Wednesday, November 30, 2016

Reading group: The Days of Abandonment by Elena Ferrante

Prompted by the immense success of the novels of the pseudonymous Elena Ferrante, in particular her linked Neopolitan novels, and of course by the recent fuss around her apparent 'umasking', John suggested this stand-alone novel, and the rest of us, none of whom had yet read Ferrante, jumped at the chance to read it.

However, not everyone in our group shared the popular opinion, and views of the book were sharply divided.

Suspecting that this would be the case, John avoided expressing his emotional reaction to the book, and concentrated on discussing it in more neutral literary terms. A breathless first-person narration, it charts the emotional journey of Olga from the moment her husband Mario announces that, through an 'absence of sense', he feels the need to leave, and walks out on her and their two young children. As John said, the book is significantly titled: not only is Olga abandoned, thereafter she abandons herself, falling into the kind of madness of the abandoned woman she witnessed in childhood and subsequently despised and dreaded, and consequently at moments abandoning her children both physically and emotionally. As Jenny would point out later in the discussion, and as Olga herself will realise later, it is not Mario but Olga who, as a result of his actions, suffers an 'absence of sense'. (Mario has in fact of course gone off with another, younger woman.) Initially, before she comes to realise that Mario is never coming back, Olga makes a point of being reasonable and understanding, a stance she has always previously taken. It is the way in fact that women are traditionally supposed to behave, and is thus another kind of absence of sense.

Mark interjected that surely this was a hackneyed subject, but John stated that he thought that this novel was not simply telling a hackneyed story, but was very much a political statement of the continuing trap of the institution of marriage for women. Having once despised tragic heroines like Anna Karenina and Madame Bovary, Olga is now haunted by the spirit of them (and, as she becomes more unhinged, haunted more literally by the ghost of the abandoned woman of her childhood, the poverella). Having at eighteen considered myself a talented young woman, with high hopes, and having indeed begun a career as a published writer, she has ended up a mere wife, modulating herself for the lives of others, subsumed to the Family. John thought it no coincidence that the book that most strongly haunts this novel, Anna Karenina, begins All happy families... He pointed out that, like that novel (and in his opinion most great novels), The Days of Abandonment begins with a sentence that gets right to the thematic point: One April afternoon, right after lunch, my husband announced that he wanted to leave me. (Note that reference to lunch, not only locating Olga in the domestic that traps her and in which she will be left, but implying the familiar order and composure from which she is now shaken.)

It now became clear that the three women present, Jenny, Clare and I, had found the book utterly emotionally engrossing - although I had to confess that because I had read it at a huge compulsive rush I read it again, and the second time, without the tension of not knowing what was going to happen, felt less emotionally engaged and more distanced from the character. On first reading, however, all three of us had identified closely with Olga and her experience, and had found the portrayal searingly truthful. John and Mark, however, the two men present, both said that they had wavered as they read it, sometimes liking the book and sometimes disliking it, John saying that he found it sagged a little in the second half - a sensation I did have on my second reading. Mark seemed to come down on the side of dislike, as he went on to be pretty critical. He repeated his view that the situation - a woman emotionally trapped by marriage and motherhood - is outdated; he thought young women nowadays would be baffled by it. To begin with we found it hard to answer that, except to say that nevertheless women of our generation who do identify with it are a significant enough demographic not to be discounted and to account for Ferrante's huge popularity, and that in any case Italy is still a conservative enough society for its theme to be still current there for younger women. But a main point made by this novel, as had been said, is that that so-called outdated stereotype, which might baffle younger women, and which had indeed baffled the young Olga herself, is not so easily sidestepped even now, a notion that we three strongly agreed with as a result of our own experience.

