Love Many by Niamh Campbell (winner of Sunday Times audio award)

IT is scandalous to suggest that this blog is in some way in the pay of the James Joyce Jolly bursary to promote writers of Irish descent. It is true that I took a drink (an obscure poteen derivation) from the Irish chef Richard Corrigan. And I was recently in receipt of an email from one Joseph O’Connor who was having trouble with his Proust. I protest my innocence. But here is yet more corroboration of Irish literacy.

The once great (and in this regard perhaps still great) Sunday Times of London awards its Audible Short Story Award worth £30,000 to Niamh Campbell of Dublin. And blow me down if last year’s winner was not Danielle McLaughlin from Cork who became the third Irish writer in four years to also win the most lucrative literary award of our times in the Windham-Campbell Prize being worth £165,000. Her Art of Falling is already being talked up as the novel of 2021.

But as of Niamh, you don’t really need to read/or listen very far into her winning story Love Many to be convinced that her economy of phrase, her directness, her confidence in this semi fiction – because it is an autobiographical, ongoing romance, so in that sense she has played a trump card – gallops along. Recovering from a broken heart she embarks on a series of encounters via Tinder.

“I was wearing my passive-aggressive first date ensemble of plain blouse and faded jeans, with no jewellery and a plaque lipstick, pillar box red”. And stiletto heels. She meets a boy in combat boots….

In interview Campbell suggests Irish writing is resurgent because of shared social upheavals in divorce, contraception, abortion plus of course the troubles and the economic extremes so there is something topical, meaningful and fresh to be transcribed. “A commonality of experience” she says. Also in 1996 university fees were abolished so these are a highly educated generation. She has a novel This Happy (W&N which is brand speak for Weidenfeld and Nicolson , after George and Nigel, founded 1949) which I will get to soon.

Her name Niamh, is old Irish equivalent of Neve meaning radiance.

You can hear her story here and other finalists also last year’s winner Danielle McLaughlin at https://www.shortstoryaward.co.uk/awards/2020/

Posted in 101greatreads, fiction | Tagged , , , | Leave a comment

Star of the Sea by Joseph O’Connor (Secker & Warburg)

All night long he would walk the ship, from bow to stern, from dusk until quarterlight, that stick-like limping man from Connemara with the drooping shoulders and ash-coloured clothes”.

I HAD to re-read Joseph O’Connor’s towering fiction on the Irish famine for an upcoming review for Literary Journeys (Modern Books, this autumn). I am struck at how little credit has been bestowed on this tome or indeed the likes of the mendacious and menacing Pius Mulvey – introduced above – as one of the iconic anti-heroes of 21st century writing.

This is drama on a grand Victorian scale that spans continents and the best part of a century.  O’Connor reduces it into believable bite size chunks of drama, of letters, of fragments so at no point does it lurch into ponderousness. To give it its full due, it is an Irish Grapes of Wrath. It first appeared in 2002 when another seafaring epic – the more psychological Life of Pi by Yann Martel – won the Booker. This is a tougher read but from a writing point of view much more interesting, both populist but also psycho-intellectual. For all its anchoring in the miseries of the famine, the individuals rise up through their poverty and never lose sight of their own humanity, for better or worse, for sin or sinner or sinned against. 2002 also saw another vintage journey in Tim Winton’s Dirt Music, a bit of a classic year, then.

There are more decks to this story of an iconic transatlantic crossing than there are on the good ship of the title itself. Buried in the bulwarks could be a chest of treasures by way of letters, etchings, memories, log entries, poems, songs. You might read this as a murder mystery where there are many motivations.  Or for a rich history of the Irish famine that has forced all these different people to make the perilous journey to New York in stormy mid November. Or as a political novel. Or for their individual stories told across 26 days like an oceanic Canterbury Tales. Or just an upstairs downstairs shanty of Anglo Irish social sparring circa 1847.  It probably manages to be a bit of all of them.

