit from Pont Cadwgan via the trig points on Crug Mawr and Bal Mawr is about 20 miles) but more than enough on a chilly February day. Considering the time of year the weather was pretty good - high cloud, no rain - but it was quite windy most of the way round. Not as bad as on this trip up Pen y Fan, but still a bit exhausting after a while.

Back up a bit though, Dave, you'll be saying: what about this whole path-landscaping thing? I'm slightly uncomfortable about that. Shouldn't we just leave the landscape to do its thing without constraining it and making life easier for people? No-one has to go up there, you know; if you don't fancy getting your boots muddy maybe you should just stay at home and do some macrame or something. What next? A train up, like on Snowdon?

I see what you mean, but bear in mind that the previous set of prevailing conditions up on top of Waun Fach in particular - vast expanses of black mud, everyone taking their own route to try and keep their boots dry and trampling all the plant life - was a man-made thing as well, and one of the reasons for constraining people to walk a nice dry path is that now everyone goes the same way, stops eroding the peat and trampling all the wildlife and lets the rest of the summit plateau return to its former state. And what about the paths elsewhere? Would you have those removed as well? It'd make mountain hiking a considerably slower and more tedious business. No, we just have to make the best of the situation we find ourselves in. And, after all, when you think about it, it's a lot, it's a lot, it's a lot, it's a lot, it's a lot, it's a lot, it's a lot LIKE LIFE.

Route map and altitude profile are below. Open in a new tab for larger versions, as always, and note that the altitudes are 50-odd metres too high. This seems to be a feature of my phone's GPS rather than the visualisation software. 




don't be skirridiculous

Been out for a couple of walks recently that seem worthy of note (hey, it's my blog) so here's the first.

It was my birthday a couple of weekends ago so we headed off up to my parents' place in Abergavenny for tea and cake. On the way I'd decided that we should have a crack at the Skirrid as it's a fairly short walk, I'd only been up there once, twenty-odd years before (on what collective family memory seems to think was Boxing Day 2000, which sounds plausible), and it was a nice sunny day.

Note that this is Ysgyryd Fawr ("big Skirrid"), not to be confused with its little brother Ysgyryd Fach ("little Skirrid") which is nearer Abergavenny, lower, and generally less interesting. The main feature of the big Skirrid is the major landslip which appears to have cleft the mountain in half when you approach it from the correct angle (from the north or south, broadly speaking - the photo below is looking from the north). I should say here that "big" is strictly relative - it's 300-400 feet lower than both of its near-neighbours the Blorenge and the Sugar Loaf

It's a pretty straightforward walk and there's a dedicated car park which pretty much constrains your route - we went clockwise round the route shown below which basically means a nice gradual uphill ramble through some pleasant woodland to a perfect lunch spot sitting on some big rocks right in the middle of the cleft of the landslip (the top left corner of the red route). What you would normally do then is carry on and skirt round the north side of the hill and head for the summit by one of the paths that go up it from that side (the major one which carries the Beacons Way approaches from the north-east). However, Hazel's boots - quite a decent pair of Meindl ones, albeit 15+ years old - had decided to throw a spanner in the works by disintegrating and partially shedding their soles. So we effected a makeshift repair with the bootlaces and my trouser belt and sent her and my Dad back along the low-level path to avoid further disintegration. That left me and the three kids, and Nia, sensing an opportunity for some fun, suggested that we just smash straight up the slope in front of us to get to the top rather than messing about with any more low-level walking. 


Needless to say I was up for it, and so too, commendably, were Alys and Huwie, so we went for it. I did manage to persuade them to take a slightly diagonal route rather than attempting to scramble straight up a cliff, and, as usually happens, once you get in close to the slope it's easier than it looks from a distance. We all got onto the summit plateau safely, doubled back, bagged the trig point and then walked back along the full length of the ridge before dropping down through the woods to the car park. A round trip of somewhere between 5 and 6 kilometres depending whose electronic device you believe. Nia's Fitbit gave the higher number but she did a lot of running off ahead and doubling back and occasionally diving off into the woods to climb a tree, which the more sober walker might decide to skip. Anyway as walks of around three-and-a-half miles go it's packed with interest and I recommend it. As you can see from the map there is a low-level path around the other side of the hill as well which you could take, as Emma and Ruth seem to have done here

Tuesday, February 06, 2024

celebrity lookeylikey of the day

Red Bull Formula 1 head honcho Christian Horner, currently *cough* in the midst of some, erm, personal issues, and Scottish comedian and internet provocateur Limmy, whose current incarnation as a video game streamer on Twitch I find somewhat baffling but which clearly makes him happy and pays the bills, so it's all good. The longer-form TV stuff he used to do is pretty good, and the things like the compilation of short clips originally posted to Vine featuring his increasingly deranged plasterer is a thing of bleak Beckettian brilliance.