Clare said she was really interested in the meta-issue of Ferrante's anonymity and 'unmasking' (as far as I know, no one knows for sure if the woman who has been fingered as the author behind the pen-name is really the author). In discussing Olga's state of mind John had mentioned that there is a lot of excrement and urine in the book, and the fact that Olga is obsessed with sex, in particular transgressive sex. None of this is gratuitous; all of it is an inevitable outcome of the situation and Olga's deteriorating state of mind. Rejected so suddenly and roundly by her husband she is inevitably swamped by a sense of her hitherto unsuspected inadequacy: has he found her sexually inadequate? Does his lover provide sexual satisfactions she hadn't? - questions that lead her unsuccessfully and depressingly to abandon herself 'without love' and 'with pure ferocity' to transgressive sex with a neighbour, Caranno, a practical stranger. Everything inevitably seems to her spoiled and poisoned - there is dog-shit on the pavement, a lizard and ants invade the house - and Olga herself becomes the focus of loss of control, letting the house fall into chaos, running out precipitously with the dog in her nightgown and needing herself to urinate and defecate in the woods. As one of her children falls ill with a fever, and the dog simultaneously lies dying and leaking shit, she becomes convinced that she is secreting some sort of poison that is affecting all around her. Such graphic material caused shock on the book's publication in 2002, which I consider a telling comment on continuing perceptions of women (women are not supposed to be so earthy or to lose control), and on what a female author is allowed to write. It is probably therefore significant that one suggestion has been that the author of the Ferrante books is a man.

I said that one of the reasons I found the book so deeply and personally compelling was that it made me wonder why I hadn't written about certain of my own experiences, and I realised it was because I don't write anonymously (although Elizabeth Baines is a pen-name, people have long known who I am). I would love to go back to the days when I first started writing under a pen-name and no one knew me: there was freedom then from my writing being judged through the lens of my real-life persona or vice versa. Reading Ferrante's book made me realise that the better known I have become, the more difficult it has become to write about certain experiences of my own in a way that could be interpreted as autobiographical.

Now there was a huge altercation. Mark seemed to think this fairly ridiculous. Surely when you write, he said, you don't write for others but for yourself? Hadn't we read the Paris Review interviews in which so many writers say they write for themselves? It is however a matter of degree and of negotiating between, on the one hand, the desire to express oneself and portray the truth as you see it, and, on the other, the need to communicate and the context into which your writing must be published. But surely, Mark said, it's fiction? He was right of course that it is a mistake to read fiction as autobiography, but the fact is that there is a huge tendency to do so, and to identify the author with the protagonist.

Mark then criticised the translation of the book, citing the substitution of the American use of Fahrenheit for the European Celsius (when Olga is taking her ill child's temperature) and the use of 'magnifying lens' which he thought should be 'magnifying glass'. The rest of us found these trivial points in a book dealing so truthfully with searing issues, and hadn't even noticed them. I found 'magnifying lens' acceptable anyway, and in fact more resonant in a book about shifts in perception, and John said he thought Fahrenheit was acceptable in a translation probably aimed at the American market. Mark criticised the prose, finding it lacking in punctuation, especially in commas. I said, isn't this a function of the fact that the breathless style mimics Olga's slipping state of mind, and isn't it actually explicitly addressed in the book: Olga reflects that as a young woman she despised the lack of commas in those novels of tragic heroines, but abandoning herself to loss of control in her new situation, she embraces a lack of commas. Mark said he knew this, but he still objected to the lack. (However, leafing through the book now I can't actually find this lack; the book is in fact liberally sprinkled with commas - sometimes in place of full stops, indicating Olga's sliding, uncontrolled state.) In direct contrast, the rest of us found the book extremely well-written, with style beautifully suited to the situation. In fact, I said to the group, I don't believe that I would ever go to pieces in the way that Olga does in that situation - I don't believe I'm like Olga  - but I found that the way the book was written made me identify with her totally on that first reading, and Clare and Jenny agreed.