O’Connor squeezes many elements on board. Hold on Captain, I have a couple more bags here…But it rattles along with a good wind in its sails, a purposeful sense of its own direction and masterly, wonderful use of language throughout.

There are some memorable, extended dialogues especially between rivals the liberal American writer Grantley Dixon and Lord Kinscourt; a jousting tournament of Olympian linguistics.

“Caressed your little nerve, have I, Grantley, old thing?”

Plus a few small, delicious literary asides creep in with mention of bumping into Charles Dickens and the real story behind Oliver Twist, of the unmasking of Ellis Bell (Emily Bronte’s pseudonym; Wuthering Heights first edition was indeed published in that year; Bronte’s Yorkshire moors, here replaced by Connemara and/or even the Atlantic itself), of an eloquent literary agent and printer in Thomas Newby, who did indeed publish Bronte. The above Grantley has an ulterior, desperate motive for needing to be published quickly.

Before any other words are on the page we have met our monster Mulvey.  He is the title of the prologue. His left foot drags, he is in a tattered military overcoat, his arms are very long. His destitution is more manifest but perhaps no less real than the others on board. He stalks this ship. Intertwined journeys, our monster moving along the galleys and guardrails checking cargo and crew, our chip heading out to sea. And other journeys back into Ireland to explain how these people came to set sail in the first place.

To add an extra layer of drama, this ship of their salvation is itself  “absurdly out of its element, a creaking, leaking, incompetent concoction of oak and pitch and nails and faith bobbing on a wilderness of black water.”

There are so many holes, widgets and new weldings needed to patch it up over the years that it whistles and sings when the wind gets up in the right direction.

Within a few paragraphs O’Connor has set up his stall. His ship, his Star, is of the same ilk and literary provenance as the Melville’s Pequot in Moby Dick, his voyage as important as Conrad’s up the Congo in Heart of Darkness, a thought underlined by the Gothic conceit of opening each chapter with an encouraging explanation of its own, in which we learn etc… (in order) the Leave Taking, The Victim, The Cause….

“In which the captain makes note of a disturbing event (which shall have the most severe repercussions).”

The subtitle is a Farewell to Old Ireland and there are quotes from the time that pitch us into the heart of the potato famine. The prologue is from the above Grantley of a New York newspaper recollecting events of decades previous . But much of this is just decoration, almost distraction, from the elegance of the prose, of the way the narratives emerge out of a fog of perceptions. Like the sailors on board, we get a sense of a presence before we actually see it. We get a sense of one story, when there are more. We do not get one hero, heroine or villain but a choice of five or six.

Faced with all this, a camaraderie emerges, “a republic of the night time” that encompasses all ranks, and also draws us in, as readers, to be spectators at ringside of a fracture in history.  We are on that boat, hopefully not in second class.

We move quickly from fear of this monster to curiosity, to wonder if perhaps this man who shares the features of many men may not be so evil after all? Maybe the monstrousness is what has been done to him? One of O’Connor’s notable skills is to create characters who can change, evolve, develop through plot and dialogue and morph into something else. They are indelible but not cartoons, they emerge graciously. They want things. If it is the men who are the cause here, it will be the women who are the effect.

The scene setting is guilefully cinematic: the overview, the log, a peek below stairs, an argument at the top table, letters from across the Atlantic, an old newspaper opinion piece where the author goes wonderfully, scandalously and libelously over the top in defaming his targets.

Beneath all this there is mission. There is rhyme and reason among these characters where seemingly the rest of the world has been abandoned.  

“The reasons why things are the way they are could be ferociously complicated, Mulvey knew, but in this corner of the empire they worked themselves out into cadences of mathematical inevitability.”

The blank sea, the big weather, severe showers, sleet since dawn, a growler of an iceberg; the Master Lockwood reports to his employers in his log which helps anchor the multiple strands.

It is more than a polemic against the English in Ireland, other well worked subtleties interweave and taunt established covenants. The occasional use of Gaelic is a reminder of the heritage people are leaving behind and a pointer that neither side could really talk to each other.