Monday, February 05, 2024

I hate you, leopard

I'm sure that you, like me, are a deeply tedious and unappealing person to be with at parties owing to your propensity for offering up "fascinating" trivia factoids at the drop of a hat: Birmingham has more canals than Venice, Gary Oldman is thirteen days younger than Gary Numan, et teeth-grindingly cetera. Those two do at least have the virtue of being true, though the Birmingham one is considerably less impressive than it sounds once you consider the relative sizes of the two cities. 

Another one that I've heard a few times is: did you know that Olive out of On The Buses was married in real life to Ape Being Attacked By Leopard from 2001: A Space Odyssey? This one is only really suitable for trotting out in the company of people old enough to remember On The Buses - a group, I should add, which actually excludes me as I don't think I've ever seen it. This is partly because I was only three when its original run ended in 1973 and partly because it was on ITV, which there was a largely-unspoken ban on in our house for reasons I've never quite been able to fathom in hindsight. Anyway, Olive was one of the main characters, requiring actress Anna Karen, in real life a slim occasional model, to don large amounts of padding, an unflattering wig and glasses. It's fair to say On The Buses doesn't see much repeat action these days as it's no doubt Highly Problematic in a whole variety of ways. 

Anyway, back to the claim - what is certain is that Anna Karen was married to a guy called Terry Duggan, from 1967 to his death in 2008. He was a comedian and actor who appeared with his wife in several things (On The Buses included). His Wikipedia page does make brief and slightly vague reference to him having also "learned acrobatics which led to film stuntman roles", but there is no mention of 2001 in his filmography. Go to IMDb, though, and you will see that he is credited with the role of "Ape Attacked By Leopard". So who is right?

Well, closer examination of the Wikipedia edit history reveals that there was an update - fairly recently, in late 2023 - that removed that role from his list. There is an explanatory note which says that the role was indeed played by a bloke called Terry Duggan, but a different one, and links to this article. Lots of interesting stuff there related to the shooting of the Dawn Of Man sequence at the start of 2001, ending with the famous match cut from the flying bone to the spaceship, and in particular this:

Terry Duggan was a acrobat and stuntman born in Coventry in 1935 (no relation with Terry Duggan the comedian). Duggan had already worked with the Chipperfield's, a famous british circus, and later joined a member of the family, Jimmy, who had started a film animal business and at that time of the shooting of 2001 was operating Southampton Zoo. 

There is also a footnote, as follows:

(dec.11: the article has been updated with the removal of the picture of Terry Duggan the comedian, who was not the Duggan involved with the Chipperlfield's and 2001. As Mission Control would say, IMDB and Wikipedia are "in error" in saying that they were the same person. Source: Mr.Duggan' sister thanks to Jamie Clubb.)

There is a link to the blog of the Jamie Clubb mentioned in the footnote, and some relevant entries are here and here. This is the most relevant paragraph:

The bounce article referenced Terry Duggan, a wild animal trainer who worked with my two great uncles and my grandfather when they ran "Chipperfield's Circus". I am not directly related to the Duggans, but we share cousins and they have been connected to my family for a very long time now. Terry and my great-uncle, Jimmy Chipperfield, were involved with the prologue sequence of Kubrick's film, where a leopard attacks a member of a tribe of australopiths.

On the other hand, there is this page which purports to be written by a relative and which does make the 2001 claim in relation to Terry Duggan the comedian and husband of Anna Karen. So who do we believe?

My gut instinct is to believe that these were two different people; it seems implausible that someone whose day job was as an actor and comedian would be entrusted with the job of wrestling a leopard, still less be inclined to accept it. On the other hand, someone who worked pretty much full-time with circus animals would be an ideal fit for the job. 

So I think we tentatively conclude that this is a myth - that obviously shouldn't stop you from watching 2001, though you might want to secure 3-4 undisturbed hours and get lightly baked first. As for On The Buses, I couldn't say I'd recommend it, but you do you.

priest: deceased

2023 was a pretty average year for The Curse Of Electric Halibut, although there was a brief flurry of activity in the summer when Cormac McCarthy and Milan Kundera both died in quick succession. As if exhausted by the strain of taking down two mighty literary behemoths in quick succession, the Curse then kicked back and took the rest of the year off, leaving the authorial deaths total at three. 2015 remains the deadliest year on record with five.

But, evidently refreshed by the Christmas break, the Curse has started off the new year strongly by snuffing out Christopher Priest, author of two books on this list, Inverted World and The Affirmation. Priest was 80, which puts him slightly below the average age for inclusion, and the curse length of a little over nine years puts him slightly above the average, those numbers being just over 82 and just over six years respectively.