From the meeting it looked as if our opinions of this book were divided along gender lines, but Doug, who hadn't been able to make the meeting, had written that, 50 pages in, he was finding it 'captivating and harrowing in equal measure' and couldn't wait to find out where it went next. And, conversely, Ann, who was also unable to be present, had written that she had found the translation clunky and clumsy, and had 'just wanted to shake the protagonist', finding her 'too overwrought, incompetent, incapable'. LIke Mark, Ann found her 'just old fashioned in attitude and assumptions' and simply thought 'At last!' when Olga comes to realise that she has invested too much of herself in her relationship and her role as a wife and mother. There is an agonising section where Olga is trapped in the house with her ailing child and dying dog because she can't undo the lock she has had installed by workmen who made lewd lock-based insinuations as they installed it. She is able to undo it only when the neighbour Caranno arrives outside the door. Ann thought this an outrageously overdone metaphor, and John pretty much agreed with her, but none of the rest of us women did. While it does of course operate on a symbolic level, I read it chiefly not as an authorial metaphor, but as a purely practical effect of Olga's state, which I found realistic (ie she was simply in too much of a state to get the thing open before she relaxed, her situation creating an emotional and physical block about it). Ann had also foreseen the ending of the book early on, but none of the rest of us had done so, since we felt that the book was interrogating traditional paradigms rather than simply employing them. And there was quite some amazement on the faces of us women at Ann's statement that if this is typical of the rest of Ferrante's work she wouldn't be bothering with it. 

Our archive discussions can be found here and a list of the books we have discussed, with links to the discussions, here

Monday, November 21, 2016

A literary weekend: a meeting with prize shortlistees, reading with literary icons and a new review of Unthology 7.

On Saturday I zoomed off to London, first to attend a gathering for bloggers to meet the shortlistees of the Sunday Times/Peters Fraser and Dunlop Young Writer of the Year award, and then on in the evening to Waterstone's Piccadilly to read at Word Factory.

The Young Writer shortlist is fantastic, and we had a great afternoon chatting to the shortlistees and hearing them read and being interviewed by Andrew Holgate, prize judge and Literary Editor of The Sunday Times (below). You can read more about it on my critical blog, Fictionbitch, and the thoughts it prompted for me concerning innovative fiction and marketing.


After that it was off to Word Factory. I was reading with Lionel Shriver and novelist and Mslexia editor Debbie Taylor, at the end of a day-long festival for short-story writers, Small Like a Bullet. I read the title story from my collection, Used to Be (and the really great audience was gratifyingly receptive, laughing in all the right places - I guess a roomful of storytellers was just the right audience for a story about story-telling!). Debbie then read from her latest novel Herring Girl, which I have recently read: a fascinating and really quite daring tale of reincarnation set exactly where she lives, in a converted lighthouse at the mouth of the River Tyne, with a depiction of the past so vividly real and particular that I suspect Debbie of having indeed been there then! Finally Lionel entertained us with the tale of her commission from a luxury hotel chain, which she fulfilled by writing a story subverting the whole idea of luxury hotels. She then read us the story, in which, with her customary verbal irony, she put paid to the notion of luxury itself.

Afterwards poet and Word Factory organiser Cathy Galvin chaired a discussion that ranged from the the popularity or otherwise of short stories and publishers' attitudes to them, to the question of whether they are leading to brand-new forms that defy categorisation - Max Porter's Grief is the Thing with Feathers, one of the shortlisted books in the Young Writer Award, being cited as an example. Here's a photo taken by my online friend and Word Factory regular Oscar Windsor Smith:


And as I was coming back on the train next day, I discovered that there's a new review of Unthology 7 from brilliant writer Aiden O'Reilly. He loves the anthology:

I think this is probably the best anthology I’ve read, including all those ‘best new’ anthologies that come out every couple of years. There are just so many standout stories here

and I am of course thrilled by what he, such a talented writer himself, says of my story:

I loved the prose of Elizabeth Baines’ Looking for the Castle ... it’s just perfectly written.

Wednesday, November 09, 2016

Reading group: Cosmopolis by Don DeLillo

After unanimous praise for our last book, there was unanimous dislike of this book, apart perhaps from the view of Jenny who had suggested it, and who said she couldn't decide whether she liked it or not, and wavered as she read it.