O’Connor reveals something of his own methods when describing the love the same Mulvey suddenly finds hearing the music coming out of the local inns.

“The songs intersected like springs through the lowland. You saw the shadows of some flit across others: lines borrowed, phrases improved, verses polished and moved around, events edited…as though once there had been only one great song from which the song makers kept drawing, a hidden holy well”.

We are presented with Mary Duane, whose story might have furnished more than one ballad herself as it does here in a Penny Dreadful sort of way. And as with travelling people on a journey, O’Connor’s characters often arrive to find things have also changed in the time they have been away.

Of course we have the sea too, which is allotted aristocratic prose:

“Rolling. Foaming. Rushing. Surging. Beginning to thicken and swell in strength. Now it was a battlement of ink black water, almost crumpling under its own weight, but still rising, and now roaring. It smashed into the side of the bucking Star…”

The oceanic wrath and power is matched, even surpassed, by the emotional turmoil of everyone onboard, caught in a purgatory between eras and civilizations.

Posted in 101greatreads, fiction | Tagged , , , | 1 Comment

A Thousand Moons by Sebastian Barry (Faber)

I am Winona. In early times I was Ojinjintka, which means rose.”

SO we are back with those McNulty’s again are we, Sebastian? Another tome in the family history? More about naughty uncle Thomas in Tennessee?

Barry’s prose can read like he is polishing the family silver. Try this:

“The wide river seemed fattened with temperature. Brightly it pushed along, singing that pebble song of rivers.”

There are some memorable individual passages, a couple with fire and one with a storm that stand out like poems in themselves erupting out of the narrative. The scene in the blacksmiths is a furnace of emotion. These almost push you up against a wall and ask: Are you following this? Are you paying proper attention?

I am surprised reading the credits that Barry has written more plays – 14 including Blueberry Hill which was to have premiered in London this month – where this is only his seventh novel (he is also, by the way, the current Laureate for Irish Fiction). But the opening pages are a monologue that might have captivated a theatre audience, held them in thrall, scared them, taken their breath away, sprinkled water on their curiosity, set up a bravura stage performance, rehearsing the forging of deep mental metal prejudice. We are fearful for Winona. We know what happened in the book before this Days Without End. Henry County, Tennessee is no place for an orphan injun.

There is a hierarchy of post civil war, post Indian war oppressions that swing uncertainly back and forth between white immigrant, black draftee, half cast, ex slave, former Indian, girl…militia patrol the straggle of ex soldiers along the road outside the town of Paris. Exceptionally Winona is the only one among this bunch of reprobates that has learned her numbers and gets to work for the lawyer Briscoe who is almost as totemic as she is. On one level Winona is the American story, things happen to her.

The opening has a familiar western style plot lurking …it is a crime and revenge piece, only the usual actors have been moved around a little, like chess, if you will, with different, altered pieces. Our values have been smelted in the ferocious furnace of wars. He mother taught her that time is not a straight line, but a loop. Suddenly Winona will affirm:

“How was I so lucky to have those good-as-women men? Only a woman knows how to live…but in my men I found fierce womanliness living. What fortune…”

Not such good fortune, maybe…Barry fills out his characters in the old shack with such elegant detail that they are believable even when they are a bit unbelievable…You can hear them spit. Aurelius “was as trim as a boat”

Where Days Without End was a travelogue, this is a singular Indian fable, one you might like to believe you would find on the bookshelf of an old log cabin, next to the jug of moonshine.

One of the joys of a new book from an established figure, is the publishers, here Faber, get out their full toolbox of typographics, of leading, of white space, of a frontispiece, of thick recyclable paper, of a mysterious 10 pages at the back of the book left luxuriously blank as if someone miscalculated. It is a pleasing 250 pages to hold in the hands. As is the idiom, an oral story telling given a Victorian accent:

“No kindness or cruelty in whiteeye America was ever done without a piece of paper…” Unless, of course it was with a gun.