Priest was one of the authors included in Granta's Best Of Young British Novelists list in 1983, along with several other featurees on this list including Julian Barnes, Kazuo Ishiguro, Ian McEwan, William Boyd and Graham Swift. Priest was older than most of those people (he scraped under the 40-year age limit by only a few months) and a bit of an outlier genre-wise, much of his output falling broadly into the category usually labelled "science fiction". I've rambled at tedious length about the stretchiness and meaninglessness of this term before, but while Inverted World is pretty definitely science fiction, The Affirmation is a science fiction novel only in the very loosest sense, and you could certainly reasonably ask the question whether it's more science-fiction-y than, say, Never Let Me Go

Author Date of first book Date of death Age Curse length
Michael Dibdin 31st January 2007 30th March 2007 60 0y 59d
José Saramago 9th May 2009 18th June 2010 87 1y 40d
Beryl Bainbridge 14th May 2008 2nd July 2010 77 2y 50d
Russell Hoban 23rd August 2010 13th December 2011 86 1y 113d
Richard Matheson 7th September 2011 23rd June 2013 87 1y 291d
Iain Banks 6th November 2006 9th June 2013 59 6y 218d
Elmore Leonard April 16th 2009 20th August 2013 87 4y 128d
Doris Lessing 8th May 2007 17th November 2013 94 6y 196d
Gabriel García Márquez 10th July 2007 17th April 2014 87 6y 284d
Ruth Rendell 23rd December 2009 2nd May 2015 85 5y 132d
James Salter 4th February 2014 19th June 2015 90 1y 136d
David Cook 24th February 2009 16th September 2015 74 6y 205d
Henning Mankell 6th May 2013 5th October 2015 67 2y 152d
William McIlvanney 7th September 2010 5th December 2015 79 5y 90d
Umberto Eco 30th June 2012 19th February 2016 84 3y 234d
Anita Brookner 15th July 2011 10th March 2016 87 4y 240d
William Trevor 29th May 2010 20th November 2016 88 6y 177d
John Berger 10th November 2009 2nd January 2017 90 7y 55d
Nicholas Mosley 24th September 2011 28th February 2017 93 5y 159d
Helen Dunmore 10th March 2008 5th June 2017 64 9y 89d
JP Donleavy 21st May 2015 11th September 2017 91 2y 114d
Ursula Le Guin 6th December 2015 22nd January 2018 88 2y 49d
Anita Shreve 2nd September 2006 29th March 2018 71 11y 211d
Philip Roth 23rd December 2017 22nd May 2018 85 0y 150d
Justin Cartwright 7th September 2008 3rd December 2018 75 10y 89d
Toni Morrison 18th July 2010 5th August 2019 88 9y 20d
Charles Portis 3rd April 2018 17th February 2020 86 1y 320d
Alison Lurie 24th March 2007 3rd December 2020 94 13y 254d
John le Carré 21st February 2008 12th December 2020 89 12y 295d
Joan Didion 14th December 2010 23rd December 2021 87 11y 12d
Hilary Mantel 22nd October 2010 22nd September 2022 70 11y 338d
Greg Bear 4th October 2021 19th November 2022 71 1y 48d
Russell Banks 4th December 2018 7th January 2023 82 4y 35d
Cormac McCarthy 22nd September 2009 13th June 2023 89 13y 265d
Milan Kundera 27th March 2008 11th July 2023 94 15y 105d
Christopher Priest 6th January 2015 4th February 2024 80 9y 26d

Wednesday, January 24, 2024

the last book I read

The Reader by Bernhard Schlink.

West Germany, the late 1950s. Not such a bad place, though there are a few things brewing on the horizon, including the escalation of the Cold War resulting in the construction of the Berlin Wall. Michael Berg is just a regular fifteen-year-old, though, more concerned with those disturbing feelings, you know, down there than any wider geopolitical concerns. 

When he is struck down on the way home from school by an acute bout of sickness which turns out to be a precursor to an attack of hepatitis, he is helped by a gruff but compassionate thirtysomething woman from a nearby block of flats who helps him clean up and then sends him on his way. A bit later, having recovered, he decides to pay her a visit to thank her for her kindness, and finds himself having a mishap trying to help her get some coal out of the bunker attached to her apartment block, needing a bath and, well, you know, one thing leads to another and the next thing he knows he's getting FURIOUSLY TOWELLED OFF.

Michael and his lady friend, Hanna Schmitz, fall into a regular routine of him secretly visiting her, reading to her from various works of improving literature, them taking a bath together and then some furious bratwurst action. Hanna works as a tram conductor and is a fairly taciturn character seemingly keen to retain some emotional distance between herself and Michael. But why? Just a naturally reserved nature? An acknowledgement of their age difference, and, implicitly, the borderline abusive nature of the relationship (for all that Michael is going WAHEEYYYY and climbing on with some gusto)? Or something else?