Set in millennial New York, it's the third-person account of one day in the life of twenty-eight-year-old multi-millionaire asset manager Eric Packer as, accompanied by his 'chief of security', he is driven in his limousine across the city to get a haircut, moving slowly through jammed traffic while his advisors, his 'chief of technology', his 'currency analyst', his 'chief of finance', his doctor, his 'chief of theory' wait at corners at appointed times and step in turn into the car for meetings. They are held up by a global protest, a state presidential visit and a massive funeral, and Packer nips out of the car now and then for sexual liaisons and to speak to the wife he has recently married as a financial deal, all the while trading in the yen in a way that will bring about a global and personal downfall. Partway through the day it is reported that there is a threat to Packer's life, but there is such an overall air of dissociation that it's not clear if the threat is real. In any case, the way he behaves from this point on seems guaranteed to push him in the face of that danger.

Well, it was hard for me to call up the events of the novel to write that synopsis, as quite frankly I really didn't care in the least what happened during that day to Eric Packer, and was happy to forget it, and neither did anyone else (apart from Jenny). Clearly the novel is about the alienation of capitalism (which we hardly found an original concept), and its death-wish, and Jenny pointed out that Packer's pursuit of a haircut in the run-down area of the city where he grew up in poverty-stricken circumstances is an inchoate attempt to reach back to life and the 'real'. He didn't know what he wanted. Then he knew. He wanted to get a haircut. Jenny said that this made her at times sympathise with him as a man damaged by his own ambitions and the financial world that has sucked him in.

However, while this is clearly a premise of the novel, none of the rest of us saw the book as operating on the psychological level that would elicit such sympathy. Packer seemed to us very much a cipher, and the whole thing is told from the outside in staccato, distanced prose mimicking the lack of affect of a financial world. The result is that it is often, or mostly, impossible to work out Packer's emotional state or motivations, so none of us could engage with him or the situation. Another effect was a (seemingly deliberate) loss of significance at moments that should have resonated with significance. An interesting occurrence in the novel (interesting in retrospect) is the fact that things begin to happen on the camera screen in Packer's car before they actually happen in real life - Packer sees himself rubbing his chin on screen in the brief second before he does it - indicating the takeover of virtuality from reality. However, presumably in an authorial attempt to illustrate the normalisation of such a horror, it is narrated so blandly and glossed over so quickly that it has no emotional effect on the reader (us readers, at any rate). Fairly near the beginning, well before it is heard that there is a plot to kill Packer, there is a first-person section, narrated by a Benno Levin and reporting that he has murdered someone unnamed. It was hard to work out whether or not this was a deliberate authorial bid to give the game away and subvert conventional dramatic tension, and it's an instance of the way we all felt we failed to get a grip on the novel. At this point in fact there is yet no hint of a plot against Packer and the link with him personally is not obvious: is it therefore an authorial attempt not to give the game away? But without that connection the piece seems to float disconnected (and confusing) from the rest of the narrative, and why else would the piece be there? However, I for one had already failed to engage with Packer's fate, and the whole section dropped away from my consciousness with little lasting significance. In addition, the piece itself is an essay in lack of significance: although the narrator writes of his motives for the murder and of his anger, he does so analytically (and again in that staccato affectless prose), and there is an air of futility: All through the day I became more convinced I could not do it [ie, commit the murder]. Then I did it. Now I have to remember why.  And: So what is left that's worth the telling?

In conclusion we all agreed that it's all very well writing about alienation, futility and lack of significance, but you have to find a way of doing so that doesn't alienate the reader and make the book itself seem futile and lacking in significance. On the whole, people got the feeling that this was one of those books commissioned and rushed out as a millennial novel by a Great American Author, which did not do justice to the talent we found in DeLillo's White Noise.

Through a last-minute change of venue, Doug failed to make the meeting, and when we called him later he said that he hadn't particularly wanted to discuss the book anyway, as he hated it, it had bored him rigid, though he did think it remarkably prescient in view of the 2008 crash.

Our archive discussions can be found here and a list of the books we have discussed, with links to the discussions, here


Reading group: All for Nothing by Walter Kempowski

Everyone present loved this suggestion of Doug's, Walter Kempowski's 2006 novel set in 1945 East Prussia as the German army retreats from the Russian advance and refugees begin to trickle and then pour from the occupied lands.