Posted in 101greatreads, fiction | Tagged , , | 1 Comment

Ireland’s Green Larder by Margaret Hickey (Unbound)

This image has an empty alt attribute; its file name is greenlarder.jpeg

The island of Ireland is so small you can drive across it in a few hours…yet it became the cradle of literature, music and dance, of politicians and soldiers, of philosophers and saints, of boozers and brawlers, and managed to be world class in all categories.”

THE extraordinary feat and joy in this book is the sheer arching rainbow span it covers, a bridge between not just centuries but millenia. Margaret Hickey follows the story of Ireland from the Neolithic bones found by archeologists, triads being very ancient three part poems/ sayings, legends such the hermit Earc of Slane who prayed all day up to his armpits in the River Boyne, travellers’ tales from the well known such as Jonathan Swift to the less so, diary entries from Mrs Delany of June 1750, recipes and advises from the first published cooks right up to the present day where we meet the likes of Anita Hayes of the Irish Seed Savers Association: The whole of the known world, or the known Ireland at least. And she has a further advantage in that  the Gaelic language speaks without using the empire’s tongue, so welcome to a world of shebeen (moonshine) and sloke (seawed) and spailpins (labourers). That she manages to condense all this into a mere 314 breathlessly enchanting, elegant pages is some achievement of the story telling.

Old academics might raise an eyebrow that you can have a food history like this, or not at least for a country with no reputation for food or cooking, but Hickey will have dismantled all such thoughts in a few pages. For me, I prefer my history like this rather than the faction of Hilary Mantel.

The role model if you like for this kind of book was the totemic Food in England by Dorothy Hartley, first published in 1954 although 30 years in the compiling and quoted here…in similar vein Hickey paints an enlightening vision of how ordinary folk survived and in some cases thrived on that small island.

Here are some old cheeses you may not have heard about: tanag, tanach, meathal milsean, grus and mullahawn. And she postulates that it was maybe Irish monks who first brought cheesemaking to more familiar names like Appenzell in Switzerland in AD 620. And even Munster. An Irishman called Walton, she tells us, was shipwrecked off La Rochelle in 1235 and hung his pole out in the waters to which mussels attached, a form of aquaculture still used today, if you follow the blarney.

She goes back further than most textbooks. Sometimes dropping into Latin or old Gaelic texts. This is from 9th century legend:

“Mac Datho’s pig is supposed to have been fed on the milk of 60 cows for seven years culminating in a bulk so huge that 40 oxen are needed to drag its carcass into the feasting hall and nine men are required to hold up its belly.”

There is the Ireland of popular imagination held dear by émigrés and there is the one they left behind which is what we have here. A nation built on bog butter, barley loaves and cabbage, forests once so dense the above pigs grazed on the mast of acorns and nuts like the fabled jamon d’iberico of southern Spain. When the forest was cleared it was for the cattle to fatten on the lush grazing. At this stage the people counted their wealth in terms of beef, a habit that had been passed down by custom and law since 200 BC,  but the arriving Normans had other ideas. They counted richness in terms of acres and land. The troubles you might think had already begun.

Hickey also has another advantage in that she knows her way around a kitchen as her recipes show. I am heading off to do my cabbage and bacon forthwith. Get my boxty on the griddle.

Somewhere between the 11th and 12th century, the hermit Marban is looking forward to his dinner with this poem that is almost a haiku, albeit rather superior in form:

All at evening

The day’s first meal

Since dawn’s bread:

Trapped trout, sweet sloes

And honey, haws

Beer and herbs

Hickey covers most things edible but also finds room for essays on the notion of hospitality as much as on the famine – by when the Irishman was counting his wealth in potatoes not beef – and fairies. Here is a an immortal one liner from someone who knows:

“A potato is judged to be cooked when its skin has just split, when it is said be smiling or laughing.”

Well that is sorted once ,and for all, then.

Published by the friend funding team at Unbound, but there will be a few Irish publishing houses that surely would have wanted to carry this fine feather in their hats.

