June 8, 2009
Roundup: Nigel Balchin, Elizabeth Hardwick, Gerard Woodward
I read – consecutively – three books recently which didn’t thrill me enough to devote a whole post to each, but I wanted to cover them briefly nonetheless.
Nigel Balchin: The Small Back Room
The Small Back Room (1943) is best known as the source of a film by the great Powell & Pressburger, though one of their minor works. I picked up a cheap copy of the recently reissued (and even more recently remaindered) Cassell Military Paperbacks edition, the cover of which is less handsome than that shown above. It is not as good in my opinion as Darkness Falls from the Air, which I enjoyed last year. The narrator, Sammy Rice, has the same sort of brittle wit as Bill Sarratt in Darkness, and there’s a cracking opening line:
In 1928 my foot was hurting all the time, so they took it off and gave me an aluminium one that only hurt about three-quarters of the time.
What’s interesting is that this is rarely mentioned in the rest of the book, other than an occasional reference to Sammy’s limping gait. Similarly, his alcoholism, a major thread in the film (there is an – unintentionally, I think – hilarious visual metaphor of him being crushed against the wall by a giant whisky bottle), is only explicitly addressed once or twice. This is thoroughly admirable, as someone with ongoing problems doesn’t necessarily dwell on them all the time, though it did leave the book with a lopsided feel for those, like me, who saw the film first.
The content of the book is mostly Sammy’s struggles with the bureaucracy of the government department he works for, developing scientific ideas which might help in the war effort. There’s a good deal of office politics and the trouble with politicians (as there was in Darkness). This has the ambiguous effect of faithfully representing the nausea-inducing boredom of committees, demarcation and internal power struggles while being occasionally boring itself.
The book ends with a tense bomb-defusing scene, which is less tense than the filmed version, and the story thereafter sort of peters out. The thing that The Small Back Room brought home to me is that, while a book composed mainly of dialogue might seem an easy option, it can actually make for a tougher read than a more narrative novel. Balchin does well to progress the story largely through dialogue, but the end result is only moderately interesting.
Elizabeth Hardwick: Sleepless Nights
I bought Sleepless Nights some time ago after seeing it recommended by Colm Tóibín in one of those end-of-year roundups. It’s a quite singular book in that I ‘enjoyed’ it hardly at all, yet think it so fascinating and full of good things that it should be more widely known. First published in 1979, it’s not hard to see why it had fallen out of print until NYRB Classics reissued it: it’s a difficult book, and a tricky one too which by its brevity leads the reader to expect plain sailing. (In fact it reads something like a 300-page book compressed to 128 pages.) Difficulty, in this context, means nothing more than that the reader should pay attention – hardly an arduous challenge – but also that we should admit there may be structure in apparent chaos (and not be too hung up if we can’t find it). The prose, certainly, is beautiful:
More or less settled in this handsome house. Flowered curtains made to measure, rugs cut for the stairs, bookshelves, wood for the fireplace. Climbing up and down the four floors gives you a sense of ownership – perhaps. It may be yours, but the house, the furniture, strain toward the universal and it will soon read like a stage direction: Setting—Boston. The law will be obeyed. Chests, tables, dishes, domestic habits fall into line.
Sleepless Nights is a book of “transformed and even distorted memory”: but “if only one knew what to remember or pretend to remember.” What the narrator does remember is a series of splinters from a life, often very like the life of Elizabeth Hardwick (whose name she shares too). That is, the reader is encouraged to confuse the book with a fractured memoir. In his introduction, Geoffrey O’Brien observes that
Sleepless Nights might be taken as an exploration of the problem of genre, the problem of distinguishing fiction from what is so coarsely described as ‘nonfiction’, except that the book is more like a demonstration that the problem is illusory.
The spot-memories which the book explores are intense through brevity. Real figures, such as Billie Holiday, come and go along with old flatmates such as ‘J.’, who barely appeared on the page before he died in a traffic accident, when a car “rushed into an ecstatic terrorism against J.’s neat, clerkly life at the curb.” Time passes and repasses, back and forward, “a decade falling like snow on top of another, soundless.” It is a bold, admirable work which I found quite impossible to appreciate fully – or to write about adequately. To redress the balance, I offer you a helpful contemporary review of Sleepless Nights, which compares it with Rilke’s Notebooks of Malte Laurids Brigge.
Gerard Woodward: August
If, as Alan Bennett says, “all families have a secret: they’re not like other families,” then Gerard Woodward’s Joneses top the table for idiosyncratic individuality, with a glue-sniffing mother and a psychopathic pianist son, and everyone else (and those two as well) an alcoholic. Ever since reading, and loving, I’ll Go to Bed at Noon a couple of years ago, I’ve been eager to read August (2001), the first volume in the trilogy. Eager but reluctant, for fear that it might disappoint.
It disappointed. It didn’t strike me as being near the high standard of I’ll Go to Bed at Noon – but then, what is? Indeed, if I had read August first, as intended by Woodward, I don’t know that I would have gone on to read the second volume.
This is not to say that it’s bad. It’s well-written, with the peculiar and seductive mixture of compassion and wit that Woodward does so well. Perhaps part of the problem was the structure, which loosely describes the family’s camping holiday in Wales each summer during the 1960s. Really, however, the meat of each section is in the flashbacks, which means there’s a lot of dense rehearsing rather than getting on with it: not something I object to in itself, but it did slow the reading down a lot for me.
As with I’ll Go to Bed at Noon, the central characters for me were Colette, the glue-sniffing mum, and her son Janus, a fascinating and frightening figure whose great giftedness for music we are never really given much evidence for. It’s horrible to read his taunting of the other family members, but impossible to tear yourself away.
‘I’d like to know why you did it.’
‘I’d like to know,’ Janus lowered his binoculars, the eyepieces having left a pair of red pince-nez on his nose, ‘why you were intimate with my father.’
Janus’s eyes looked stupidly small. Colette bent forward with incredulous laughter and repeated the word ‘intimate’ to rehear its quaintness.
‘Am I embarrassing you?’ said Janus.
‘You’re embarrassing yourself.’
‘Am I causing you pain?’
‘Only of laughter.’
‘Sometimes I feel it is my vocation to cause you pain to counterbalance the pleasure you had in conceiving me.’
It’s all downhill from here, and knowing where the story is leading probably did not help. My fault perhaps, as much as Woodward’s. I will certainly read A Curious Earth, the third volume of the trilogy, but with a lot less urgency and excitement than that with which I approached August.