Sealed off from the growing chaos in their rundown rural mansion, the Georgenhof, the remains of an estate now largely sold off, is the semi-aristocratic von Globig household: a dreamy young wife, Katharina, known as a beauty, whose army officer husband is away in Italy requisitioning goods for the German army, her introspective twelve-year-old son, a spinster relative who acts as housekeeper, and their few Polish and Ukrainian servants. Unaware of the military threat, and of the slyer threat from their envious Nazi neighbour, Drygalski, the 'kind of deputy mayor' of the new housing estate across the road, the von Globigs merely watch curiously as the processions of refugees pass the house, and make no preparations to leave. Their peace begins to be broken, however, by a series of travellers who call at the house from out of the surrounding snow, and when Katharina is asked to harbour a particularly mysterious stranger for one night, their fate is set.

Doug said - to murmurs of enthusiastic agreement - that he thought the book brilliant. It begins in a mode that at first seems old-fashioned, with leisurely, objective and omniscient descriptions first of the house and then of each member of the household in turn - a mode which does indeed recall the nineteenth-century world from which the von Globigs have failed to be woken. Yet there are strange repetitions that do not belong to the polished, patrician prose of an earlier century: in the section concerning one character we will be told a fact that we have already been told in an earlier section dealing with a different character, and in exactly the same words, as though the fact is being introduced for the first time. There is too much of an overall air of authority to the prose for this to be authorial clumsiness. As Doug said, the precise verbal repetition creates a sense of the fateful connections between the characters - such as between the von Globigs and Drygalski - and, at the same time, of their psychic isolation from each other in the situation. As the book proceeds, there is a growing musicality in the repetition, and the novel builds like a piece of music, moving in simple prose through a dreamy tone towards nightmare as the chaos of war overtakes the von Globigs, and opening out to orchestrate a huge cast of characters, the repetitions becoming sinister: Where would they all end up? ; Had it all been for nothing?

Previously to writing this novel, after coming across abandoned papers and photos revealing the unrecorded experience of German people during the war, Kempowski had produced a monumental non-fiction work of witness, and this clearly informs All for Nothing. What had seemed at the outset a conventional omniscient narration about one family becomes a magnificent piece of free indirect discourse giving witness to whole populations devastated by war, moving from head to character's head and out again, breaking down the stereotypes through which they see each other and showing us all of them - Nazi, Jew, German, Ukrainian, Pole - from every perspective in all their flawed humanity.

The book is translated from the German by Anthea Bell, who also translated W G Sebald's Austerlitz (which we also loved). Once again we were extremely impressed by the translation. In particular, as Ann pointed out, the handling of idioms is especially impressive, easy on the English ear whilst never detracting from the German feel of the prose.

In a nutshell, we all loved it. There was one small doubt, which I think all of us shared: although the novel has something of the quality of fable (rather than of the realist novel), we did find the ending, which I won't give away here, psychologically unconvincing and potentially sentimental, though we forgave the book that for its overall magnificence.

Our archive discussions can be found here and a list of the books we have discussed, with links to the discussions, here

Saturday, September 10, 2016

Katy Lumsden on Red Room



Here's a very lively YouTube review by Katy Lumsden of the Unthank anthology Red Room: New Stories Inspired by the Brontes which was edited by A J Ashworth, and published in 2014. It's a comparison of our anthology with the new one edited by Tracy Chevalier, Reader I Married Him, and, much to our gratification, she loves ours! I'm thrilled to say too that she picks out my story, 'That Turbulent Stillness,' and says I do interesting things with form and structure in my writing!

Monday, August 22, 2016

Reading group: Goodbye to Berlin by Christopher Isherwood

I suggested this book as a classic I had never read even though I found brilliant the film Cabaret, which is based on a section from it. Influenced by Isherwood's reputation as right wing and reactionary (prior to his rehabilitation as a gay writer in the 70s), and understanding that the film took great licence with the book, I had never been attracted to read it, or any of his other work.

As I said to the group, I was delighted to find my prejudice overturned.