Posted in 101greatreads, Non fiction | Tagged , , , | Leave a comment

AN ISOLATIONIST'S READING LIST

FOR the best in modern writing compiled over much of the past decade just tick the 101 button to the right, a compendium of independent recommendations from my book shelf, fairly scrupulously curated, in no order because each rewards the reading, the only criteria being that these are fiction and non fiction written and published in this century, so for the most part living authors. Some isolationist highlights/recommendations for this week:

In Love with George Eliot by Kathy O’Shaughnessy,  perhaps the ioslationist’s book of choice by way of an introduction to the great Eliot, who wrote Middlemarch which is often said to be one of the novels of that century which is often said to be the century of the novel. A book-ish delight

For conspiracy theorists and for those who want to flex their paranoia The Unathutorised Biography of Ezra Maas by Daniel James is a cult in the making, a journalistic detective story set in the art world that fairly races along…

Shadowplay by Joseph O’Connor might also encourage you to read other works by O’Connor. This is a gentle paced Victorian romp through theatre with typically lyrical paragraphs on which you can dwell or return to between cups of tea. For rock’n’roll, especially those of a David Bowie persuasion,  there was the much underated pastiche The Thrill of It All and the American trilogy which starts with the Star of the Sea.

Plenty more recommendations of all sorts are here from unrequited Japanese love to Australian killers to Booker prize winners, perhaps outshone by inimitable Toni Morrison.

Posted in Xetera | Tagged , , , | 1 Comment

In Love with George Eliot by Kathy O’Shaughnessy (Scribe)

inlovewithgeorgeeliot

“The train had shuddered to a halt. Clatter of doors-opening and shutting, noise echoing in the huge vault of Euston station, a smell of oil-flavoured steam and soot. A last door opens…”

 THERE might be a warning on this: do not be tempted to Google George Eliot before you read this, let the story run. It is a good yarn and Kathy O’Shaughnessy’s prose moves, as in the opening quote above, quickly along….

Aptly titled, though the accent is very much on the word love as  it confronts a woman in the Victorian era. If you enjoyed any of Eliot’s writings from Middlemarch, often said to be the book of that century, back to Adam Bede this is a good companion, not so much biography as an explainer, a contexturaliser, elegantly written in homage style. If you have not ready any, you probably will want to after this. Take this coy euphemism:

“and for the first time in a long time, they made their way hand in hand up to the bedroom, intent only on each other.”

This is one of those books you might want to read in Highgate cemetery (where Eliot is buried) and dip in and out, slow or fast, so carefully is it composed that its themes take over the characters and consume them.

From the outset there are subliminal waves of pent up emotions. Eliot, aka Polly, aka Marian, aka Mary Ann Evans, aka Mrs Lewis aka the voice of her century, enjoys her admirers. Here is one:

”There is deep charm in that soft, rich voice. The sense too that one is approaching a hinterland behind that soft voice. A vast hinterland, rich with thought and experience, and the golden thread of erudition…”

It is her mind they covet. She needs such support to give her the determination to write and put down her demons. There is a quote from one of her letters at the start asking;

“What shall I be without my Father? It will seem as if part of my moral nature were gone.”

O’Shaughnessy teases the morals of the era into such thorny subjects such as motherhood and the Woman Question. It is 1857. The men seem to all have endless children, the main women none.

We have hardly begun and she is being propositioned with the gift of a grand piano. Scandalously she moves in with a married man and is ostracized, but we already know from the opening page:

“Yes, this is why we live, she thinks, with a sort of joyous sigh, an inner trembling and sensation of release.”

The prose bravely goes into her double even triple life as linguistic polymath, lover and author where she has tactically accepted the necessity of masquerading behind a male pseudonym. We are in her study.

“Enough. She turns to her other notebook. Her notes, in violet ink, on Lucretius. She lets her mind follow him. Drawing back and down into thought. And suddenly her mood changes. The sky outside moving pleasantly further away. At the edges, a moving object, almost in the visual field, yet just out of sight, configurations forming…”

This is all constructed by our narrator Kate who is organizing a George Eliot conference with her colleague Ann who is also writing a book on Eliot but not a fiction, rather a revisionary critique from a feminist perspective. This subplot is key to opening up some of the later emotional heft.