Eventually the growing conflict between Michael's school studies and friendships with people his own age and his relationship with Hanna starts to be a source of tension, and one day he calls round to find she has upped sticks and left without leaving any contact details. Michael mooches around glumly for a while but then moves on with his life, although with some emotional hang-ups that blight his future relationships with women. 

Some years later, as part of an assignment for his course at law school, Michael is tasked with observing the trial of some former Nazi concentration camp workers for war crimes. To his surprise, Hanna is one of the defendants. After it emerges that she had people assigned to her in Auschwitz to read to her, and behaves oddly when accused of writing a report relating to the burning of some civilians in a church, Michael belatedly realises the truth: Hanna is illiterate, and is prepared to go to prison rather than reveal her secret.

After a punitive prison sentence is handed down, Michael once again returns to his life. He marries and has a daughter but the relationship ends in divorce five years later - blighted, we are invited to infer, by some unresolved issues on Michael's side. Eventually he re-establishes contact with Hanna by recording some readings and sending them to her in prison. Some time later, he receives a painstakingly written reply - Hanna has made use of her ample free time inside to start to learn to read and write. Michael never writes back, but continues to send the tapes in and occasionally receives a note in return. Some years pass and eventually Michael is contacted by the prison governor - Hanna is up for parole, it is highly likely that it will be granted, and Michael seems to be the only person she knows in the outside world. Can he help find some accommodation and employment suitable for a woman who'd now be about sixty? Furthermore, can he come and visit before her release date?

Slightly reluctant to re-open an area of his life he'd closed off and put under lock and key, Michael nonetheless feels some responsibility for Hanna, and so he comes to visit. As you might expect, after eighteen years of confinement (we'd be in the early 1980s by now) Hanna isn't quite as he remembers her - a bit older and fatter, but then aren't we all? Michael and Hanna talk in a cautious way about the trial, and about her earlier life during the war, and Michael departs. A short time later, on the day of her release, Michael turns up at the prison only to be told that Hanna had hanged herself earlier that morning, clearly a premeditated action as she had made no attempt to pack or prepare for her release. Michael is charged with carrying out the wishes contained in her will, which basically amount to making some small redress for her actions during the war by distributing a small sum of money to the surviving victim of the church fire.

So, Nazi Germany and the Holocaust, then. It's quite a subject, isn't it? And a challenge to address fully in every aspect in a 200-page novel, so most novels that concern themselves with it don't even try, instead either focusing on a very narrow sliver of specific personal experience, or approaching the subject very obliquely while telling a different story. The book on this list with the most similar subject matter is probably The Dark Room; other novels featuring World War II and the Holocaust in particular as themes include The Nature Of Blood, The History Of Love, Turbulence, Island Madness, Empire Of The Sun (World War II but Japan, not Germany) and Free Fall, and much more tangentially as a sub-topic in FiskadoroNot That Sort Of Girl, The Book Of Ebenezer Le Page, Sweet Caress, Shuttlecock, Spies, Restless, A Small Death In Lisbon, The Remains Of The Day, Marathon Man, The Ministry Of Fear and What's Bred In The Bone. The particular angle being explored in The Reader is the most painful one for post-war Germans: easy to condemn Hitler, Goering, Himmler and all the conveniently dead cartoon bad guys, but what to think about all the other Germans who lived through the war and didn't heroically sacrifice themselves in acts of resistance to the Nazi regime? Could it have been possible by a series of small incremental life choices to have drifted into a position where you suddenly step back, reflect, and say, Christ, I am an actual MASSIVE Nazi - how did that happen?

In Hanna's case her illiteracy seems to have been a partial cause in her drift into becoming a concentration camp guard and thereby responsible for the lives and deaths of many people: she accepted the job as an alternative to a promotion within the job she held at the time with Siemens as she felt that would be likely to require regular written communication and therefore risk exposing her. Does that exonerate her? Of course not. Does understanding her circumstances help? Yes, although it's less comfortable to think of the people perpetrating the crimes (and remember that the cartoon baddies delegated the actual shooting and gassing to the ordinary folks) as regular people like us, as that prompts the thought: well, what would I have done? That's a question to which we might not find an honest answer very palatable. 

Anyway, I enjoyed The Reader without finding it as devastating and insightful as some of the critics evidently did. Maybe having this particular topic as your novelistic subject matter gives you a bit of a free-of-charge critical leg-up in the same way that having it as a filmic theme gives you a boost when Oscars season rolls around. Just ask Kate Winslet, who as if to prove her own point, won the Best Actress Oscar in 2008 for portraying Hanna in the film version of The Reader.

The Reader was of course originally published in German; the list here tells me that its predecessors on this blog are The Piano Teacher and Auto-da-Fé. One interesting side-effect of the translation is a bit of loss of subtlety with the novel's title: "reader" can imply silent or out-loud reading in English, whereas the original German title Der Vorleser specifically implies the latter (Der Leser would imply the former). Once again German has a compound noun for every occasion.