Based on Isherwood's own experiences in Berlin, but flagged in an author's foreword as fictional - 'readers are certainly not entitled to assume that its pages are purely autobiographical' - the book consists of six loosely linked sections, not all of them following in chronological order, and spans the period from Autumn 1930 to Winter 1932-3 during which Berlin became transformed by the rise of the Nazis, and its licentious underworld culture attracting young men like Isherwood was swept away. During the course of the book, writer and English teacher 'Christopher Isherwood' settles into his new accommodation with his landlady Frl Schroeder, once genteel but now down on her luck (other occupants include a prostitute and a female Nazi); meets and becomes friendly with the garrulous and incorrigible nightclub singer (and unofficial prostitute) Sally Bowles (on whom the film Cabaret is centred); spends a period on a Baltic island sharing a house with Englishman Peter and his young working-class German lover Otto; back in Berlin, stays for a time with Otto and his family the Nowaks, and experiences the cramped conditions of the Berlin working classes; becomes involved with the Landauers, the wealthy Jewish family whose eighteen-year-old daughter, Natalia, he teaches; and finally, as SA men beat people up in the street, knows sadly that it is time for him to leave.

I said that I was hugely impressed by the quality of the prose and the insights into people and the way they are depicted - the affectionate depiction, for instance, of the bossy but naive and ultimately vulnerable teenager Natalia. On their first meeting, she makes Christopher tell her about the book he is writing (although he can see that she isn't really following his English):
When I had finished, she asked at once: 'And when will it be ready - how soon?' For she had taken possession of the story, together with all my other affairs. I answered that I didn't know. I was lazy.
'You are lazy?' Natalia opened her eyes mockingly. 'So? Then I am sorry. I can't help you.'

The first and last sections of the book take the form of a diary and are indeed titled thus (Berlin Diary Autumn 1930 and Berlin Diary Winter 1932-3), and the second paragraph of the book is the narrator's famous statement:
I am a camera with its shutter open, quite passive, recording, not thinking. Recording the man shaving at the window opposite and the woman in the kimono washing her hair. Some day, all this will have to be developed, carefully printed, and fixed.
 This is often taken as declaring a refusal to judge, but the point about a camera of course is that you can choose where to point it, and not only is there implicit judgement in the cool way Isherwood depicts characters, letting them reveal themselves, the book is a masterpiece of careful and telling selection. I said I loved the counterpointing that Isherwood thus creates: the two diary sections framing the book with vividly and sadly contrasting pictures of Berlin; the counterpointing of the louche and money-grubbing Sally Bowles and the pampered and naive Natalia, representatives of  contrasting social milieux; and most importantly of all, that of the good-hearted but politically naive Gentile Nowaks, vulnerable to Nazi propaganda, and the Jewish Landauers whose wealth and safety is doomed. Such counterpointing creates of itself a judgement on the overall social and political situation. The fact that the sections do not run entirely chronologically, and that as a consequence we discover that other events and friendships have been running alongside the ones we have been focused on, creates a kind of yearning sense of missed connection which I found very moving, and it seems to me that this, formally, is another comment on the social breakdown of the era. The endings of books are of course of prime importance, and the fact that Isherwood ends with descriptions of the growing Nazi violence he witnesses, however coolly he describes it, left me in no doubt about a fiercely left-wing authorial stance. The book was, after all, first published by notably left-wing publisher John Lehmann, and it is known that Isherwood held in great importance Erich Maria Remarque's anti-war and anti-establishment novel All Quiet on the Western Front, which we discussed here.

Everyone present agreed enthusiastically that the book was beautifully written and thoroughly engrossing, Mark in particular saying that he read it at a gallop in a couple of sittings. People elaborated on the things I had said, and amazement was expressed that Isherwood could have presented such a clear-eyed and politically acute picture of the rise of the Nazis, with even the mention of concentration camps, so early on before the war, and that such a book should have been published as early as 1939. Everyone was especially taken by the episode (near the end) picked out by Ann, where, as the Nazis take over the streets and the life of Berlin, Christopher attends a boxing match that the audience takes 'dead seriously', placing bets even though it is abundantly clear that the match is fixed, so that Christopher comments: 'The political moral is certainly depressing: these people could be made to believe in anybody or anything'. Impressive too is the depiction of the normalisation of Nazism in the minds of the populace, the muggings of suspected Jews presented by the narration with cool yet savage irony as 'not, in itself, very remarkable; there were no deaths, very little shooting, not more than a couple of dozen arrests', and the harmless and even likeable landlady Frl Shroeder coming to talk 'reverently about "Der Fuhrer" to the porter's wife.'