The letters and quotes we are told are from Eliot’s hand, but the portrayal is from Kate, an ardent, faithful, investigative chronicler. The construction is like a train journey through well to do Victorian society, so Mr James, is actually Henry, so, Burne-Jones is Edward, the painter, so the shirtmaker Simcox is Edith, the pioneering feminist, each presented like small tableaux. Eliot is a watcher:

“As if she could fillet them, know them so completely that she would no longer be jealous, she would be inhabiting them instead.”

But also an independent spirit.

“We women are always in danger of living too exclusively in the affections.”

Another bookish joy is how reading in that era was a shared event, ideas swapped and considered, an essential component of elite society conversation. Something to do through long dark unelectrified, oil lamp lit nights. In the morning to write and receive letters. And a jingoistic celebration that publishers always like, we all like, that an author can make a lot of money, as Eliot did. For them. But credit to Scribe, they have made a beautiful job of designing and printing this book, so it feels like literary treasure in the hands.

 

 

 

Posted in 101greatreads, Biography | Tagged , , , , | Leave a comment

Sokcho by Elisa Shua Dusapin (Daunt)

sokcho

“He arrived muffled up in a woollen coat.”

ELISA Shua Dusapin is Korean, Swiss and French all of which infuse this short would-be love story, told in staccato English, as if the grammar were Korean hieroglyphics. Out of season, the seaside resort of Sokcho is quiet except for the fish market where her mother works, respected as one of the few allowed to fillet and gut the poisonous blow/fugu fish. Enter the stranger, western style, a manga artist which is sort of fitting in the almost abstract style of the writing.

Here is one the better passages:

“I cast my mind back to Seoul. All the drinking, and partying, the blinding lights, the bone shattering noise, and girls, girls everywhere, and those plastic boys, the city strutting and staggering, rising higher and higher…

She is on a knife edge of repeating her mother’s life …This is all a bit Jean Luc Godard…the guest house where she cooks and cleans, she has issues of her own with food, good and bad, with her own looks reflected in one of the guests who has had plastic surgery, with her mother who wants to marry her off. Short. Concise. Hardly a word out of place. Subtle. Beautiful. A commentary rather than an exploitation of cultural differences.

One of the points of doing this blog in the first place is to report back that the ending is worth the beginning, that there is some payback for the time and effort. Tick, tick. And also to recognise other writers, knowing this is not quite the level playing field it might seem to most readers.

Waterstones sent me a mail purporting to be the best books of the century so far – which is the mission here anyway. However, where I am quite open to the idea that they read and ‘know’ more than I do, it is quite striking how few of the books in this blog have made that list. Last year it was 2/15, and both of those mainly because of the Booker limelight. I am very selective in my choices. In 2015 I read nine of the 15 on the W list and posted reviews on four. Again in 2016 I read and did not post five of them. Do I read all of the books on the W list? No, but I have probably considered them one way or another.

I am suspicious of the marketing departments of the chains, and of Daunt Books going into publishing itself (the above Sokcho is a Daunt book translation from the French original), and of the so called Sunday Times Bestseller List. That said, I always feel indebted to Richard and Judy. They first introduced me to Joseph O’Connor…

The days when a bookseller might actually have read the books he or she is selling are, I suspect, largely gone. The little hand written scripts on the bookshelves purporting to be staff picks are obituaries to a culture we have lost. In the Internet age, this blog has become, I realise, the bookshop. And, for the record, yes I buy my own books.

Posted in 101greatreads, fiction | Tagged , , , , , | Leave a comment

Scrublands by Chris Hammer (Allen & Unwin)

scrublands

“The day is still. The heat, having eased during the night, is building again; the sky is cloudless and unforgiving, the sun punishing.”

