Miranda July is a renaissance woman who’s career has encompassed film, music, performance art, directing, acting and writing. I first encountered Miranda July via her film Me and You and Everyone We Know (2005), which turned out to be a brilliant encapsulation of what July is all about. Her style is self consciously arty and kooky and explores psychological themes such as neurotic behavior and social awkwardness whilst also flirting with existentialism. July manages to successfully skirt the fine line between pretension and authentic emotional connection and when she is on the money this approach works extremely well, but when she isn’t there can be a strong whiff of mawkishness. Although July’s work is somewhat of an acquired taste, The First Bad Man mostly hits the mark nicely.
The First Bad Man’s principle protagonist is Cheryl Glickman, a typical July character; Cheryl is plain, awkward, neurotic and has a decidedly kooky outlook on life. Initially both the character of Cheryl and July’s writing grates with neurotic self-consciousness, but fortunately before long Cheryl becomes endearing and at the same time the novel begins to venture down some untrodden narrative pathways. The First Bad Man contains the only portrayal of a female misogynist that I’m aware of, although I’m sure there’s more out there in the wild world of literature. Cheryl’s unwanted house-guest, a young woman called Clee, is the instigator of one of the most unusual and ultimately affecting relationships I’ve ever encountered in a novel. Clee is young, beautiful and buxom, but has unbearable foot odor, questionable personal habits and behaves in an unreasonably aggressive manner toward Cheryl. However as the novel progresses Clee transforms Cheryl’s life in unexpectedly positive ways.
The First Bad Man evoked a wide range of emotional responses; at times I was frustrated at Cheryl’s inability to engage with life in a functional manner, yet I was also appalled at the treatment meted out by Clee. I ended up being entirely caught up in Cheryl’s life and found myself desperately hoping that everything would work out for her. Having seen her films I couldn’t help but picture July as Cheryl throughout the narrative, but fortunately this worked for me. July clearly has a knack of exploring the more extreme elements of human psychology whilst also making the character sympathetic. Without this the novel could have very easily been an exercise in neurotic irritation, but instead it becomes an ultimately heartwarming story. Also I’m sucker for a novel with a reference to David Bowie; in this case his song ‘Kooks’ is used as a mental tool for stopping obsessive behavior.
As with July’s films, The First Bad Man is not for everyone, in fact many readers may not be able to stomach her unique take on human psychology and her idiosyncratic writing style. Personally by the end of the novel I wasn’t ready to let go of Cheryl Glickman; I’d become as attached to her as she was to Kubelko Bondy, and that’s really saying something. Who’s Kubelko Bondy? You’ll have to read the novel to find out, and besides, Cheryl would love you to join her in her lover’s story, you won’t be sorry....
|Miranda July, looking suitably kooky|