Doug said that he did find something missing: a sense of the precise nature of Christopher's relationships with each of the other young men in the book, as it was clear that, writing in the early 30s, Isherwood would have had to suppress any explicit homosexuality. I quickly agreed, remembering that I'd had the same problem: for instance, when on the island of Reugen Otto abandons his lover Peter each evening to go dancing with women and Christopher and Peter end up spending the time together at a cafe, does this mean that Christopher is stepping in merely on the level of friendship, or in a more involved way? And, after the relationship between Peter and Otto breaks down, what is the precise relationship between Christopher and Otto when Christopher moves into Otto's cramped family home, and indeed shares his sleeping quarters? What indeed was his relationship with the nephew of the Landauers, Bernhard, with whom he is fascinated but who seems ambivalently to hold him at arm's length? Mark thought it was obvious that all of the relationships would have been physically sexual. I said, but even so, because of the suppression, we can't know the emotional level. For instance, later Christopher is apparently wistfully arrested when someone mentions a Peter (who will turn out not be the same Peter): does this mean he was unrequitedly in love with him, or not? As was agreed generally, it's a reading problem created by our contemporary hindsight: at the time of publication readers would generally have accepted the surface representation of the relationships.

John said that he thought this suppression was closely linked to the camera conceit at the beginning. A photographer records, and in the way he records interprets, but leaves himself out of the picture. The only way for the narrator to suppress his own homosexual involvement with characters would be to excise himself from the story as active participant, and place himself in the role of observer. This is indeed movingly codified on the first page where Christopher, newly arrived in his lodgings, listens to the young men in the street below whistling up to their girls:
Their signals echo down the deep hollow street, lascivious and private and sad ... soon a call is sure to sound, so piercing, so insistent, so despairingly human, that at last I have to get up and peep through the slats of the venetian blind to make sure that it is not - as I know very well it could not possibly be - for me.
a statement of longing and exclusion that blew me over before I had hardly begun the book.

And then, to my surprise, Mark, who had stated the most robustly that he'd found the book a compulsive read, said that nevertheless he did disagree with me about its left wing stance: he thought that it was after all fundamentally right wing and racist. Christopher makes a conscious political point of getting to know the Landauers after hearing anti-Jewish sentiments expressed, but Mark said that there is exoticism in the portrayal of Bernhard: with his Oriental furnishings and dressing gown Bernhard is portrayed as mysteriously exotic. I objected that the exoticism was surely that of Bernhard himself and of the time, Orientalism being a fashionable obsession of the 30s. I have to concede that Bernhard does come across as fundamentally unknowable, ambiguously fascinating and repellent, but feel on reflection that that's a matter of suppressed homosexuality rather than racism, since the attitude to the other Landauers is straightforward and affectionate. Mark pointed to the statement that a gang of Nazi roughs 'manhandled some dark-haired, large-nosed pedestrians' as evidence of racial stereotyping on the part of Isherwood. I read that, on the contrary, as Isherwood's ironical comment on racial stereotyping by the Nazis - note that these pedestrians are not identified by the narration as Jews; they are people, not necessarily Jews, who because of certain physical characteristics are assumed by the Nazis to be Jews. It's also significant that the passage comes at the very start of the section on the Landauers, prefiguring the fate in store for them that will be a matter of great sadness.

For Mark, I think, Isherwood's position as a privileged upper-class young man slumming it with a family like the Nowaks as a matter of curious writerly choice and observing the coming political storm from a position of safety (he can return to England while Bernhard Landauer remains to suffer a horrific fate), weakens his observations. It is also a matter of fact that Isherwood left England for America with W H Auden just before the war, declaring to his publisher John Lehmann that Europe was no longer of concern to him, a matter about which Lehmann was still writing bitterly in the late 80s, and which clearly fuelled the reputation that had put me off Isherwood's work.