 

THE journalist as detective sleuth is obvious, if largely uncharted. Maybe there is a mental barrier between covering real life that stops newspaper people moving into fiction. Enter here: Chris Hammer and his hero Martin Scarsden, veteran of the middle east conflicts, gifted an assignment in the outback where, as in Liz Moore’s Long Bright River, there are layers of back story, not least commentary on small town life and notions of truth, reported or not. Secrets. Lies.

At 486 pages of admittedly airily spaced large type this crime mystery is on the long side, but if you just followed the dialogue and used the narrative as reminders to hang on to the plot you could probably speed read it on a short haul plane flight.

By page three we have five shootings. By a vicar. By page 10 we have met the blonde and a conspiracy theory. Each twist and turn uncovers new perspectives.

I was tempted to read to read Hammer’s acclaimed non fiction work the River which is set in the same place but it is priced in paperback on Amazon at £695.35 which usually means it is out of print and not many people want to let their copy go. In interview he said he never made any money writing non fiction, but when he moved to fiction he fulfilled that other journalist dream of quitting the day job with a fat advance. After 30 years as a reporter he knows the space, the professional rivalries, friction between desk editors and the man in the field and not least…well I won’t give that away. All this plays out as backdrop to a small town caught in a vortex of headlines and bylines reaching a pretty epic climax.

There is a follow up just released called Silver.

 

 

Posted in 101greatreads, fiction | Tagged , , | Leave a comment

Long Bright River by Liz Moore (Penguin)

long bright river

“There is a body on the Gurney Street tracks.”

THE come-on cover copy and graphics suggest this is another crimo-detecto: Move over Michael Connelly. Step aside James Lee Burke. There is a new girl in town. A new town in Kensington, Philadelphia stricken with opiates. Enter officer Mickey Fitzpatrick. If Kensington has issues so does Mickey, with child care, with her sergeant, with her family, the O’Briens who are scattered across both sides of the tracks. And Liz Moore could certainly write this into a series.

But all that is slightly misleading because Moore is working on different levels at the same time. Before we get to what is a fastly accelerating, exciting crime drama in the later stages this is the story of the dysfunctional O’Briens who mirror the city itself who mirror Fitzpatrick’s struggle to better herself.

The obscure title is not explained until page 437. More fitting might have been, say, Good Sister, Bad Sister or just plain Kensington. The police procedural does not fit so well with the personal, which is, sort of, the point. Other elements take control: the sense of place, the institution of the police, the destitution of the inhabitants, the family disputes.

Narrative is chatty and first person:

“Some people have trouble with Kensington, but to me the neighbourhood itself has become like a relative…”

and

“Ahearn is a small slight man…At five-eight, I look down on him by at least two inches. The difference sometimes send him up on his toes, hovering there while he talks”.

Sentences are short, spare and crisp, picking up a certain cadence and rhythm:

“For a week I work solo. I’m relieved to be alone again. I am relieved to

be able to

stop when and where I chose to,

to select which calls I respond to…”

At heart it is a me and my sister, as in filial, as in their relationship, as in different paths we chose, as in their dark back story which is a little Toni Morrison and not so brighter present…

Moore took 10 years in the writing and volunteered in the city’s crisis departments in that time. That passion and conviction set this out as more than just a detective story. It is a novel full of pace, nuance, surprises, emotions, guilt and dependencies. And well drawn people with feelings among whom I especially liked the bit part for Mrs Mahon, an outrider who is not part of the O’Brien clan, a safe refuge when everyone else is not so stable.

Posted in 101greatreads, fiction | Tagged , , , , | Leave a comment

The Unauthorised Biography of Ezra Maas by Daniel James (dead ink)

ezra maas

“This book is dangerous”

Brash, original, smart… star reporter Daniel James chases down the elusive recluse that is Ezra Maas, cult artist, vanished megastar…this is the kind of book destined, I hope, to find a cult following of its own, shades of Le Carre, shades of Chandler set within a backdrop of cultural and artistic road maps from Samuel Becket to David Bowie to Banksy and creeping into the 21st century of redactive texts, threats, psycho thrills.

The nearest thing I can relate it to is the film Network starring Peter Finch and Faye Dunawaye. But there are also overlaps with the brilliant The Seventh Function of Language by Lauren Binet. The philosopher Roland Barthes brought to life amidst possibly a hoax?

This won the people’s vote in The Not The Booker Prize in the Guardian, only to be overruled by the judges who went for Supper Club by Lara Williams (which I have reviewed below for comparison, which there is not really).

Here we are swirling through an art and literary vortex.

– I just want the truth.

-There is no truth, only art.

Nothing is what it seems, even James himself is only a part the author, his work picked up by an anonymous curator who adds footnotes, enticements to other references. Followers of Thomas  Pynchon are especially well rewarded.

Towards the end this curator gives us a slant of his own:

– The story took place before the phrases post truth and fake news were coined, before a new wave of narcissistic, capitalist tyrants rose to power in supposedly democratic countries on a wave of racism and greed…

Spookily that is the territory.

We are tapping in on the up to date, Mr Lyan really does have a bar under Sea Container’s house on the Thames. A passage includes the signing of the book deal with this same Liverpudlian publisher Dead Ink, and yes one Nathan Connolly is a director.

Some of the quotes and asides seem to be from real people. Brian Ward, professor of American studies, is quoted and features in the list of people who supported the book, others like Sara Cain are perhaps a veiled reference to the movie Saving Sarah Cain. A footnote links a Newcastle drinking den to Joe Summerfield who indeed was at the Poisoned Cabinet in that city. As with the Maas mystery James is interlacing fact and fiction, the supportable with the unsupportable. Jakob Tischbein was a painter in Lubeck who allegedly was one of Mass’s teachers in 1968. He is quoted as saying: 

– My first Ezra Mass artwork was like finding a new letter in the alphabet, or discovering a new colour

Great, only the real Tischbbein died in 1791…

Through all this biographer and artist drift, and joust, the one perhaps dead, perhaps who has left a trail. All smoke and mirrors. There is some clever brainy stuff in here. There won’t be many people opting to choose it as a special subject on Mastermind.

It is a very exciting read, unexpected because the context is so unexpected, the ideas so intriguing. And the writing is astute, rich with its own inferences. It is a bit mad but a bit genius too.

 

Supper Club by Lara Williams (Hamish)

supper club

Lena was the first.

 

CONSIDER this as a recipe book to which the author’s social worker has attached notes about her sexual history.

The Club is an all female secret meet-up to misbehave, throw away inhibitions, emancipate, eat, drink, take drugs, and inevitably, eventually vomit. Cooking is Roberta’s salvation or means of empowerment.

Sadly the meals at the club itself are mainly foraged from supermarket dumpsters and don’t have the elegance of Roberta’s experiences with soufflés, Thai red curries or spatchcocking a chicken. Her instructions for making kimchee are superlative.

The irony of this book winning the Not The Booker prize is it might not be out of place if it masqueraded as an extra chapter in the co-Booker winner Girl, Woman, Other by Bernadine Evaristo. Similar casts. Similar problems. Similar twenty-something. Similar sexual mores. Similar sistas. Only Roberta likes to end most sections with a good cry. When in doubt: blub.

Sex is visited on Roberta and her friends like flying saucers dropping out of the sky. The boys do not get much description except in so far as they are judgmentally appraised without sentiment, emotion, or empathy for their performance, or lack of it. This kind of sex is all meat and potatoes. There is talk of love but not much is on show. These girls are essentially, primarily, stoically about themselves. Roberta is also very needy with her desire to be wanted becoming almost maniacal. She assembles her various neuroses like ingredients for a recipe which she then bakes into a usually unsuccessful relationship.

There is perhaps a market for this self-flagellatory semi autobiographical shy girls growing up and confronting taboos like masturbating and self harm, but it is not literature. It is a fanzine.

To see how it can be done give Sophie White a try.

Posted in 101greatreads, Biography, fiction | Tagged , , , , , | Leave a comment