However, it seems to me that irrespective of Isherwood's ultimate political stance, close attention to the text of Goodbye to Berlin shows it to be a work of political acuity, humanity and integrity. The social status of author Isherwood and narrator Christopher cannot to my mind detract from the searing nature of the depiction of the poverty-stricken boys who come from the countryside to the city to seek unattainable work, and the cruel character of the city, the heart of political oppression:
the city, which glowed so brightly and invitingly in the night sky above the plains, is cold and cruel and dead. Its warmth is an illusion, a mirage of the winter desert. It will not receive these boys. It has nothing to give. The cold drives them out of its streets, into the wood which is its cruel heart. And there they cower on benches, to starve and freeze, and dream of their faraway cottage stoves

and the air of restrained longing and sadness infusing the whole creates a lament not just for oppressed homosexuality but for oppressed humanity.


Our archive discussions can be found here and a list of the books we have discussed, with links to the discussions, here

Friday, August 19, 2016

'Falling' interpreted

Googling your own name is a well known as an act of vanity, but writers do it also to try and gauge responses to their work (it's always good to know what people think of what you've done). So there I was idly Googling a couple of times recently and I came across two responses to my story 'Falling' which really tickled me. First of all, it turns out that, all without my knowing, a recording of the story has been uploaded to YouTube - a really nice recording, I think, the story well read.

Then yesterday I came upon this, the description by design graduate Gus van Manen of his graphic design interpretation of the story, a beautiful little book that lets you, as he says, 'fall' through the story - exactly the kind of sensation I was hoping to create for the reader. (Go to the page for the images, which I can't copy.)  It never palls, that sense of gratification when you feel that someone has really understood what you're doing. And when they pour their own creativity into attending to it in these ways - well!

Oh, and I discovered from Google yesterday that two years ago a paper was presented at a conference of the Association for Welsh Writing in English at Bangor University in 2014 by Michelle Deininger on 'The Politics of Disease in the Short Fiction of Elizabeth Baines'  - all without my having any inkling! *

'Falling' can be read on East of the Web and is included in my latest collection of short stories, Used to Be (Salt).

* I am grateful to Michelle Deininger for posting in the comments below a link to her thesis, from which her paper was taken, and which I have brought up  hereShort Fiction by Women from Wales: a neglected tradition. Pages 177-188 deal with two of my early stories.

Friday, July 29, 2016

New Nightjars: Campbell and Burns




Through my door not so long ago: the latest beautifully produced chapbooks of individual stories from Nicholas Royle's Nightjar imprint - stories by Neil Campbell and Christopher Burns that fulfil perfectly Nightjar's concern with the uncanny and the macabre, each unsettling in both subtle and shocking ways.

Neil Campbell's Jackdaws is drenched with unease as the first-person narrator describes walking in the Derbyshire hills around his home - first in snow, then in summer - and the effects of the weather, snow and floods, on the row of houses in which he lives. The descriptions are stunning, but there is something deeply unsettling about these sequences - about the fact that we know so little about the narrator himself, about the obsessive nature of his descriptions (we could draw a map from them). And why is this all we are getting - descriptions of walks and weather and no story? When the denouement comes, it comes as a real jolt, and we understand the very shocking story that has been running underneath all along. Masterful.

Christopher Burns' story opens in a similar manner, with a protagonist walking in an atmospheric dawn. This time our sense of foreboding comes too from the protagonist's own unease as he approaches the farmhouse from which he feels he has been more or less disinherited. However, when the moment of shock arrives here, it is again entirely unexpected and at this moment Burns executes a clever narrative switch which lends a dynamism and true horror to the events that then rapidly unfold.

The covers of both volumes are aptly illustrated by details from two of the stunningly atmospheric landscapes of Manchester artist Jen Orpin.

Don't forget: these are limited signed editions, and they soon sell out! You can order them here.